How to listen to local artists to better support them

Musical artists are often asked the question: what choices should we make to help them earn a living (and break through) in an increasingly competitive market? We discussed it with P’tit Belliveau, Klô Pelgag and her agent, Jean-François Guindon.

Frequenting Spotify

Let’s immediately resolve the delicate question of the online listening platform Spotify, which is by far the most used by music lovers. Unless they are stars of international stature, the artists often derive minimal income (we are talking about $3,500 per million plays, an amount which must be shared in particular with the record company). Apple Music pays more, but these are not fortunes that fall into the pockets of creators who do not have the notoriety of Beyoncé.

According to Jean-François Guindon, agent of Klô Pelgag, we must not ignore these giants if we wish to support our favorite artists.

He suggests subscribers add the albums to their catalog, listen to them diligently, and include the songs in their playlists. “It stimulates the algorithm. The more an artist is listened to, the more likely their music is to end up on playlists with a large audience. This will allow artists to make themselves known to more people all over the world. »

These new listeners will in turn be able to attend shows, purchase merchandise and share the music of the artist in question to spin the wheel of discoverability. “Each listen gives more power to the artists,” believes Klô Pelgag, even if she admits that the platform could pay larger sums to those who support it.

Significantly, Spotify allows musicians and their teams to gather several data – geographical, in particular – on listeners. “This data could, for example, be used to develop new territories for shows,” explains P’tit Belliveau. It has enormous value. »

The advent of digital technology allows this Nova Scotia native to pursue his career without having to go into exile. “At another time, I would have had to move to Montreal. Digital technology allows me to share my message by giving me the right to live with us! I can promote myself from afar. It doesn’t represent income, that’s true, but it opens doors. »

Subscribe to Bandcamp

Of all the platforms where Quebec artists can sell their albums in digital format, Bandcamp is the one that gives a greater share to the artists. “Certainly,” insists P’tit Belliveau. However, this “fairly niche” platform remains little known to the general public, even if it is frequented by music lovers.

However, it has the advantage of offering a direct link with many artists, who can sell their albums and derivative products there themselves. Independent artists can launch their careers there without going through a record label.

But P’tit Belliveau wants to be clear: Bandcamp or not, the amounts raised through paid downloads of digital albums remain minimal. “It’s not going to pay the rent.” All the better if we make a little money with digital sales, but, in 2025, everything revolves around shows. This is where it happens. »

However, it is impossible to quantify the share that ends up in the artist’s pockets. “The variation can be enormous,” says P’tit Belliveau. There are a lot of variables from one room to another, from one contract to another. »

Choosing where to buy vinyl and CDs

For those who prefer to own music in a physical format, the amount given to artists is roughly the same depending on whether you choose vinyl or compact disc, according to Jean-François Guindon.

The question therefore remains where to obtain the discs.

You should know that when you buy a record in a store, the share that goes to the artist fluctuates between 10 and 20%, according to Jean-François Guindon. Typically, the retailer takes between 30 and 40 percent, the distributor takes 20 percent, and the record company takes another 20 percent. But this percentage can vary depending on the content of the contracts signed by the artists.

Buying in theaters therefore increases the share of the pie that goes to the artist. The same goes for derivative products, whether t-shirts, caps or bags.

However, some venues demand a share of the profits, which deprives the artist of crucial income, according to P’tit Belliveau. “Venues can charge between 10 and 20% of the price of merchandise or physical albums sold on concert nights. I am extremely against this practice. Sometimes venues will ask for 10% just to give you the right to sell your products. This is the worst of the worst. All they give you is a tablecloth and a table! Selling merch represents a large percentage of our revenue. I find it bad: artists always lose. »

If it is impossible to obtain the album in theaters, you can always buy derivative products or vinyls on the artist’s official website. “Unfortunately, the fairly high shipping costs discourage many,” warns Jean-François Guindon.

Klô Pelgag suggests favoring independent record stores. “They are valuable partners, music lovers, who put Quebec music forward. »

Doing quickly is good

Another question is important and it concerns the moment of purchase. “The best thing is to get an album in the first week of its release,” says Jean-François Guindon. This stimulates placement in the few remaining record stores. » Same story for concert tickets. “The faster the tickets sell out, the more likely it is that the theaters will add extras,” says Klô Pelgag.