The battle of the music labels

[Poker99]

http://www.guardian.co.uk/music/2010/jul/01/jarvis-cocker-backs-independent-music

 

 

In an age of plummeting CD sales, rampant digital piracy and slashed expenses budgets, music executives are rarely cheerful. But today the atmosphere was quietly optimistic at the biggest gathering of independent record labels of the year. Alison Wenham, chief executive of the Association of Independent Music which was holding its annual general meeting, said that independents were ready to step into the breach as the major labels struggle. "This is the independents' time," she said. "The public are getting bored of the cult of personality, of the huge success of superstars like Simon Cowell and Cheryl Cole and from that exhaustion around the X Factor culture a subculture is growing again." New ways of marketing, such as internet radio, was providing an energy and exposure for fresh and interesting independent music, she said. In the future major record companies could emerge as entertainment companies, rather than purveyors of quality music. "In this environment you need a smaller, agile, early adopter mentality and that does not go with the major label formula. This is a new market and they cannot change quickly enough." Speaking at the AGM, the former Pulp frontman turned solo artist and 6 Music DJ Jarvis Cocker predicted that the furore over the future of the threatened station could spur a golden age of independent music. "We have got people talking about what they value in music," he said. "The more established major radio stations and labels are flailing around, and let them. Indies are more nimble and in much better position to react." After the meeting he said the only reason bands had ever signed to major labels was because they dangled huge amounts of money before their eyes. "It was rather nice actually," he said. "But they haven't got any money left." Major labels were more likely to promise fame and fortune like "a fairy godmother", where artists were coming to realise that being signed to a independent label would enable them to be in total control of their work, he added. Simon Raymonde, founder of Bella Union, which has Fleet Foxes and Midlake on its books, said major labels were finding it increasingly difficult to sign the most exciting up and coming bands. "Fleet Foxes could have signed with anyone, but they wanted to sign with us not because of the money – we couldn't begin to compete – but because they love having a small team and we accept how they want to be portrayed." Martin Mills, chairman of Beggars Group – home to Biffy Clyro, The National and the Ramones' back catalogue – said the indies were benefiting from the digital revolution and the opening up of the music market. "Lots of the old gatekeepers are gone," he said. "We can now go direct to fans and not have to pass through the media. If you are making something really great musically, then it is much easier to get it out there." The biggest drop in music sales had been seen at the top end of the market, but medium-sized and smaller artists were bearing up well, he said. "The small guy can compete with the big guy much more easier these days. "We are releasing the kind of music fans connect with, so often instead of just buying one song – which they might do for a big pop act – they are more likely to buy the whole album." The only danger now was growing too big, he said. "We need to stay small enough to keep it personal and that is a big effort. I spend a lot of my time trying to stay small." Addressing the future of 6 Music which the BBC plans to close, Cocker said he did not think its fate was a foregone conclusion but was concerned that the BBC Trust might simply delay the decision. "Maybe they will try to stall in some way and they have already had such an overwhelming reaction that it gives a clear message. It's a slightly dirty trick – hoping people will forget." He insisted that 6 Music fulfilled the criteria for BBC stations set out by Sir Michael Lyons, the chairman of the BBC Trust. It demonstrated quality and distinctiveness, value for money had been open and responsive to the public, he said. "There has been a huge public and industry reaction and they have to take notice of that." • This article was amended on 2 July 2010. The original referred to Beggars Banquet Records. This has been corrected.

 

 

Interesting but I sadly don't see that situation around here...

[richardmac]

I'd have to agree that the indies are probably the best hope. So instead of 3 or 4 majors doing all of the selling, you end up with tons of indies, hopefully staying small enough to do good work. I could see the indies being the next step up the ladder from the diy/CD Baby approach. Sell enough CD's on CD Baby and you might attract some indie attention. Maybe the indies are the next "filter."

 

But I agree - I don't see a whole ton of fantastic indie artists that I'm just dying to buy. Part of that is my age - I've essentially heard it all before.

 

Still, in my mind, the majors are already gone. If the indies go away, then we are absolutely doomed to hobbyist music forever.

[daddymack]

The UK is a very different radio market, due in no small part to the BBC. Competiton between stations is not the driver there...a very small group of people control all radio there.

That the indies in the UK are seeing a shift is not surprising; the market there has always been more 'fickle', despite the influence of the maor record labels.

That they are now pointng to a general public dissatisfaction with the X-Factor mentality is a good sign though...

[gighive]

Major labels may not have the firepower when it comes to offering huge contracts, but they still have the means and infrastructure to promote and market artists.

 

At the end of the day, that is what drives traffic and builds a brand

 

If major artist X falls off the stage or is dating major artist X, I will hear about it the next day somewhere on the radio or on the web.

 

@ Richard. You probably don't see a ton of indie artist you want to buy from because they are all having a hellava time trying to get exposure, instead of in the studio making great music. Promotion and marketing is a full time job...

 

Its very difficult to do both.

[Dancebass]

These people LOVE to declare that "THE KINGS ARE DEAD!".

 

Ha ha!

 

Stupid morons. These revolutionaries need to get it through their heads. Television is what sells music. No TV time, no $$$$$$.

 

Got it???

 

Who owns Saturday Night Live? Who owns Late Night With Jay Leno? If you thinks there's some on-line revolution going on out there where kids are getting their new music from the internet with their own search efforts, you are a f*cking idiot!

 

The Kings sill own the keys to the castle.

[richardmac]

I think that's too quick an assessment. There's not ONE way kids are getting exposure to new music (TV.) There are many ways. TV may, or may not be the biggest one, but there certainly ARE kids finding new music online. A better question might be "Who WATCHES Saturday Night Live anymore?"

 

Owl City broke online (unfortunately.) Any TV appearances came AFTER the "band" had a huge amount of views on youtube.

 

The problem is that youtube emphasizes the gimmicky and trendy. If you have music that isn't catchy or appealing on first listen, forget TV OR the Internet. Your only hope is grass roots fans. Because most people have zero attention span for music.

[Dancebass]

 

Owl City broke online (unfortunately.) Any TV appearances came AFTER the "band" had a huge amount of views on youtube.

 

 

I can't disagree with what you're saying here. I just think "broke" is a very relative term. Especially when you're talking about the band finally quiting their day jobs.