The DIY artist: issues of sustainability within local music scenes

Abstract

PurposeThe aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture, identifying the creative and business needs of an artist as well as establishing a model for artists to be self‐sufficient.Design/methodology/approachThe research methodology consisted of a mixture of unstructured interviews, such as e‐mail, telephone and face‐to‐face. A total of 15 interviews were conducted with DIY artists from local music scenes around the UK.FindingsThe DIY musicology model is a foundation for the DIY artist to be self‐sufficient through the three main perspectives: artistic process, managerial process and information systems.Research limitations/implicationsMany artists and managers continue in their struggle to be independently sustainable, therefore it is necessary to continue this research on a wider scale.Practical implicationsBy gaining a more in‐depth understanding of the sub‐sectors within the music industries, artists and managers can understand more about how to manage their own creative activities or projects.Social implicationsThrough a strong DIY ethic, with an emphasis on creativity and self‐management, a clear understanding of local music scenes helps to identify one of the key sub‐sectors of the music industries as well as demonstrate that sub‐cultures have value.Originality/valueThe paper discusses issues of sustainability within local music scenes from the perspective of the DIY artist, which is a new area of academic research.

Crowdfunding and the DIY Artist: The Influence of Web 2.0 on DIY Music Communities

“…It became apparent to bands, at this time, that it was relatively easy to access cheap recording studios and pressing plants; and so now bands could record and release their own music independent of record labels (Strachan, 2007). This was a significant turning point for DIY culture and independent music artists, as it allowed them the opportunity to build and sustain a career in the music industry without backing from a major label; and so, the self-sufficient DIY artist could fully take form (Oliver, 2010).…”

“…The DIY artist is an individual working within the creative arts -for example, music, photography, sculpture -who uses the resources at-hand to be the most creative and as highly productive as possible (Oliver, 2009;Oliver, 2010).…”

“…These musicians utilise do-it-yourself (DIY) ethics and practices, many of which were originally adopted during the punk movement in the '60s and '70s (Crossley, 2008). However, the internet and web 2.0 have drastically changed the way in which these practices are carried out, and have allowed DIY artists the opportunity to reach a much wider audience (Oliver, 2010).…”

The Business of DIY. Characteristics, motives and ideologies of micro-independent record labels

“…By responding to genres outside the mainstream supply, small record companies create opportunities to enter into competition with the majors and to contribute to the diversity of contemporary music (Peterson andBerger 1975, Dowd andRoy 2010). Especially the interactive internet may play an important role, by the mostly free dissemination and promotion of music (Oliver 2010). …”

“…Not only have they transformed traditional processes of music production and distribution, they have also contributed to the increase in the supply and consumption of different types of (popular) music (Leyshon et al 2005, Handke 2010, Oliver 2010. Musicians today can promote and distribute their home-produced music virtually free of charge, as user-created content, separated from professional spheres to wider regional, national or international audiences (Kruse 2010, Oliver 2010. The digital home recorder is considered a crucial link, as it allows relatively cheap professional-quality productions.…”