TheCapitalClinic

One of my Fuzz Friends asked me if I could share some of my views regarding the artist development concept in process of evolution at Fuzz. While I responded in brief, it occured to me that many artists already here or signing up might be interested in this topic. I can only offer my views in broad terms [and they are strictly my own based on my observation of what is actually going on here or what Fuzz has signaled in this space.] I am not part of Fuzz management; but I am an interested party and Fuzz has now becoming my home for blogging and hearing and learning about music; and I know some the Fuzz folks pretty well.

As to the Fuzz model, as I understand it based on what is going on here on the Fuzz platform and evolving everyday on a trial-and-error basis, Fuzz established a platform and company to handle the Artist/Fuzz relationship on a mutually "value-added" basis that ranges from a "no or low touch" to a "high touch" relationship.

The idea behind the flexible platform appears to be as follows: depending on the wishes of the artists and the capacity of Fuzz to "add-value", the relationship can evolve from the kind that exists right now for most of the thousands of bands [and the number keeps growing everyday] which is a kind of "auto-piloted" [no or low-touch] relationship whereby the bands use the Fuzz "band management" platform and largely "do their own thing" using the automated facilities [which according to Fuzz and many independent labels already is better than anything out there]. The benefit to the artist at the no-touch, low-touch level, is that a flexible ready-made platform exists as a blank slate for the artist to create one's own profile, organize fans, market, manage stuff, and so on.

Fuzz then continues to add DIY band support features every week to enhance what is already offerred gratis on the Fuzz platform. Included in the automated Fuzz services [storefront, payment mechanisms, clearing house functions] are things that can only be done efficiently in the aggregate rather than "one-off" services. For this automated but value-added "low-touch" involvement, Fuzz takes a modest cut of the download sales [which I understand is very competitive], if any, depending on how pro-active the artists are to generate their own traffic. Fuzz has signaled that downloead sales will evolve to include ticketing and artist merch, as well as songs. Also, the platform can be modified by venues, or music agents, to use the automated services to suit their artist=related activities. This further brings the artists, venues, agents, and Fuzz into a symbiotic and mutually beneficial relationship.

As the nature of the Artist/Fuzz relationship "deepens", the model anticipates that a mutuality of feeling on the part of both a band and Fuzz, that the extent of Fuzz's "value-added" input could and should productively evolve to become a, say, "middle-touch" involvement, where more one-on-one contacts are made. At this point, the parties decide mutually that the relationship can move to a different footing [and this could range from "band management", consulting, marketing support, licensing opportunities, etc.]

Lastly, Fuzz is also a music label that signs on bands to the Fuzz label with an even more comprehensive involvement, but with a completely different "artist-centric' approach than has been the case with tradtional labels [easy to read contracts, artistic freedom, generous economic terms, etc]. And, notably, the Fuzz/Artist "label relationship" could be a direct one or an indirect one involving the active participation of other labels who can just piggy-back their own specialized services on the Fuzz platform [in fact, you are beginning to see here a number of other labels bringing their own developed entourage of artists - pretty neat].

The beauty of the flexible no-touch, low-touch, middle-touch, hi-touch approach is that it accommodates all sorts of bands from beginners to seasoned professionals, as well as other labels, venue operators, and music agents to utilize the Fuzz platform.

My own suggestion to independent artists new to this platform is to start with the "no or low-touch", approach and then take it from there to determine whether there is a basis to jointly move up the "touch ladder" so to speak. Many may find the "no-touch" do it yourself relationship suits them just fine, others may seek to develop a Fuzz connection beyond that. All of these options are directly a function of your ability and drive to succeed on the business side of your existence as well as your art, the latter which obviously is foremost, but may not survive without attending to the former.

Here is another excellent article by David Byrne on Survival Strategies for Emerging Artist - Megastars that dealts with the spectrum of possibilities for artists, economics of the music business, and other useful data points.