The Internet and The Music Industry: Artist Promotion vs. Illegal Downloading

As the sales of iPods increase more than ever, as is the number of people illegally downloading music.

     Everyone’s at it. We want music on command and for free. For the past few years with the seemingly continual expansion of the internet, the music industry has been affected in a number of ways, mainly by constant illegal downloading of music as well as file sharing, and mass artist promotion and advertising on websites such as PureVolume and MySpace.     

     With the sales of iPods and MP3 players rocketing sky high recently, with Apple selling 22,727,000 iPods in just three months and gaining a handsome of profit of $10.17 billion last year[1], music has never been so accessible.

The History of the Music Industry:

     When music was first released, it was in the form of vinyl, (incredibly large CD type objects) which was back in 1948 by Columbia Records. The internet, however, has made many things easier and faster; shopping, socialising and listening to and downloading music. It has made watching and sharing music free, but also downloading it. ‘...music piracy is having a dangerous effect on...music...rich and successful artists like...Radiohead don’t seem to think so’[2], Lily Allen stated on her blog. She has a point. Bands such as Radiohead sell out arenas in seconds; do they really need much income? But for struggling bands and new talent, it’s a different story. File sharing and illegal downloading is making it more and more difficult for new music to emerge profitably.

     Consider how music was prior to the internet. Remember the cassette tape, or, in the fact, the prehistoric CD? Remember selecting just one CD and slot it into your Discman for the week? Now there are thousands of ways to get music, but in terms of promotion, new artists are simple making little or no profit. Although the internet helps a great deal with promotion and advertising, it does not bring in any revenue. When MP3 format was publically established in 2000, the concrete methods of the music industry were overturned and the world went music downloading crazy!

The Social-Networking Effect:

     Nonetheless, bands and artists are currently becoming prominent in the music industry by the public promoting them, which, in my opinion, is how it should be, as opposed to a record company listening to countless demos and endorsing new talent. Nowadays, by the time ‘new’ talent is officially advertised, a well-established fan base is already in place.  Thanks to social networking websites such as Facebook and MySpace, the public can chose to support an artist by joining fan groups and posting videos. MySpace displays tour dates, photographs and artist profiles for fans to observe.  Twitter allows discussion and eventual promotion, which the public is in full control of. YouTube is fuelled by the watching of endless videos, and even be recommended associated videos, enabling many an artist into the limelight. Although many artists may state that money means nothing as long as their music is ‘out there’, everyone needs to eat.

    The teenage market; the most targeted market there is, chooses illegal downloading, which is a major concern for music. But as the internet is constantly evolving, so is the music industry. People tend to think in terms of individual tracks as opposed to an entire album, yet there are still those who might purchase an album after growing fond of one track by the same band or artist. But surely it is better to actually purchase, even a single track than download a complete album illegally?

Music and the Internet:

     Conversely, websites where the public have unlimited access to music downloading are tarnishing the music industry. Although file sharing is just a drop in the ocean, in excess, bands are struggling to make money whilst bosses of billion dollar record companies notice little or no difference in their bank balances. Record companies exist to make money. Illegal downloading and file sharing is a critical problem, and will only deteriorate in the future. Last year, physical album sales were down 46% and digital downloads increased by 43%, from 17.6 million single sales, to a colossal 23.4 million.[3]

     Some artists chose to give their music away for free or allow fans to pledge as little as a penny towards it. But there are other ways for musicians to gain income other than directly through their music, such as merchandise and fan clubs. But other, less widely known bands, such as The Blackout have been forced to permit fans to donate to the promotional costs of their text album, through ‘once in a lifetime experiences, for instance an acoustic gig in your very own home for £500 and exclusive merchandise. This was due to illegal copying of previous tracks from the band’s MySpace page, which brought very little takings for the band.

     The cost of legally downloading an album from a site such as ITunes is generally cheaper than heading out and buying a physical copy. Perhaps in the near future the world will adapt further and CDs will be no more, but if there is a worldwide refusal to actually buy music, the industry will also be no more. On the other hand, purchasing a physical CD allows the consumer to obtain original album artwork, photographs, song lyrics (not googled), as well as the artists’ acknowledgements. According to the Recording Industry Association in America total music sales demised by $4 million from the year 2000.[4]

     Music is very easily manipulated and accessible, and as the world becomes more convenience obsessed, this can only decline. We all know what it’s like when a little-known band you’ve loved for years suddenly becomes popular, and you die a little inside. So do your favourite band a favour and support them if or when they do ‘make it’, or continue to do so. Tear yourself apart from that £8 and buy the album, rather than downloading a dodgy illegal copy. Use the internet for artist promotion.

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[1] Apple Official Quarterly Sales Figures for 2009
[2] Lily Allen’s Official Blog

[3] Official Album Sales Figures 2009

[4] Recording Industry Association (Music Sales) 

Paramore @ Birmingham NEC/LG Arena (16/11/2010)

    Paramore, a pop-punk rock band from Franklin, Tennessee, formed in 2004 and burst onto the music scene back in 2005. Their debut album ‘All We Know is Falling’, 2005, was inspired by the likes of Fall Out Boy and Blink-182. Their fan base has been expanding worldwide ever since, propelling them comfortably within the mainstream scale, and with infectious lyrics, immense riffs and profound love songs, they are unavoidable.

    

     ‘Brand New Eyes’, Paramore’s third studio album was released in 2009, this year won Kerrang’s best album award. This week, it reached platinum status in the U.K, making it the band’s biggest seller to date. Lead vocalist, keyboardist and front woman, twenty-one year old Hayley Williams, collaborated with rapper B.O.B earlier this year on the track ‘Airplanes’ which reached number one in the U.K and the U.S, forming a greater fan base for Paramore. Consequently, B.O.B along with quirky pop rock band Fun, complete support for the U.K tour.

     Following their phenomenal success over the past year with singles such as ‘Ignorance’ and ‘Brick By Boring Brick’, as well as a sold-out tour last December; this was set to be Paramore’s eminent U.K visit. Regardless of the sub-zero temperature, fourteen thousand keen and diverse fans, piled into the arena at 6pm. Immeasurable anticipation was in the air as the room filled, and it became clear that every seat and space has been sold.

     New Yorkers Fun graced the stage first, armed with ironically fun tracks such as ‘At Least I’m Not As Sad (As I Used To Be)’ plus a dreadful cover of Queen’s ‘Radio GaGa’, which diabolically failed to entice the crowd. B.O.B, however, blew the audience away, with the perfect combination of performance and encouragement. His stage presence and set-up, including a DJ and dancers, were alluring and his set list was impressive, including his debut single ‘Nothin’ On You’, new track ‘Magic’, which features guest vocals from Weezer’s front man Rivers Cuomo, and of course, number one single ‘Airplanes.’ Predictably, Hayley Williams erupts onto the stage sporting her spanking new pink hair and a dreadful long puff jacket, and the single’s success is apparent when the two can scarcely be heard over fourteen thousand rowdy voices. The crowd’s energy built up in the wait for Paramore, with the entire arena participating in a Mexican wave and chanting for the show to begin.

     Eventually, Paramore took to the bedsit inspired stage; complete with a sofa, amplifiers, five screens, and swinging light bulbs, to the welcome of senselessly passionate fans. Opening with ‘Ignorance’, the set excelled as it continued incorporating tracks, ‘Feeling Sorry’, ‘That’s What You Get’ and ‘For A Pessimist, I’m Pretty Optimistic.’ The set list had clearly been cautiously structured to appeal to fans new and old, with tracks included from all three albums. The band’s passion and talent are incredible. Zac Farro’s remarkable drumming kept all members in check for the entire ninety minutes, and constantly drove the crowd’s energy.

     ‘Emergency’ and ‘Playing God’ particularly conveyed Taylor York’s and Jeremy Davis’ rhythm and bass guitaring skill, as well as how perfectly old and new tracks link, despite variations in sound and line up over the years. Jon Howard is currently touring with Paramore to assist with keyboards, rhythm guitar and backing vocals. Another aspect that aided the band’s stardom was having two songs featured on the soundtrack of the tremendously successful 2007 film ‘Twilight’; ‘I Caught Myself’ and ‘Decode’, which was performed next, displaying Williams’ haunting and stunning vocal abilities. She has the rare ability to portray bravado and vulnerability in tandem, especially through lyrics, which is simply irresistible.

     These uncommon characteristics shine through when the band begins a four-track acoustic set to illustrate their awesome capabilities as musicians seamlessly. Williams’ and lead guitarist and backing vocalist Josh Farro have an indescribable contagious chemistry, which is evident when the two execute ‘Never Let This Go’ faultlessly. Clearly, the acoustic section was included to exhibit Paramore’s soulful connection as a band and with fans, as Williams welcomes them ‘...to the family.’

     ‘When It Rains’ was flawless, along with ‘Where The Lines Overlap’ and ‘Misguided Ghosts’, after which, the audience was repeatedly thanked for their ‘...support on the journey’ and informed that 'music will never not be there (for you.')', which revealed how warm and humble the band remain, despite their capability to sell out arenas. The energy level surged, and this, Paramore’s fourth U.K show out of a full six, was unmistakably lively, but also, with the acoustic tracks, very moving. Anthems ‘CrushCrushCrush’ and ‘Pressure’ allowed firecracker Williams to reform back to head banging and surging across the stage whilst immaculately singing, as to not be overshadowed by other band members. ‘Looking Up’ utilised five screens behind the stage to show pre-recorded footage of the band specifically for this track.

     Each band member was individually introduced to the audience by Williams, but when she herself was introduced by Josh Farro, the reaction was thunderous, and did not quieten when she yelled ‘Tonight you belong to us!’ ‘The Only Exception’ depicted the band’s supreme abilities and formed a picturesque sight when every member of the crowd held up a light. The encore, ‘Brick By Boring Brick’ and ‘Misery Business’ flaunted why Paramore won Best Rock Band at this year’s MTV EMA awards, and with selected audience members being lucky enough to perform 'Misery Business' with the band, the gig came to an end.

     With infectious vigour and remarkable flair, the show ends with confetti and fireworks bursting from the stage, reflecting how Paramore have developed into an arena-filling band in just six years.  


5/5     

A Day To Remember- Homesick (03/02/2009 Victory Records)

        This, A Day To Remember’s third studio album, and second with Victory Records, ‘Homesick’ is made up of the same intense, venue-filling characteristics as other albums, but on a larger, and more confident scale. The five-piece pop-punk/hardcore Floridians, formed in 2003, appear to be fully aware of the success of other bands within the alternative music scene, causing them to grasp to their genres considerably.

     In terms of content, hardcore riffs, aggressive drumming and catchy pop-punk choruses, make this album perfect for lively, and inevitably sweaty gigs, with every single song having a chorus that kicks you in the face! The opening song, and first to be released as a single, ‘The Downfall of Us All’ is the perfect opening to any gig, with its haunting start. The song tells a story of what life is like for the band touring and playing endless shows, ‘I sold my soul to the open road...’, as well as it being a thank you to fans who have helped them on the ‘open road’ to success, ‘We signed 3, 4, 5 on the dotted lines...’. Track 2 is very conventional for the pop-punk genre, but it is the bulky guitar revving that retains the uniqueness of ‘Homesick.’

     The third track begins is more or less the same fashion, with an apparent outburst from lead vocalist and frontman, Jeremy McKinnon, as well as guest vocals courtesy of Mike Hranica from The Devil Wears Prada. The jaunty, irresistible yet steady back beat that evolves into full on screamo by the second verse, ‘So run like hell, sleep with one eye open...’, which illustrates the band’s capabilities; skilfully jumping between styles. Particularly in this track, Alex Shelnutt’s drumming is phenomenal and truly drives the rest of the band, along with beautiful backing vocals and harmonies from Neil Westfall, who also plays rhythm guitar.  It is remarkable in terms of the various sections, such as vocals, screaming, chants, drum, lead and bass guitar solos that it is composed of, that come together to create a really impressive track. A Day To Remember have also not underestimated the power of an exaggerated pause for dramatic effect, but even this, they have made their own by incorporating a cough.

      However, as the album goes on, the format of each song remains the very similar, making the blended tracks slightly repetitive, which could potentially make the listener become accustomed to the organisation of each song. Yet individually, every track is engaging, so perhaps this is just A Day To Remember portraying their concrete blend of genres. ‘Have Faith In Me’ and ‘'NJ Legion Iced Tea'  are distinct from many other songs on the album because of how tepidly they begin, providing a component of calm, with stunning vocals from McKinnon, to a record that can often be harsh on the ears. ‘Mr. Highway's Thinking About the End’ emerges with a polite guitar-driven melody with an intense interruption from drums and yet more screamo vocals, perfectly combined with a jaunty chorus and further outbursts of drumming skill. The track ends with a fadeout of, ‘Will we ever get what we deserve?’ which pieces together with ‘Have Faith In Me’.

     ‘Welcome to the Family’ encloses obvious influences from bands such as Four Years Strong and New Found Glory, one member of which produced ‘Homesick.’ A hardcore edge and the additional vocals from Vincent Bennett of the Acacia Strain (with whom they toured Australia in December 2009); provide necessary variety. The album’s title track curiously appears just over half way through the twelve track complication, but is well worth the listener’s patience. With its furious verses, followed by a tranquil and honest chorus based ‘Hey mom, I wrote you some soft songs...’. This song is perfect for single release because of its commercial uphold, despite the fact that it was controversially never officially released individually. However, it also displays the band’s excellent lyrical capabilities; to narrate inner emotions, as well as their hardcore genre, ‘I’m holding onto a fairytale.’

     The next three songs are very similar to one another, but still retain the style and format A Day To Remember have utilised admirably throughout the album. But the final track is composed of the third set of guest vocals, courtesy of VersaEmerge’s Sierra Kusterbeck, whose vocal abilities are outstanding, and also unify with McKinnon almost faultlessly. Refreshing and stunning acoustic guitar brings the album to a gentle conclusion via poignant yet comforting crowd vocals.  

     Despite several variations in their line-up, there appears to be no necessity to adapt an unusually successful mix of rock and hardcore.  Although their style is clear, A Day To Remember have clasped the generic features of pop-punk and hardcore, which not only makes the album repetitive at times, despite guest vocals, but also provides some conventionality. Gang vocals allow you to hear the band's stadium potential, with their 30 Seconds To Mars standard of band and fan unison. You'll be humming and chanting every song after just one listen. Thanks to the seamless blend of elements, every song is a killer ready to bring the house down. 

     The beauty of their wall of sound is that no one can quite place their finger on a genre. McKinnon once stated, ‘We’ve always played what we wanted to hear’, which is an adequate comment, as the band thrives on an every-growing number of fans worldwide, and are consequently, a welcomed member of the alternative family. Homesick is one of the best and most addictive albums you're ever likely to hear

5/5