Musicians need paying audiences; only paying audiences allow them to be just musicians and not workers of some other kind who play music in their ‘spare time’. Paying audiences, though, do not occur naturally and can only be constituted through market practices. In Chapter 1, the argument was made that it is impossible to separate musicians who make music for markets from the industrial process of making music commodities. Essentially, the only things that can be admitted to music markets are music commodities, tradable experiences of music making. Musicians are not bound to rely on the intervention of others to enter markets and to exchange the experiences of music they offer, but they cannot escape the logic of organising those experiences as commodities, or the logics associated with market competition. Musicians compete with each other and those of them who achieve market success, and sustainable ‘careers’ as musicians, are those who find and go on sustaining competitive advantage over other musicians. In this way, ‘competitive advantage’ is not solely an outcome of music; it is an outcome of a combination of factors which involve the ‘non-musical’ effort associated with entering markets.
KeywordsMarket Entry Live Agency Market Success Popular Music Music Industry
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