This post was originally published on the blog for local radio station KEXP.
Hersh gets social media.
I am one of her nearly 100,000 Twitter followers. The Throwing Muses founder, one of three power guitars of 50FOOTWAVE, and solo artist is as prolific online as is she is with her music—more than 13,000 tweets and counting. Her 140-character missives often mirror her lyrics: observational magic realism that are sung with what a friend of mine described as “lush roughness that sounds like manipulation.”
When I first learned Hersh had booked a show in my summer hometown, I tweeted her in hopes of landing an interview to discuss her use of digital media to create and disseminate her music, and engage with those who love her music. She promptly and graciously agreed. (Take that, social media skeptics.)
Now we’re face to face and she’s losing her voice to a cold.
“Last night in Connecticut I drank apple cider vinegar mixed with Tabasco sauce,” she said.
We lean in close to save her vocal chords. I am as vested in preserving her voice for tonight’s show as much as she is.
Hersh excels at leveraging technology to reach and grow her audience. Five years ago, she announced her independence from major record labels and launched a fan-funded mechanism called Strange Angels. This bold move akin to cliff diving came with certain advantages for fiercely independent Hersh.
“It means I no longer have a sponsor with a vested interest in the marketability of my music,” she said. “I like that people are more idiosyncratic than Marketing ever gave them credit for.”
Under this model, fans anywhere support Hersh and her music by pledging quarterly PayPal contributions that fund all aspects of her music making and distribution. In return, fans get access to her music before the general public, along with complimentary tickets to one of Hersh’s performances each year.
“I found it an interesting exercise in the psychology of humility and gratitude,” she said. “But who is so big that they cannot afford to be humble?”
The Strange Angels system is hosted by CASH Music, a nonprofit Hersh helped found in 2007 that creates and makes available open source digital tools for musicians and music labels. A self-install option is available on their site right now and a hosted version of their platform is expected to be released this fall.
For Hersh, the collaborative nature of open source is deeply appealing. “If I feel I am finding like-minded people and sharing my medicine with them, I feel like we are doing something together.”
In keeping with her commitment to open source, Hersh supports Creative Commons. This was recently revealed in a tweet about the song “Slippershell” off her current solo studio album, Crooked:
— kristin hersh (@kristinhersh) August 16, 2012
When I press Hersh on the balancing act artist walk between unlimited access vs. monetization, she jumps quickly into the shoes of a fan. “I truly believe they are not devaluing music, they are devaluing money.”
While Hersh would be the first to tell you that the beauty of Strange Angels is that it shrinks the distance between a fan’s investment and her earnings, it is clear that a central motivation for Hersh is the engagement she creates with her fan base.
“I think of music as friendship,” she said.
Hersh feeds that friendship in numerous ways: from making tracks-in-progress available online for anyone to remix, supporting fan forums on her website, offering multimedia packages that combine her music with print publications, curating rich photosharing and video channels—or responding affirmatively to an interview request from a stranger via Twitter.
“Fans develop a sense of authenticity,” she said.
The touchstone for that authenticity is her music which is fueled and funded by the ongoing conversation she has with her most devoted listeners.
“People will hear music as it is,” she says, “You cannot lie to me in music. It is the only language I am fluent in.”