The Big Problem in the Music Industry

Many of you are wondering what I’m doing with my time now that I’m not a university student anymore. This post is going to answer that question.

Two things:

First, I moved into a house in East London. It’s been an incredible and almost ridiculous journey, but here we are. Many thanks to those who cared enough to help us get here; you know who you are. The funny thing is that this house is up for sale, so we might have to move out again after 6 months, but at least we have a working base for now, so that’s good.

Secondly, I’m starting a new company. Some of you might have heard of Sesh Records already. So here’s the deal:

Most artists need to work full-time in order to fund their part-time creative endeavours. That has become something that musicians have adopted as the norm because it is, in fact, the normal thing to do at this point. But if you spend 40 hours of your week working a job you don’t even like (or you work part-time and attend university), that leaves very little room for hours you can spend making music; and even if you make music, your lovely neighbours will complain about the noise and/or you won’t have the energy to make quality music that you truly enjoy. I know I’m speaking to the choir here as most of you are musicians, so you know what I’m talking about.

In any case, that sucks. What sucks more is that, even if you’re lucky enough to have the option of making money with your original music by playing live shows, the stage and sound equipment is usually in terrible condition, you have to pay £5 for a beer which costs the bar £1 to make, and most times the money you get paid only covers your travel costs, if that. So who is the organiser paying? Are they paying you for your music or are they paying Transport for London for their Underground service?

The issue is that artists are so desperate for gig opportunities that they’ll grab anything, even if it’s merely “good exposure” instead of life-sustaining money. This enables organisers and venues to give artist a sub-par deal, because there are countless musicians in London, so if you don’t take the deal, someone else will. It goes so far that some event companies will even ask artists to pay in order to perform, which, I believe, is the definition of the word “satanic” in the Oxford English Dictionary.

All things considered, that’s one big problem. My new company is going to solve this situation by raising the quality of service artists receive for their work and restoring value to good independent music. I believe that good artists should be enabled to make good art, because they’re literally the only people in the world who can do that.

I’ve spent the last 8 years figuring out how to manifest these ideas by talking to many experts in different fields about their thoughts on how to make people’s lives better. These discussions have opened the doors to an almost forgotten area of economics within the subcategory of investing that deals with investing in people rather than in projects.

I’m keeping the description of the company relatively vague because I don’t want to divulge too much information at this stage. I just wanted to let you know that I’m actually doing this now because it’s the best use of my time after dropping out of uni.

And also because it’s a vision that is bigger than my own ego, therefore it requires teamwork, trust, dedication, and a few more noise complaints before we can afford our own studio space.

So we’ll see how well this goes with the new house and the new company.

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