Major Issues for Independant Music: CMJ Coverage

The CMJ Music Marathon is currently in its 27th year and the 5-day festival is widely known as a jumping off point of myriad underground acts. Less well known are the panels during the day, populated by artists and music industry professionals dealing with wide ranges of topics relevant in today's music world. One such discussion, titled "DIY or Die" centered around the benefits and challenges of independently releasing music and the role of labels in today's music world.

Panelists included Tom Gates, a manager for Nettwerk Music Group, Cortney Harding, indies correspondent for Billboard magazine, and Nick Young, vocalist and guitarist for independent band A.i. The discussion was moderated by Virgil Dickerson, founder/president of Suburban Home Records.

Independent music -- for the purposes of this discussion defined as bands with no record deal doing most things on their own without the help of any label, major or otherwise -- is more viable today than at any other time in recent memory and while it's true, as Harding stated several times, that blockbuster success happens mostly by chance there are many things artists can do on their own to make and promote their music. Harding went on to say that bands don't need labels to hire agents and promoters or to book shows. Many of the things that artists used to depend on record labels for can now be done by the artists themselves.

Gates -- whose position at Nettwerk entails providing independent bands any tools necessary to make their music on their own -- agreed with this position adding that, "Self releasing doesn't mean simply putting something on the Internet." It's obviously more work for the band members but it's also more control and flexibility. A marketing decision that might take a week to decide -- for instance, the Formats' decision to release their latest album for free prior to their tour -- might take months at a major, if a decision is made at all. This sort of mobility gives small acts the freedom to innovate and take real chances in propagating their music. For small bands starting out Gates said, "As much as you can give away for free, do it." The exposure and word of mouth it can create is irreplaceable for small bands. Incidentally, after allowing free download of their album the Formats went on to sell out their entire tour.

Indeed, in light of the rise of digital formats and the general decline of album sales many bands seek to make their fortunes entirely on the road selling concert tickets and merchandise. Harding warned, however, that the market is fairly saturated right now, with 4 to 5 great shows on any given night. This spreads an audience, she said, and results in increased difficulty in getting a lot of people to go to any one given show. Gates responded by saying that while it's certainly possible for a band to go on the road, spin its wheels and burn out, touring is still the number one way for independent acts to make a name for themselves.

"If you have those 20 Myspace friends in Chicago and it's a three hour drive from you, yes definitely go play in some kid's basement," he said.

More than anything the panel agreed that it when deciding in a strategy of touring and promotion it's immensely important to know your audience. "If your audience is 15-year olds send text messages, sign up for a thousand social networks but for Bruce Springsteen fans, they don't want text messages... they want Bruce Springsteen." Young added that for younger audiences technology was incredibly important. Music listeners today respond highly to video, he said, and even went on to talk about the importance of high page-rank on search engines.

"The Internet is like the Wild West," Young said, "and it's the only place [the major labels] can't control."

The most lasting point made during the discussion -- and it was raised by several panelists and audience members -- was the importance of creating something original. "If you have something real, something people want, they will find you," said Dickerson.

In the grand scheme of things, did this panel feel that the major labels were doomed to a certain death? Well, no.

"For pop artists," Gates said, "majors are still the only way to go." He went on to say that really great A&R -- that is scouting and development of artists -- can still move a band. He made it clear, and Dickerson agreed, that the best way to sign to a major is after years of success and touring independently. Coming to a major with an installed fan base and experience in the industry is the best way to ensure continued creative control. "No matter what avenue you choose, a band has to be self-sufficient," Gates said. Bands cannot depend on major record labels to look out for them and need to know how to look out for themselves.

"DIY is a lot more work," Young said, "but it's also a lot more rewarding being the ones that have control of your destiny."

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