It’s quite the conundrum for musicians spawned by the era of virtual streaming and Napster’s foot hold. My reading of Johnny Cash’s autobiography has been inspired by the “Life In Music” series of Canadian bluegrass / folk guitarist J.P. Cormier. It’s been interesting to learn of dysfunction and cronyism behind the recording industry. The Neil Young disconnect with Spotify and Joni Mitchell’s follow on weaves its semantic influence of my perception on the consumption of music. Context is such that my own musicianship has been on the rise of late.
I never understood the Napster appeal. I never understood why folks surmised that they deserved good music for nothing. Never have and never will. The Spotify membership is affordable for all and this was a business model which obviously generated mass appeal and has consequently led to a monopolistic landscape for music consumption. It’s the reality and what is often the case for the masses generates hesitation by yours truly. The general sentiment for those with some semblance of taste is that music on the radio right now is uninteresting yet somehow the business side of radio has come to learn that this style of music aligns with advertisers. CDs and vinyl are now becoming tougher to access. Musicians are not necessarily adept at the distribution side of their own work. Production runs on vinyl require minimum orders which may exceed demand.
The consumption model for receiving music may be under scrutiny right now. That’s not to say that the Neil Young / Joni Mitchell spat with Spotify has initiated such but the egregiously low streaming royalty rates have not been sitting well with artists for some time. Undoubtedly times are changing and musicians such as blues comer Samantha Fish who seems savvy around business may start becoming the instigators of a modern form of the “label”.