Yeah said the same thing in an NME interview I dug out also.

It was also in cinemas fucking LOADS in the UK as well which would’ve helped.

Also wonder if the frontman got to keep the replica City shirt with his name on the back.

Yeah, fair play to them. I quite like a few Shed Seven singles (Mark, Getting Better, Chasing Rainbows). I’m just surprised that they have managed to carve out a career for themselves compared to some of their contemporaries. I’m also surprised by how fervent their fans are. They REALLY love them.

pretty sure theyve never been able to manage without proper jobs

Yeah they’ll be a certain sense of irony within that (the whole point of Shed Seven is that they’re shit) but yeah their continuing appeal is interesting. They’ve also lucked out because their genre if you like (Northern blokes playing indie/rock) is incredibly out of fashion and there’s not many proponents of it anymore. The Sheds provide a reliable fix. The fact they’ve always seemed like a nice bunch of lads free of rock star behaviour’s also worked in their favour long term.

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I saw a tour advert for Shed Seven recently in one of the Q/Uncut type music mags and they’ve sold out some fairly substantial sized venues for their December tour already, including Brixton Academy and Victoria Warehouse in Manchester, and they’ve added an arena date (!) in Leeds.

Whatever demographic they’re hitting they’re doing it right, though I also think just plugging away and being a solid live band really helps.

They are playing an arena?! Wow. They didn’t even make it to arena status in the 90s (apart from that time i saw them support Happy Mondays at Glasgow SECC in 1999).

It’s in Leeds, so I guess it’s a ‘triumphant’ hometown show of sorts and I doubt they could do it anywhere else. But selling out Brixton/Manchester/Glasgow (5k, 4k, 2.5k capacities with additional dates added) over 6 months in advance is pretty wild for a band who barely even get played on radio now.

splitting things 7 ways can’t have helped (if that’s what they do/did)

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oh yeah thats a point

This has just reminded me that while on holiday in Northern France in 1996 we managed to pick up Atlantic 252 on the car radio. The show that was on was excitedly bigging up that they had the first play of the new single by a massive British band. And that song? It was Standby by Shed Seven.

This is now the Atlantic 252 thread.

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Another 90s one - Ready to Go by Republica had been used and reused in various commercial capacities (TV stings, adverts) on what feels like a fairly consistent basis - it has a whole ‘In Popular Culture Section’ on Wikipedia. Is on loads of compilations.

Probably still quite a way short of a single song providing a liveable income, though.

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the sky money from using that for football must be $$$$$$$$$

An old friend from university is an arranger and assistant for two well-known composers. He gets a basic (low) salary from each job at the expense of royalties (everything created by the assistants goes out in the name of the ‘head’ composer), but in the studio downtime he’s allowed to do his own work and this has led to a few arrangements for adverts and small indie films under his own name. Best of these is an advert for a fashion house which he re-licenses back to them every year on a 12 month contract for around £10k a time.

Looked up the accounts of a few other people I vaguely know who do music for a living to see how they’ve been getting on.

One person I was at uni with sang on a theme tune for a TV show almost 10 years ago (didn’t write it though as far as I’m aware) - still gets hundreds of thousands of streams every month. Accounts show they’ve been taking £25-45k a year since and appear to have a very healthy cash balance to draw from at similar levels for a long while to come. They were signed to a major label for a short time, released two albums which almost broke the top 50, rarely played live and hasn’t done anything since 2017. Seems likely they get their money predominantly from that one song.

An ex-colleague is doing really well. Signed to a major label while I was working with them, quit a short while later to record a debut album and go on tour. First album went top 10 and the second top 30, gets approx. 200,000 streams a month. Appears on the odd TV show, does a few festivals most summers with the occasional headline gig. Last couple of years their accounts say they took dividends of £85k and £170k. Guessing this is mostly from touring.

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Blimey!

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Got a load of his old singles back when I was doing reviews. If him or Morning Runner got big I’d have been quids in

all music’s basically the same, I can’t get my head around the huge disparity in value of songs

would be different if somebody invented a new concept like melody or rhythm or something

“If it has more than three chords, it’s jazz.”

Marilyn Einstein*

*Lou Reed

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Would be interested to see how many songs the average Spotify subscriber streams per month, to work out how much is paid by customers per stream on average.

Probably wouldn’t work, but should royalties be based on an individual’s subscription? For example, if I subscribed for a tenner a month, and I only listened to one album this month (say, an REM album, and I only listened to it once), then shouldn’t the entire “royalty portion” of my tenner go to REM rather than fraction of 1p for the 12 streams?

(I obviously don’t really know how it works, might get that book @BodyInTheThames linked to upthread)

That’s an interesting concept. I think it might be kinda how https://flattr.com/ works/worked.