A look at the perilous economics of electronic music during the coronavirus pandemic. --- The monetization aspect is particularly important, as Twitch already has an established tipping culture. Although it’s primarily a gaming platform, musicians have increasingly started testing it out, hoping that viewers will pay to subscribe to their channel or tip them directly. Artist and tech researcher Mat Dryhurst has referred to this practice as “e-busking,” as it represents a new paradigm in which performers will have to earn a living by virtually singing for their supper, over and over again. […] When DJs play their records on various livestream platforms, the people who made those records aren’t necessarily being compensated properly, if at all. As music technology journalist Cherie Hu recently reported, the question of rights and licensing in regard to livestreams is a legal minefield. In theory, any DJ who’s doing a livestream should be licensing each and every track they play ahead of time, a process that could take weeks, even for music industry professionals. Given most DJs’ lack of expertise (and interest) in the finer points of copyright law, it’s no surprise that their compliance is practically nonexistent. […] Barring a major revamp of licensing requirements, along with significant improvements in both music recognition software and song reporting to relevant rights organizations, it’s hard to imagine widespread improvement in terms of livestream-related royalty payments. DJs themselves have little incentive to entangle themselves in legal minutiae, and the artists whose records are being played aren’t likely to kick up a fuss over payments that might not add up to much anyway. Still, when some DJ livestream events are bringing in tens of thousands of dollars, even for a good cause, it does raise questions about the ethics of capitalizing on artists’ work without their permission. […] During the first ReConnect event, which drew 8.5 million viewers, 79 percent of all of the tracks played were identified. In theory, this should have generated thousands of dollars in royalties, but due to the lack of proper licensing infrastructure around livestreaming, the collective payments from the broadcast may only add up to mere pennies. New platforms and an increased focus on accurate reporting are steps in the right direction, but the immediate economic outlook for livestreaming DJs and the artists whose music they play isn’t promising. People are tuning in—and donating money—but that hasn’t yet translated into anything resembling a reliable source of income for artists. “But for now,” says Plastician, “it’s the closest thing to a new revenue stream I’m going to have.”

Ultimately, the problem at hand is greater than the risk of lost royalties. The prevalence of leaks on established streaming services has a significant impact on an artist’s sense of ownership over their life’s work. The lines become blurred as to whether something actually “exists” in an artist’s canon if they never gave permission for it to be released. So while diehards might feel a thrill, circumventing the system and listening to unreleased songs by their favorite musicians, the leaks ultimately hurt those same artists.

I may never get around to listening to this, but the idea is fantastic. "An article in the May 2010 issue of the magazine The Atlantic critiqued the current generation of young music fans for rampant copyright violation. In a small irony, the illustration used to decorate the article interpolated a detail of a preexisting work that appears to not yet be in the public domain. This notice isn’t intended as a criticism of the illustrator — quite the contrary; the illustration is excellent — but instead of the theoretical foundation of the article, which suggests a clear line between right and wrong where there is, in fact, significant ambiguity. I forwarded Traum’s image, and article it accompanied, to various musicians and asked them if they would record a piece of music that took Traum’s picture literally: use it as a score.”