Guest Post: “Taylor Swift, Spotify and the Musical Food Chain Myth” by @DoriaRoberts #irespectmusic

doria roberts promo photo

[Ed. Note: Chris Castle says:  We are so lucky to have the opportunity to publish this illuminating post by Doria Roberts, an outstanding discussion that shines a light on the issues facing all professional artists. I’m sure we’ll hear Doria’s strong voice many times in the future and will be the better for her.] 

“The most common way people give up their power is by thinking they don’t have any.” –Alice Walker

I cannot tell you how happy I am that the conversation about Taylor Swift and Spotify is happening. Maybe people will start listening to what independent artists like me and my peers have been saying for years now.

A little background for those who don’t know me: I’ve been a indie musician by choice for 22 years. In 1999, I was chosen to perform at Lilith Fair and quit my day job the following Monday. I attracted several major labels, but ultimately, I walked away because I felt the industry was not going to be supportive of me, the business model was almost laughable for a new artist with little leverage and an insidious law called the Work For Hire Copyright Law had been passed that year, which prevented copyright ownership from reverting back to artists and remained with record labels in perpetuity. Like, that means forever. Luckily, Sheryl Crow and Don Henley went to Capitol Hill and had it repealed, but, by then, I was determined not to be become a cog and had committed to my full time life as an artist.

And, you know, I had good run of it…

Fast forward to 2008 when everything was crashing. I don’t think people think of artists being affected in a failing economy, but we were. Gas prices were sky high as were flights so expenses went up and venues started paying less because fewer were able to come out to the shows because they were broke, too. And, for the first time in all my touring history my American dollars lost value going into Canada. It was sobering to say the least.

In the years preceding this, I saw a slow but very deliberate decline in my music sales, which was more than just supplemental income, it was nearly half of my income. So, I stopped touring full time to access the situation and come up with solutions.

The only solution I found that allowed me to stay true to who I am an artist was to stay put—which brings me to today.

Like clockwork, once or twice a week since I stopped touring full time in 2008, I get asked when I’m coming back to XYZ. And, like a broken record once or twice a week, I’ve had to say I can’t afford it. I’ve had to explain that not only have physical CD sales been down, but also the digital money I used to get from legal downloads all but disappeared. Instead of getting weekly payments ranging between $200-$750 from my distributor, I started getting an average $11.36, once a month from all streaming services combined. Yes, $11.36/month is what I get from all of them. That is not a sustainable business model for a truly independent artist.

While carefully building and maintaining a social media connection with my fan base and doing mostly one-offs in some of my bigger markets, I decided to do a full regional tour in 2012. And, while I am grateful to the people who came, I had miserable turnouts at most of the shows. In Buffalo, where the temp dropped to 30 degrees that night, I cleared $14 once the door was split with the venue. In Philadelphia, where I started my career, I lost upwards of $1,500-2,000 on one show because only 12 people showed up. It was the night of the Presidential debates, something I couldn’t have known when I booked the show months before. But, I still had to pay the venue, their door person and sound person, pay my band, pay for their hotel room and mine for three nights so we wouldn’t have to stay in NYC, paid for their flights (along with baggage handling fees for my cellist’s cello), my rental car, gas and food for myself and the band (breakfast, lunch and dinner). Same with DC where the venue wouldn’t even allow me to officially charge a door fee and where some people (my fans included) opted not to pay one even as a requested donation.

This is my reality and the reality of the many artists you care about.

I’m sorry if you think so, but music is not free. It costs money to make and it costs money to support via touring. It’s a “life cycle”. This “life cycle” is how I used to get my CDs out and how I used to see my fans two to three times a year in some places. It worked like this: Fans would come to my shows, they and their friends would buy my CDs and then I made another CD and went on a another tour and so forth and so on.


All the money I made went to bills, touring, promotion and creating new music and so I had to keep my overhead low. No new cars (I had and still have my ’78 Volvo that I bought for $600 in 1996), no new shoes or clothes and I lived in a small 425 sq ft apartment for 12 years. 12 years. That’s how I did it. It’s not a sob story. It’s not a mystery or a marketing ploy. I am a working class artist. There is no rich-uncle-wizard-behind-the-curtain type situation here. This is how it goes when you make tough decisions to be true to your life and your life’s work. I have no regrets.

But, I’m seeing a lot of chatter about Taylor Swift and her supposed “greed”. If you’re saying it, you’re probably saying it because Taylor is already wealthy. But, what about artists who aren’t? If you or your friends are indeed one of those people, I challenge you and them to go to work for a year, bust your butt, do a good job (maybe even a great job) and then accept half of a year’s pay (or less) from your boss. I further challenge you to pay your bills and keep your other financial commitments from that pay all while keeping your enthusiasm for your job—which is kind of essential for you to even do your job.

Go on. I’ll wait…

As indie artists, for all intents and purposes, our fans control our careers, the ebb and flow, trajectory and course. For example, if I hadn’t raised enough via Kickstarter to do my last project, a tribute CD to folk legend Odetta, there wouldn’t have been a new CD to this day. Period. No new CD in eight years even though I was able to release six projects on my own before that and have enough music for about four or five full length CDs right now.

Another example: I haven’t been back on the road since 2012 because I assume my fans don’t want to see me or can’t afford to see me in NYC, Philadelphia, Washington, DC, Buffalo, NY and Charlotte, NC. Because of that, I can’t take a financial chance on Chicago, Seattle, Portland, Boston, San Francisco, Los Angeles, Austin and the like. And, just forget Canada, France, Sweden, Japan or Australia altogether. I’ve remedied this by doing online shows on a platform called StageIt and this has allowed fans as far away as Vancouver, Taiwan, Germany and Boise, ID to see me play. It works, but it isn’t ideal.

The point is, we haven’t just “given up”. It’s not that we don’t “want to” do it anymore. It is, painfully and honestly, simple math that mostly prevents me and others like me from doing what we do.

And, before the comments’ section gets flooded with snarky retorts like “Get a job.”, I will say this:

First, I have a job, one that I’m fairly good at and one that I’ve had for 22 years (or over half my life).

And, second, what if Bob Marley or Bob Dylan, Kurt Cobain or Joni Mitchell or Mozart, Frank Zappa, Joan Jett, Diana Ross, Prince or Aretha Franklin had actually listened when someone (undoubtedly and repeatedly) said to them “Get a job.”?

What would your life look like?

What happens to the first dance at your wedding to that special song, the one that made you realize you loved her? Or, the song you hum to your baby because it’s the only one that makes him less fussy? What would you be distracted by in an elevator ride with your creepy co-worker who wears the same shirt every day? Or, what would you focus on when a dentist is drilling a hole the size of the Grand Canyon in your head? And, how, pray tell, would you know when Jaws or Jason or Darth Vader is coming so you can yell your futile warnings at the screen?

Okay, granted, those last few examples sound frivolous but they’re serious considerations to make when you consider how music plays an integral and inseparable role in your life, from the mundane to the momentous. How it can be both ubiquitous and precious. That’s something to protect. That’s something to respect.

I want to tell you something: As a consumer and a fan, you are at the top of this food chain, not the bottom. You are not subject to the whims of popular culture, you are the arbiter of it. If you want to see less “fluff” in the music industry, if you want to see your artists remain authentic, creative and prolific beings and, if you want them to come back to your hometowns:

  1. Start buying our music again. Digital, hard copy, doesn’t matter, just pay for it. If you can pay $4 for the coffee you’re only going to drink once or $15 for a blockbuster movie you’ll see once, you can pay $9.99 for something meaningful that you’ll have forever.
  1. Stop using streaming services that only pay us $.0006 per listen if you don’t already own our music either via a legal download or a hard copy. Educate yourself. If you think the profits that oil companies make are obscene, I urge you to do some digging about what some of these streaming companies are really about.
  1. And, this is important: Set your DVRs on your favorite show nights and go to our concerts. If I had a dime for every time a person told me they weren’t able to make my show because it was the finals of DWTS/American Idol/The Voice, I wouldn’t be writing this post. I’d be sitting in a bungalow in Costa Rica sipping something fruity and delicious.

Simple solutions sometimes require difficult choices.

Oh, and this goes for independent movies, books, indie/feminist bookstores, small venues and small businesses, too.

Just know this: You have the power to change the cultural landscape around you. Use that power wisely.

© 2014 Doria Roberts/Chatterbox Blues

About the author:

Doria Roberts has been a full time musician, performing with her trusty acoustic worldwide and releasing her projects independently since 1993. In her spare time, she runs, owns and bakes sweet things for a bodega + deli in her adopted hometown of Atlanta while simultaneously trying to teach her dog Piper how not to eat holes in her freshly painted walls. Her Odetta tribute, “Blackeyed Susans” is scheduled for re-release in August 2015. Her latest appearance is the track “Poor Man Blues” on a Bessie Smith compilation entitled “The Empress of the Blues” featuring Abigail Washburn and Tift Merrit. This and most of her music is available on…iTunes.

Social Media:

Twitter: @doriaroberts
Instagram: DoriaRoberts
Vine: DoriaRoberts
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13 thoughts on “Guest Post: “Taylor Swift, Spotify and the Musical Food Chain Myth” by @DoriaRoberts #irespectmusic

  1. “Our recent CD’s production costs came close to $10K, and of course we will never come close to breaking even on that one. Leaving us to wonder, why bother? A very sad commentary on the state of music today.” Nolan Anderson of Mad Andersens

    CD’s have played an important part in building a following at the club level for touring bands for decades. But now bands that could sell 10 to 20 Cds on a good night and make an extra hundred bucks are seeing those sales disappear. In the past five years, as streaming services like Spotify have aggressively marketed their free service, they are destroying the most important revenue source that musicians and songwriters have.

    The ability to sell their work.

    And for what? So a few individuals can make obscene amounts of money at the expense of working artists and fans like myself who value the power of creativity and what it contributes to my life.


  2. Amen Doria! I still don’t get how the people is not seeing it: tech/streaming companies and free enthusiasts are giving away what isn’t theirs!!!! and even worse they are making tons of money by doing so. Best of luck to you and thanks for your post. I firmly believe that eventually (soon I hope) people will react


  3. First of all, as an indie musician myself, I don’t get why Doria is earning only $11.36 per month on digital streaming. I have never toured or even been at the level she has and I currently earn $200 minimum per month on digital streaming. This also is not a living wage, I’m in no way trying to say it is. However, I think the difference in our respective earnings is perhaps what most indie musicians overlook – the publishing rights – which earns in addition to streaming. Of the $200 mentioned above I earn $100 as the publisher of my own music. Then I earn even more (from ASCAP) in being the composer of the music.

    I too am earning less on CDs and digital sales. I never sold many discs, and digital made up 90% of all sales. In the past two years, I suppose because of streaming, digital sales have really fallen. One project I’m in is a multi-award winning duo and our sales are miserable; you’d think the awards would bring some recognition, which it does, but hardly any one wants to pay for it. We’d lose more money than Doria if we even tried to tour.

    After being a full-time indie musician for a while I have returned to a “day-job”. Being older now – nearly 60 – I actually don’t mind since there is a regular steady income in our household again. I don’t begrudge having to set aside the “artist” lifestyle; I still compose, record and release new music each year.

    Another aspect is what I mentioned in that last sentence: recording the music. These days with tech where it is we indies can record at home and release top quality product. (I do use a mastering engineer for the final touch.) I have recorded and produced 9 out of my 10 albums, none of which have received any criticism for poor quality. Of course I have developed my skills over the years but I believe recording and production techniques can be learned by most any one. Perhaps Doria could take this route to recording, save some money, and release more of her music that deserves to be heard.

    My latest argument against streaming is that all of us, major labels and indies, should pull our catalogs from the streaming services. Then what will they do? Either go out of business or negotiate to get those catalogs back, for which a better royalty could be demanded. What might happen in the streaming world though is what almost always happens when the majors are involved. They’ll continue to buy a larger stake in the services and push us indies out all together and own those “airwaves” just like they already do with traditional radio.

    Certainly the music landscape has changed a lot in just a few years. We could always go back to the time before there was a music industry, before recorded music, back when very few musicians had any kind of “artist” lifestyle. C’mon, you’ve got to admit it would be nice to go see the “star” musicians of the town sitting on their front porches playing and singing their songs. And it’s free.


  4. this is an outstanding essay on the issues facing those that make a living being creative. Musicians, authors, visual artists of all sorts. I have always believed in paying for someones creative genius, call me old fashioned, I think if you steal every book or MP3 or movie then soon these wonderful distractions will disappear. If you love someones music it makes sense to help keep it playing; or the characters in their novels alive. Imagine a world without new music.


  5. Well said! I wish I could get every person who turns on a streaming service to read this article! It’s true and we sometimes forget about the hard work and money behind our favorite songs, especially if you have an ear for “non-mainstreatm” music! Well said!


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