Brooklyn born hip-hop artist Talib Kweli recently wrote an article titled, “Why I Left The Major Label System,” and I’ve read it several times. Not because Kweli is brave enough to call out a number of instances in which major labels dropped the ball, but because he unabashedly details his own struggle to both create art he is proud of and earn a living. He narrates personal trial and errors with such sincerity, it sort of feels like he’s patting you on the shoulder while saying, “Listen, from one creator to another, here’s what I’ve learned…”
If you’re an artist, entertainer, or creator of any kind, really (looking at you, *person at a desk in a corporate office daydreaming about that thing he really wishes he could do*), I highly encourage you to pour over his post in its entirety. For those of you particularly short on time, below is my attempt to summarize a few of his most compelling points.
The future is ours yours.
Thanks to Okayplayer.com, a progressive urban music site, Kweli developed a large online fan base in the early 2000s – but the music market was changing. “By 2008, it was no longer enough to let someone else control my online presence,” he says. “As the music industry began to drastically decline, partially due to an ignorance about how the internet worked, it became clear to me that I’d better gain control over how I was being marketed and promoted digitally.”
So, Kweli joined Myspace because “their focus on music as a connector of ‘friends’ made perfect sense for artists with an independent mentality.” Connecting with and engaging fans on the platform created more awareness around his work, which quickly translated to more sold-out shows. “Myspace allowed me to reach my niche fans directly for free, rather than have some label invest hundreds of thousands trying to canvas the entire market.”
Even with a slew of fans and 14 years of music making under his belt, Kweli was still relying on other people – lawyers, label reps, accountants, and managers – to make important decisions about his career. But it wasn’t working, and Kweli realized he had to take control of his own financial destiny. So, how can other artists in the same boat expect to have a fighting chance without major marketing dollars?
“One of the key factors that helps us create and maintain a buzz is, ironically, my online presence,” Kweli says. And he’s right, though he’s quick to note that building online presence and being present aren’t one in the same. Once you’ve garnered a following, the challenge is finding a way to connect with people on a personal level. Oftentimes artist with thousands of Twitter followers and Facebook fans who fail to build meaningful relationships are left wondering why so many people “liked” their status, but didn’t buy the album.
In addition to trial and error, producer/singer Ryan Leslie has also played a pivotal role in shaping Kweli’s ability to “monetize cultural relevancy.” Instead of using iTunes, Leslie sells his own music through his personal website, and Kweli has been taking notes. “I watched Ryan receive a sale direct to his iPhone and then call the fan up and thank him for his purchase on the spot,” he says. “It was revolutionary. Isn’t this what we all say we want?”
I am, admittedly, fangirling over Kweli’s article so much because all of the things he’s encouraging other artists to try...well, NationBuilder was built for exactly those things. He even begs the question, “If Amazon, Google and iTunes can have access to our fans’ emails and spending habits, why can’t we?” So Kweli, if you’re listening...we can help you with that. :)
