Dan Deacon

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The (Indie) Music Industry Is All Right

[31 August 2009]

The media is too preoccupied with the funeral arrangements of the mainstream music industry to celebrate the life that is happening elsewhere.

By Liz Colville

Much positive writing about the music industry has been published recently. The writing that hasn’t been positive has been bombarded by passionate defenses from as far and wide as the headquarters of the RIAA, musicians and music consumers. All are laden with facts of the individual and study-based variety. For instance, Charles M. Blow’s recent New York Times column rightly purports, as most angels of music industry death, that CD sales are down (“Swan Songs?,” The New York Times, 31 July 2009).

Blow has been the director of the paper’s award-winning graphics for years and his current title is visual columnist. In “Swan Songs?”, he goes further than most by discussing the general financial apathy of young music fans, not just the apathy that they apply to CD purchases. As with the young Matthew Robson’s recent report on social media, the subject of my last column, Blow’s analysis is frustrating partly because young people are frustrating (see: Backslash: Teens Don’t Use Twitter). But it’s also cursory in a way that online content is allowed to, but shouldn’t be. Blow’s point is essentially: “Well, it’s over. No one cares about owning music, because none of it is good.”

cover art

Ripped: How the Wired Generation Revolutionized Music

Greg Kot

(Scribner)

 Amazon

Pardon? The 171 comments submitted to Blow’s article are more effective than the author’s graphics, and tell a more complete story. Commenter PSJ2001 surmises that “the profit margins in the downloadable model have to be five to ten times as high as in the old world. That means that even if music revenues fall dramatically, there is still room to pay the artists more than ever, which is what should matter in this business.” Commenter Jeffrey N says, “True, the total revenue pie for artists is smaller, though it’s available to more artists more democratically. And there is much less revenue for the industry. For the most part they refuse to accept their new, less important role.”

But commenter josh echoes the idea that Blow leaves us with: “[it’s] hard to attribute all of the industries [sic] sales decline on free music & piracy,” josh says. “The music released in the last decade has been horrible compared to decades past.” Blow says the last “truly great” album he bought was The Miseducation of Lauryn Hill in 1999. I think what he meant to say is that The Miseducation of Lauryn Hill is the last great album of the ‘90s and he’s been asleep since then. In Blow’s universe, it appears that the thrills that I and millions of others get from reading end-of-year lists featuring albums we’ve bought and listened to performed live are fabricated; we don’t really like The Dirty Projectors as much as we say we do; we’re just going along with it, and while we’re at it, not paying for anything.

The reality is that there is incredible music out there that a lot of us are paying for. I don’t want a poorly ripped copy of Veckatimest in my collection (which, Mr. Blow, is something I own, not stream), and I want to see Grizzly Bear up close. “Free access” to music is not what’s killing Blow’s music industry. In fact, “free access” is, for those of us who are entrenched in the indie music industry, just a few tantalizing nibbles of a carrot.

Don’t think that if you give us unlimited streaming of your debut, or a free EP, we’ll get bored of you quickly and never see you live. If you’re good, having your album leak or releasing your first EP for free is a smart idea in the long run. If you aren’t good, you’ll either get good—and your progress will be charted on the Internet for all to see—or you’ll go home.

A very important story about the state of the indie music industry is told in Greg Kot’s new book, Ripped: How The Wired Generation Revolutionized Music. In one particularly inspiring chapter he focuses on Dan Deacon, who went to live in Baltimore in the early years of this decade, much to the amusement of his NYC-dwelling peers. There, he paid $180 in rent and literally dumpster dived for meals while becoming one of the city’s most popular musical acts. If Spiderman of the Rings, his 2007 debut LP, hadn’t leaked when it did, he told Kot:

“(N)ot as many people would have heard it and the shows I did over the summer wouldn’t have been as well attended. All these markets that the music industry has ignored are now being exploited by people you would not think of as pop stars. No label would look at me and ever say, ‘This is the guy the kids are going to be dancing to. This guy, the creepy weirdo with the blotchy hair and the gut sticking out, he’s the next star.’”

The only ominous phrase in Deacon’s statement is “the next star”, but he knows he isn’t one of those. The whole quote belongs to the mainstream music industry and you can see his grin coming through the page. Popularity is nice, but “next” and “star” are respectively impatient and gaudy words that are seldom uttered in the indie music world. Those words have no place in the prolific, naturally grown spheres of the most lauded indie bands to have emerged in this decade. For them, it goes something like: patience is key, piracy is okay, popularity will come.

Indeed, Spiderman showed up in my mail in the late spring of 2007 and within a week I was at the Bowery Ballroom, jostling in a crowd that radiated from a messy, blinking knot of electronics in the middle of the floor. About a hundred people paid about the price of a CD to see Deacon that night. In Kot’s book, Deacon describes himself as someone who has “built up a scene through touring… we weren’t just sitting at home making music.”

“Touring is still important,” he goes on to say. If fans “see it happen in front of them, it’s going to last a lot longer and they’re going to want to see it again.”

Back to Blow’s scene. Andrew Dubber, in a recent post on his blog New Music Strategies, says he is more interested in where Blow’s chart starts (1973) than where it ends (2008). The year 1973 was a time when “[n]ew and innovative kinds of music flourished in the margins.” The year 1999, on the other hand, saw “[a] world of a few stars selling millions of copies of safe and frequently dull music” (“You’re looking at it wrong,” 17 August 2009). That may be a generalization, but his main point is that in the past 35 years, the “boom and bust pattern of each recorded music format adds up to an overall rise and decline of corporatism in the recorded music industries. Culturally, this could well be something to celebrate.”

But the media is too preoccupied with the funeral arrangements of the mainstream industry to celebrate the life that is happening elsewhere. Blow and dozens of the commenters on his article are right to suggest that the mainstream radio’s five-song loop isn’t doing it for listeners anymore. It’s Fort Knox up there in the mainstream headquarters. A quality leak in the mainstream world is less easy to come by, but you can be sure that on release day, albums are dumped over our heads in a deluge of airplay and flashy marketing.

We have no choice in the matter except to listen and quickly tire of what we hear. Or better yet, we take roads so little traveled they don’t even show up on Charles M. Blow’s proverbial map. Those roads are actually quite well trafficked and are paved with profits. They just aren’t the kinds of profits that many people pay attention to. 

Blow seems preoccupied with streaming services like the much-hyped Spotify, which isn’t even available in the US, yet. It’s a streaming service that is more complete and album-based, unlike Pandora. Slate’s Farhad Manjoo told the BBC it is “better than everything that is available” over here (“Spot kicks,” 29 July 2009.) But having to sign on to the Internet to enjoy even a plethora of new and old music by the album is a hassle.

But then, going to the store to buy a CD is (now) considered a hassle to some people. Hunting around the Web for a 320 kbps version of an album (legal or not) is a hassle. Is attending a live show ever a hassle?
Yes, when surcharges are involved. So there are some outstanding hows and whys in the indie music industry debate. Why are surcharges so high, and how much money are artists actually making via digital releases and what appears to be exhausting tour schedules? Are they, as Dan Deacon appears to be, happy with their lot? The answer to the first question is clear: the industry magnates have moved away from CDs and taken a shine to tours.

The second question is harder to answer (or its answer, harder to swallow) and likely provokes the most reader comments and the most emotions. Perhaps it shouldn’t. If albums are, as Gregg Gillis aka Girl Talk describes them to Greg Kot, a kind of best-of compilation of live performances—the perfection of a craft recorded—ought they be as profitable as the numerous and varied shows a musician puts on?

The only danger is when a live musician starts being treated like a machine. Or, as George Michael once put it, when a music career is rendered into “professional slavery”.

 
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Liz Colville is a freelance writer and editor for publications including Spinner, Tiny Mix Tapes, Baeble Music, and the music blog Lizzyville. She has previously been a staff writer at Pitchfork and Stylus Magazine and was a founding employee at findingDulcinea, where she was a senior writer and social media coordinator. She lives in Brooklyn.

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Comments

Having to sign on to the internet to listen to a plethora of new music is a hassle?  No, not when the internet is ubiquitous and every phone (and tablet, netbook, etc.) has wifi, 3G (or 4G) access.  The world is changing, and we are at the tipping point of successful streaming services that are accessible not just from the desktop.  Successful iphone apps for spotify, lala, etc. will be just the tip of the iceberg.  We already know Microsoft is getting into the game, and while their execution may suck (e.g., Zune), that they are interested is yet another sign that we are getting much closer to the nirvana of the celestial jukebox.

Comment by Dean Wermer — August 31, 2009 @ 10:12 am

Amen to all of this. I’m old enough to have experienced some (not all!) of those “great eras” of music. I for one contine to experience the current one as passionately as I experienced those that came before. Anyone who thinks there isn’t just as much if not more great music in the world than there was at any of those times just doesn’t know how or where to find it. My kids have access to thirty more years of great music than I had, and it hurts me to say that they probably have more advanced musical tastes than I had at their age.

Music lovers will support music any way they can. If they have money, they’ll spend money. If they have time, they’ll use that to get a deeper appreciation of the music they love. If they have an audience, they’ll evangelize. Any music distribution channel that allows them to do those things will continue to contribute to music’s growth, even if that means that some of the old guard have to start listening to their kids and grandkids.

Comment by Greg Nisbet from The Great White North — August 31, 2009 @ 12:24 pm

Death of mainstream music?! Nooo!!!
You mean the best new shows won’t be flooded with people half-interested in the music? Fine by me.

Comment by Elliot — August 31, 2009 @ 3:56 pm

Yep.

What’s dying is the MAINSTREAM music industry. When you read the scare stories about how shitty the biz is it’s always about how Madonna’s new tour is only doing half the business as the last one or how there aren’t the slew of multi-platinum records in stores that there were in the 90’s.

And you know what? Good riddance to bad rubbish. I’m spending more on music than I ever have. I just don’t buy million selling mainstream records, and I don’t go to gigantic shitty stadium shows.

Over the summer I saw The Drive By Truckers (again. . . for God’s sake, go see them if you haven’t), Steve Earle, The Big Surprise tour (feature the Felice Brothers, Old Crow Medicine Show, Justin Earl, David Rawlings and Gilian Welche), Jonathan Richman,. . . and I bought more CDs than I can afford.

I’m sure I’m not alone.

Comment by Jamie — August 31, 2009 @ 7:59 pm

Nice article, thanks.

Comment by Elizabeth Newton from USA — August 31, 2009 @ 9:56 pm

Great stuff. It’s tough about album sales though, because I don’t feel comfortable coming out and saying “I’m not going to buy this album because I’m going to go to shows.” I can see how someone like yourself, a music critic, would feel OK about the album aspect of low sales; you probably get a lot free. But I think the majority of us should (and do?) buy music rather than hunt around for rips. Hard to say. All I know is I go to an indie show where there’s a half a mile line around the block, and it’s quite exciting to see.

Comment by Lara — September 1, 2009 @ 8:15 am

While I agree with many points of this article it does not offer anything new for those of us who work in this industry. Yes CD’s are becoming antiquated and while the music industry has offered many musicians a chance to make music or a decent living from performing the democratization of the industry has also done damage. Like Mr. Blow points out just because music is out there and “indie” does not make it good. With more music one has to develop an ear for the crap yes there is crappy music and the good which is becoming harder to find. Just because an indie artist has melancholy lyrics or a bad ass electro beat behind the guitar track does not make it good.
What has happened to music? We have opened a pandora’s box with some good and mostly bad. The commercial side of music has been dying since the tape cassette, and the industry is now catching up. It will be interesting to see what happens but as with publishing, the music industry will have to adapt to technology or die by the wayside.

Comment by Corey from Los Angeles — September 1, 2009 @ 12:01 pm

@Corey i’m not sure that it’s “some good and mostly bad.” even if it is, the process is far more democrat now.

you don’t *have* to buy or attend the concert of someone you don’t like. this has always been true but now we have so many outlets and avenus to explore.

i think the writer’s point is that there is a lot more good stuff happening than we often hear about. but for well-read online types maybe they are already aware of these good things. it really depends on who you are. but i agree the industry - some parts of it - still has a ways to go in reining in technology.

Comment by lindsey from nyc — September 1, 2009 @ 2:13 pm

I discover, buy and listen to GREAT music every week. I hunt for it search for it, jump through hoops to get it…..It’s FUN!

Most of it is not mainstream but some of it is (or it’s former mainstream artists now doing some of their best work ever now that they are independent or on smaller indie labels).

Within the last month I have bought music by: Drive By Truckers, Ani Difranco, the Decemberists, Bonnie Raitt, Jet, Band of Skulls, Michael Ubaldini, Grizzly Bear, The Bird And The Bee, and the Black Crowes, .

I think Jet and Bonnie Raitt are the only ones on that list, that are on a major label.

Also, good music is good music, it doesn’t matter when it was made. The great thing about the interent is that there is no expiration dates anymore.

I discovered the Bonnie Raitt album that I purchased last week because the Amazon mp3 store made it the deal of the day for $2.99. I had never listened to a Bonnie Raitt album before. The 30 sec samplew where enough to convince me, I bought it! I loved it! I would have never bothered with Jet’s latest album, but Amazon did the same thing. I listened but went to Best Buy since they had the Cd for $7.99 and I prefer the CD.

Speaking of CDs. Packing is king. Packaging can influence my decisions a lot. I see all the cooler packaging coming from the indie and indie label aritists. The packaging is something you can’t download.

Comment by TJR from Fullerton CA — September 2, 2009 @ 1:22 pm

Another factor in the evolution of the music industry which immensely benefits indie bands is the ability of fans to purchase individual tracks. Big labels have always been geared toward selling albums or CD’s (except for .45’s). Now, all a band should need is one really good song to compete sales wise. Consumers that might not be willing to buy an entire CD from an unknown band will probably cough up .99 on itunes for a track they like.

Comment by Mike Johnston from NYC — September 2, 2009 @ 6:19 pm

I have seen some statistics lately about iTunes store sales in particular and they aren’t very promising for the artist. As one of the comments on Blow’s article said, there is plenty of room with digital to pay the artists well. But it’s not happening, at least not on iTunes.

Comment by Greg — September 4, 2009 @ 7:44 am

reply to Greg:

Really good point. I haven’t seen those figures but if they are accurate it brings up what will probably be the next challenge to indie musicians.

The first challenge was to achieve market presence and digital music has created that opportunity. Of course presence doesn’t guarantee exposure or potentially even equal compensation for an equal product.

So the next challenge will be to take advantage of that market presence and to be paid for it I suppose but a lot of the first part is up to the individual marketing efforts of the artist. The second (equal pay/percentage) might have to be ensured via legislation.

Comment by Mike Johnston from NYC — September 4, 2009 @ 9:10 am

@ Greg: i am curious to know what statistics you are reading. I am indie recording artist. I have 4 albums on itunes. And I get the majority of the money from my sales. Itunes get’s a cut and so does my aggregator. I am by no means rich from this, but the majority of all my sales goes to me.

Comment by TJR from Fullerton CA — September 4, 2009 @ 10:04 am

Great insights, Liz!  Thank you so much for sharing them with me.  I found Mr. Blow’s analysis interesting in one respect, probably because it agrees with something I’ve believed to be happening for a long time:  we are moving from an acquisition model to a model of accessibility.  Or least it’s becoming more of a shared status.  Is it cool to be able to access your iTunes or email from anywhere, from any computer? 

I want to change our site to a homepage of blogs and news and I would love to feature your insights.  And thank you for your kind comments about our tweets.  That’s all Andrew Goodrich all the time.  Andrew is on the money and he cares about his community.  He is dedicated to sharing information with the ultimate goal of empowering more creative people to make a living doing what they do. 

You’re dedicated to the same things and we admire your work very much.  Thanks again for sharing it with me and with the Artists House community!  All the best,

John Snyder

Comment by John Snyder from New Orleans, Louisiana — September 5, 2009 @ 3:41 pm

I don’t know If I said it already but ...Great site…keep up the good work. :) I read a lot of blogs on a daily basis and for the most part, people lack substance but, I just wanted to make a quick comment to say I’m glad I found your blog.  Thanks, :)

A definite great read..Tony Brown

Comment by Tony Brown from Portugal — September 23, 2009 @ 8:12 pm

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