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Discover the latest music trends and insights with A&R Factory. Stay informed and inspired as we explore the dynamic music industry landscape where we cover the latest music industry trends, analysis and predictions in the industry. Whether you’re a music enthusiast or industry professional, A&R Factory is your go-to source.

Can New Music Sustain in An Era Marked by Nostalgia and the Novelty Factor?

Posted on 26 July 2024
New Music

In the plight proliferated modern music industry, one of the biggest obstacles for contemporary artists to overcome is the disparity between how long it takes to create a new record and how long it remains relevant.

The definition of ‘new music’ tends to vary, with some sources claiming that ‘new music’ can be defined as music released in the last 12 months, but any independent artist attempting to market music more than a few months old will know all too well that it is an act of pure futility, as perfectly articulated by Kel from The Empty Page:

“It’s a funny thing when you release an album after several years of working to get it done and then it’s out in the world and you’ve done all the promo, run out of marketing budget and it’s now already seen as ‘old’ and everyone is wanting something even more ‘new’. It’s a relentless treadmill of ‘productivity’ this world and sometimes it really gets to me. The other day someone said to me: ‘Let me know when you have new music out and we’ll add it to our playlist’. Is a two-month-old album not new music? When does it stop being new? Why is new the most important thing anyway?”

Music journalists, playlisters and radio stations pride themselves on keeping their ears on the pulse of modern music, overlooking anything that was released beyond the lifespan of a moth. Yet, they aren’t solely to blame for the emphasis on the novelty factor; the attitudes of industry figureheads reflect broader attitudes of the music-consuming public, who are overcome with aural amnesia when it comes to music that is beyond a few months old.

At this point, I must profess that I’m scarcely a model music consumer. So far this year, I’ve hyper-fixated on albums from three of my favourite artists: Nadine Shah’s Filthy Underneath, Mother Mother’s Grief Factor, and Frank Carter’s Dark Rainbows were relentlessly spun. However, once I’d played the LPs on repeat and seen the album tours, the compulsion to revisit them seemed to fade, regardless of how visceral the initial obsession.

My engagement with new albums is often as fleeting as the trend cycles which propel them. Once the novelty wanes, the records gather dust, overshadowed by a relentless influx of fresh sounds and the comforting echo of my old favourites found in my formative years and the subsequent eras of self-discovery when I attempted to embroil my identity with melodic connectivity.

I don’t speak for everyone, but I can attest to how connection to music alters through maturity; how in the formative years of music discovery, every lyric seems to resonate and solidify a sense of self; yet, in time, we no longer seek affirmation or identity in new releases and how this absence of deep connection makes it difficult for new music to enmesh within our lives.

With this in mind, in an era dominated by nostalgia and a craving for novelty, can new music truly sustain and will there be any classics of tomorrow?

How New Music Lost Its Sustainability

The Novelty Factor and The Nostalgia Wave

The music industry today is marked by an overwhelming abundance. With new tracks and artists bursting onto the scene every minute, courtesy of streaming platforms, the sheer volume can feel stifling. This saturation dilutes the impact of new music and makes it increasingly difficult for any album to hold its ground in the public consciousness. This phenomenon of songs slipping from memory amid the chaos of continuous new releases compounds the challenge for contemporary artists, particularly in a digital age where distractions are a click or doomscroll away.

New artists aren’t just competing with their contemporaries, they’re contending with the power of nostalgia, which evokes a powerful connection to the past, offering listeners a comforting escape to a time perceived as simpler or more meaningful. Classic hits and old albums serve as auditory gateways through time, transporting people to the purity of youth or the endlessly reminisced upon pivotal moments in their lives. This longing for the past is amplified by social trends and media that glorify previous decades, from 80s synth-pop to 90s hip-hop, each resurgence bringing with it a wave of revival tours and remastered releases.

Industry Dynamics and Short-lived Fame

The trend towards prioritising brand-new music over music beyond its few-month-long-prime is immensely influenced by those curating our musical landscapes—label owners, journalists, playlisters, and radio hosts; if a new album doesn’t immediately catch on, all the time and money poured into a release was in vain, creating an industry where only the most accessible or marketable new tracks break through the noise, often at the expense of experimental or less instantly gratifying music.

We used to listen to music until we grasped an appreciation for it; today, it is highly unlikely that we will voluntarily give new music a second chance. Industry figures, with their desire to boost their own relevance, know this all too well. Their relentless focus on the ‘new’ neglects ‘older’ works, potentially diminishing their historical and emotional significance. As industry figureheads mirror and perpetuate these attitudes while prioritising metrics over championing and nurturing talent, artists find themselves in a vicious cycle of production, leading to creative burnout and a diluted quality of musical output. Artists now find themselves in an environment where the window to make an impact is smaller than ever. As soon as a new album drops, the focus shifts to the next release, leaving little room for albums to grow and mature in public consciousness.

Viral songs blaze brightly but briefly, quickly forgotten in the rush towards the next trending soundbite.

Searching for Redemption & Solutions for Sustainability

If artists are lucky, their albums will get a shot of redemption through the Album of the Year lists. However, a more viable way to ensure new albums endure is to create timeless records that transcend the immediate draw of novelty and retain their appeal across generations. Artists must focus on building deeper connections with listeners through storytelling, crafting albums that offer more than just singles.

Cultivating a base of ‘super fans’—listeners deeply dedicated to an artist’s work—can ensure consistent support and engagement, and if that fails, there is always the option of breathing new life into their music through remixes, or by repurposing and representing tracks in different contexts, extending their relevance.

Conclusion

The quest for sustainability in new music in an industry dominated by nostalgia and novelty is complex and fraught with challenges. However, by understanding the dynamics at play and adopting innovative strategies, there is hope for new sounds to find their lasting place in our musical lexicons. As we continue to navigate these shifts, our engagement with music—both new and old—must evolve, ensuring that the art form remains as dynamic and enduring as the human experiences it seeks to encapsulate.

Article by Amelia Vandergast

Is The Boom in CD & Vinyl Sales in the UK A Sign of Prosperous Times to Come?

Posted on 18 July 2024
CD & Vinyl

It can be tempting to clutch at optimistic straws when there are signs the music industry isn’t following a depressing trajectory of decline, such as the resurgence in the sales of physical media, with CD & vinyl records charting impressive gains in the UK.

This revival, as recently indicated by the Entertainment Retailers Association (ERA), is a testament to a shifting consumer preference towards tangible music formats. However, is this trend a harbinger of a more prosperous era for the music industry, or merely a nostalgic blip in the digital-dominated landscape?

This article will examine the nuances of the freshly reported statistics and explore what they truly signify for the industry’s future, bearing in mind that for the music industry to be sustainable, emerging independent artists need a slice of the sonic pie.

The Resurgence of CD & Vinyl

It is undeniable that the latest figures from ERA paint a promising picture for physical music formats, with CD & vinyl sales experiencing a notable uplift. The first half of 2024 saw vinyl sales amassing £86.3 million, a 13.5% increase, while CD sales brought in £57.9 million, marking a 3.2% rise.

However, if you take the figures, which suggest a revitalisation of interest in physical media with a pinch of salt, you will see that the influx in sales is driven by more than a consumer shift towards more tactile forms of music consumption.

One of the main drivers of the increase in CD & vinyl sales was Taylor Swift releasing 19 physical variants of her latest album, The Tortured Poets Department, which included six vinyl, nine CD and four cassette variants. Since the album went on sale in April, Swift has managed to shift 2.47 million physical copies of her album. Undoubtedly, many of Swift’s diehard fans purchased as many physical copies as they could afford/get their hands on. This album release strategy, which inflates album sales, has come under fire recently, with several industry figures, including Billie Eilish commenting on how insidious the trend is.

“I find it really frustrating as somebody who goes out of my way to be sustainable and do the best that I can and try to involve everybody in my team in being sustainable – and then it’s some of the biggest artists in the world making 40 different vinyl packages that have a different unique thing just to get you to keep buying more.”

Another key driver of physical sales was Record Store Day, which was primed to be the biggest RSD event to date and anticipated to inject £10 million into independent record shops. However, just because RSD favours independent record stores, independent artists rarely get a look in, and once again Swiftonomics played their part in the success of RSD 2024 with a limited edition copy of her album being the reason that many music fans hit record stores in their droves, simply to procure a copy of the album with the note “Happy Record Store Day!”

The Illusion of a Booming Industry

While the uptick in physical sales might suggest a thriving industry, it’s essential to tread cautiously with your optimism. The broader perspective reveals that this rise occurs against a backdrop of overall decline since the industry’s peak in 1999.

Moreover, despite the growth in physical sales, the industry is still heavily skewed towards streaming, which accounted for 84% of UK music retail revenues in 2023; as it is almost impossible to earn a living wage from streaming royalties, the music industry is still very much a hostile economic environment for independent and grassroots artists.

Therefore, the disparity between physical sales and streams which sees many music fans foregoing physical releases for the convenience and low cost of streaming services, suggests that the increase in physical sales may not signify a comprehensive industry recovery but rather a niche revival fuelled by specific market drivers, such as those outlined above.

The Nostalgic Overhang

It is also crucial to note how the nostalgia factor significantly contributes to the resurgence of vinyl and CDs. Older tracks and classic albums continue to dominate sales, potentially stifling new music’s market penetration and influence. This trend towards nostalgia can be a double-edged sword: it bolsters sales figures while possibly hindering the diversity and evolution of music offerings. Thus, while there’s an aural appetite for old favourites, it’s imperative to consider what this means for new artists and music innovation.

Independent Artists and the Trickle-Down Effect

 Despite the rosy picture painted by raw sales figures, the reality for independent artists remains markedly different. The boon seen by flagship artists and big-ticket events like those associated with Taylor Swift does not necessarily trickle down to smaller, independent artists who often remain on the fringes of these economic uplifts. This scenario raises questions about the equity and distribution of wealth within the industry, suggesting a need for more inclusive growth strategies that support a broader array of artists. We have already written extensively about the dire state of the talent pipeline in the UK; however, there seems to be no clear course for recourse that will take indie music back to its 90s glory.

Conclusion

As nostalgia and globally revered artists hold the monopoly of the music industry and project an illusion of growth into the sonic economy, it is crucial to consider the industry’s underlying challenges, instead of taking the figures as a reflection of a universally prosperous landscape for all artists involved. As we look forward, it is crucial for stakeholders to foster a more sustainable and inclusive environment that supports both the old and new facets of music, ensuring that this resurgence is not just a fleeting echo of the past, but a stepping stone to a robust and equitable industry.

Article by Amelia Vandergast

Music Industry Demands vs. National Priorities for New Labour

Posted on 14 July 2024
Labour

Ahead of the general election, we reviewed the manifestos of each of the three major political parties to discern which political party would bring a brighter future to the music industry. Labour and the Lib Dems were almost on par with their policies, so with Labour winning the election with an overwhelming majority, it should certainly be a source of (at least thinly veiled) optimism for creatives in the UK that Starmer is residing in 10 Downing Street.

Multiple organisations, including UK Music, have wasted no time and have already called upon Starmer to address the conflating issues putting the music industry under immense pressure. However, it is far too soon to expect Kier Starmer to turn his attention to the music industry when there are many other urgent issues to address.

Economic stability, robust healthcare, and comprehensive education reform are foundational to the well-being of the nation and, indirectly, to the success of the music and creative industries. By addressing these broader issues first, the government can create a more favourable environment for the music industry to thrive in the long run. Nothing will change overnight, so while it is undoubtedly tempting for some music journalists to declare that “it’s time for the new Labour government to honour its commitment to supporting the music industry”, a little bit of realism wouldn’t go a miss, as unsurprisingly, when YouGov conducted a poll asking voters what issues will affect how they vote in the general election, the music industry didn’t get a look in.

A Summary of the Influx of Demands on the Labour Government

The current demands from the music industry are multifaceted and pressing. UK Music, representing the collective interests of the sector, has called for immediate action to reverse the decline in music education, citing the loss of 1,000 music teachers since 2012. This decline not only affects the talent pipeline but also deprives young people of the opportunity to engage with music, which can provide essential life skills. Tom Kiehl, CEO of UK Music, has highlighted the need for strong government support to navigate these challenges and leverage the opportunities that the sector offers.

Moreover, the Association of Independent Music (AIM) has underscored the importance of including music in creative tax reliefs, akin to those in film and gaming, to stimulate investment in the UK’s music scenes. They also advocate for small business opportunities in apprenticeships and responsible AI development that nurtures UK music and musicians. These measures are designed to create a sustainable environment where music businesses can thrive and scale.

In addition, the British Phonographic Industry (BPI) has emphasised the necessity of a comprehensive plan for the creative sector as part of the Labour government’s industrial strategy. This includes not only reversing the decline in music education but also fostering a robust relationship between the music industry and the government to ensure growth and stability for the sector.

Why the Music Industry Has to Wait for Major Reform

The Labour government, led by Keir Starmer, has inherited a plethora of urgent issues. The housing crisis, with its severe impact on affordability and availability, requires immediate and sustained intervention. The NHS, beleaguered by long waiting lists and staffing shortages, needs comprehensive reforms to ensure it can meet the healthcare needs of the population. Additionally, the rising levels of poverty and economic instability necessitate robust economic policies to support those most affected and to foster long-term economic growth.

Addressing these foundational issues first is crucial. By stabilising the economy, improving healthcare, and reforming education, the government can create a supportive environment that benefits all sectors, including the music industry. For instance, a stronger economy can lead to increased disposable income, which in turn can boost spending on music and entertainment. Improved healthcare can ensure a healthier population that can actively participate in and contribute to the creative industries. Comprehensive education reform can produce well-rounded individuals with the skills and knowledge necessary to excel in the music industry.

Keir Starmer’s personal commitment to music and the arts is well-documented. His background as a musician and his passion for making the arts accessible to all young people are promising. However, translating this passion into effective policy requires a balanced and prioritised approach. The Labour government’s broader strategy for the creative sector should be integrated into its overall industrial strategy, ensuring that it supports growth and addresses the challenges facing the industry in a holistic manner.

Realistic Timelines of Music Industry Reformation

Realistically, the timeline for the new Labour government to reform the music industry will depend on several factors, including the complexity of the reforms, the legislative process, and the prioritisation of other urgent issues. Typically, substantial reforms can take several years to implement fully. Here’s a breakdown of the likely phases and their durations:

  1. Initial Assessment and Planning (6-12 months):
  • Establishing a task force or committee to assess the current state of the music industry.
  • Consulting with industry stakeholders, including organisations like UK Music and AIM.
  • Developing a comprehensive plan that aligns with broader government priorities.
  1. Legislative Process (12-24 months):
  • Drafting necessary legislation based on the plan.
  • Presenting the legislation to Parliament and navigating it through the legislative process.
  • This phase includes debates, committee reviews, and potential amendments to the proposed laws.
  1. Implementation of Reforms (24-36 months):
  • Rolling out new policies and regulations.
  • Allocating budgets and resources for initiatives like music education reforms and creative tax reliefs.
  • Establishing support systems for small music businesses and freelance musicians.
  1. Monitoring and Adjustment (36-48 months and beyond):
  • Monitoring the impact of the reforms and making necessary adjustments.
  • Continuous engagement with industry stakeholders to address emerging challenges and opportunities.
  • Long-term policies to ensure sustainability and growth within the music industry.

Given these phases, it could realistically take around 4 to 5 years to see significant and comprehensive reforms in the music industry. However, some changes, like increasing funding for music education or providing immediate support to struggling musicians, could be implemented more quickly.

The success of these reforms will also depend on the government’s ability to manage and address other pressing issues simultaneously, ensuring that the music industry receives the attention and resources it needs for long-term growth and stability.

Article by Amelia Vandergast

Is Rock as Dead as Emily Eavis Thinks It Is?

Posted on 4 July 2024
Rock

The remarks made by Emily Eavis, organiser of the Glastonbury Festival, about the scarcity of new rock acts to headline the festival has sparked a heated broader conversation about the current state of rock music and its place in today’s music industry. Eavis’s candid and arguably ignorant comments reflect a notable shift in the music landscape, where rock music seems to have drifted from its mainstream prominence – unless the nostalgia factor comes into play.

Naturally, her comments rubbed plenty of people the wrong way, including the rock-adjacent acts who are pouring their blood, sweat and tears into their careers and those who follow and champion them. Yet, Glastonbury isn’t the only major UK festival which is struggling to find fresh rock headliners. Take Download for example; the biggest acts this year included Queens of the Stone Age, Fall Out Boy, Avenged Sevenfold, The Offspring, Machine Head and Pantera; the only relatively fresh blood among the acts was Royal Blood, who have still been around for more than a decade.

So why is it that new rock artists in the UK are relegated to smaller stages or shunned from festivals entirely? The answer lies within a conflating myriad of factors which will be outlined below, followed by an outline of ways to remedy the crumbling talent pipeline and revive the genre.

Why Emerging Rock Artists Have Been Pushed to the Festival Line-Up Sidelines

Even if the torch you carry for rock hasn’t diminished, the popular shift away from rock towards pop, hip-hop, and electronica can’t be dismissed. Dominant artists and genres will naturally draw larger crowds, hence festival bookers being more inclined to allocate prime space to them. With music festivals feeling the pinch more than ever, leading to more than 42 festival organisers in the UK and Ireland cancelling, postponing or totally laying to rest their events, playing it safe with the line-ups in this economy is vital for organisers if they want to see another year.

It is crucial to remember that festivals operate on a commercial basis and prioritise acts that guarantee large audiences and higher returns. As rock is perceived to have a smaller or more niche following compared to other genres, rock bands often end up on smaller stages. While it is a bitter pill for rock fans to swallow that their favoured genre is no longer the flavour of the era and they are no longer catered to by festival bills, acceptance of this fact and that festivals aren’t patrons of the arts, but commercial entities, removes some of the confusion and contempt from the equation.

Other factors which may contribute to new rock artists struggling to secure coveted spots on festival line-ups include the evolution of marketing trends, which modernistically focuses on viral marketing and social media presence, and the change in festival dynamics, which has seen many modern festivals are embracing a more eclectic approach to their line-ups to reflect cultural diversity and inclusivity, which can sometimes mean traditional rock bands find less prominence.

The Future of Rock: A Revival?

While the current scenario might seem grim for rock fans, the genre’s revival is not out of the question. Music trends are cyclical, and the essence of rock—its raw emotion and the energy of live performances—continues to have a dedicated following. The challenge lies in adapting to the new musical landscape without losing the genre’s authentic appeal.

There is no shortage of contemporary rock bands with the talent, the songwriting stripes, and the charisma to lead illustrious chart-topping careers. However, as any independent artist will tell you, without major financial backing, it is practically impossible to elevate their standing in the music industry. As current collective tastes are geared toward other genres, it isn’t likely that many labels will want to take the risk on emerging rock bands, leading to a Catch-22 situation where the rock scene has stagnated and only the bands which thrived while rock was the dominant genre are revered in popular culture.

Addressing the Talent Pipeline

Emily Eavis was unequivocally wrong in her statement that there are no new rock bands; what would have been a more accurate assessment is that the industry has ceased to gamble/capitalise on and nurture new talent.

She is also underplaying her own responsibility in the death of rock music; for rock to regain prominence, new talent needs platforms, and what could be a better platform than Glastonbury? After all, it is one of the only festivals that people fall over themselves to buy tickets for before actually seeing the line-up! So many Glastonbury-goers claim that it’s not about the music, it is about the experience, making it the perfect festival for little-known artists to gain a foothold in the music industry.

In Conclusion

While Emily Eavis’s remarks on the scarcity of new rock acts at Glastonbury might seem to signal a bleak future for the genre, it is essential not to view this as an absolute demise.

Rock music’s position within the contemporary music industry has shifted, facing significant competition from genres that resonate more with today’s digital and streaming cultures. However, this does not preclude a resurgence. Rock music, with its deep roots and passionate fan base, has the potential to adapt and reassert itself in the mainstream. It necessitates an environment where new talents are nurtured and given opportunities to shine, much like what Glastonbury and other festivals could offer.

Rather than seeing Eavis’s comments as a final verdict on rock music, they should be interpreted as a call to action—to the industry, to festival organisers, and to fans—to rekindle their commitment to a genre that thrives on live performance and raw emotional energy. By fostering new talent and embracing the evolving dynamics of the music scene, the genre has the potential to find its way back to prominence, proving that its spirit is far from extinguished.

Article by Amelia Vandergast

Pollstar’s Mid-Year 2024 Report Highlights The Need for Sustainable Evolution In The Live Music Industry

Posted on 26 June 2024
Live Music

The live music industry is at a critical juncture. According to Pollstar’s Mid-Year 2024 Report, the industry is experiencing its highest total grosses ever. However, this positive headline masks a more complex and worrying reality. While more shows are being produced and ticket prices have increased, ticket sales and average per-show grosses are declining. This indicates a sector in need of significant adjustments to maintain its sustainability. Below, we analyse the current state of the industry, and the challenges faced by smaller players, and suggest ways to move forward.

Current State of the Live Music Industry

The live music industry in 2024 presents a paradox. On the one hand, total concert grosses have increased by 8.7% compared to the same period in 2023. The number of shows has surged by 16.7%, and the average ticket price has risen by 9.4% to $127.30. These figures suggest a booming industry with rising revenues and a growing number of events.

However, this growth is not evenly distributed. The average gross per show has dropped by 6.9%, from $1.47 million in 2023 to $1.37 million in 2024. Additionally, 0.7% fewer tickets have been sold in the first half of the year, and the average number of tickets sold per show has decreased by 14.9% compared to 2023. Although the 2024 ticket average of 10,767 still exceeds the 2019 average of 9,901, the downward trend in ticket sales is concerning.

This mixed picture is more pronounced when considering the ecosystem’s lower tiers. Smaller and mid-level artists, venues, and festivals are facing increased competition and struggling to thrive. In the UK, 50 music festivals have been cancelled this year, and established US festivals like Coachella and Bonnaroo have reported lower attendance.

The Price of Live Music: A Growing Dilemma for Artists and Fans

The trend of artists inflating their prices is creating a significant barrier between artists and their audiences, resulting in declining ticket sales and a growing sense of discontent among concertgoers. Artists need to charge more for their tickets to compensate for the loss of revenue from recorded music sales. The rise of digital streaming platforms has drastically reduced the income musicians earn from album sales. Consequently, live performances have become a primary source of income for many artists. This shift has led to higher ticket prices as musicians seek to cover the substantial costs of touring, including logistics, production, and crew wages.

However, the rising cost of concert tickets is becoming a significant deterrent for fans. Many potential concertgoers find the prices prohibitive, particularly when considering the additional expenses associated with attending a live event, such as parking, concessions, and merchandise. The overall cost of attending a concert can easily rival that of a weekend getaway, leading fans to question the value for money.

Moreover, the involvement of ticket agencies and dynamic pricing models has exacerbated the issue. Ticket prices often surge due to high demand, driven by algorithms designed to maximise revenue. This price gouging means that fans are frequently paying inflated prices for less-than-optimal seating at stadium and arena shows. The frustration is further compounded by the prevalence of ticket scalpers who purchase tickets in bulk and resell them at exorbitant prices, making it even harder for genuine fans to afford attendance.

The post-COVID economic landscape has also played a role. With inflation affecting the cost of living, discretionary spending on entertainment has been significantly curtailed. Fans are now more selective about the concerts they choose to attend, opting to skip events that do not offer perceived value for money. This selectivity is evident in the growing number of major tours and festivals reporting lower attendance figures despite the high demand for live music.

Additionally, the cultural landscape of social outings has shifted. The convenience and comfort of high-quality home entertainment systems, combined with the ability to stream concerts online, offer an attractive alternative to the expense and hassle of attending live events. This change in consumer behaviour is contributing to the decline in ticket sales, as many fans prefer to enjoy music from the comfort of their homes rather than face crowded venues and high costs.

The Struggles of Smaller Players

While top-tier tours and major festivals dominate headlines with record grosses, smaller artists and events face a more challenging reality. The increased competition has made it harder for these entities to attract audiences and secure funding. The cancellation of 50 music festivals in the UK and declining attendance at major US festivals highlight the difficulties faced by the broader live music ecosystem.

Smaller venues and festivals are particularly vulnerable. They often lack the financial cushion of larger counterparts and are more susceptible to fluctuations in attendance and revenue. This environment makes it difficult for emerging and mid-level artists to gain exposure and build their fan bases. The result is a live music landscape where only the biggest names and most prominent events are thriving, while the rest struggle to keep pace.

Boutique Festivals: A Glimmer of Hope

Despite the challenges, there are reasons for optimism. Pollstar notes the emergence of over a dozen boutique festivals, such as Big Ears, Cruel World, Winter Jazz Fest, Solid Sound, and Movement Electronic. These festivals offer a more intimate and curated experience, appealing to niche audiences and fostering a sense of community.

Boutique festivals can provide a viable model for sustainability in the live music industry. By focusing on specific genres or themes, they can attract dedicated fans willing to pay a premium for unique experiences. These events also offer opportunities for smaller and mid-level artists to perform and connect with audiences in a more personal setting. Moreover, boutique festivals can experiment with innovative formats and partnerships, potentially setting new trends for the broader industry.

Strategies for a Sustainable Future

To ensure the long-term sustainability of the live music industry, several strategies need to be implemented. Here are some key recommendations:

Diversification of Revenue Streams

Relying solely on ticket sales is increasingly risky in a fluctuating market. Diversifying revenue streams is crucial for sustainability. This can include merchandise sales, VIP experiences, live streaming, and brand partnerships. Additionally, offering exclusive content or experiences to fans through subscription services can provide a steady income.

Supporting Smaller Venues and Artists

The health of the live music ecosystem depends on the success of its smaller players. Policies and initiatives that support smaller venues and artists are essential. This can include funding programs, tax incentives, and grants. Encouraging collaborations between larger and smaller entities can also help distribute resources more equitably.

Embracing Technology and Innovation

Technology can play a significant role in enhancing the live music experience and expanding its reach. Live streaming and virtual concerts have become popular alternatives to in-person events. Integrating augmented reality (AR) and virtual reality (VR) can create immersive experiences that attract tech-savvy audiences. Furthermore, data analytics can help organisers better understand audience preferences and tailor events accordingly.

Fostering Community Engagement

Building a strong community around live music events can drive loyalty and repeat attendance. Engaging with fans through social media, fan clubs, and interactive experiences can deepen their connection to artists and events. Additionally, creating inclusive and accessible environments ensures that a diverse audience can enjoy live music.

Conclusion

The live music industry stands at a crossroads. While top-tier events continue to generate impressive revenues, the broader ecosystem faces significant challenges. Smaller and mid-level artists, venues, and festivals are struggling to survive amidst increased competition and fluctuating attendance. However, by embracing innovation, supporting smaller players, diversifying revenue streams, and fostering community engagement, the industry can navigate these challenges and create a more sustainable future.

Article by Amelia Vandergast

Election Promises: How Will They Impact the Music Industry?

Posted on 20 June 2024
Election

As the UK anxiously inches closer to the general election on 4 July, many figures in the music industry are eager to discern which of the major political parties will bring radical reform to the culture sector and music education.

The Independent Society of Musicians has meticulously combed through the manifestos to identify the key policies that could shape the future of the industry. From education reforms to funding boosts, here’s an in-depth look at what the Conservative, Labour, and Liberal Democrat parties are promising.

As politicians are as true to their word as a desert mirage, it is worth taking every pledge with a pinch of salt, and, of course, as there are other major factors at play which influence vote behaviour including the cost-of-living crisis, NHS funding, and for raging racists, immigration, it may not be wise to solely decide which party deserves your vote based on their approach to supporting music.

Rather than using this article to lobby for one particular party, we will underline all of the key pledges from the three major parties without partisan bias to relay the key facts – if you can call manifesto pledges that!

Conservatives

The Conservative manifesto acknowledges the cultural and economic significance of the creative sector, stating: “At the core of our national and local identities is culture and sport.” This commitment is reflected in several key pledges:

  1. Protection and Remuneration for Creators: The Conservatives promise to ensure that creators are adequately protected and fairly compensated for their work. This includes safeguarding intellectual property rights in the digital age, which is crucial for musicians and other creators who rely on streaming platforms for revenue.
  2. Competitive Tax Incentives: They pledge to maintain competitive tax incentives for the creative sector, which could benefit music venues and recording studios by making it financially viable to operate and expand.
  3. Community Ownership Fund: The extension of the Community Ownership Fund will allow local communities to take control of music venues, preserving these essential cultural spaces.
  4. Music Education: Promises include ensuring children receive a broad and enriched education that includes music, facilitated through Music Hubs. Additionally, they aim to establish a coordination service to support more apprenticeships in the creative industries, providing valuable pathways for young people into music careers.

Labour

Labour’s manifesto takes a strong stance on making the arts and music accessible to all, not just the privileged few. Their commitments highlight a comprehensive approach to integrating music into broader societal and economic frameworks:

  1. Creative Industries Sector Plan: Labour plans to implement a creative industries sector plan as part of their Industrial Strategy, aimed at creating good jobs and accelerating growth in the music, film, gaming, and other creative sectors.
  2. EU Touring for Musicians: They will work to improve the UK’s trade and investment relationship with the EU, making it easier for musicians to tour Europe, a critical move for artists affected by post-Brexit travel restrictions.
  3. Consumer Protections on Ticket Resales: Introducing new protections for ticket buyers will help combat the exploitation in ticket resale markets, ensuring fair prices and access for fans.
  4. National Music Education Network: Labour promises to launch a new National Music Education Network to provide a comprehensive resource for music courses and classes, supporting parents, teachers, and children.
  5. Recruitment of Expert Teachers: The recruitment of 6,500 new expert teachers, along with measures to tackle retention issues, will bolster the quality of music education. Reviewing trainee bursaries and retention payments is also on the agenda to attract and keep the best talent in teaching.
  6. Review of Curriculum and Assessment: An expert-led review will ensure that the curriculum and assessment methods meet the needs of a modern education system, including a strong emphasis on the arts.
  7. Workers’ Rights: Labour is committed to improving the rights of freelance workers, who make up a significant portion of the music industry. This includes banning exploitative zero-hours contracts, introducing basic rights from day one, and ensuring fair treatment in terms of tax and National Insurance status.

Liberal Democrats

The Liberal Democrats are placing a strong emphasis on cultural investment and nurturing new talent. Their manifesto promises substantial support for the music industry through various innovative policies:

  1. Simplified Travel Arrangements: They pledge to negotiate free and straightforward short-term travel arrangements for UK artists performing in the EU and vice versa, facilitating cultural exchange and touring opportunities.
  2. National Lottery Funding for Arts: Proposing the use of National Lottery funds to support arts and sport, the Liberal Democrats aim to provide a consistent funding stream for cultural projects.
  3. Creative Enterprise Zones: Establishing new creative enterprise zones will stimulate cultural output and economic regeneration in various parts of the UK, offering musicians and other artists spaces to develop and showcase their work.
  4. Rejoining Creative Europe: Applying to rejoin Creative Europe will re-integrate the UK into a broader cultural network, opening up funding and collaboration opportunities for British musicians.
  5. Inclusive Education: Their educational policies include integrating arts subjects into the EBacc, ensuring Ofsted monitors curriculum inclusivity, and expanding music provision in extracurricular activities. Ensuring that every secondary school student is taught by a specialist teacher in their subject underscores their commitment to quality education.
  6. Commission to Broaden the Curriculum: A commission will be established to make qualifications at 16 and 18 more relevant to the 21st century, with an emphasis on creativity and critical thinking skills.
  7. Workers’ Rights: Similar to Labour, the Liberal Democrats propose a new ‘dependent contractor’ status with basic rights, a higher minimum wage for zero-hour contracts, and protections for gig economy workers regarding pensions and employment status.

Final Thoughts

As the election approaches, it’s clear that music and the arts hold a prominent place in the manifestos of the major political parties. From education reforms aimed at nurturing young talent to measures designed to protect and fairly compensate creators, there are numerous policies on the table that could significantly impact the music industry. Each party brings its own vision and solutions, reflecting a broader recognition of the importance of music and culture in society.

For musicians, educators, and industry professionals, these pledges offer a glimpse into a potentially brighter and more supported future. As the Independent Society of Musicians continues to campaign for vital reforms, it’s crucial for voters within the music community to stay informed and consider how these policies align with their needs and aspirations. Whether it’s the promise of better touring conditions post-Brexit, improved music education, or fairer treatment for freelance workers, the upcoming election could be a turning point for the UK’s vibrant music scene.

Article by Amelia Vandergast

Capitalism and Cultural Stagnation: How Imitation Overshadowed Innovation

Posted on 11 June 2024
Cultural Stagnation

Ever noticed that some of the most popular artists in this era are sickly stereotypical replicas of their idols? How some artists paint by numbers until they have cloned the sound that inspired them yet failed to replicate the same authenticity that resonated deeply with their fans?  It’s the Greta Van Fleet effect, rippling throughout the music industry, highlighting how the abundance of talented musicians contrasts sharply with the scarcity of artists creating original and emotionally impactful music.

This trend is exacerbated by the pressures of the music industry, which frequently prioritises marketability and familiarity over innovation. The result is a proliferation of technically proficient music that lacks the raw, emotional core that resonates deeply with listeners.

Homogenisation of sound, where originality is sacrificed for the safety of well-worn formulas, has marked an era of cultural stagnation. An era in which artists are averse to risks and allured by the idea that they can be propelled to their idols’ greatness while forgoing unfiltered authenticity that viscerally speaks to the human experience.

This article will explore how we arrived in an epoch of undaring banal cultural stagnation, look at the phenomenon through a Marxist lens and discuss the implausibility of a new sonic movement capable of re-revolutionising the music industry away from the aural oligarchs.

How Did Creativity Start to Stagnate?

The current era of cultural stagnation in music, particularly characterised by nostalgia-inclined tendencies, can be traced back to several interrelated factors. Firstly, the digital revolution fundamentally changed how music is produced, distributed, and consumed. The ease of accessing vast musical archives has led to a pervasive recycling of past styles. Streaming platforms, with their algorithms favouring familiar sounds and well-known hits, have further entrenched this reliance on nostalgia, often at the expense of innovation.

Economic pressures also play a significant role. The high cost of living and the financial demands of producing and marketing music have led artists to prioritise safe, commercially viable choices. Record labels, driven by profit margins, are more likely to invest in projects that evoke proven successes rather than risky, groundbreaking ventures. This economic landscape discourages experimentation and favours replication of popular genres from previous decades.

Moreover, the cultural and societal context contributes to this phenomenon. In times of uncertainty and rapid change, there is a collective longing for the perceived stability and simplicity of the past. This sentiment is mirrored in the music industry’s inclination towards nostalgia. Audiences find comfort in the familiar sounds of earlier eras, and artists, in turn, cater to this demand by drawing heavily on past influences.

Social media and the internet have amplified these trends. With a constant barrage of content, artists often feel pressured to conform to established trends to maintain visibility and relevance. This environment fosters imitation rather than innovation, leading to a saturation of music that pays homage to past styles without pushing creative boundaries.

A Marxist View on How Capitalism & Cultural Stagnation

Karl Marx’s perspective on cultural stagnation is intrinsically linked to his broader critique of capitalism. Marx posited that the economic base of society—comprising the means and relations of production—shapes the superstructure, which includes culture, politics, and ideology.

Marx believed that under capitalism, the ruling class controls the means of production and, consequently, the cultural narrative. This domination results in cultural stagnation, where prevailing ideas and cultural norms serve to perpetuate the status quo, ensuring the continued dominance of the upper and ruling classes.

Marx also argued that this stagnation is characterised by a lack of innovation and progress, as the cultural superstructure becomes a tool for maintaining existing power dynamics rather than fostering genuine intellectual and artistic growth.

Stagnation in this vein can only be overcome through revolutionary change which liberates cultural production from the constraints of capitalist exploitation, allowing for a dynamic and evolving cultural landscape that reflects the true interests and creativity of the masses, rather than the narrow interests of a privileged few.

Can Creativity Be Reclaimed from Capitalism in the 21st Century?

The insurgence of punk and hip-hop in the 70s proved the status quo can be challenged. The 1990s indie and grunge movements further demonstrated the potential for music to break free from capitalist constraints, with bands often thriving on minimal resources, finding creative havens in squats or communes. However, the contemporary landscape poses significant challenges to replicating such cultural upheavals.

Today’s high cost of living and the expenses associated with creating and marketing music have altered the playing field. Whereas The Clash could survive on modest incomes and live in affordable communal spaces, modern musicians face daunting financial pressures. The necessity to fund production, promotion, and distribution has shifted the focus towards more commercial viability, often at the expense of artistic freedom.

Moreover, the rise of ‘hustle culture’ has added another layer of complexity. In a world where every passion is monetised, the boundary between art and commerce has blurred. Musicians are frequently compelled to think like entrepreneurs, balancing creativity with financial sustainability. This shift has fostered an environment where art is increasingly viewed through a commercial lens, potentially stifling the kind of raw, unfiltered expression that defined earlier movements.

The fall of monoculture further complicates the scenario. The fragmentation of cultural consumption means that there is no longer a singular, unified audience. While this diversity allows for a plethora of voices and genres, it also means that revolutionary movements may not achieve the same widespread impact. Cultural influence is now dispersed across numerous niches, each with its own audience and platforms.

The digital age may have democratised access to music production and distribution, but as any independent band will tell you, unless you are a nepo baby or have the financial means to push your music in front of global audiences, music, regardless of how cultivated and revolutionary, will remain on the fringes of the music industry.

Article by Amelia Vandergast

How Sponsored Content on Spotify is Diminishing the Democratization of Music in the Digital Era

Posted on 9 June 2024
Sponsored Content

If you have fired up Spotify recently, you will have undoubtedly been greeted with sponsored content from artists who have paid to advertise their music on the platform. The internet is awash with searches for how to turn off the feature, signalling that not every premium member of the most divisive music streaming platform since Napster is stoked at the arrival of the new mode of streaming platform advertising.

Frustrations aren’t solely felt on the fan side of things; music’s digital revolution was supposed to democratise music. Platforms like Spotify, Apple Music, and YouTube promised a level playing field where independent artists could stand shoulder-to-shoulder with industry giants. Yet, as we get deeper into this digital age, the reality is quite different, particularly with the rise of sponsored content on Spotify.

In this article, after highlighting the issues which have arisen following the advent of sponsored content, we will explore how sponsored content on Spotify works, and most importantly for independent artists struggling to decide how to spend their marketing budget, if it is worth investing in the ads.

Of course, Spotify has been keen to digress that this form of advertising is far more efficacious than social media ads, and Pay-Per-Click (PPC) ads, but is there any weight to the claim made by the profoundly exploitative platform which has recently announced they will stop paying artists who fail to rack up over 1000 streams in a calendar year? Probably not! Allowing artists to advertise on the platform, rather than solely uploading their music will be just another means to an exploitative end.

Sponsored Content and the Fall of Digital Music Democratization  

Spotify launched with the mission to make music accessible to everyone, offering a vast library of tracks for a relatively low subscription fee or even for free with ads. For artists, it was a chance to bypass traditional gatekeepers like record labels and radio stations, reaching a global audience directly. The algorithm-based recommendations seemed to favour the listener’s tastes, theoretically giving every song an equal shot at being discovered.

In recent years, however, Spotify has increasingly integrated sponsored content into its platform. This includes sponsored playlists, promoted songs, and ads tailored to specific user demographics. While this might seem like a natural evolution for a business seeking to maximise revenue, it has significant implications for music discovery and the independence of emerging artists.

Everything You Need To Know About Spotify Marquee - Symphonic Blog

Sponsored content creates a disparity in visibility between artists who can afford to pay for promotion and those who cannot. Big record labels, with their deep pockets, can ensure their artists get prime placement in popular playlists, featured spots, and targeted ads. This leaves independent artists struggling to gain traction unless they have substantial financial backing or happen to go viral by chance.

Spotify’s algorithms are designed to keep users engaged by recommending music based on their listening habits. However, when these recommendations are influenced by paid promotions, the algorithm’s impartiality is compromised. Sponsored tracks may get pushed to the forefront, sidelining genuinely popular or high-quality music that doesn’t come with a promotional budget. This can lead to a homogenisation of music, where only those tracks with financial muscle behind them get significant playtime.

For listeners, the increasing presence of sponsored content can be frustrating. It distorts the organic discovery process, where stumbling upon a hidden gem used to be part of the charm of using Spotify. Instead, users are now more likely to encounter music that’s been prioritised because of financial transactions rather than merit or popularity. This undermines the trust that users place in the platform’s recommendations.

How Does Spotify Sponsored Content Work and Is it Worth the Investment?

Spotify offers two main types of promotion: organic and paid. Organic promotion leverages Spotify’s tools to build your audience through follows, likes, and playlist placements without spending any money. On the other hand, paid promotion involves spending money to boost your visibility on the platform.

Paid Promotion on Spotify

Spotify’s paid promotion options include Marquee placements and Ad Studio ads. Here’s a closer look at each:

Spotify Marquee
 Marquee is Spotify’s premium advertising option. When you invest in a Marquee campaign, your music gets a full-page ad on the Spotify home screen for users in your target audience. Clicking the ad takes users directly to the music you’re promoting.
To qualify for Marquee, you need at least 2,500 followers or 15,000 streams in the past 28 days. The cost is based on a per-click basis, and you need a minimum budget of $250. Marquee also offers targeting options to ensure your ad reaches the right listeners.

Spotify Ad Studio 
Ad Studio allows artists to create audio and video ads that play between songs for free-tier users. You can either upload your own audio or collaborate with Spotify to create an ad. Unlike Marquee, Ad Studio charges based on impressions rather than clicks. This means your ad is about reach rather than direct engagement.

The Economics Behind Spotify Promotion

For independent artists, the decision to invest in Spotify promotion boils down to cost-effectiveness and the potential return on investment. Here’s what you need to consider:

Cost vs. Reach: Paid promotions can be expensive. For Marquee ads, you’re looking at a significant outlay, and for Ad Studio, the return might not be as tangible in terms of direct engagement.

Temporary Boost: Paid promotions can give your music a temporary boost in visibility, but maintaining that momentum requires either continuous investment or a solid fan base to sustain the initial push.

Audience Targeting: While Marquee allows for precise targeting, ensuring your music reaches listeners who are more likely to enjoy it, Ad Studio ads might cast a wider but less engaged net.

Budget Allocation: As an independent artist, it’s crucial to balance your promotional budget. Spending too much on Spotify ads might mean less for other essential activities like social media campaigns or touring.

Alternative Organic Promotion Strategies on Spotify 

For most artists, using organic methods to promote on Spotify can be far more effective and 100% free!

Engage with Spotify’s Tools: Use Spotify for Artists to understand your audience and improve your engagement. Tools like Spotify Canvas and Spotify Promo Cards can enhance your profile’s visual appeal.

Playlist Placements: Getting your music on curated playlists can significantly boost your streams and visibility. Pitch your music to playlist curators and engage with playlist communities on social media.

Social Media Integration: Promote your Spotify links on your social media platforms. Encourage your followers to share your tracks and add them to their playlists.

Conclusion

The rise of sponsored content on Spotify highlights a growing tension between commercial interests and the foundational ideals of music democratization. While it’s understandable that Spotify seeks to monetise its platform, it must carefully balance this with its responsibility to maintain a fair and open environment for all artists. Only by doing so can it uphold the promise of the digital music revolution: a world where anyone, regardless of financial clout, can share their music with the world.

The bottom line for independent artists just starting out with a limited budget is focusing on organic growth and leveraging free tools might be a smarter approach. Whereas artists who have already built a solid foundation can consider paid promotion to amplify key releases; this balanced approach can help maximise your reach and build a sustainable career in the music industry.

Article by Amelia Vandergast

From Internet Cats to Music Charts: How The Kiffness Redefined Digital Entertainment through Reels

Posted on 1 June 2024

Cats have always ruled the internet; now they are starting to rule the music industry, with a little help from the virally successful postmodernist artist, The Kiffness.

If you have been anywhere near social media recently, you won’t have been able to escape the crushingly cute and endlessly catchy earworm, I Go Meow, where The Kiffness meets the existential vocalisations of Cala the Cat in chorus over trumpet-infused feel-good electronica grooves which nods to his jazz background. After being released in April 2024, I Go Meow has already racked up over 1 million streams on Spotify, the official music video has garnered over 2.5 million streams on YouTube, and perhaps most astonishingly, there are 95.3 million related videos on TikTok.

But what does the success of his cat collab singles, Please Go Away, Sometimes I’m Alone and I Go Meow say about our evolving relationship with music? Is it evidence that society has become increasingly reel-brained or is the South African artist’s unique approach to collaborating with animals a case of ingenious opportunism? Most crucially, should more artists be inclined to take a leaf out of his endearingly inventive book?

To explore these ideas, we will track The Kiffness’ rise to fame and analyse how reel culture has become one of the last vestiges of monoculture.

The Kiffness: A Case Study

David Scott, better known as The Kiffness, has become one of the most notable artists on the internet. Known for his unique blend of humour, creativity, and musical talent, The Kiffness’s journey to stardom provides a fascinating case study on how an artist can evolve and adapt to the digital age to achieve widespread recognition.

Early Career and Musical Roots

The Kiffness found his footing in the music industry by building a strong foundation in jazz and classical music, having been classically trained in piano from a young age. His early career was marked by traditional performances and the release of tracks that combined elements of electronic dance music (EDM) with South African cultural sounds. This initial phase was crucial in establishing his musical identity and honing his skills as a producer and performer.

Transition to Online Platforms

The real turning point in The Kiffness’s career came with his strategic use of online platforms, particularly during the COVID-19 pandemic. With live performances on hold, he turned to social media to share his music and connect with audiences. This period saw him experiment with content, producing short, humorous music videos that quickly went viral.

Viral Content and Internet Fame

One of the key elements of The Kiffness’s rise to internet fame was his ability to create content that resonated with a wide audience. He began collaborating with viral video clips, adding his musical touch. These remixes often featured animals, quirky sounds, and clever lyrics, making them highly shareable and engaging.

A prime example is his collaboration with a Turkish street musician, Bilal Göregen, whose rendition of “Ievan Polkka” with a cat went viral. The Kiffness’s remix of this clip showcased his musical talent and his knack for tapping into internet trends. This ability to blend humour with high-quality music production set him apart from many other online content creators.

Evolution of Sound and Style

As his online presence grew, The Kiffness continued to evolve his sound and style. He began to incorporate more diverse musical influences, ranging from traditional African music to contemporary pop and electronic sounds. His tracks often feature a mix of live instruments and digital production, creating a rich, textured sound that appeals to a broad audience.

Moreover, his style has become increasingly polished and professional, reflecting his growth as an artist. The production quality of his videos has improved significantly, showcasing his skills not just as a musician but as a content creator capable of producing high-quality visual and auditory experiences.

Engagement with Fans and Social Impact

Another critical factor in The Kiffness’s success has been his engagement with his fans. He actively interacts with his audience through social media, responding to comments, sharing user-generated content, and even creating music based on fan suggestions. This has fostered a strong sense of community and loyalty among his followers.

Additionally, The Kiffness has used his platform for social impact, addressing important issues such as mental health, animal rights, and social justice through his music and public statements. This has further endeared him to his audience, who appreciate his authenticity and willingness to speak on critical issues.

How Reels Became One of the Last Vestiges of Monoculture

In an era where mainstream music, television, and films have fragmented into niche markets, reels have emerged as one of the last vestiges of monoculture. These short, engaging videos transcend geographic and cultural boundaries, creating a shared digital experience that connects people globally. Reels have become a powerful medium of communication, offering a common ground where users can share content, trends, and ideas.

Unlike traditional forms of media that often cater to specific demographics, reels have a universal appeal. They are quick, visually stimulating, and carry a strong emotional punch, making them perfect for today’s fast-paced digital environment. As attention spans have dwindled, the traditional consumption of television and films has shifted. Many people now use TV as background noise, providing a semblance of comfort while they engage in the more immediate attention gratification of doomscrolling on their phones.

In this landscape, reels offer a brief but potent escape from the doom of the scroll and the crushing weight of our increasingly dystopian and isolated society. A well-crafted reel can capture and hold attention, providing a moment of joy, humour, or inspiration. They tap into the human desire for quick rewards and social validation, often delivering a hit of serotonin through a funny or cute clip. This instant gratification keeps users coming back for more, turning reels into a daily ritual for many.

Moreover, reels have become a cultural currency. Sharing and creating reels allows people to participate in global trends, fostering a sense of community and belonging. They act as a modern-day campfire, where stories, jokes, and memes are exchanged, reinforcing social bonds.

Conclusion

The Kiffness has ingeniously harnessed our innate desire to connect with the world through reels, breaking through the barrier that has recently relegated music to a secondary form of entertainment. By remixing viral videos and collaborating with the unlikeliest of co-stars, like cats, The Kiffness has made music the focal point of his content while leveraging irresistibly cute and catchy elements that captivate audiences worldwide.

Through reels, The Kiffness has redefined how music is consumed in the digital age. His content is not just passively enjoyed but actively engaged with, shared, and talked about, making music an interactive experience. This approach is particularly effective in today’s digital landscape, where attention spans are fleeting, and audiences crave quick, gratifying content. His ability to turn fleeting internet moments into enduring musical pieces highlights the power of reels to create a sense of community and shared entertainment in a fragmented media landscape.

Artists looking to emulate The Kiffness’s success should focus on creating visually captivating and timely content that resonates with a broad audience. Embrace the dynamic format of reels to showcase your music in innovative ways. Use humour, cultural relevance, and high production values to make your content stand out. Engage with current trends and inject your unique artistic perspective to turn passive listeners into active fans, creating a vibrant and interactive musical experience.

Article by Amelia Vandergast

Should Music Fans Be Obligated to Separate the Art from the Morally Reprehensible Artist?

Posted on 25 May 2024
Sexual Abuse

The Rock n’ Roll Hall of Fame is haunted by stories of sexual abuse, violence, and penchants for underage groupies, nonetheless, their portraits are hung, and the light of their legacies remains undimmed in popular culture. ‘Icons’ such as Bowie and Jimmy Page are still revered in a so-called era of cancel culture which sees the media peddling stories of fresh allegations for profit and forcing fans to wonder what role they should play in holding artists accountable.

The ongoing debate about how to deal with musicians who have committed abuse has come up once more after distressing video footage of rapper Sean “Diddy” Combs attacking his then-girlfriend Cassandra Ventura in a hotel in 2016 was released by CNN. In the previous year, Combs settled a lawsuit filed by Ventura, which accused him of a decade-long pattern of sexual and physical violence.

We have already seen that music fans are all too happy to turn a blind eye to the dark side of their sonic deities if it means that they can enjoy their music in a guilt-free capacity, but do we have a duty to banish abusive and exploitative artists from our playlists and record collections? Do music fans have a role to play in enforcing accountability and pushing society away from a culture which gives famous artists free passes to enact their abusive tendencies? Will there ever be a concrete and definitive answer to the age-old question, can the art be separated from the artist?

Why Is It Significant If Artists Are Abusive?

High-profile cases of sexual abuse significantly shape public perceptions of gender-based violence. Unfortunately, discussions in the media and among fans struggling to let go of their loyalty often attempt to diminish the instances of abuse by referring to sexual violence as simply ‘sex’ or blaming the victims for their experience.

In a time when gender-based violence is critically high in many regions and figures such as Andrew Tate are helping to normalise misogyny, the portrayal of Combs’ actions and society’s reaction can deeply influence our tolerance for such behaviour and whether those who commit violence are held accountable.

Historical Perspective

Musicians have long been implicated in gender-based violence and domestic abuse, yet they have often been protected by the industry. Historically, such behaviour was hidden behind the toxic “sex, drugs, and rock’n’roll” persona or excused as part of the artist’s “genius.”

During the #MeToo movement, many women shared their stories of abuse, assault, and sexual harassment involving well-known artists, directors, and actors. Despite this, abuse prolifically persists, with some artists and record labels using legal strategies to suppress information and silence survivors to protect their status and income. These strategies include quick settlements with non-disclosure agreements and defamation lawsuits aimed at safeguarding the artists’ reputations and commercial interests. The effectiveness of these tactics is seen in how long some artists’ abusive behaviours remain “open secrets” until undeniable evidence surfaces.

Reactions of Fans

Fans’ reactions to allegations of misconduct vary widely. Some believe they can separate the artist from their actions, maintaining that the artist’s personal behaviour does not affect their enjoyment of the music. Others view the artist and their work as inseparable and choose to stop listening to their music, discarding any related merchandise and memorabilia. For these fans, discovering such allegations can deeply impact their identity, especially if they had a strong connection to the artist’s work.

Jenessa Williams has conducted ample research into cancel culture, examining how race and genre shape perceptions of perpetrators, reporting that hip-hop fans can be more forgiving and sympathetic. Williams also noted how the response to Tom Meighan of Kasabian physically abusing his fiancé became definitive proof of fan loyalty being taken more seriously than victimhood. She also elucidated how fans can go into ‘denial’ phases of shock when allegations initially surface, highlighting how hard some fans can be hit by news of their idols falling from grace. It is clear that no free passes should be given in the wake of sexual violence. However, what remains unsettled is the question of should artists, after they have faced the consequences of their actions, be welcomed back into the music industry and the public sphere with cautiously open arms?

Shaping the Narrative

Fans have the power to shape the narrative. They can either minimise and excuse the actions of violent perpetrators and the industry that supports them, or they can stand in solidarity with survivors. Refusing to listen to the music of abusive artists can be a powerful political statement. However, since many fans continue to listen, it is essential to do so with an awareness of the broader social and political context in which violence occurs.

If you can’t unchain yourself from the music, listen without excusing or ignoring the artists’ violence, genuinely engage with survivors’ experiences, and challenge the music industry’s complicity. This involves incorporating survivors’ stories into the histories of these artists to ensure their misdeeds are not forgotten. We can acknowledge an artist’s work or achievements while holding them accountable for their actions and ensuring that survivors’ stories remain in focus.

The Need for Structural Change

Individual fans alone cannot hold artists accountable. There is an urgent need for structural change within the music industry to ensure that perpetrators of gender-based violence are no longer given a “free pass” and to prevent the normalisation of violence within the industry. As in broader society, there is still much work to be done to address these issues.

Article by Amelia Vandergast