Jack Conte, Patreon, and the Struggles of Creative Professionals
Read Time:3 Minute, 16 Second

Jack Conte, Patreon, and the Struggles of Creative Professionals

The Scene at the Studio

At 11:16 am on a Saturday morning, Jack Conte—eyes sparkling and beard full—is maneuvering through a bustling recording studio in Los Angeles. He expertly weaves past eight musicians, two cameramen, a sound engineer, and a tangle of instruments and equipment. "Let’s do it!" he exclaims, combining enthusiasm with a touch of urgency, reminiscent of an invigorating theater director. Since 9 am, Conte has been orchestrating a jam-packed day of music creation. As the clock inches toward 11:17 and the recording has yet to start, his rallying cry rings out again, “Let’s do it, let’s do it, let’s go!”

Conte is half of Pomplamoose, a musical duo he formed with his wife, singer-songwriter Nataly Dawn. Over the course of 11 years, they’ve cultivated a substantial online following, primarily through their unique and skillful pop covers. Their renditions of songs, such as Lady Gaga’s “Telephone” with its intricate harmonies and array of instruments, have garnered millions of views on YouTube. The duo initially took on every role in their projects—from playing all the instruments to arranging, filming, and editing. However, the process could be time-consuming; one video often took a week to complete.

As Conte ventured into a demanding tech career, balancing his time became a necessity. In order to maintain their audience, he and Dawn had to adapt and integrate their intensive production schedule into his work commitments. Although they reside in the Bay Area, they frequently fly to Los Angeles, a hub for session musicians, to produce new music as Pomplamoose. “We come down here once a month and record four songs,” Conte shares, describing their streamlined method like an efficient assembly line. They book eight-hour studio sessions, assemble different musicians for each visit, and hire a crew to film and edit the content. This strategic approach enables them to release one video each week, adding up to 52 videos a year.

This formulaic schedule isn’t random; Dawn explains the importance of YouTube’s algorithms in fostering growth: “The platform rewards channels that provide regular content.” She acknowledges the challenge of balancing artistic integrity with algorithmic demands, navigating the ever-changing landscape of online engagement while remaining true to their craft.

Conte’s drive to fuse creativity with technology laid the groundwork for his later ventures. In 2013, he co-founded Patreon, a crowdfunding platform that bridges the gap between creators and their devoted followers. The company’s evolution has been significant, aiming to secure a stable income for those in the creative industries.

Patreon originated from Conte’s own experiences as a musician trying to thrive on YouTube during a tumultuous financial era. Witnessing his earnings dwindle, he recognized a burgeoning market for fostering deeper connections between creators and enthusiastic fans. Thus, he crafted a new approach to sustaining artistic endeavors.

The functioning of Patreon is straightforward: creators continue to share their work across various platforms while inviting fans to become patrons by supporting them through monthly subscriptions. Unlike Kickstarter, where backers contribute to individual projects, Patreon provides ongoing financial support. In exchange, creators treat their patrons as valued club members, offering exclusives like behind-the-scenes content and early access to projects. The platform’s revenue stems from a portion of these transactions between fans and creators. Valued at $450 million in 2017, estimates from sources like TechCrunch and Forbes suggest that the company’s worth could be nearing $1 billion, and it anticipates having paid creators billions by year-end.

Today, Patreon hosts a diverse range of creators, including musicians, podcasters, gamers, illustrators, and more. Conte envisions an expansive future for the platform, promoting it as a means to revolutionize access to creative professions. He believes that in the coming decade, aspiring graduates will view careers in the creative sector—including roles like podcasters and digital artists—as viable options alongside traditional careers like medicine and law.