Posted on November 5, 2012 By iPledg With 0 comments

Crowd Funding – More Powerful Than Any Petition

They say that Money Talks. If this is true, then the collective chatter generated by crowd funding speaks loudly when it comes to indicating the mood or desire of the crowd. Petitions carry the weight of signatures, but a well executed crowd funding campaign carries the weight of collective cooperation involving the masses who are prepared to put their money where previously their signature would go.

Here is something to consider, a case in point as it were. Take the example of your favourite musician, who regularly bypassed your city in favour of the brighter lights of bigger venues. What if you were to contact the promoter, and find out the minimum number of ticket sales it would take to get them to stop in at your town, and play their music for the local fans? You would then be able to crowd fund your favourite musician to play in your city.

Promoters are moved by the constant groundswell of requests for a performer to play in a particular city, but the collection of autographs does little to minimise the risk of the performer playing to half filled venues. A well run crowd funding campaign that meets (and exceeds) the artist’s minimum expectations of a venue is sure to sway their thoughts on popping in to play a few tunes.

The crowd funding of artists to play in your location is a simple one. Fans simply pre-order their tickets to a “gig” proposed by a promoter (or super keen group of fans), which are only charged if a certain threshold is reached and the concert actually occurs. Fans are committed to “pay up” if the threshold is met, but no payment is made until the target is reached and the gig confirmed.

The risk to the promoter is totally mitigated, in that the concert only actually goes ahead if the minimum number of tickets is reached. In this way, the artist or promoter can rightly say they will only visit the city when a certain number of tickets is pre-sold. The fan base can see how sales are going in real time, and they can prompt other fans to get on board to ensure the minimum targets are reached. The fans, in effect, do all the marketing for the artist and the promoter.

So if the people of the Gold Coast wanted an artist like Pink to play in their city, they could simply put up a campaign on the local crowd funding platform, iPledg, and in consultation with the promoter agree that the concert will definitely go ahead on the decided date when the agreed target is reached. The same campaign could be used to pre-sell promotional material, giving the promoter even further confidence that the trip to a previously unscheduled city is well worthwhile.

As has been demonstrated in other parts of the world where crowd funding has been used for exactly this purpose, the hope is that a handful of superfans could take it upon themselves to market the show beyond purchasing the ticket. They’ll have a vested interest in having the tour land in their city.

Crowd Funding in place of a simple petition is a wonderful demonstration of the power of public opinion versus the power of the public purse, something any artist or promoter would be hard pressed to ignore.

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