Looking into projects that have boldly started out as game changers, as enthusiastic ideas from the bottom up, emancipatory and with independent artists in mind, challenging how systems in the music and digital worlds operate – What are their prospects of actually succeeding? Taking the specific examples of C3S and Resonate, the conversation aims to examine at which points exactly these projects face barriers, where they encounter structural obstacles that won't let them move forward. What would need to change in the environment for them to flourish? And what are their tactics and strategies to succeed, to establish themselves firmly within the music business landscape? What are their recommendations for the music business structures at large?
Resonate (1) is currently building a new music listening and distribution environment, that organizes key aspects differently to the established streaming platforms and aims to „rewire the the music industry“. Catering to artists, independent labels, and music lovers – Resonate looks towards making artists' income more sustainable and creating a direct relationship between listeners' streams and payments to the artists. They operate as a cooperative and work with decentralized technologies.
C3S (2) started out in 2010 to establish a collecting society, the Cultural Commons Collecting Society, which would for the first time provide an alternative to the established German collecting society GEMA. With the promise to better adapt their processes to a digital music environment, and allowing for different types of licences, more flexibility, and democratic participation for the artists, they aim to provide a new path for music licensing. Having been frequent speakers at music conferences about five to six years ago – it has become a bit silent around the project. However – C3S is still being built in the background.