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I’VE got lots of money!” Prince exults in “The One U Wanna C,” a come-on from his new album, “Planet Earth” (Columbia). There’s no reason to disbelieve him. With a sponsorship deal here and an exclusive show there, worldwide television appearances and music given away, Prince has remade himself as a 21st-century pop star. As recording companies bemoan a crumbling market, Prince is demonstrating that charisma and the willingness to go out and perform are still bankable. He doesn’t have to go multiplatinum — he’s multiplatform.
Prince has caused a stir by distributing his new album free in a British newspaper, one of many ways he is showing that he thinks differently about the music business.
Prince playing last weekend in East Hampton, N.Y.
Although Prince declined to be interviewed about “Planet Earth,” he has been highly visible lately. His career is heading into its third decade, and he could have long since become a nostalgia act. Instead he figured out early how to do what he wants in a 21st-century music business, and clearly what he wants is to make more music. Despite his flamboyant wardrobe and his fixation on the color purple, his career choices have been savvy ones, especially for someone so compulsively prolific.
Like most pop stars, he goes on major tours to coincide with album releases, which for Prince are frequent. But he also gets out and performs whenever he chooses. Last year he took over a club in Las Vegas and renamed it 3121, after his 2006 album “3121,” which briefly hit No. 1 and spawned multiple conflicting theories about the significance of the number. He started playing there twice a week for 900 people at $125 a ticket. In February he had an audience in the millions as the halftime entertainment for the Super Bowl. He has gone on to play well-publicized shows at the Roosevelt Hotel in Hollywood for a few hundred people paying $3,121 per couple, and another elite show last weekend in East Hampton for about $3,000 per person.
Meanwhile Verizon put Prince in commercials that use “Guitar,” another song from “Planet Earth,” as bait for its V Cast Song ID service, making the song a free download to certain cellphones. On July 7 Prince introduced a perfume, 3121, by performing at Macy’s in Minneapolis.
In Britain he infuriated retailers by agreeing to have a newspaper, The Mail on Sunday, include the complete “Planet Earth” CD in copies on July 15. (The album is due for American release this Tuesday.) Presumably The Mail paid him something in the range of what he could have earned, much more slowly, through album sales. British fans have remunerated him in other ways. On Aug. 1 he starts a string of no fewer than 21 sold-out arena concerts, 20,000 seats each, at the O2 (formerly the Millennium Dome) in London at the relatively low ticket price of £31.21, about $64. The O2 ticket price also includes a copy of the album; Prince did the same thing with his tour for “Musicology” in 2004. Those “Musicology” albums were counted toward the pop charts, which then changed their rules; the “Planet Earth” albums will not be. But fans will have the record.
Prince’s priorities are obvious. The main one is getting his music to an audience, whether it’s purchased or not. “Prince’s only aim is to get music direct to those that want to hear it,” his spokesman said when announcing that The Mail would include the CD. (After the newspaper giveaway was announced, Columbia Records’ corporate parent, Sony Music, chose not to release “Planet Earth” for retail sale in Britain.) Other musicians may think that their best chance at a livelihood is locking away their music — impossible as that is in the digital era — and demanding that fans buy everything they want to hear. But Prince is confident that his listeners will support him, if not through CD sales then at shows or through other deals.
This is how most pop stars operate now: as brand-name corporations taking in revenue streams from publishing, touring, merchandising, advertising, ringtones, fashion, satellite radio gigs or whatever else their advisers can come up with. Rare indeed are holdouts like Bruce Springsteen who simply perform and record. The usual rationale is that hearing a U2 song in an iPod commercial or seeing Shakira’s face on a cellphone billboard will get listeners interested in the albums that these artists release every few years after much painstaking effort.
But Prince is different. His way of working has nothing to do with scarcity. In the studio — he has his own recording complex, Paisley Park near Minneapolis — he is a torrent of new songs, while older, unreleased ones fill the archive he calls the Vault. Prince apparently has to hold himself back to release only one album a year. He’s equally indefatigable in concert. On the road he regularly follows full-tilt shows — singing, playing, dancing, sweating — with jam sessions that stretch into the night. It doesn’t hurt that at 49 he can still act like a sex symbol and that his stage shows are unpredictable.
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