Longing for the day ...

MySpace Music

So, MySpace Music has finally launched in a most unexpected manner ... how predictable.

All I know for sure is that since the launch I have not been able to listen to any music on MySpace. I click on the track, the player says "playing" but the slider doesn't move and no sound is made ... go figure ...

Several people have asked what I make of MySpace Music and I've been thinking a lot about it lately. I can see a raft of possibilities, but I think the most likely one is that the venture will fail for the same reasons that the SnoCap venture has failed: it fundamentally misses the point of MySpace and the ethos of the Web in general.

I can understand why the Major Labels et al want to get into a venture like this: it has the potential to bring iTunes back to the field and it opens up revenue streams that were previously obscured. But the way they've gone about it is typically ham-fisted and will probably alienate the sectors of the music-buying public that hang out at MySpace.

But MySpace is populated mainly by 18-25s who use it to define themselves and explore their social position. Much of that involves rejecting the dominant forces in their lives and actively seeking alternatives. It's a personal and social gratification, not one of acquisition.

So for the Majors to try to sell their mass-produced, mainstream music in to that space is unlikely to appeal to the people who hang there - those people are not there to buy, and they are likely to reject anything that's mainstream anyway. Further, for the majors to insist that the indies be treated any differently is just pouring fuel on the "Fuck the majors" fire that smolders in the heart of every online music fan aged 18-25.

By this reasoning, I think MySpace Music is ill-conceived, poorly executed and doomed. Of course, I could be wrong - time will tell.

What it means to do it the hard way

John Watson had a lot of gems at the Big Sound conference, but on the "big industry" panel he addressed the issue of getting signed and whether that meant anything in the new environment. He and the others gave several examples of how acts needed a "7-year horizon" before they had figured out what they were doing and got comfortable with their business and their role. He talked about the process of accumulating fans, contacts and street cred during that 7 years and noted that, even having been signed to major record labels at an early age, people like Missy Higgins and Delta Goodrem still had that 7-year development period.

But on the subject of what happens when an acts get signed and if handed all of the support that goes along with it, he made the following observation:

"Never underestimate the satisfaction that comes from success on your own terms."

I think that's important. Getting signed bring great support and benefits but it also, like any partnership, requires compromise. Some of the compromises that record companies ask for do not sit well with some acts, and John's point was that in this day and age, there's no compelling reason to accept the first deal that's put before you.

Making it on your own terms is easier than it's ever been, and far more rewarding than compromising.

The most important ingredient for success

One of the most compelling, thoughtful and thought-provoking panellists at Big Sound 2008 was John Watson of John Watson Management. He's the guy who signed Silverchair, among others. John was the most aware and articulate person I've ever seen at one of these industry things. He had a clear theory to back up his view of what was happening in the industry, and articulated it well.

But one of his best moments (and there are more following) came when he was pontificating with the other "big players" in the Australian music industry about what has changed and what has not in the new environment. They were reflecting on what it takes to succeed when he paused for a minute and then said:

"The only thing we know for sure is that if you are doing something really good then people will gravitate towards it."

Brilliant! Thanks, John. Damn good advice, that! In fact, Michael Chugg had brought this realisation to the fore in an earlier panel, where he said:

"I find the best marketing tool is to make a great record."

As Wayne Bennett says about football: concentrate on doing the best you can at every opportunity and the rewards will follow ...

Where we come from

At the "Managing your own release" panel at Big Sound 2008, Danny Rogers, manager of Gotye, Clare Bowditch, Litlte Red and Temper trap, among other things, was discussing how artists can build networks and find other people to help them with whatever they want to do next in their careers. He was reflecting on his own experience beginning work for another company and slowly working his way into the industry, when he noted that it was important to remember that:

"We all started at the bottom, not knowing anyone."

Of course, the best response to this common situation, and the one all successful people use reflexively, is to pick up the phone and keep making calls until you find the right person or people. They're probably not going to find you until you do something to get noticed and to get noticed you need to ... find the right help.

Make it happen!!

Making a pitch to the punters ...

At one of the final session of the Big Sound 2008 conference, entitled "Managing Your Own Release", Carlo Santone from Blue King Brown made a great point about the way entertainers should think about their interactions with the music-buying public. He was describing his days busking and trying to sell CDs, how people would mostly just ignore his act and keep walking, or even stop briefly and then resume walking, when he said that he figured out that the most important thing an entertainer who wants to make a living should ask themselves is:

"How can I convince this complete stranger to buy my CD?"

He's exactly right. If you want to make a living as a performer, you have to give complete strangers a COMPELLING reason to buy your CD ... or throw you some cash ... or fund your next tour of release ...

The trap, though, is to think too much about stunts and gimmicks, which might get attention in the short-run but does not lead to long-term commitment and fandom. A performer needs to concentrate on making their act as gripping as it can be ... great songs, great stage presence, great vocals/instrumentals.

Only that combination, with a lot of hard work and little luck, will build you career.

OK, So I've been missing a lot recently ...

That's for a bunch of reasons, mostly to do with the end of my marriage and resulting stresses on my family, but also to do with my PhD (lack of progress) and other work things. I'll save the details for the day you buy me a drink ...

However, last week I turned a coupla corners and, among other things, attended the Big Sound conference in Brisbane. It was a great event and I spent too many hours networking and meeting people. However, there was also some great content, and I thought I'd trot out some of the best quotes, tips and pointers over the next little while ...

I have more news and lots of development/healing to go through, so bear with me and check the following gems out.