Musicians are increasingly turning to subscription platforms like Patreon to build financially sustainable careers, according to a new study.
This shift offers a promising solution amid the challenges posed by streaming services and copyright theft.
During the pandemic, many artists shifted to selling digital art forms due to the inability to perform live. This transition has resulted in a permanent and positive change for many. New research conducted by the University of Sussex, University of Warwick, and the Institute for Employment Studies indicates that musicians and visual artists have discovered new paths to commercial success without needing widespread fame.
Building Online Fanbases
Artists are cultivating fanbases online through social media platforms. To foster a sense of community and generate regular income, artists offer exclusive content via subscription platforms, with proceeds going directly to them.
“Amid the challenges of music streaming, copyright theft, and AI-generated art, you’d be forgiven for thinking an artistic career was only realistic for the privileged few, but this is far from true,” said Professor Dimitra Petrakaki from the University of Sussex Business School. “Today’s savvy creatives are using social media like YouTube and Instagram to build a fanbase, then monetising this through subscription platforms like Patreon. In exchange for a monthly fee, fans get exclusive benefits from early music releases to behind-the-scenes footage and one-to-one interaction with artists.”
Creative Freedom and Fan Engagement
The study involved interviews with musicians and visual artists about how this model impacts their relationships with fans, the creative process, and income. With over six million users and 200,000 artists on its platform, Patreon has paid out more than $2 billion to creatives since 2013. While most interviewees use multiple platforms, they reported generating the most revenue through Patreon.
Artists also noted creative benefits and stronger relationships with patrons. Professor Petrakaki added, “Artists can get a sense of freedom with monthly subscriptions, compared to the hamster wheel of working to commissions, and a real sense of loyalty from their community. In some ways, it’s taking the dynamic back to an earlier, pre-twentieth century understanding of the relationship between patrons and artists, with patrons supporting individual artists instead of the wider art economy. At its best, this closer relationship can provide mentorship and personal support as well as funds.”
Potential Downsides
Despite the benefits, the research identified potential downsides to this new model. Becci Newton, Director of Public Policy Research at the Institute for Employment Studies, commented, “Some artists feel a sense of creative pressure, fearing that close contact with fans led them to become crowd-pleasers. The model is also open to abuse, with subscribers able to join a channel, download all the content, and then unsubscribe. Lastly, there were worries of becoming overly dependent on Patreon itself, and vulnerable to changes to terms and conditions or charging structures, although that was generally considered a reasonable price to pay.”
Developing Entrepreneurial Skills
To achieve a successful regular income with this model, creatives need to develop entrepreneurial skills. This includes managing the pros and cons of offering a flat rate subscription versus a tiered system and taking on roles typically handled by agents and promoters.
This research was supported by the Economic and Social Research Council (ESRC) as part of the Digital Futures at Work Research Centre and by the British Academy/Leverhulme Trust.
