“Direct-to-fan,” everyone called it, the idea that if the bond between artist and fan is strong enough, the fan will gladly pay for access, for premium content, for the sense of a less-anonymous relationship with the artist and the process. Direct-to-fan, by this way of thinking, is the new driver of revenue in the face of the fact that recordings are, now, little more than promotional material. It is, in other words, patronage.