Crowdfunding and independence in music

Multi-platform practices among digital patronage creators

“…Creators perceived Patreon to be deeply embedded within multi-platform practices: without promotional efforts on other platforms, a creator is extremely unlikely to succeed on Patreon. Previous literature has observed a similar phenomenon on Patreon and other crowdfunding platforms, which further corroborates our observation of the labor intensity of self-promotion (Brzozowska and Galuszka, 2021; Dalla Chiesa, 2021; Hunter, 2016). Rather than a standalone tool, Patreon was described as an additional opportunity to generate stable income and foster a small, intimate community of fans more dedicated than a creator’s general audience.…”

“…Assigning promotional duties to the creator, rather than to the platform or some form of management, intensifies the neoliberal risk-taking that characterizes entrepreneurship (Brzozowska and Galuszka, 2021; Guarriello, 2019; Neff et al, 2005; Scolere, 2019). Creators assume all risk for their creative endeavors because they run every part of their business, they are single-handedly responsible for their own success – and for their failure.…”

“…Some studies frame this new entrepreneurism optimistically and highlight creative autonomy and independence from traditional intermediaries (Larson, 2020; Lingo and Tepper, 2013). But most research stresses the lack of benefits and the financial risks that creators face without secure employment, as well as the long hours and erosion of work/life balance (Alacovska, 2018; Baym, 2018; Brzozowska and Galuszka, 2021; Eurofound, 2015; Guarriello, 2019; Hunter, 2016; Neff et al, 2005; Scolere, 2019).…”

“…Community management and relational labor define the fan-based model. Creators are encouraged to develop long-term, intimate relationships with their audience in order to reward fans for their direct support, which often incorporates both financial and socioemotional elements (Baym, 2018; Bonifacio et al, 2021; Brzozowska and Galuszka, 2021; Cunningham and Craig, 2019; Davidson and Poor, 2015; Smith, 2015). Unlike advertisements, funding in this model is a conscious and active decision on the part of fans; thus it falls upon creators to persuade their fans that they are worth the money, which can be achieved through the aforementioned intimacy.…”

“…Unlike advertisements, funding in this model is a conscious and active decision on the part of fans; thus it falls upon creators to persuade their fans that they are worth the money, which can be achieved through the aforementioned intimacy. This type of crowdfunding relies on a pre-existing fanbase; doing so without one is often unsuccessful (Brzozowska and Galuszka, 2021).…”