“For all it may be a workable and pragmatic model, a teenager miming with a tennis racket in front of the mirror is hardly dreaming about running a small business with low overheads and low expectations”.
Alexis Petridis, The Guardian, from “This song was brought to you by…” April 2008.
It’s never been easy for pop musicians who are not yet popular. A few years back, a friend of mine delightedly, excitedly told me his mate’s band (UK indie hopeful’s Vega 4) had at last been signed by a label in the US - a major in fact, Capitol. What did I think about that? My response was inevitably, rather muted. “Do let him know when you congratulate him that his chances of a sustainable career in the music industry have just improved, to roughly 1%”.
Since I was The King of Music Industry Stats at the time, he couldn’t really argue. The percentage I quoted was the appropriate one – the chances of releasing a record and going to Gold sales, and therefore, being in with a shout of getting a second album with real momentum behind it. It didn’t happen for Vega 4, even though the band was unusually fortunate to get a second bite of the cherry when they signed in the UK with Columbia 18 months later. They sunk with barely a trace.
That was back in 2005/6. Fast forward just a few years, and the music industry landscape for a new band has become even more crowded, competitive and complex. With an increasing groundswell against the idea of signing with a label (at least in the traditional sense) - but a rapidly fragmenting media landscape making any other route look bewildering - what exactly is the best route to market for a new artists these days?
Two HUGE questions face you: