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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 We Ever Be Entirely Objective About Music?

Posted on 15 August 2024
Objective

The question of whether we can ever be entirely objective about music goes beyond personal taste, touching on the intersections of psychology, culture, and personal experience. After all, Music is an art form deeply intertwined with human emotion, identity, and societal context, which complicates the notion of pure sonic objectivity.

Firstly, it’s crucial to acknowledge that music, by its very nature, is subjective. It is an art form that is designed to evoke emotions, provoke thought, and connect with individuals on a personal level. The interpretation of music is inherently influenced by the listener’s personal experiences, cultural background, and emotional state at the time of listening. For instance, a piece of classical music might be appreciated for its technical complexity by one person, while another might find it dull or overly complex based on their tastes and exposure to different music genres. On the flipside, house music can be appreciated for its hypnotically infectious rhythms which are built on repetitive beats and basslines, while others, who prefer variation in melody, rhythm and structure, will find the 4/4 beat monotonous and the lack of narrative disengaging.

The Complexity of Objectivity in Music: Navigating Personal, Cultural, and Emotional Influences

Even music critics, myself included, who often strive for objectivity in their analyses, are not immune to these influences. While we can apply criteria such as technical skill, originality, production quality, the sharpness of the hooks and lyrical content, these reviews are still filtered through their own personal biases and cultural lenses. A critic’s background, preferences, and even mood can influence their interpretation and review of a piece of music. This is why reviews can vary widely from one critic to another; what one considers a masterpiece, another might find underwhelming or pedestrian.

Moreover, the cultural context cannot be overlooked. Music is often a reflection of the society in which it is created, and different cultures have different musical traditions, scales, and rhythms that may appeal to some and not others. What might be considered beautiful and innovative in one culture could be perceived as discordant or alien in another. This cultural subjectivity means that complete objectivity is elusive, as music cannot be separated from the cultural and social contexts that shape both its creation and reception.

Furthermore, the emotional impact of music is highly personal. A song that resonates deeply with one individual might leave another unmoved. This is because music often acts as a trigger for memories and emotions, making the experience of listening unique to each person. The subjective nature of this experience means that different people will always have different opinions on the same piece of music.

Emotional Connections and Personal Relationships

Music has the uncanny ability to act as a bridge between individuals, linking us to the people who matter most in our lives. A single melody can recall a special moment shared with a loved one or reignite feelings from a past relationship. These emotional associations often develop from experiences such as listening to a parent’s favourite songs, celebrating with friends, or even mourning losses. The tracks that soundtrack these moments become more than just sounds; they are imbued with memories and emotions that shape our personal music landscape.

The Impact of Timing in Musical Discovery

The circumstances under which we discover a piece of music significantly colour our perception of it. For many, a song that serves as a solace during a challenging period may hold a special place in their heart long after the difficulty has passed; this is why our coming-of-age soundtracks stick with us throughout our lives. The music which salved growing pains continues to bring us comfort when the disorientating confusion of adolescence is far behind us in the rearview mirror. This phenomenon is a testament to music’s role as a therapeutic tool, not just an auditory experience. The timing of a song’s introduction into our lives can make it almost impossible to detach the music from the context, thus influencing our judgement about its value and meaning.

The Influence of Discovery Mode

How we come across new music can also affect our appreciation of it. When a song comes recommended by a friend whose taste we respect, we are more likely to give it a chance with a positive predisposition. Conversely, when we feel pressured to enjoy certain tracks, perhaps due to their popularity or critical acclaim, our natural inclination might be to resist. This resistance can stem from a desire for autonomy in our choices or from a backlash against perceived mainstream coercion. The mode of discovery, therefore, plays a crucial role in shaping our emotional engagement with music. Few music discovery experiences match the moments when we catch a track by chance and instantly connect with it on a visceral and intrinsic level.

The Cultural and Societal Context

Beyond personal and situational factors, the cultural and societal context in which we experience music also plays a significant role in our subjective interpretations. Music often reflects the values, struggles, and aspirations of the culture it originates from.

Listeners from different backgrounds may therefore react uniquely to the same piece of music, influenced by their own cultural narratives and societal norms. This diversity in reception highlights the difficulty in establishing a universal, objective standard for music appreciation. While there are some artists who can appeal to a broad spectrum of people from all walks of life, and transcend age, genre and cultural boundaries, such as The Beatles, for the most part, universal appeal is unviable, and it is unrealistic and counter-productive for artists to attempt to appeal to the masses.

Conclusion

The depth of our interaction with music is influenced by a mosaic of factors, from deeply personal connections to broader cultural contexts. These elements intertwine to form a unique auditory experience that is profoundly personal and subjective. Given this complexity, it seems unlikely that we can ever truly detach our evaluations of music from our individual experiences and cultural backgrounds. Thus, while objectivity in music appreciation is an appealing concept, it remains largely unattainable. Music, by nature, is destined to be experienced subjectively, resonating differently with each listener, shaped by the myriad threads of their lives.

The beauty of music lies in its ability to mean different things to different people, and it is this diversity of interpretation that makes music such a rich and vital part of human culture.

Article by Amelia Vandergast

If Film & TV is ‘Second Screen’ Content, What Hope is There for Music?

Posted on 11 August 2024
Second Screen

If you’re no longer content to consume one mode of media, you’re not alone. The prospect of consuming media through a single mode feels increasingly antiquated due to the profound influence of technology on our attention spans and habits.

The surge of smartphones and the internet has reshaped expectations, fostering an environment where constant stimulation and instant gratification are the norms. Gone are the days when people truly invested in music by tuning out from the world and tuning into the sound by letting the thematic nature of the instrumentals wash over them, allowing the lyrics to resonate, and feeling the emotion conveyed in the vocals.

It is becoming increasingly evident that it isn’t possible to truly connect to a track or an album if your attention is divided between the sonic experience and doomscrolling on social media, browsing the internet for your new material dopamine fix or sharing the latest viral video.

With that in mind, this article will examine how our tendency to constantly seek distraction through digital stimuli is reshaping the entertainment industry and diminishing the connections we forge with music and media.

The Rise of the Scattered Attention Phenomenon

Our inability to fully engage with one mode of media is largely driven by the endless expanse of information and entertainment options readily available at our fingertips, encouraging a culture of multitasking and continuous partial attention. People now often find themselves seeking additional stimuli, even if the content they are engaging with has the capacity to fully immerse them in the experience.

The urge to reach for a phone or browse on a laptop while watching a show or listening to music can be attributed to an evolved consumer behaviour that values efficiency—engaging in multiple activities simultaneously is seen as making the most of one’s time. Social media platforms fuel this trend by integrating content consumption with social interaction, making solitary media consumption seem less appealing. Platforms encourage users to share reactions, participate in discussions, and connect with others over shared media experiences in real-time.

This shift also reflects deeper psychological needs for social connection and validation, which are satisfied by online interactions. The desire to be part of a community discussion or to not miss out on real-time events has transformed the way media is consumed, making dual or multiple modes of media consumption the new standard.

What Is Second Screen Content and How is it Relevant to the Music Industry?

The concept of “second screen” content is increasingly relevant in an era where streamers are shaping their narratives to accommodate the divided attention of viewers. This adaptation stems from a recognition that many viewers engage with multiple devices simultaneously, often treating the television as a second screen rather than the primary focus of their attention. The phenomenon reflects a broader shift in media consumption habits, where audiences expect to multitask and consume content across various platforms without fully engaging with any single one.

As Justine Bateman highlights in her interview with The Hollywood Reporter, there is a growing trend among streamers to produce what can essentially be described as “visual muzak.” This approach is designed to ensure that television shows do not require full attention from viewers, allowing them to split their focus between a second screen without losing track of the narrative. Such content is crafted to be straightforward and easy to follow, minimising the risk that viewers will feel lost if they shift their primary focus away from the TV to another device.

This approach, while pragmatic from a viewership retention standpoint, poses significant challenges for storytellers and creatives who are pressured to simplify their narratives. It potentially undermines the depth and complexity that can be achieved in storytelling, as the content must be accessible to someone who is not fully engaged.

Traditionally, music has been enjoyed as both an immersive and a background experience. However, today, it is becoming increasingly the latter, with the exception of watching music live. Yet, even when people pay for gig tickets and go out of their way to experience the music unfolding before them, how many people can last the full set before they reach for their phone to document the experience for social media or seek validation by checking for notifications?

This shift towards viewing music as a secondary form of stimuli or entertainment has significant implications for how deeply listeners connect with music. When music becomes just another element in the multitasking environment, listeners may be less likely to forge deep emotional connections with what they hear, impacting everything from fan loyalty to the cultural impact of new releases.

How Can the Music Industry Adapt to Accommodate Concentration Decay?

In response to the growing phenomenon of concentration decay, where listeners find it increasingly challenging to engage deeply with lengthy content due to fragmented attention spans, the music industry must innovate to retain relevance and engagement. Here are key strategies it can adopt. While they’re not perfect, they can help artists to make more of an impact with their releases.

  1. Embrace Shorter Formats: Artists could focus on creating shorter tracks that capture attention quickly and fit more comfortably into the fragmented listening habits of today’s audience. This mirrors the trend seen on platforms like TikTok, where brief, catchy snippets can go viral, paving the way for broader interest in an artist’s work.
  2. Introduce Interactive Experiences: Leveraging technology to make music listening a more interactive experience can help engage listeners. This could include interactive music videos, virtual reality concerts, or apps that allow listeners to customise aspects of a track. Such innovations can transform passive listening into an active, engaging process that holds the listener’s attention for longer.
  3. Foster Community and Participation: Encouraging listener participation through social features, such as shared playlists, live streaming events, and fan voting on setlists or unreleased tracks, can increase engagement and prevent consumers from reaching for a second screen. Building a community around music listening helps counteract the isolation of digital consumption and encourages more devoted listening.

By adopting these strategies, the music industry can better accommodate listeners’ dwindling concentration spans and continue to thrive in a digital, distraction-filled world which has necessitated the term ‘second screen content’. However, the onus is also on the individual to rectify the damage smartphones and social media have done to their attention spans.

Article by Amelia Vandergast

Should ‘Cancelled’ Artists in the Vein of Marilyn Manson Get a Second Shot of Redemption?

Posted on 3 August 2024
Marilyn Manson

Marilyn Manson is back on the scene after getting sober, but even if he never touches another drop, there’s no way of his reputation coming clean after the spate of emotional, physical and sexual abuse allegations brought against him.

The most notable allegations came to light in February 2021 when actress Evan Rachel Wood publicly named Manson as her abuser on social media. Wood had previously spoken about being a survivor of domestic violence in her testimony before a House Judiciary Subcommittee in 2018, aiming to get the Sexual Assault Survivors’ Bill of Rights passed in all 50 states. However, it wasn’t until 2021 that she explicitly named Manson as her abuser. In her statement, Wood claimed that Manson had “horrifically abused [her] for years,” including manipulation, brainwashing, and various other forms of coercion, starting when she was a teenager.

Following Wood’s public disclosure, several other women came forward with their own allegations against Manson, echoing similar themes of manipulation, psychological abuse, and sexual misconduct. Among these accusers were Ashley Walters, Sarah McNeilly, and Ashley Lindsay Morgan, who shared their experiences via social media platforms, detailing disturbing accounts of their time with Manson. These women described a pattern of behaviour that involved Manson using his celebrity status to manipulate, control, and harm them in various ways.

How Marilyn Manson Reflected the Emepheral Nature of Accountability and Justice

The fallout from these accusations was swift in some respects, with Manson being dropped by his record label, Loma Vista Recordings, and being removed from television projects like American Gods and Creepshow. Furthermore, the Los Angeles County Sheriff’s Department began an investigation into the abuse allegations surrounding Manson.

These accusations and their public nature have sparked broader conversations about accountability, the power dynamics in celebrity relationships, and the support structures needed for survivors of abuse. Manson, for his part, has denied the allegations, calling them “horrible distortions of reality.” His legal team has responded to various lawsuits, suggesting that these claims are part of a coordinated attack. As of now, the legal processes are ongoing, and the court of public opinion remains sharply divided on the issue.

Yet, there has been no shortage of interest in his recently announced tour. Even the name of the tour, ‘As Sick as the Secrets Within’, which shares the name of his recently released single, stings as a slight to all the women who have suffered at the pallid hand of the talc-dusted embodiment of the edgelord syndrome. The lyrics cloyingly and desperately attempt to elucidate his religious reformation while also portraying the extent of how guilty his conscience is over morose pedestrian melodies which forlornly paint Manson as the ultimate victim of his vices. He’s a different beast than he was in Antichrist Superstar, but has he really found the light, or is he attempting to use it to blind his fans from his previous sin?

Regardless of what he’s putting in his arsenal to stay relevant and put money in the bank, for as long as the industry enables abusers, women will suffer the success of artists who gain their power from popularity. Fame and fortune empower and embolden abusers, which brings to question, should musicians who have fallen from grace get a shot at redemption?

Is the Road for Redemption Open for Cancelled Artists?

The phenomenon of ‘cancelled’ artists raises intricate questions about justice, redemption, and societal values. As public figures fall from grace, the discourse often oscillates between calls for accountability and the potential for rehabilitation. This conversation becomes particularly charged in the context of musicians, where personal character and creative output are often deeply intertwined.

The music industry, with all its glamour and history of pushing boundaries is a sphere where misconduct can go unchecked, sometimes shielded by fame and financial influence. Women, in particular, have borne the brunt of this unchecked liberty, as evidenced by numerous accounts that have surfaced in recent years, detailing exploitative and abusive behaviours by prominent male musicians.

The #MeToo movement has been instrumental in bringing many of these stories to light, challenging the industry to confront its demons and reassess its moral and ethical standards.

The call for ‘cancellation’—a form of social ostracism where the public withdraws support for the offending artist—often follows revelations of particularly egregious behaviour. This mechanism, while serving as a tool for public accountability, does not necessarily equate to legal repercussions but aims to impact the cultural and commercial viability of the artist. However, the complexity arises when considering whether these artists should have a pathway to redemption and what that pathway should entail.

Redemption, in a cultural sense, requires genuine contrition, a commitment to change, and actions that demonstrate an understanding of past wrongs. It is not merely a public relations exercise but a profound personal transformation that must be evident over time. The public’s scepticism towards seemingly sudden transformations of troubled artists is not unfounded.

For instance, Marilyn Manson’s recent portrayal as “skinny, sober, and Christian” coincides with the release of his new album and a new record deal with Nuclear Blast Records. This raises critical questions about the sincerity of his transformation, especially given the timing aligns with a strategic attempt to revive a career marred by serious allegations of sexual abuse.

The severity of the allegations against such artists cannot be overshadowed by their attempts at image rehabilitation. Society’s eagerness to embrace a comeback story should not undermine the experiences of the victims or trivialise the gravity of the offences committed.

While forgiveness is a personal and sometimes necessary path for healing, it should not be confused with the public’s responsibility to hold individuals accountable for their actions. The entertainment industry, in its quest for profit, often blurs these lines, readily backing projects that promise financial returns, sometimes at the expense of ethical considerations.

Furthermore, the readiness with which some sections of the industry and the fan base accept such artists under the guise of a second chance can send a disheartening message to survivors of abuse. It perpetuates a cycle where financial gains overshadow moral accountability and where superficial changes are rewarded over substantive justice.

Conclusion

The question of whether fallen musicians deserve a shot at redemption is not a simple one. It necessitates a discerning approach from the public and the industry, emphasising that redemption should be rooted in real change, not just rebranding. The music industry must develop more robust mechanisms to address and prevent abusive behaviours. Ultimately, the journey back should be marked by a sincere commitment to change, underpinned by actions that speak louder than any comeback album ever could.

Article by Amelia Vandergast

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