A Question of Industry
You have to be suspicious of the music recording industry. This handful of large entertainment conglomerates, and other various recording artists, who have been particularly active in the defense of their own distribution rights. They have been complaining a lot. They say they are being pirated out of their well-deserved billions. Worse, they say it is everyone else’s fault.
While most industries have found a way to profit from Internet technology, the recording industry (a term I use loosely, and with some regret) has not been able to wrap its greedy head around a successful strategy. Instead, they have let their characteristic opportunism get in the way of true innovation.
Ten years ago, the formula for success in the music business was straightforward. Promotion and lifestyle niche marketing led to celebrity and successful branding. At this point in music history, every music form had its own brand and its own celebrity. Major recording musicians and their labels had a license to print money, and they were so busy at it, that they failed to notice that the currency was changing.
Their core consumers were growing disinterested. It’s not as though Tweens and college students all of a sudden decided they wanted to steal their music. They just decided it wasn’t worth anything. The promotional tactics of the Nineties were fast becoming irrelevant. The albums and singles on offer no longer captivated the attention span, or allegiance, of music’s key consumers, and they certainly didn’t need the products that the music industry was offering. Hillary Duff purses were not a substitute for the bold changes occurring in other mediums.
For the rest of the public, the promotional veneer had already worn thin. Adult consumers were growing interested in purchase affordability and flexibility. The music industry was offering over-inflated boxed sets and pricey concert DVDs. Where was the daring solution to capture our attention? There was no effort on the part of the recording industry to stay ahead of the curve, in terms of manufacturing a relevant product. They were far from proactive in telling consumers how the Internet was going to change the way they interacted with their industry.
Instead, the recording industry has worked hard to describe file sharing as piracy – fleeting customer loyalties as naivety. They are trying to guilt customers back into buying music. As a result, the pact between musicians and the public has never seemed less glamorous.
The public is being spun into believing that albums are not like every other commodity. In the post Back Street Boys era, consumers are now supposed to now understand music is an art form. It is built from the blood, sweat and tears of the musician. It is intellectual property and we must compensate someone for his or her talent. This assertion rides on questionable integrity.
Read today, that music industry giant Garth Brooks has signed an exclusive distribution deal with Wal-Mart Stores Inc. Following the lead of other industry mavericks like the Rolling Stones and Elton John (with Best Buy Inc), or Alanis Morrisette (with Starbucks), Garth is going to make some of his products harder to get. What’s more, he is doing it in style. Imagine the cachet that will be added to his artistic credibility. (Wal-Mart: a company that reeks of authenticity and culture.)
I’m sure that this latest wave of corporate synergy between the recording industry and big-box retailers will do nothing to reduce the commercial crassness that makes most people feel so cynical about buying music in the first place.
To boot, it’s not daring, and it’s not what consumers want. I feel no pity for an industry without industry. And I’m going home to download the next big star.