This article provides a comprehensive overview of this fundamental contradiction, examining three crucial dimensions: historical lessons on art and commerce, the paradoxes of today’s digitalized system, and emerging paths toward true creative independence. With rigorously verified data and concrete case studies, we offer not just a diagnosis, but a roadmap for navigating this complex landscape.
Nevit Dilmen, neon music sign, 2006.
I. The Lesson of Centuries: Art, Patronage, and Dependence
The relationship between artistic creation and economic sustainability has never been simple or idyllic. Michelangelo Buonarroti, often celebrated as the archetype of the free creative genius, worked under meticulous contracts with the Church. Vatican documents reveal that for the Sistine Chapel [1508-1512], the artist faced irregular payments and constant pressure over deadlines and technical specifications. While the total sum he received remains uncertain in historical records, we know the work spanned four years under extreme physical conditions.
Ludwig van Beethoven, another icon of artistic autonomy, dedicated his symphonies to noble patrons—and frequently rewrote entire sections to suit their tastes. The famous Eroica, initially dedicated to Napoleon, had its dedication torn up when the composer became disillusioned with the emperor, only to be swiftly rededicated to his patron Prince Lobkowitz, on whom he depended financially.
A systematic study published in the Journal of Musicology [2019] analyzed 620 composers between 1600-1900, finding that 73% relied exclusively on a single patron or institution for their livelihood. This dependence shaped not just individual careers but entire musical genres—from sacred music to the development of opera as courtly spectacle.
The case of Vincent van Gogh may be the most emblematic of this dichotomy. The painter, whose Portrait of Dr. Gachet sold for US$82.5 million at auction in 1990, sold only a single canvas in his lifetime. His correspondence with his brother Theo reveals a constant struggle against poverty and isolation, even as he produced works that would later become among the most valued on the planet.
II. The Digital Age Paradox: Democratization or New Aristocracy?
The promise of democratization brought by the digital revolution has, in many ways, proven illusory. Data from the Luminate Year-End Report 2023, which analyzed over 4 million artists on global platforms, shows that the top 1% most-listened-to artists account for 90% of all streams.
Meanwhile, 86% of all songs available on streaming platforms were played fewer than 1,000 times in the previous year, according to Spotify’s Loud & Clear 2023 report.
This extreme concentration is replicated across other dimensions of the market. The Inclusion in the Recording Studio study by USC Annenberg [2023] reveals that just 22% of the most-streamed artists are women, while racial minorities remain disproportionately underrepresented in prominent roles. In Brazil, a 2021 study commissioned by ABRAMUS found that 62% of live music professionals had to temporarily halt their work during the peak of the pandemic, with many shifting to entirely different occupations.
The recent dispute between Universal Music Group and TikTok in January 2024 highlights the vulnerability of artists in this ecosystem. When the world’s largest record label pulled its catalog from the platform, emerging artists reported up to a 60% drop in their reach, as Billboard uncovered in a February report. Cases like that of Brazilian singer Tássia Reis, who migrated part of her work to Bandcamp and reported a threefold increase in net income [Revista TRIP, March 2023], point to possible alternatives—though they remain marginal.
Image credit: Shutterstock.
III. Financialization and Resistance: The Contemporary Battle
Modern financial capitalism has introduced unprecedented monetization mechanisms—and new forms of dependence. Kanye West [now Ye] transformed his album Donda into a veritable financial product, selling vocal stem NFTs for as much as US$210,000, as documented by Rolling Stone in October 2021. Meanwhile, major conglomerates like Warner Music Group have been acquiring entire catalogs from independent artists, turning discographies into assets for investment funds.
In this context, initiatives like New York’s Unpaid Debt collective take on special significance. As reported by The Defiant in January 2024, the group developed Ethereum blockchain smart contracts that only release returns to investors if three conditions are met: [1] guaranteed mental health access for the artist, [2] 50% upfront payment, and [3] full creative control retention. These contracts, publicly auditable on the blockchain, represent a radical innovation in the relationship between art and capital.
IV. The Path Forward: Toward Real Autonomy
True independence in today’s world demands more than creative talent—it requires a conscious mastery of economic tools. Three key pillars emerge:
Digital Cooperativism Labels like Brazil’s YBÊ operate on a co-ownership model, where artists directly participate in decisions and profits. Their 2023 annual report shows an average distribution of 60% of net revenue to creators, compared to 15–25% in traditional contracts.
Blockchain as Instrument Platforms like Audius, as detailed in their whitepaper [v2.3, 2023], use smart contracts to ensure artists receive 90% of revenue—versus roughly 70% on Spotify. The algorithmic transparency of these systems allows for independent verification of payments.
Strategic Diversification
“Avant-garde artists like Arca and Xênia França exemplify multifaceted diversification. While Arca balances immersive performances [45%], brand collaborations [35%], and NFTs [20%], Xênia França combines live shows [40%], licensing [25%], and music education [20%]. These cases reflect the principle championed by the Music Industry Research Association: artists with multiple income streams show greater resilience in today’s volatile market.”
At 79, Elza Soares crowdfunded the remastering of three albums via Catarse [2016], raising R$157k while maintaining artistic control over the reissues—a model later adopted by other Brazilian legends.
Elza Soares. Photo: Sourced from Instagram.
Conclusion: Relearning Freedom
Music in the age of financial capitalism need not choose between market submission or creative isolation. As artists like Arca demonstrate—moving fluidly between NFTs, creative direction for luxury brands, and digital operas—the way forward lies in orchestrating one’s own ecosystem.
The current system, with its contradictions and concentrations, is neither inevitable nor immutable. History shows us that the relationship between art and commerce has always been dynamic—and that periods of greatest transformation have been precisely those when artists dared to reimagine the rules of the game.
To contribute to this vision, I co-authored a book with legal scholar Nichollas Alem, Music Business: A Straightforward Guide for Artists and Bands, which details 35 distinct ways to monetize music—from composition to NFTs.
As jazz visionary Sun Ra wrote: “Don’t play the blues—make the blues play you.” At today’s crossroads, this advice has never been more urgent. The next musical revolution will come not just from new sounds, but from new models for valuing creative work—and it’s being written now by artists who understand harmony as well as smart contracts.
Sun Ra. Photo: Alton Abraham.
Alexandre Azeredo is a Brazilian talent manager with a degree in Advertising and a specialization in Brand Management. He began his career in strategic planning at top agencies such as W/McCann and DPZ.
In 2013, Alexandre transitioned into the music industry, completing a postgraduate program in Music Business at UCLA in Los Angeles and coordinating Mallu Magalhães’ U.S. tour.
As the 360° manager for artist Fabio Brazza, he achieved both Gold and Platinum Record certifications and led brand campaigns with major names like Itaú, Nike, and the NBA. Alexandre has delivered lectures and workshops for over 20 companies and universities, and he is a partner at Aumenta o Som, a digital marketing agency for artists that represents Brazilian music icons such as Hermeto Pascoal, Itiberê Zwarg, and Ricardo Herz.
To know more about Alexandre Azeredo @alexandre_r_azeredo
