Music Culture In 2018

An industry where any artist, journalist, plugger, promoter, or producer can begin their journey in, but not end up continuing to their final destination. A business “where pop stars dominate the masses” and “Independent labels take nothing and make something out of it. Major labels buy that something, and try to make more out of it”, the music industry is a calculating craft that forms and fractionates fandoms, unites society through a universal language, in the midst of misconduct, record labels rip-offs and curates tastemakers. 2018’s music culture is shaping up to be a year of a digital revolution, feminism dominance and streaming rising to be super superior.

Source: Jonathan Weiner

Proficient artists will be the underdogs of the charts 

Ed Sheeran’s mathematical symbol Divide (Asylum/Atlantic) was patently plastered over worldwide music charts for the duration of an overdue twenty long weeks in the number one position since released in last years second quarter. A sudden shake-up from pompous pop to relentless rock is extending a helping hand to genres outside the perimeters of Pop and Grime, which shot up into mainstream growth a mere three years ago amongst political, radio and record label landscapes defined as the ‘mainstream genre of the youth’. Entering the new year and long-serving alternative bands are defining the term of the underdog, Californian collective Black Veil Brides are putting on the war paint in the fight for modern alternative music, after Biersack’s “I believe that rock and roll is alive and well. I just think that people need to show their support and let the genre keep thriving.” statement with the ensemble inhabiting in the artform surpassing a decade. The pinnacle of their success peaking with the valiant Vale (Lava/Republic) is smashing success this first quarter, climaxing in the Rock number one position across two major territories, the highest ranked record in the ‘Wake Up’ band’s background. A significant step in a new year movement of genre recognition and impartiality.

Source: Erik Pendzich/REX/Shutterstock

Dominance of feminism

“Be a voice for all those who have prisoner tongues. There is work to be done there are songs to be sung, lord knows there is a war to be won” soulfully speaks ‘Bad At Love’ singer Halsey amongst thousands of demonstrators lining the pavements of the Big Apple. Feminism, girl power and women’s equality is a highlighted movement of powerful advocacy that the closed doors to the music business are failing to mindfully undertake. Whilst female frontiers of feminism Miley Cyrus and Beyoncé brand themselves as leading influencers of the battle of the sexes surely working with female producers, songwriters and promoters will be the most effective form of feminism music could receive in a sector where lower than 5% of producers are women, despite a male-heavy producing team behind the Lemonade (Parkwood/Columbia) album similarly to Brit exports Little Mix who chime about rounding up recruits of ladies all across the world. Rallying the rampage of equal pay, careers and ultimately feminist vocalists being this active about girl greatness off stage, the coming months could open the eyes to the rise of the ladies on par to men amongst the music business operation.

Source: REX

Streaming will reign supreme in the mainstream

In a society of comfortable convenience, streaming will continue to shape consumption of the universes transcending language. Services Spotify, Soundcloud and Apple Music are the rebellion of a revolt that has diminished the 2015 peak of crackling vinyl, hipster cassette tapes and the shiny CD’s chances of a continuous comeback in the age of digitalisation inflicting millennials mindset. With “streaming rapidly ascending to become the dominant format” and “Its market size quadrupling over the next eight years” the world is a never-ending nation of minimalistic subscribers rather than materialistic buyers, with hundreds of millions of individuals registered database users of such streaming platforms. As fans, it’s an opportune dream but for exploiting artists material it’s a monetary nightmare, no wonder Taylor Swift spat with Spotify.

Source: Pierce The Veil

Misconduct allegations will loom over the pop-punk scene

Statements of sorrow, shame and self-condemnation are spreading on social media feeds seriously speedily. The pop-punk scene has and may continue to bare witness to bogus band members departing due to allegations of sexual misconduct particularly post-Weinstein and Spacey, with the once idolised individuals Pierce The Veil’s Mike Fuentes, Moose Blood’s Glenn Harvey and most notoriously Brand New’s Jesse Lacey all perpetrators of a never-winding spiral of unfortunate sinful revelations. Shadowed by lulled lyrics and meticulous managers, pop-punks worst kept secrets have been un-silenced like the victims fallen from the famous. Whilst separating the art from the artist is a difficult concept for some and an easy ideal for others, its the price paid for unforgivable past behaviour.

Source: Conor McDonnell

Live shows will come with a serious security serving 

The Dangerous Women tour, Manchester and Route 91 Harvest Festival, Los Angeles. Live music is facing a modern threat of dangerous health and safety proportions. Scanners, seas of security and bag check stations are the sight of a 2018 gig of any scalable size, long live the days where you just go to a concert without the seed of trepidation growing to be a tree of dread before you are forced subconsciously to step back to think twice about amercing in the presence of an admired artist because of mindless morons who’s only inclination is one thing. Supremacy. With the act of terrorism and threats overhanging public spaces that contain masses of people in one sitting, a combat for this ascendency is readily available in the contexts of experience. The music youth of today’s generation are go getters, adventurers and value first hand point of views with a collation of 72% of this demographic handing over their cash to experiences for that memorable Instagram picture oppose to materialistic items for overbearing possession. Ultimately, concert arenas, festival grounds and tours stadiums are a place of happiness not fearfulness, but for the foreseeable future a saturated security serving is standard.

Leave a Reply