From the era that rock-dominated pop to just prior to the digital age, most mainstream (and independent) artists had "fan clubs" where they would connect with their fan base in a unique way far from the realm of big concerts, label releases, or PR campaigns. One day in the mail you might receive a letter, or better yet, a package containing a literal new (and unreleased) record. Consider this model when contemplating the idea that popular artist-to-fan direct distribution website Bandcamp has now created a subscription model that allows the artist to share new material, merchandise and more.
Artists can select a subscription rate, as well as make their music available to be streamed or downloadable. Bonus material can also be made available as an enticement for subscription, too. Insofar as fees? Well, Bandcamp still will take 15% of gross revenue (mirroring their digital sales earning rate), a percentage that drops to 10% when an artist hits $5,000 in sales. Also, for Bandcamp visitors just streaming music, the service now will "nudge" a listener to buy a track if they've listened to it more than twice.
At a time where Skrillex has compared EDM to jam band culture (which this indie distribution model has its roots), Taylor Swift feels that streaming has minimal worth, plus SoundCloud and YouTube creating policies that effectively box out non-label affiliated independent (especially EDM) artists altogether, Bandcamp's model is ideal.
As the days go by, it's becoming readily apparent that technology is providing answers just as quickly as the market supplies the questions. In an ideal world, all artists can now locate the answers that can best aid the development and progression of their careers in such an advanced marketplace.