Ever since Napster and its sinister brethren appeared on the scene a lot of my peers (even those with the purest of hearts) have added to their music collection without spending a dollar.  In addition to getting music for free, the actual method of creating and distributing music has fundamentally shifted.  Threats of lawsuits from the RIAA may have slowed the free music exchange sites, but social websites, blogs and China have continued to make music available to the masses au gratis (that’s french for free or with cheese, not so good with the franscais).

It is far from original to state that the way the public obtains, shops for or even listens to music has changed over the past decade.  Countless reporters, bloggers, industry experts and politicians have noted the fundamental shift in the music industry.  Your humble author has also contributed to the rhetoric.  But now it is time for musicians and their respecitve teams to stop talking about the change and adjust their own business models in order to succeed in this “all-access-all-the-time” era of music.    Here’s my roadmap:

THE NEW TEAM MODEL FOR MUSICIANS AND THEIR MUSIC

1.  Amazingly good music.    If you don’t have number 1, there is no point in reading past this point.  Because of the ease of getting music out to the public without the cost restrictive hurdles of cd manufacturing, warehouse and transportation costs there is more music available to the public than at any time in history.  While the digital shift has seen many positives, the overhwelming result is an overly saturated market full of average music.  No one likes to think of their music as average, so I’m assuming that you are still reading to see what else you need for your team.  I don’t want to belabor the point, but seriously, if your music isn’t good, you are not going to get far (except for the aboritions of people like Lady Gaga, Soulja Boy and Nickleback).  It all boils down to the music; and that’s a good thing.

2.  Hire A Lawyer.  Yeah, yeah, I know, I’m a lawyer and I’m telling you to hire an attorney.  But it doesn’t have to me.  As you will see in steps 3 and 4, you will be consistently entering into contracts.  Hand shakes are cool, especially funky ones with fist bumps included, but they are not cool for agreements that will involve money and your career.  A lawyer who understands new media, intellectual property protection and more importantly contract interpretation and law is essential.  The new music model involves, digital distribution of music, corporate partnerships, website policies, copyright and trademark protection, royalty collection, license deal, etc. etc.  A lawyer who you trust should be step number 2.  (If a lawyer tells you she will “get you a deal”, you need to politely excuse yourself from her office and never look back.  This old school model is as dead as Chris Brown’s Drink Milk ad campaign.)

3.  Hire a Manager.  Your buddy might be a fun guy and is good at working a guest list, but you need a professional that will not only manage your day to day career but find new opportunities for your music.  The manager needs to think as creatively as the musician, but instead of making music, they should be making deals with new partnership opportunities, tour deals and promotions.  A manager should get a percentage of the money that the musician makes for the work that the manager actually does.  DO NOT sign a manager agreement that blindly gives your manager 20% of everything you make unless that manager used to work for U2 or Jay Z.  Another old school tactic, managers should get paid for what they bring to the table and not just feast on all of the opportunities that come to the band without the managers’ help.  Your agreement with your manager should spell this out in great detail (NOTE, having a written agreement with your manager is a mus.  See point #2).

4.  Get a PR/Marketing Firm.  A firm that understands the music business is obviously important.  But what is more important is a marketing team that understands your music and your niche.  If you are trying to cross over from a hip hop audience to a more mainstream pop market, look for a PR firm that has both clients on its roster.  PR firms can be expensive but if you have a budget to spend they can typically tailor their efforts to match it (see point #2, again).  Posting your music on popular blogs and on social sites  is definitely worthwhile.  However, if you want to take it to the next level, you need the network and reach of a competent PR/marketing firm.  Yes Fakeshoredrive.com is cool, but spin.com is better.

If you have the “new team” assembled you are in a good spot.  This team should be able to act in much the same way as the archaic labels once did.  One remaining step is physical cd distribution.  While the CD is dying it still makes up a large percentage of music sales.  However, unlike the old days, your team can approach physical distributors  after you have enough buzz and digital sales racked up.  If a distributor sees good numbers, a deal can be inked for small distribution of physical copies of your album.

The DIY artist has a lot of opportunities now.  But like many experts have noted, (click here for a great article on the perils of a DIY artist)   just because an artist can produce and publish her work for the public to hear, does not mean that she will succeed.  If your music is good (and your mom thinking it is good does not count), start building this team and you just may be able to achieve success in the music industry.

SHAMELESS SELF PROMOTION OF THE WEEK:  FRENCH HORN REBELLION

Speaking of a DIY band, check out French Horn Rebellion.  Originally from Milwaukee, now embedded in Brooklyn, these guys have made their own opportunities and have worked hard to get a foot hold on the indie electro pop scene.  Good music and a sense of humor make them a popular band with cross over appeal.  Now with a good TEAM behind them, you are undoubtedly going to hear a lot more french horn in your music.