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Taylor Swift

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

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

Mock of the Pops: Won’t Taylor Swift Think of the Butthurt Men Before Releasing Another Album?!

Unless you have been living under a rock, you’ve probably heard that Taylor Swift has brought out another album, much to the exasperation of the men ridiculing the LP’s existence without a modicum of self-awareness as to what their disdain for the artist’s stratospheric rise to fame and fortune says about them and the current cultural climate.

Meme creators and the shitposters who perpetuate the popularity of said memes have been working overtime to deride not just Taylor Swift herself, but anyone who dares to derive audio pleasure from the release, but why? Why is the existence of Swift such a bone of contention and a vessel to pour their scorn and derision into?

Reviews for Swift’s 11th album, THE TORTURED POETS DEPARTMENT, have been an incredibly mixed bag, Rolling Stone gave the LP an ‘Instant Classic’ badge of honour, The BBC lauded the four-time Grammy Album of the Year winner for her vicious vulnerability, while Pitchfork slapped a 6.6 / 10 review onto the album whilst mostly providing a commentary on how she’s become her own pantheon and been pumped up to mythical proportions.

Taylor Swift's Tortured Poets Department: Double Album, Tracklist, Bonus  Songs, Release Date, and Everything to Know | Teen Vogue

Yet, much of the sarcasm surrounding Swift daring to speak to her fans with an album which digs deeper than her persona and reflects on the stark contrast between her public image and private experiences of chaotic relationships with eloquent metaphors befitting the album’s title has nothing to do with the merit of the music. Let’s face it, probably of the most vocal critics of Swift probably haven’t listened to a single track on the album. So, why the hate?

Does Taylor Swift signify the end of the ‘that’s not for me, and that’s okay’ mentality? Is it just sheer jealousy of her status? Can it be just plain old misogyny? Or is it all of the above?

Understanding the Dislike for Taylor Swift

Taylor Swift has often found herself at the centre of public scrutiny and criticism. This distaste can be dissected into several themes including perceived inauthenticity, her socioeconomic status, and broader societal biases.

Misogyny and the “Basic” Fanbase

One significant aspect of the criticism towards Taylor Swift stems from a misogynistic perspective that labels her and her fans, often derogatorily described as “basic.” This term, suggesting a lack of individuality and an over-reliance on mainstream trends, has been used to diminish her artistry and her fanbase’s credibility. It reflects a broader cultural tendency to undermine things popular among young women, implicitly suggesting their tastes are less valid. Whether it’s excitement over a Taylor Swift album or pumpkin spice lattes returning to Starbucks’ menu in the autumn, you can be sure that the sardonic flouters will be equally as eager to scoff at pleasure being derived from something that they are scornfully ambivalent about.

While there have been instances of Swift’s fans exhibiting toxic behaviour, the fanbase is hardly alone in its toxicity. Ranker’s list of ‘The Most Toxic Fandoms, Ranked By Totally Not Toxic People’ placed Swifties as the second most toxic fanbase; when justifying why, this is what they had to say, “This fandom often bonds by sharing friendship bracelets and feverishly defending Taylor. Beware speaking ill of “Blondie,” as the Swifties will happily explain to you all the reasons why you’re wrong, all while quoting her lyrics incessantly.”

Billionaire Status and Class Resentment

Swift’s ascent to billionaire status has also brought her under fire. In a society that is increasingly critical of wealth inequality, her enormous wealth can make her a lightning rod for critiques about the excesses of capitalist success. For some, her billionaire status makes it difficult to relate to the struggles she portrays in her music, seeing them as disingenuous. Yet, Jay-Z, who remains the world’s wealthiest musician with a $2.5 billion net worth doesn’t receive a fraction of the hate of Taylor Swift.

The Determination to Knock Celebrities Off Their Pedestals

The phenomenon of building celebrities up only to tear them down is not unique to Swift, but she exemplifies it. Public figures often face a cyclical pattern of adoration followed by scrutiny and disdain as audiences and media alike find flaws to expose. This cycle can be intensified by the celebrities’ responses to criticism, whether they play the victim or retaliate, both of which Swift has been accused of in various public disputes. Until she loses, she can’t win.

The End of “Live and Let Live”

In today’s cultural climate, where every preference and opinion is broadcast and dissected, there’s a diminishing space for indifference. The mentality of “that isn’t for me, but that’s fine” is waning, leading to more polarised opinions about celebrities like Swift. In this environment, not engaging with her music or persona is often not seen as a neutral stance but as a position against her overwhelming popularity, which can alienate those who don’t see themselves reflected in her work.

Conclusion

In an era when the talent pipeline is broken, potentially beyond repair, for your average working-class artist looking to make their mark in the music industry, figures like Taylor Swift become prime targets for contempt. Are other artists more worthy of a legacy in the same vein? Probably, but until we live in a true meritocracy, we will always see disparity in the talent/fame equilibrium, and even if our underrated idols reached her status, wouldn’t we be just as quick to resent their success when it reflects on our respective lack of it? Wouldn’t we become basic by the association of our adoration?

Swift may not be perfect but name one musician, scratch that, one person who has lived a perfectly virtuously vestal life. You can’t. We’re all fallible, we just don’t live under the scrupulous lens of stratospheric fame; the majority of our lives aren’t candidly scribed through our lyrics that are torn apart looking for clues into our flaws. If so many people find resonance within her work, doesn’t that speak volumes of how accompanied she is in her faults?

Article by Amelia Vandergast

Romantic Rhapsody on Airwaves: Allen Miller’s ‘People Pretending to Be You’ Melds Indie Pop with Cinematic Love

Allen Miller

Allen Miller took the romantic comedy from the silver screen to the airwaves with his latest narratively panoramic indie-pop love song, People Pretending to Be You. The heart-in-throat hit jangle pops in the same vein as The 1975, carries all the sticky-sweet earworm potential of a Taylor Swift chart-topper, and flows with a flood of emotion, emanating the pop panache as Harry Styles.

To round off the influential smorgasbord, you’ll also succumb to the stylistic sonic gravity, which pulls you in with the same visceral pull of the snappy moody beats featured in the boygenius discography. Yet, the melodies and vocal magnetism fall by the wayside when you lock into the cunningly tender poetry within the lyricism, which proves that Allen Miller is a writer first and an artist second.

Exploring the sensation of everything falling into place as your soul cohesively connects to another, Allen Miller reached the paragon of romanticism by putting his heart on his guitar strings and paying such an affecting ode to the ethereal feeling that most screenwriters fail to sincerely capture.

People Pretending to Be You will be available to stream on all major platforms, including Spotify, from February 9th.

Review by Amelia Vandergast

Blake Robert served Southern-twanged high-octane soul in his country pop-rock single, On My Mind

The Austin sound resounds in the eponymous debut country pop-rock album from the up-and-coming singer-songwriter Blake Robert.

The heart-on-sleeve standout single, On My Mind, spills Southern-twanged high-octane soul by the smorgasbord as the radio-ready production lends itself effortlessly well to drunk-in-love euphoria. With over two decades of experience crafting Eagles-esque earwormy guitar hooks, the rhythmically sharp ones implanted in On My Mind effortlessly reel you into the romanticism, which is just as magnetically sticky-sweet as the affectionate escapism found in Taylor Swift’s upbeat hits.

If you’re a fellow TX native and you can’t get enough of the debut album, catch Blake on his 2024 live tour through Austin, and keep him on your radar for more addictively energetic releases.

Blake Robert’s self-titled LP is available to stream via Spotify.

Review by Amelia Vandergast

Interview: The inspiring soul Isabella Lavalle tells us all about her Love Interest

With a beautifully poised and other-worldly sensational sound, touching vocals and an air of calmness about her despite the harrowing winds outside, we were blessed to have a chat with the wonderfully authentic Isabella Lavalle recently. Telling us all about her new single Love Interest, crushing on Fall Out Boy and life in musically vibrant Chicago, we find a captivatingly expressive artist who truly loves what she does.

Llewelyn: Hello, there Isabella. We truly appreciate your time and for having a chat with us. Let’s start off with this. Do you recall the precise moment when you knew you wanted to be a musician and what sparked your interest?

Isabella: I don’t know if I remember the precise moment when I knew I wanted to be a musician but I know that every time I write songs and the words just flow out of me onto the page without really trying it feels like a magical, other-worldly sensation that I just want to have over and over again. The fact that a song can start from a little line I’ve jotted down and then become something bigger than itself is really mind-blowing to me, and the fact that it may feel that way for someone else is insane, too.

Llewelyn: Please tell us all about your latest release Love Interest and what the vision behind the project is.

Isabella: I think the vision for Love Interest – or the reason it was written – is because I write a lot of sad songs which are my favourite things to write, but I was having a mild case of writer’s block so I turned to writing a song that was a little more upbeat and youthful just for a change of pace.

Llewelyn: You’ve spent lots of time in Chicago and in Melbourne, Florida. What is the local music scene like in your local area (where you’re staying now) and where should we go and listen to authentic music with soul?

Isabella: With Chicago specifically, you can find people performing and playing music while you’re walking down the street – it’s kind of always around. In Florida, I’d say there is less of a music scene so it was something I delved into and grew a passion for on my own terms.

Llewelyn: What do you enjoy most about being a music creator and how do you stay inspired in such a strange time for humanity?

Isabella: The thing I enjoy most about being a music creator is that I have complete freedom as to what I write and put out into the world. I’m a very expressive person so having a career where I get to do exactly that is perfect. And as for inspiration, I keep a little handy section on my Notes app full of little one-liners or ideas I get throughout the day, and sometimes I’ll look through them and pull something out that inspires me or goes with what I’m writing.

Llewelyn: What was the last song that you listened to and are there any artists you’d love to share the stage with?

Isabella: I think the last song I listened to was either Because by the Beatles or Suzanne by Leonard Cohen. I would love to share the stage with Fall Out Boy but I don’t know if I’d be able to make it through without fangirling. Same with Taylor Swift, Billy Joel.

Llewelyn: If you could take only 5 things with you on a deserted island, what would they be and why?

Isabella: I would say my cat but I don’t want to put them in that situation. Honestly, sunscreen, an umbrella, a bag full of books, my piano and a flare.

Llewelyn: Finally, do you have any live shows soon or what does the future hold for you musically?

Isabella: I think this next year or so I’m just going to continue to put out singles and EPs and get my music heard a little more. I always have the bigger picture and crazy ideas in my head though so we’ll see soon.

Fuel the romance within on this gorgeous single via Spotify.

Interview by Llewelyn Screen

Palm Trees: French pop artist Jaarna stops for a minute in a peaceful place on Bike Ride

After previously releasing an EP under a different stage name, Jaarna cruises to exactly the place she has been envisioning forever on the lovely new single Bike Ride.

Jaarna is a Toulouse, France-based indie pop singer-songwriter and multi-instrumentalist who has been writing for over 14 years.

Inspired by a wide range of music genres and artists such as Skott, Taylor Swift and Bastille, she sets herself apart with her compelling writing, haunting vocals and powerful melodies.” ~ Jaarna

Brushing her hair with cold hands but with bags of determination to keep the rest of her body warm, Jaarna sends us into a whole new world with an extra electronic boost to wipe away all tears.

Bike Ride from Toulouse, France-based indie pop singer-songwriter Jaarna is a single all about trying to let go of something so beautiful, that refuses to leave. Sung with so much honesty and a sweet vocal experience, this is a rather special song which will clear all eyes and get us back into the right mindset again.

Washing away the past will only flow in better fragments of the future.

Listen up further on Spotify to heal the soul.

Reviewed by Llewelyn Screen

Spotlight Feature: Luminary Lyricist J. Matthews is set to unveil his debut coming-of-age EP, Courage

J. Matthews

After a phenomenally hooky alt-pop debut, Connecticut’s sharpest lyrical narrator, J. Matthews, will release his debut EP, Courage, on March 3rd.

If All the Small Things by Blink-182 reserves a special place in your soul, you will need to make room for the opening single, Courage for Fools. It abstracts the punky bite and implants sticky-sweet melodies comprised of innocently hesitant romantic lines, euphoric beats and buzzing synths.

Wanderlust is a dreamily honeyed indie-pop masterpiece which brings the titular allusion aurally to life. Jack Kerouac would have been enamoured by the restlessly adventurous soul, spurred on by a lust for life.

For You toys around with 80s-ESQUE nostalgia before bringing the indie-pop polaroid of affectionate intoxication into the modernist realm with the poetic lyrical lines that tie together the seamless shifts between indie, electro, and future pop.

Nothing to Fear, which traverses personal growth in an infectiously gratified style, is a resonantly impactful conclusion to the EP that is sure to see the singer-songwriter go far in his career.

It is only a matter of time before the songwriting accolades start cascading upon J. Matthews. His razor-sharp lyrical hooks coalesce with the ensnaring immersivity within his melodies, making each track a soul-awakening hit of sonic ecstasy.

J. Matthews Said:

“My Courage EP carries the weight of my experience, starting as an insecure college kid and growing into confidence. From figuring out love and life in Courage for Fools to the narration of lockdown stagnation and fear of missing out in Wanderlust. For You is a love song, through and through, capturing the serendipity when your idealised partner manifests as though they appeared from the production line in your own mind.

The concluding single, Nothing to Fear, celebrates the freedom of a new-found perspective, such as the one you gain from returning to your hometown after college when you find pride in your scars because, without them, you would have never become better than you were before.”

Courage will be available to stream in full on Spotify and SoundCloud from March 3rd.

Connect with J. Matthews via Facebook.

Review by Amelia Vandergast

 

Spotlight Feature: Pop-Punk’s Fiercest Lyricist, Juliette Irons, Advocated for the Heartbroken in her Latest Anthem, Skydive

After a brush with disorientating heartbreak, the Toronto-born, LA-based artist, producer, and dancer Juliette Irons picked herself up, dusted herself off and released the stormer of a pop-punk anthem, Skydive, as an act of solidarity with anyone feeling the same anxious dejection.

Skydive follows on from her evocative whirlwind, Prisoner of My Mind, which introduced the airwaves to the claustrophobia of anxiety. Still on stellar lyrical form, Skydive ensnaringly traverses the euphoric highs and dark and despondent lows of a situation-ship to prove even if you’re the one broken and bruised, you’re not the loser.

No heartbreak can survive the flood of dopamine that surges from Skydive. The rap verses are the vindicating cherry on the hook-sprinkled pop-punk cake, which tastes like 00s nostalgia, but Juliette Irons always brings her own signature emboldening flavour to the mix.

“Skydive was inspired by the confusion that comes from whirlwind heartbreak. I had just come out of a brief rollercoaster situation-ship that ended abruptly without much explanation. I felt like I had been thrown from a moving plane, woke up on the ground, and I was the only one who jumped.

I had given everything to this person, only to end up a shell of myself as I picked up the pieces during a realisation that everything was over. I hope this song can help other people going through a similar ungrounding shock to the system, and we can be empowered through it together.”

The official music video for Skydive will officially premiere on November 18th. Catch it on YouTube, and stay tuned on Facebook & Instagram, as Skydive is only the first part of the story. The concluding chapter will be told through her follow-up single, The Fear of Flying.

Review by Amelia Vandergast

No One Stays: Portland’s Mo Schulte knows that she can be ‘Hard To Love’

Spurred on by listening to a Taylor Swift track when she was just six years old, Mo Schulte shows us her splendid vocal ability on her latest single all about possibly being a bit too tough on herself for those lifelong mannerisms on ‘Hard To Love‘.

Mo Schulte is a very likeable and authentic solo indie-pop artist and bedroom music producer, who is based in Portland, Oregon.

Over the years, Mo has fallen completely in love with songwriting. She loves having the ability to beautifully express such ugly emotions when struggling with mental health and heartbreak. She also uses music to articulate her love and gratitude for the people in her life.” ~ Mo Schulte

Mo Schulte projects her vividly described story into our lives about warning any potential lovers that she might be a bit difficult at first – but once she is comfortable – things will surely change for the better as the trust factor will be there.

Hard To Love‘ from the Portland, Oregon-based indie-pop artist Mo Schulte, is an honest track about pointing out those flaws which you know are prevalent in your life. Sung with such a flourishing gusto and written with a cleverly introspective style, this is a singer who knows who she is and isn’t apologizing for anything.

Being yourself is the best way to live after all, as long as you aren’t hurting anybody else along the way.

Check out this top new track on Spotify and see more of their stories on IG.

Reviewed by Llewelyn Screen

Darrian Gerard makes no apologies with her hook-laden pop-punk single, I’m Not Sorry.

Alt-rock solo artist, Darrian Gerard, has released her self-produced single, I’m Not Sorry; the defiant anthem throws you right back to the glory days of scuzzy pop-punk while encompassing an emboldening modern lyricism style.

Away from Paramore and Avril Lavigne reminisces, I’m Not Sorry is a stellar track in its own right, and despite the DIY production, the infectiously hyper choruses reel you in hook, line and sinker. There is enough energy in this earworm to animate a main stage festival crowd. We can’t wait to watch Darrian Gerard climb the alt-rock charts with I’m Not Sorry.

I’m Not Sorry will officially release on September 13th; you can check it out for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast