When NxWorries, the duo of Anderson .Paak and Knxwledge, released their second album on June 7, they made it available on vinyl, CD, and cassette. But fans had to wait a week to stream Why Lawd? The goal was “to recreate the nostalgic feeling of truly appreciating the experience of a physical product that we all grew up with in the pre-streaming era,” says Anna Savage, who manages Paak.
Not only that: “We wanted to do something special for their fans by giving them an opportunity to experience the record a little earlier,” adds Jason McGuire, general manager at Stone’s Throw, the label that supports NxWorries. Combined with a pop-up event in L.A., hopefully “more people [are] talking about the record leading up to the streaming date.”
Most modern albums are released simultaneously on streaming services and in an array of physical versions — or they hit streamers first and the vinyl edition comes later. But as the streaming model is increasingly under attack from all sides, for undervaluing music and limiting artists’ ability to cultivate relationships with their fans, more acts are experimenting with alternative rollout strategies.
There shouldn’t be “a one-size-fits-all strategy,” says Andrew Jervis, chief curator of Bandcamp. “We’re talking about art here — we’re not talking about widgets.”
The hope is that different approaches can fire up the base and serve to re-engage some listeners at a time when album releases are increasingly rote, with all the magic of a morning commute. “The consumer is not happy with the way that they are consuming music right now,” says Enrique “Mag” Rodriguez, founder of EVEN, a platform that enables artists to sell albums and experiences directly to fans before their releases hit streaming services.
Testing alternate release strategies may also allow musicians to generate more money from their biggest followers. “If you permanently emphasize pointing your fans somewhere where they can simply listen to whatever they want, whenever they want, for this rental fee, it’s kind of hard to convince them to come back and open their wallet,” Jervis notes.
As former Spotify chief economist Will Page wrote recently, “for a streamer to provide a record label the same amount of value from an album as a vinyl buyer, a customer would need to press play over 5,000 times — or stream for almost two weeks straight without sleep,” a virtual impossibility.
“Consumers are paying more for the same with vinyl,” Page continued, “but paying less to access more with streaming.”
Notably, a lot of alternate rollout ideas echo debates from roughly a decade ago, when the music streaming model was starting to take hold. Rodriguez points to Nipsey Hussle, who famously sold 1,000 copies of his 2013 release Crenshaw for $100 a piece while also making the project available for free on various mixtape sites. The rapper said at the time that he was “focused on fully serving the [fans] that have connected already.”
Around the same time, multiple stars like Adele kept albums off the platforms for a time — 25 didn’t make it to Spotify until seven months after release, for example, which helped ensure a massive first week of sales. (Adele said new releases “should be an event” and called the streaming model “a bit disposable.”) Some artists debuted albums exclusively on Apple Music or TIDAL before making them available more widely, or made them available only for premium subscribers.
But these “windowing” strategies went out of fashion in the mainstream music industry. Major labels and prominent indies often want streams and physical sales to hit the same week, so they can maximize the first-week numbers that the industry uses to judge commercial success. More than 600 million people around the world now listen to music on Spotify every month — any artists looking for global scale are unlikely to turn their back on that potential audience. Plus they are wary of offending the streaming services by withholding releases.
Smaller artists and record companies are making different calculations, however. At this level, earning even just a few hundred extra CD or LP sales by temporarily withholding an album from streaming can provide a nice boost.
While Jervis “encourage[s] people to put their music in as many places as possible,” he has seen this boost firsthand. Last year, the duo Knower released Knower Forever exclusively on Bandcamp. “They were pretty forthright about, ‘we need to make some money, here’s where you can come and support us by buying this record,’” Jervis says. And that’s what fans did, purchasing “something like $85,000 worth of vinyl and some similar amount in digital.” The album didn’t appear on Spotify until several months later.
One of the Top 25 labels on Bandcamp is International Anthem, the jazz label co-founded by Scott McNiece; for about six months, the company has been experimenting with putting out physical releases and digital downloads a month before uploading albums to streaming platforms. Like McGuire, McNeice says, “we want to be serving people who care enough about that particular album or artist to directly purchase the music.”
International Anthem hasn’t “received any pushback yet from streaming services as far as other people getting the album before them,” according to McNiece. And as an added bonus, indie record store owners are thrilled with the label’s approach. “Especially with the dwindling media market for music, having people care about your music on the ground level at independent record stores is one of the main ways to get the word out,” McNiece continues. “We’ve gotten an enormous amount of positive feedback” from record store owners who are excited to have an exclusive release to tout to customers.
Both McGuire and McNiece believe that offering physical releases first will not cannibalize the streaming audience. The people who buy the record will probably stream it at some point anyway.
Not only that, “before, when all the different formats were released on the same day, our energy was split with our messaging,” McNiece adds. Stream the album! Buy the vinyl! Under the new regime, though, “we’re able to focus a lot more energy specifically on driving traffic to those streaming platforms” once the albums are uploaded to the various services — a later streaming date provides a second marketing moment.
Rodriguez is also adamant that selling directly to fans before putting albums on streaming services is additive. “As fans purchase, they are more likely to share on social media, boosting artist algorithms,” he says. “This also translates to increased visibility on streaming platforms.”
EVEN, which raised more than $2 million in 2023, has run more than 3,500 campaigns for artists to date. Rodriguez likens his platform to traditional movie theaters and music streaming services to Netflix. “Most campaigns go live on EVEN 14+ days before their wide release,” he says. “The average album sells for $25, and the average single sells for $9. It’s all done in a pay-what-you-want model, where the fan decides its value, with a minimum preset by the artist.”
“We aren’t taking away from the traditional models that exist,” Rodriguez adds. “No one is squeezing the lemon in this way.”
