Do What Radiohead Does - Four Artists Who Make It Work

So Radiohead have done something quite different in releasing their latest album without a mainstream above-the-line ad campaign, and by distributing via their own website. Which they can do - because they are big already, right?

The new industry is preparing itself for any artist to do what Radiohead does. All the means to create, distribute and connect are available to anyone. The problem rests in our own belief as artists that it's not enough - that we need to rely on others to build our success for us.

Yes Radiohead have benefited from mainstream support. However, the last five years of their career has shown them breaking from the status quo to take more and more control of their work. Their confidence must stem from the fact that they are supported by a great community of fans that shows no sign of dissipating. A community that with which they have always had a relationship of mutual respect.

To demonstrate that this is happening across the industry, here are a few examples of individuals who are brave enough to step ahead, build their communities, and try out a different perspective:

Robyn

The Swedish electropop queen has been making music since she was a teenager, but her biggest success did not happen until she packed in the major labels and went on her own. Her top album Robyn was released in 2005 on her own Konichiwa imprint, which she tirelessly promoted and used to build an international fan base - in fact it took several years for the record to stick in markets outside Sweden. She followed it up with a triple album - Body Talk - released across several months. Her strategy is to work hard, create, and give back to her fans. And it's paying off. Yes she has support from the big players now - but she's in control. Inspirational.

@robynkonichiwa

MaJiKer

An artists' goal does not always have to be based around global stardom. Matthew Ker's debut album Body-Piano-Machine was released after his career as a producer took off via collaboration with French artist Camille. MaJiKer and I worked together with the aim of increasing his solo profile amongst key tastemakers in the industry. Since then he has played at London's iconic ICA, remixed Fever Ray, and earned the praise of Janice Long, Ken Russell and Nico Muhly. Tracks from new album The House of Bones was recently featured on David Byrne's podcast. Proof that targeting your PR pays off.

@MaJiKer

Simon Curtis

This electro pop robot boy has become an internet success story by using the free model to build his community. With over a million downloads of his debut album from his site, Simon has tapped in to social media to capture a fan base of tens of thousands via Twitter and Facebook. What happens next is up to him - but with that level of support he is certain to move forward confidently to the next stage of his career. His community will follow him and amplify his intention.

@simoncurtis

Raj Rudolph

The maestro behind top pop blog Electroqueer continues to build his empire with devotion that shows no sign of letting up. Although not a musician, Raj and other bloggers like him who are serious about what they do embody the spirit of the new industry. They focus on their craft, remain independent, and create communities of support. And they innovate; Raj's EQ London live nights hold sought after slots for emerging acts keen to gain their own audience.

@electroqueer

While none of these artists are yet at the stratosphere of Thom Yorke and friends, each are working within the very same playing field as Radiohead. In the new industry, the game is up to you. Take a chance, poke the box, and see what happens. The only thing stopping you is your belief that it can't be done. Artists now have the ability to take control of their own careers. It's liberating - and it works.

Radiohead image from Flickr by Ben Ward

What Next for Goldfrapp?

Alison Goldfrapp made an announcement last week that the band has ended their contract with EMI. This news does not come with any concrete detail - simply that their "time with EMI has come to a contractual end". Speaking on 6Music (according to popinstereo.com) Alison stated that the split is exciting - a new chapter with an "endless world of opportunity".

Goldfrapp are in an enviable position, and I certainly hope they use this transition zone to do something revolutionary. They are one of those groups who have built a strong community globally - through creating a diverse catalogue and a fantastic live show. Despite the relative lack of critical acclaim of the latest album Head First, their popularity has not significantly waned over the past decade (for the record - I thought the album was great). Which makes them an attractive proposition for any label or investor.

But will they go down this route? What stops them from setting out on their own - using their experience to establish their own business, record a new album, and embark on another tour. Or will they simply head off on the tried and tested route and find another big label? And if so, what would stop that relationship from going the way of their dealings with EMI?

My hope is that it is the former. I want a group like Goldfrapp to take control of their next step and set an example of a new model for the artist within the music industry. The band has every asset at their disposal - distribution, marketing, and a community that is waiting for their next move. Establishing their own strategy for this new phase of their career would demonstrate to others that this can be done - in fact, anyone can do it right now. Artists dont need to be discovered or fight for their place on a label roster - they simply need to understand what they want to get out of their careers, and take the right steps to achieving that vision.

My suspicion is that the band got out of a sinking ship and is now looking for the next one. Alison's statement of "what will we do and will anyone want us" is not suggesting the fans will turn their backs, but betrays a fear that the group feels it may not find another label home.

It may seem easier to put your career in the hands of someone else, but will it achieve your vision of success - or will you be fighting to realise theirs?

Preparing Artists For The Next Recession

It's been hard to measure the impact of the recession on music since our industry has been in a state of change for the past decade. 

I had the pleasure of meeting Darren Shirlaw last week. Apart from the amazing coaching business he has established, he's a bit of a mathematician with an eye on the economy. He predicted our recent recession, and is quite convincing in his argument that we are heading for a double dip.

This isn't great news for independent artists or labels. If you thought it was difficult to keep afloat in the past 18 months, consider how tough this will be when the shock hits pockets for a second time. Even though consumer spending is unpredictable during a recession, no one can guarantee what would happen in the case of a second subsequent market crash.

Shirlaw recommends three areas of focus for any business to ensure you not only stay strong during the dip, but come out fighting. Here they are framed through a new music industry lens:

Risk Management

Something smart businesses do at any stage of operation, risk management means you understand the potential risks facing you mapped against their likely impact. To many artists - especially those that just focus on the creative output of their career, this process is probably a completely foreign concept.

From personal experience, had Gaymonkey conceived of the possibility our physical distributor was going to go bankrupt 2 years ago it may have stopped us putting all our eggs in one basket, and allowed us to bounce back faster. 

Artists should look at their business and consider the risks ahead for the next 18 months. The threat to revenue, live shows scheduled, partnerships in development. Get them out on paper, and categorise them into low/medium/high risk. Then make strategies to minimise the risk, and as alternate plans, or even appropriate insurance, for when things don't quite work to plan. Write it all down down - you might need them sooner than you think.

Capability

On the surface this sounds like something that only big business would have to deal with. It centres around how capable your business is at output - ie, does the business have the ability, skills and talent to deliver. Those that do can upskill their workforce, or keep the infrastructure working to weather any storm.

An artist might believe that their capability rests in their ability to deliver great music. Thats true - but that is a given - if you cant produce amazing music, you won't be in business. Capability here means do you have the skills to carry you through the challenges of a downturn? Are you able to manage all aspects of your business - even your finances or legal arrangements - if the market turns and you need to cut costs? Do you have the skills to negotiate in tough market conditions?

The great thing about capability is that its up to you to learn and take responsibility. And once you have those skills, they are yours - not matter what the economic conditions are.

Innovation

The best of the bunch, innovation is something that no musician can argue against. All creatives are great at innovation - and within the music industry these days, innovation is what we need more of. Its not just innovation around your music, but across all areas of your business - from how you market, distribute, connect with your community, and perform. 

Critically it is about not wasting resources - finding new methods that cost less but have higher value (and lower impact on the environment, of course). The recession teaches us about attracting loyal customers and then keeping them. Innovative artists will be the ones that do this in the most remarkable ways.

Three areas for all artists to consider. What is clear - and as I have argued time and time again - is that artists need to prepare by thinking like smart businesses. Having a sustainable career in volatile times is possible - it just involves developing your strategy now.

Image by Banksy, of course.

Independent Record Store Day

Johnny Marr blogged this week regarding record stores in support of Independent Record Store Day. His opinion is quite different to what I posted earlier this week. On two levels ...

Firstly he argues that the record store has been forced off the high street by major retailers. I've always felt this is difficult to defend. Consumers make choices based on what they want. Great record stores - like Rough Trade - still exist and are doing just fine. They have built a strong business with clients who keep returning. Other stores - like Pure Groove - have decimated their retail stock in favour of a bar and performance space. I'm not sure many people wander past the meat markets into Clerkenwell to browse their selection, but they have a place in the community through the great free live shows they put on.

It seems to me that no one in this debate - like many other discussions about the music industry - is listening to the consumer. When we get nostalgic about record stores, we are thinking primarily of the experience that shaped our youth. Kids are clever - they don't need a high street to find great stores. Simply put, their high street is becoming digital and they choose where they shop.

Marr's second argument is that records are a great piece of art. We really need to move away from this mindset. Music is art, and the musician is an artist - who often works with great visual artists to create a beautiful experience. The CD you purchase in Tesco is not art - it is a commodity, just like the cereal and pizza you also put in your basket. Downloading an MP3 of music that creates a change inside of you - gives something back to you - is still art. We don't need a physical form with a store/label/distribution network attached to it in order to experience the art of music.

Tracey Thorn made a great comment in yesterday's Guardian. She reflected on the influence record stores have had in our lives, but then noted that we mustn't look back. Today's celebration should be less nostalgia, and more a vision of where we are going.

But in respect of today's observance, I'd like to give thanks to South Side Sound and Sound Connection in Edmonton, along with all the amazing shops on Seymour Street in Vancouver. And to the Music & Video Exchange on Berwick Street in London. But I'd like to give a giant thank you to the internet, my new independent musical universe, for connecting me to so many brilliant people and musicians over the past decade. I can't wait to see what's in store for our future!

Observing the End of Record Retail

This week marks the arrival of the so-called "Independent Record Store Day". The observance hopes to highlight the demise of the shops which for so many of us formed a key building block of our youth and musical upbringing.

This is in light of the fact that the number of independent record stores has fallen since 2005 from 734 to 305. The Independent on Sunday reports the decline is due to the recession, downloads and major retailers taking their piece of the pie.

This misses the point entirely. People are now choosing not to go into record stores. The internet has created a new experience for music fans who can now get what they previously needed from indie stores in a much more rewarding way.

While some of us may have marvelled at the encyclopedic knowledge of the boffin behind the indie store counter, the musical resource that the wikiuniverse provides is infinitely more accessible. This comes with the added benefit of the intimidation removed. I can count on one hand the number of times where I haven't been insulted by the fool on the other side of the counter (invariably male, in a band or a DJ themselves) who felt the need to gratify himself by mocking my requests for information on an artist or release.

The web can get us the info faster and whenever we need it - often direct from the artist themselves - thereby removing the barrier provided by record shop guy's ego. Bloggers have also contributed to keeping us informed - and should they suffer from their own opinions, readers can choose to simply click away.

While shuffling through new releases has always satisfied our hunter gatherer instincts, getting musical tips from biased self-declared experts has never been rewarding. In fact our recent Gaymonkey poll revealed that most of us (75%) still prefer to get musical recommendations from friends. We don't need four walls full of dusty plastic to find new music.

Nick Hornby comments in the IoS that the indie store was a great place to meet like minded musical souls. And while we owe so many important musical unions of the past to this, the web has been allowing us to make lasting connections on a global scale. People are forming their own creative communities online, resulting in brilliant collaborations.

We needed record stores in the old industry to help us develop our musical knowledge and connections. It is a shame that their time is fading - but what replaces their function in our lives is a deeper, more tailored and rewarding experience. Sadly, the days of Duckie crashing into Trax to serenade Andie are over.

Give Me Time - To Realise My Crime

The weekend's papers are all carrying the verdict in Boy George's latest trial for false imprisonment. Most feature the image of the now bloated and sullen pop star as he arrived in court on Friday. His story, from 80s icon through to reinvention as a club DJ, is marred with drug abuse - a rollercoaster of highs and lows, comebacks and downfall.

Perhaps it is no surprise that Boy George finds himself in this situation. He was barely into his twenties when Culture Club exploded worldwide, with George thrust into megastardom. What must it be like to suddenly find yourself the centre of the universe? Especially at this time in a decade known for its excess - it is understandable that many stars of this time ended up trapped in drug addiction. Thats part of rock'n'roll, isn't it? an essential element to becoming a pop brand. The problem is, when the fame fades, who is there to help them pick up the pieces?

In no way should Boy George be summarily excused for his downward spiral - responsibility ultimately lies with him. But I also wonder how record labels get away without fingers being pointed at them. Big corporations have a duty of care towards their employees. Unfortunately artists are not seen as employees (the artists ego would never allow that) - rather they are commodities that labels exploit - but surely the label should play a part in guaranteeing their well-being. For each tabloid column inch reporting Amy Winehouse's perpetual deterioration, seldom do you see a comment from her label detailing what they are doing to help the singer get back on the straight and narrow. Is it because cleaning up her life would detract from the PR she receives for her lifestyle (forcing newspapers to actually talk about her music for a change?).

A court attendant at Boy George's trial was reportedly underwhelmed, muttering over "all this fuss about a has-been". Boy George was an iconic, flamboyant, colourful star that helped to shape British pop music - but ultimately he is as vulnerable to abuse as anyone. In an industry that does little to protect their assets, every artist is destined to become a "has-been". Lets hope that as the music industry starts to reinvent itself it will make more of an effort to take care of its most precious resource.

Outsiders

"Nothing of value was ever created inside the British music business. It always came from the outside, from outsiders created in the real world. These people, out of necessity, rejection, frustration and talent, and with vision, built their own ark and sailed it alongside and ahead of the music industry. 

In doing so they created their own market. They did their own research and development. They did it, and they still do it, in small clubs, playing in front of a few people, supporting other bands, going up and down the country in little vans. They do it in home-made studios, they do it on MySpace. They don't do it on XFactor."

Johnny Marr - University of Salford Lecture

from The Independent (14th Nov 2008)

I loved this transcript in Friday's Independent. First off, it was just great to get a chance to read some of Johnny Marr's thoughts on the music business. But most of all, I enjoyed how he distills down these long tail concepts.

He goes on to say how we live in a time of "conformity and uniformity" - and I agree that this is perpetuated by shows such as XFactor. I sometimes worry that a whole generation will grow up thinking that the music business alone will validate their talent, that hard work will never pay off unless that judge at the end of the stage gives them their big break.

But as Marr points out, the outsiders carry on. And in the end, it is the outsiders that are inevitably most remembered and revered for what they create.

Image by Nicola Jennings