Alt-rock icon Amanda Fucking Palmer believes we shouldn't fight the fact that digital content is freely shareable -- and suggests that artists can and should be directly supported by fans.
Amanda Palmer commands attention. The singer-songwriter-blogger-provocateur, known for pushing boundaries in both her art and her lifestyle, made international headlines this year when she raised nearly $1.2 million via Kickstarter (she’d asked for $100k) from nearly 25,000 fans who pre-ordered her new album, Theatre Is Evil.
But the former street performer, then Dresden Dolls frontwoman, now solo artist hit a bump the week her world tour kicked off. She revealed plans to crowdsource additional local backup musicians in each tour stop, offering to pay them in hugs, merchandise and beer per her custom. Bitter and angry criticism ensued (she eventually promised to pay her local collaborators in cash). And it's interesting to consider why. As Laurie Coots suggests: "The idea was heckled because we didn't understand the value exchange -- the whole idea of asking the crowd for what you need when you need it and not asking for more or less."
Summing up her business model, in which she views her recorded music as the digital equivalent of street performing, she says: “I firmly believe in music being as free as possible. Unlocked. Shared and spread. In order for artists to survive and create, their audiences need to step up and directly support them.”
"Palmer is set to join Radiohead and Nine Inch Nails as the artists people mention when they talk about the new music business."Billboard
“I maintain couchsurfing and crowdsurfing are basically the same thing — you're falling into the audience and you're trusting each other.”
“For most of human history, musicians, artists, they've been part of the community — connectors and openers, not untouchable stars.”
“A lot of people are confused by the idea of no hard sticker price [on my music]. They see it as an unpredictable risk, but … I see it as trust.”
“I think people have been obsessed with the wrong question, which is, ‘How do we make people pay for music?’ What if we started asking, ‘How do we LET people pay for music?’”