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University of Huddersfield Repository University of Huddersfield Repository Toma, Carlotta How Emerging Bands find 'Success' in the Contemporary Music Industry Original Citation Toma, Carlotta (2017) How Emerging Bands find 'Success' in the Contemporary Music Industry. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/32662/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Carlotta Toma How Emerging Bands Find ‘Success’ in the Contemporary Music Industry CARLOTTA TOMA A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Masters by Research January 2017 Carlotta Toma Table of Contents Acknowledgements: 3 Copyright Statement: 4 Introduction and Methodology: 5 Chapter One: Making it: achieving ‘success’ in music in 2016 12 Chapter Two: The Internet changed the music industry 22 Chapter Three: Live Performance and Authentic Experience 34 Chapter Four: Making it: emerging bands and their quest for ‘success’ 45 Chapter Five: Conclusion 63 Bibliography: 68 Appendix A: Interview Transcript Turbowolf 89 Appendix B: Interview Transcript Eaves 97 Appendix C: Interview Transcript Lower Than Atlantis 103 Appendix D: Interview Transcript We Are The Ocean 111 Appendix E: Interview Transcript The Sherlocks 122 Appendix F: Interview Transcript Pin Stripe Tuesday 129 Appendix G: Interview Transcript Dan Owen 151 Appendix H: Interview Transcript Andy Kershaw 162 Appendix I: Interview Transcript Jack Simpson 169 Appendix J: Interview Transcript Alessio Bertallot 176 Appendix K: Interview Transcript Donna Vergier 180 Appendix L: Interview Transcript Katie O’Neill 194 Carlotta Toma Acknowledgements I would like to take this opportunity to thank all those who have helped me through the project, without whom it would have never been possible. First of all I would like to express my sincere gratitude to my supervisor Bruce Hanlin and to my co-supervisor Dave Simpson. Thank you both for your supervision, support, professional advice and guidance throughout the process. Thank you both for your kindness, patience, teaching, but most of importantly, thank you for sharing your extended music knowledge with me. You have equally encouraged me to achieve and to realise this project, which has really made me feel more confident with this research investigation. You have been a real source of inspiration for me. Many thanks go to all the participants of this research for providing me with fundamental and vital data, which has led me to conclude this exciting project. I would also like to thank bands and artists, Turbowolf, Eaves, The Sherlocks, Pin Stripe Tuesday, We Are The Ocean, Lower Than Atlantis and Dan Owen. Thank you for your time, consideration, friendliness and for sharing your experiences. It has been a pleasure to have met you all, and I hope that you will find what you have always dreamt of in music. Countless thanks also to those who work inside the music industry: Andy Kershaw, thank you for your unique expertise and charisma, and whose experience inspired me to conduct such a challenging and fulfilling investigation. Jack Simpson, Donna Vergier and Katie O’Neill thank you for your willingness to help and for giving me some deeper insight into the music business. Alessio Bertallot, thank you for contributing to my research and for reminding me about the fascinating world of music radio. This study would have not been possible without your experiences and I wish you all the best in future. And finally, I would sincerely like to thank my family, best friends and colleagues. Thank you for the continuous and unconditional support and love. I am truly grateful to each and everyone one of you. 3 Carlotta Toma Copyright Statement i) The author of the thesis (including any appendices to this thesis) owns a copyright in it (the “Copyright”) and she has given the University of Huddersfield the right to use such Copyright for any administrative, promotional and/or teaching purposes. ii) Copies of this thesis, either full or in extracts, may be made only in accordance with the regulations of the University of Huddersfield Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii) The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 4 Carlotta Toma Introduction and Methodology In the world of music digital technologies have delivered wide-ranging and fast-moving changes in production, promotion, distribution and reception. The digital age has changed the way music is distributed and accessed, shifting away from the more manipulative mass- market / mass-production pattern of the past. At one level this should create space for ‘a thousand niches’ and the possibility for musicians to easily reach a scattered world-wide audience, by-passing the established industry structures. However, the utopian expectations of ‘abundant choice’ commonly advanced in the early 2000s have not been fulfilled in the way many predicted (Anderson, 2006; Byrne, 2013; Wikströ m, 2013). The music industry majors, who completely misunderstood the significance of the Internet in the 1990s, have by now found a way of working with it and are still significant operators. The major change is that they now share the field with technology companies such as Apple and new distributors such as Amazon and Spotify (Allen, 2013). Music audio and recording has become cheaper and more accessible. In fact, emerging bands and artists do not need to pay great sums of money to buy time in recording studios as it is possible to create music by simply purchasing and downloading music software from the Internet and recording with consumer-level equipment. It is possible for a DIY singer- song writer to record a song on a laptop with a quality approaching studio level. On the other hand, achieving ‘success’ in music and developing a sustainable career is a very different matter. For a few artists, such as the Arctic Monkeys and Bon Iver, a bedroom recording has launched them into the big time, but for most would-be musicians the challenges are greater than ever. The research aims for this study, therefore, are to answer some pressing questions. How should the variable meaning of ‘success’ in the music business in 2016 be interpreted? Have 5 Carlotta Toma music technologies opened more opportunities for start-up bands to reach ‘success’? How do emerging artists establish a fan-base and start a viable career in the ‘digital marketplace’ for popular music? Seeking answers, this research takes a case-study approach, focussing on a small number of UK bands to study their career development and aspirations through interviews. The identity of bands, producers, recordings, radio stations, press, music presenters and critics - and of music itself - has been revolutionised by digital technology. The voices of performers starting out on the difficult path to build a musical career are not often heard, and though it is necessarily a small-scale study this research sets out to offer a balancing and valid perspective. Interviewing is a method of research which has brought the author closer to understanding the experiences of a representative selection of emerging musicians, and has enriched this investigation with first-hand accounts to supplement and extend the relatively limited interest in this area in current academic literature. When Burnett published his Global Jukebox in 1996, the chief measures of ‘success’ in mainstream popular music were the Top 40 chart and radio airplay. For most people the Internet, at that time, was still new and mysterious, personal computers were still bulky and expensive luxuries, and to follow popular music meant buying records. Twenty years later, in 2016, there is no such easy definition of ‘success’ - nor, indeed, of mainstream popular music. This chapter presents what ‘breaking into’ the music industries actually entails, and it introduces the notion of ‘success’ with reference to two major academic studies and other published sources. Firstly Brown ‘s (2015) study, What constitutes “success” for professional musicians?, examines how success can be interpreted and weighed according to the perceptions of music consumers (social media followership, dissemination of online music 6 Carlotta Toma videos, record sales, popularity, talent). Research by Hughes et al. (2015), What constitutes artist success in the Australian music industries?, draws on a series of focus groups with artists and industry professionals of Australia to illustrate the different approaches that artists take with a view to achieving success in their careers. Comparative industry-wide figures are available from Billboard (2015), which states how much emerging artists earn yearly, and IFPI (2016) and Macey, A.
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