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THE CULTURE OF INDIVIDUALISM AMONGST ARTISTS IN THE MUSIC INDUSTRY.
Final Project
by Julia Slawinska
u1920281
Final Project: Welcome
CONTENTS
DescriptionÂ
1. ContentsÂ
2. List of Tables and Figures
3. Acknowledgments
4. Abstract
5. Main body
6. Introduction
7. Literature review
8. Methodology        Â
9. Impact Â
10. Findings
11. Discussion
12. Conclusion
13. Bibliography
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LIST OF TABLES AND FIGURES
N/A
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Acknowledgments
I would like to thank and acknowledge Jeremy Gilbert for his support in my research and Sonke Prigge for his encouragement in my portfolio work. I am beyond grateful to my fellow Music Production and Performance, and Music Technology students for being open and sharing their experiences with me in interviews. Additionally, I would like to express my appreciation to my university friends Claudia, Khaled and Wanda for their support in this and all previous projects. And finally, I want to thank Paolo Aniello, William Kedge and Tak Furamera for their engagement and help in my portfolio work. Without the people I met at the University of East London, I would not be able to call myself an artist. Thank you all for believing in me when I was not able.
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Abstract
This paper aims to define if being a solo artist is more desirable by the music industry than being in a band. In the written part, I explore the impact of culture and social changes on the current music practice. My analysis includes secondary research of various books, music magazines and Billboard charts. I conduct a comparison between a chosen solo act and a band. I also describe my approach to the topic and analyze peer interviews to gain an insight into the youth of music. In this paper, I demonstrate my process of a solo EP creation and release and compare it to the experience of a band.
The conclusion of this paper would be to gain a deeper understanding of the psychological aspect of choosing between band and solo. I aim to evaluate what way is more favourable to gaining popularity, taking gender, class background and age into consideration.
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Introduction
When I moved to London in 2019, I did not expect a pandemic outbreak to disrupt my study of Music Performance and Production at the University of East London. The lockdown which followed impacted my peers and my development. Despite the obstacles, I stayed in London and continued working on my musicianship. I started a band called Dream Machine with my classmates Paolo Aniello and William Kedge and began learning music production on my own. As the last year approached, I began thinking of my future as a musician. My dream has always been to be in a band, but I noticed that the modern music industry focuses mainly on solo artists. I felt that my bandmates were not as passionate about our project as I was. I often felt like I had to compromise my vision for the sake of the project. As the youngest, least experienced member and a woman, I had more difficulties taking a stand.
I believe collaboration is the very basis of music-making, but one must explore themself before one can to participate. When I started my last year, I did not know what direction I should go. I decided to dedicate my final year project to explore the dichotomy of bands and solo artists. The current culture of individualism, present not only in the music practice, was the starting point of my analysis. I was determined to create a solo project without anyone's support. Secluding myself from all opinions and external help proved to be counterproductive.
Despite the limited academic research on the topic of individualism among artists in the music industry, I compiled a lot of information with the help of my peers and tutors. My intention with this project is to explore the twenty-first century culture of individualism and analyze the complexities between solo and band.
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Literature review
Adler P. (2012). One For All, or All For One? Solo Artistry Versus the Band in the Age of Social Media - MTT - Music Think Tank. [online] Available at: https://www.musicthinktank.com/blog/one-for-all-or-all-for-one-solo-artistry-versus-the-band-in.html [Accessed 23 Mar. 2022].
This paper talks about the internet as a tool for self-promotion. It discusses rapid changes in the music industry and their impact on the rise of solo artists. It indicates the personality cult rise is based on social media domination. It argues that being in a band can be more challenging because of the relationships between the members and their motivations. Additionally, it connects the lack of band culture with the rise of hip-hop and electronica and the downfall of rock's popularity.
Catalano, M. (2013). Where Have All The Rock Stars Gone? [online] Forbes. Available at: https://www.forbes.com/sites/michelecatalano/2013/02/28/where-have-all-the-rock-stars-gone/ [Accessed 23 Mar. 2022].
This article connects the downfall of interest in rock bands with the social changes related to music consumption. Catalano argues there is a smaller chance of attaching oneself to a band because of the diversity in the music industry and the amount of free music available online. He argues that fans no longer want to pay for music. The article concludes rock ’n’ roll no longer exists in its’ pure form because of the invention of many new genres.
Evans, M., Hughes, Keith, Morrow and Crowdy (2013). ‘What Constitutes Artist Success in the Australian Music Industries?’ opus.lib.uts.edu.au. [online] Available at: https://opus.lib.uts.edu.au/handle/10453/117738 [Accessed 3 Apr. 2022].
This paper analyses what factors are responsible for gaining success in the Australian Music industry. It argues that musicians need to understand business and social media and have the ability to gather funding. It suggests that an artist should have do-it-yourself skills to be successful in the music industry. Ultimately the author defines success as 'whatever you want it to be'.
Lynskey D. (2021). Why bands are disappearing: ‘Young people aren’t excited by them’. [online] the Guardian. Available at: https://www.theguardian.com/music/2021/mar/18/why-bands-are-disappearing-young-people-arent-excited-by-them.
This article talks about how the technology development, high maintenance costs and a demand for relatability can be responsible for a downfall in bands. It explains how the social media culture impacted modern bands' shape and purpose. It talks about solo musicianship being more natural than creating a group. The celebrity culture and capitalistic society do not support bands' existence.
Russell E. (2021). Bands Aren’t Dead, They Just Look a Little Different. [online] Available at: https://www.papermag.com/adam-levine-bands-are-dead-2650978675.html?rebelltitem=10#rebelltitem10 [Accessed 23 Mar. 2022].
The article responds to Adam Levine's comment on the lack of bands in the mainstream. Russel argues in the early 2000s four white males were a standard musical group. She then explains modern bands are more diverse, consisting of women, Queer and POC people. The author suggests these bands have a greater social impact despite not being in the mainstream.
Sherwin A. (2016). How solo stars are ending the era of the band. [online] Available at: https://www.independent.co.uk/arts-entertainment/music/news/solo-stars-ending-era-of-the-band-sales-figures-show-a6877436.html.
Sherwin shares the statistics from BPI, which indicate the bands' decrease in market shares. He showcases a few reasons for that phenomenon, such as the closure of small live venues in London, suggesting the decline of grassroots. And the internet's influence on new generations and the popularity of POP music.
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Impact
I hope my work impacts positively anyone entering the music world or any art-related industry. It should serve as guidance on the complexities of choosing a career in music. I believe this project can help upcoming musicians navigate the music industry. I will also put my research into practice by creating a body of work on my own. A deep dive into the culture of individualism, supported by the social media phenomenon, is a starting point for a conversation on the impact of sociological changes on today's music culture.
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Findings
When working on the practical part of this project, I realized I could not finish it on my own. I did not have enough knowledge of mixing and mastering to finish the EP. I found it crucial to get the best sound possible, so I collaborated with my fellow students. I found other musicians' opinions gave me confidence and sped up my process. I believe it is possible to finish a piece of music alone. I decided to seek help because I wanted this release to be the best it could be.
I also found that the interviews were unnecessary for my research. I was able to find a lot of research which answered my questions more professionally. Perhaps my questions were not clear enough because the interviewees sometimes used contradicting statements
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DISCUSSION
Introduction
'Be you, but also be us?' (2003) — is a question Boyle asked after seeing an American cigarettes advert on a Tokyo subway. Be You, read the slogan, sounding almost like an order. Despite having little in common with authenticity, adverts dare us to be authentic. The demand for being an individual has never been as high as it is now, especially in the art world. Nowadays, online personalities share their lives on the internet to sell us the idea that you can reach their heights by being yourself. It seems as if a solo career is an ideal choice for an artist in these circumstances. As a beginning musician and a consumer, I became interested in the decrease in bands' visibility in popular media. '[...] Being real works. Being a rockstar doesn’t.' (Catalano, 2013) is a great observation, but it does not explain this phenomenon. Groups have a cultural reputation, but so do solo artists. Being successful is about something more than just being yourself. In this paper, I attempt to cover contemporary issues present in the current society and rooted in years of human culture. I will analyze the complexities between solo and band to determine the factors one should consider when deciding on a career as a performer.
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The music industry and the society
The music industry involves the production, distribution, and sale of music in a variety of forms, as well as the promotion of live musical performances (2019). It has a highly competitive and continuously changing nature, which is a by-product of the social model we live in. Competition is the centre of neoliberal society (Wilson, 2018), having both positive and negative outcomes. Individuals compete with others and themselves, which leads to cultural growth. However, it impacts the competitors mentally and can lead to burnout due to their lack of control over their fates. For musicians, it means taking on roles besides music-making, such as managing social media, releases and advertising. It may be easier for a starting band than a solo artist because more people can share these positions, and their network is usually more extensive. Some might not have many connections and require external help. That is where music labels should come into the picture. Before the social media era, labels were the easiest way to gain an audience. Nowadays, record labels are more likely to sign artists who already have a following. Moreover, their focus is on individuals rather than groups based on expenses and time limits (Lynskey, 2021). The brands do not want to invest in the artists until they are sure of the profits they will bring.
The tastes of our culture are continuously changing. Artists turn to social media to advertise their work. They need to pay close attention to these changes, learn from them and adapt (Adler, 2012). The recent phenomenon of TikTok, the most downloaded app of 2020 and 2021 (Forbes, 2021), directly impacted music consumption in the last two years. TikTok is a video-based app which offers endless content varying from pranks, tutorials, and dance and acting videos. It is a popular space for artists to self-promote. TikTok is partially responsible for the success of the current chart-topping artists like Doja Cat, Lil Nas X and Olivia Rodrigo. The success of this app led to the growth of the industry-plant phenomenon, where an artist signed by a record label acts like their road to the mainstream was organic. Beginning musicians advertise their music to gain the label's interest but are forced to compete with already established artists. The audience often cannot differentiate them because of the authenticity they see online. They subscribe to an artist to who they can relate.
I agree with Adler that; 'the model of the self-promoted solo artist has become far more conducive to success than that of the traditional band' (2012). There are many possible reasons for the disadvantage of being in a band. Groups like Coldplay and Arctic Monkeys got their first breakthrough by performing in small venues, many of which have been closed due to gentrification. It is a process of purchasing and renovating properties in urban neighbourhoods by more wealthy individuals and raising
their values. 'In London, 40 per cent of small music venues have shut in the last decade.' (Sherwin, 2016) According to British Phonographic Industry Chief Executive Geoff Taylor, these closures restrict the opportunities for new groups to develop. Gentrification also impacts music consumers. The venues raise their prices to afford increased rent and host more established musicians guaranteed to bring the audience.
Artists no longer need to search for like-minded bandmates and invest in expensive equipment. They can purchase production software and work on music from their homes, said Ben Mortimer, the co-president of Polydor Records (Lynskey, 2021). Indeed, technological development means the consumers get more music faster. Traditional bands spend more time rehearsing than some artists do on creating a track. A producer can develop a beat, send it to a vocalist, and mix and master the song in even a week.
'It's the drive-through of music; pull up, order and leave.' (Catalano,2013). The connection between the technological development and the renaissance of POP and electronic music is undoubted. Logically, handling one artist is quicker and more profitable than a band. Labels accumulate large amounts of money, but they are cautious about investing it into new artists. According to Lieb, they are likely to support female singer-songwriters, hip-hop musicians or male rock bands (2013). There is some truth to his statement even after nine years. What has changed is the decrease in funding for bands and a broader focus on solo artists.
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EP creation and Interviews
In 2021, I released an EP called 'Summer' with my band. Dream Machine consists of Paolo Aniello, Will Kedge and me. It has been a year since the release, but we have not worked on any music. I was apprehensive about starting a new project because the outcome of the first one was not satisfactory to me. As the youngest and only woman in the band, I sometimes felt misunderstood. We got together as a part of our assessment, so we had a deadline, and I was willing to put my feelings aside to finish in time. I was frustrated with how long my bandmates would take to complete simple tasks and the lack of creative control over the production. When recording with a band, I experienced gender ventriloquism, a process where male producers speak through the mouthpieces of the women they produce (Reddington, 2018). Paolo was the producer, responsible for mixing, mastering, and my vocals. He did not listen to my suggestions and failed to educate me on what he was doing with the sound. Instead, he created a 'masculinized version of femininity' (Shepherd, 1991). Paolo made my vocals sound extremely feminine, sometimes childlike through using wrong eq settings, incorrect pitching and too much autotune. Despite the unpleasant parts, I learned a lot from our collaboration. I enjoyed coming up with ideas together and extending my creative practice.
I have been working on music since I began studying at the University of East London. Throughout my studies, I met and collaborated with many musicians. However, I was not as confident about my solo work. I was discouraged as soon as I felt I did not know how to do something. 'Embrace' is my most personal project to this day. I had to be very serious when approaching it because I wanted to be in charge of everything. Above being a musician, I had to become a manager, content creator, photographer and editor while balancing work, university, social life and music-making. I wrote lyrics and composed five pieces, and when I started recording, I felt like I was missing something. Competition does not encourage asking for help, but I recognized how valuable external opinion is for my process and got three collaborators on board to finish my project. My weakest spots are mixing, mastering and my apprehensiveness about recording. I know how I want my music to sound, but sometimes I cannot achieve it. I brought all the ideas in without compromising my artistic vision because my collaborators helped me amplify my message. I felt so comfortable working this way, I ended up mixing and mastering two tracks. I also started wondering if I would have liked 'Summer' more as a solo project. I can sum up my experience with the words of Paul Smith: 'I can get things done a lot quicker as a solo artist. [...] But I love the communal aspect of being in a band.' (Lynskey, 2021).
In March 2022, I interviewed ten students from Music Production and Performance and Music Technology courses. The interviewees were all aged between 20 and 30. My goal was to gather data about today’s youth in music and the direction they want to take. These young musicians with little to no experience in the music industry stand before a choice between solo artistry and being in a band. When I started studying at the University of East London, I saw a notion of my classmates establishing their solo brands. Everyone seemed to be very protective of their work and would not be open to collaboration. I myself was apprehensive about teamwork because of a lack of confidence in my musical abilities. After over two years at university, there were much fewer students, and their mindsets changed. Every person I interviewed told me they are interested in being in bands, collaborating with other artists and solo artistry. Their primary focus is working on their own, which nobody wanted to admit to fully. I had a few quite successful collaborations with most of my interviewees. We were all proud of our work, but none of these projects were personal enough for us to care about them enough. It was clear to me that my peers want to share their talents in different fields, but ultimately they want to succeed under their names. And that is because I myself would like to dip my toes in many areas of music-making, but eventually, I see myself performing my words on stage. Despite opening up to each other, we are still protective of the creative work we do on our own.
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Band vs solo: Glass Animals and Olivia Rodrigo
Glass Animals are a London based quartet formed in 2010 in Oxford. They released three studio albums since 2014 but only recently gained mainstream media attention. Their single 'Heat Waves' reached number one on Billboard Hot 100 and Billboard Global 200 in March 2022, after 59 weeks of climbing the charts. Glass Animals set a new record for the longest climb to the top (Rettig, 2022). 'Heat Waves' is the first number 1 on the chart composed by a single writer in four years and 'is also the first Pop Airplay No. 1 that a single talent both authored and produced' (Trust, 2022). Moreover, the song was voted one in Australia on the Triple J Hottest 100 of 2020 and earned Brit Awards and Grammy nominations for Glass Animals. However, they have been present in the music industry for a while now. They previously teamed with Paul Epworth and Mike Dean on their albums and collaborated with artists such as Denzel Curry, Arlo Pars, Holly Humberstone, and Ian Dior. Most of the band's success can be accredited to Dave Baley, the main singer, writer and producer. In 2020, after the pandemic started, the only place for advertising their release 'Dreamland', was the internet. Baley did a great job of including fans from around the world through social media by creating interactive websites, releasing stems from their album and even talking on zoom to his fans. Their music and tactics make Glass Animals 'seem like a band with real vision and distinct taste, not just trend-humpers riding the waves of culture' (Deville, 2021).
Olivia Rodrigo is a 19-year-old American singer, songwriter and actress. She experienced her first major success in January 2021, when she released a debut single, 'Drivers License'. It broke Spotify's record for most streams in a single day and reached 100 million streams (Nast, 2021), hitting number one on Billboards Hot 100 and staying in that spot for eight weeks (Unterberger, 2022), and winning Billboard's 2022 Woman of the Year award. Moreover, Rodrigo won three Grammys out of seven nominations for her debut album 'Sour'. Olivia tackles early adolescence, relationships, and emotions in her music. 'Sour' features production from Dan Nigro and songwriting by Olivia, with additional credits to Taylor Swift, Jack Antonoff and St. Vincent. She is definitely in the POP sphere, meaning her rise to success is much different to Glass Animals. As a young woman entering the music industry, she needs to be especially cautious about the 'overexposure and scrutiny (that) will naturally happen to women because the public feels entitled to know everything' (Lieb, 2013). Rodrigo is very active on social media and participates in various campaigns to advertise her music as well as herself. As a female pop star, she is more likely to become a brand.
I tend to gravitate towards Glass Animals more than Olivia Rodrigo because I grew up listening to similar alternative rock bands. I also participated in various activities promoting 'Dreamland' and watched Glass Animals experience a slow rise. However, the 'Sour' rollout was equally fascinating to me. Olivia Rodrigo, a 19-year-old female solo artist, went viral and reached stardom in less than a month. Social media played a prominent role in their advertising and eventual mainstream success. Both acts expanded their fanbases through Tiktok, where their song became viral, and Instagram, where they connect with their fans on daily bases. In today's music industry, women are taught to overshare, and men remain mysterious (Lieb, 2013), but both Rodgiro and Glass Animals found a balance in what they reveal and what they choose to keep to themselves. The advertising strategies may vary, but their goal is to remain likeable and culturally relevant for as long as possible. Olivia is currently working on her sophomore album, and with over 40 million monthly listeners, she has plenty of expectations to meet. Glass Animals, on the other hand, are touring the world, and their frontman is collaborating as a producer with artists such as Florence Welch. In my opinion, Rodrigo has a bigger chance of staying relevant due to the immense media coverage and fascination with her talent.
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Conclusion
In an interview with Zane Lowe, Maroon 5’s frontman, Adam Levine, said bands are a dying breed (Russel, 2021). His words are not entirely true. 'Popular music’s centre of gravity has undeniably moved towards solo artists, at least when it comes to serious commercial success’ (Lynskey, 2021), meaning bands still exist but are not as prominent in the mainstream. Partially due to the development of music-making technology, which shapes our culture. And somewhat due to the pre-established social forms. According to a study between 2012 and 2017, 98% of producers across 600 popular songs were male. The same study shows that women are more likely to be solo artists than bands (Smith, S., Pieper, K., Choueiti, M., Hernandez, K. and Yao, K. 2021). While working on this project, I realized how confident making music solo makes me feel. I learned new skills in production and discovered some hidden talents of mine. The biggest lesson for me was not to measure success by the mainstream standard. The artists who seem in the known are not leaders 'they are, at the most, counsellors — and one crucial difference between (them) is that the first are to be followed while the latter need to be hired and can be fired’ (Bauman, 2000). Popularity can be short-lived, and the influence comes from practice. Whether I choose to be in a band or a solo artist, I will base my decision on what feels right to me at the time. In the meantime, I will participate in as many projects as I can, just like my university colleagues.
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Bibliography
Adler P, 2012, "One For All, or All For One? Solo Artistry Versus the Band in the Age of Social Media"
Available: https://www.musicthinktank.com/blog/one-for-all-or-all-for-one-solo-artistry-versus-the-band-in.html
Bauman, Z. (2000). Liquid modernity. Cambridge ; Malden, Ma: Polity Press.
Boyle, D. (2004). Authenticity : brands, fakes, spin and the lust for real life. London: Harper Perennial.
Catalano, M. (2013). Where Have All The Rock Stars Gone? [online] Forbes. Available at: https://www.forbes.com/sites/michelecatalano/2013/02/28/where-have-all-the-rock-
stars-gone/ [Accessed 23 Mar. 2022].
Chapman, D. (2013). The ‘one-man band’ and entrepreneurial selfhood in neoliberal culture. Popular Music, 32(3), pp.451–470.
Deville, C. (2021). Glass Animals Are Better Than Your Average Alt-Rock Crossover Success. [online] Available at: https://www.stereogum.com/2145342/glass-animals-heat-waves/columns/the-week-in-pop/ [Accessed 11 May 2022].
Encyclopedia.com. (2019). Music Industry | Encyclopedia.com. [online] Available at: https://www.encyclopedia.com/history/dictionaries-thesauruses-pictures-and-press-releases/music-industry.
Gallagher, A. (2021). Olivia Rodrigo responds to criticism over ‘Sour’ songwriting credits: ‘Nothing in music is ever new’. [online] Available at: https://www.nme.com/news/music/olivia-rodrigo-responds-to-criticism-over-sour-songwriting-credits-nothing-in-music-is-ever-new-3063586 [Accessed 19 Jan. 2022]
Grammy.com. (2021). [online] Available at: https://www.grammy.com/artists/Olivia-Rodrigo/38411.
Koetsier, J. (2021). Top 10 Most Downloaded Apps And Games Of 2021: TikTok, Telegram Big Winners. [online] Forbes. Available at: https://www.forbes.com/sites/johnkoetsier/2021/12/27/top-10-most-downloaded-apps-and-games-of-2021-tiktok-telegram-big-winners/.
Lieb, K. (2013). "Gender, Branding, and the Modern Music Industry: The Social Construction of Female Popular Music Stars" Routledge
Lynskey D, 2021, "Why bands are disappearing: 'Young people aren’t excited by them'." The Guardian
Available: https://www.theguardian.com/music/2021/mar/18/why-bands-are-disappearing-young-people-arent-excited-by-them
Nast, C. (2021). Meet Olivia Rodrigo, Self-Confessed ‘Swiftie’ With The World’s Biggest Song Right Now. [online] British Vogue. Available at: https://www.vogue.co.uk/arts-and-lifestyle/article/olivia-rodrigo-interview [Accessed 11 May 2022].
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Rettig, J. (2022). Glass Animals’ ‘Heat Waves’ Sets Record For Longest Climb To #1. [online] Available at: https://www.stereogum.com/2178766/glass-animals-heat-waves-sets-record-for-longest-climb-to-1/news/ [Accessed 11 May 2022]
Russell E, 2020, "Bands aren't dead, they just look a little different" Paper Magazine
Available: "https://www.papermag.com/adam-levine-bands-are-dead-2650978675.html?rebelltitem=10#rebelltitem10
Shepherd, J. (1991). Music as social text. Cambridge, Uk: Polity Press.
Sherwin A. (2016). How solo stars are ending the era of the band. [online] Available at: https://www.independent.co.uk/arts-entertainment/music/news/solo-stars-ending-era-of-the-band-sales-figures-show-a6877436.html.
Smith, S., Pieper, K., Choueiti, M., Hernandez, K. and Yao, K. (2021). Inclusion in the Recording Studio? [online] Available at: https://assets.uscannenberg.org/docs/inclusion-in-the-recording-studio.pdf
Trust, G. (2022). Glass Animals’ ‘Heat Waves’ Completes Slow Burn to No. 1 on Pop Airplay Chart. [online] Billboard. Available at: https://www.billboard.com/music/chart-beat/glass-animals-heat-waves-tops-pop-airplay-chart-1235021948/amp/?fbclid=IwAR2TLkpzwK3sFZIwilstD-TZbUbZWc_SQY5Yf440Sr8vYaTd_c9fjwg7qoA [Accessed 10 May 2022].
Unterberger, A. (2022). Woman of the Year Olivia Rodrigo Is Writing New Music (And Reuniting With A Big Collaborator). [online] Billboard. Available at: https://www.billboard.com/music/features/olivia-rodrigo-billboard-woman-of-the-year-2022-interview-1235034016/.
Wilson, J.A. (2018). 'Introduction’ Neoliberalism. New York: Routledge.
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