Radiohead, downloads, and lost opportunities

So it has happened once again and newspapers around the world (and academics) sit up and notice something that has been happening for the best part of this decade. If I hadn’t been too busy (or lazy) I probably would have made a name for myself in academia for predicting the future, or at the least presenting a few good papers on alternative revenue models for the music industry. It really isn’t that hard to utilize opportunities rather than spending so much time and resources attempting to defend a position that is impossible to defend as the major labels have.

This time it is Radiohead of course who are making the headlines, but previously artists such as Prince and Marillion have succeeded by harnessing their fan base and proving that the Music Industry as we know it is an ever-changing beast (no matter how much the Industry itself does not want to change). Blame moves from file sharing to changing economic conditions to changing formats or to it being put down as a generational thing. Let’s just think about that for a minute though. While we aren’t talking about artists with a history as long as the Rolling Stones (who has after all), we aren’t talking about new independent artists either.

Marillion utilized their fan base to fund via preorder the production of their 2001 Anoraknophobia release and once again for the marketing costs for their 2004 Marbles set. Prince’s latest release Planet Earth was distributed for free in the UK via newspaper giveaway. Now Radiohead have taken the “pay what it is worth” approach for In Rainbows by allowing people to download their latest release via their website and paying what the buyer deems a fair amount (or nothing over the minimal transaction fee).

Although it can be argued that all three artists may be past their recording peak, they continue to be relevant in their own right with loyal fans either via recording, live, or both. Think about this for a moment: Prince’s first release was in 1978, Marillion in 1981, Radiohead in 1991. This goes some way to negate any argument from industry commentators regarding “kids” believing music is free. Who are these “kids” anyway?

Naturally the major labels still have the power to promote and sell millions of copies of formulated music which continues to go in cycles, and occasionally a label will get behind something new and original. For the most part we live in a time where on the surface it would seem that it is a safe and stagnant industry that is still suffering from forces out of their control. While it is true it remains difficult for unsigned artists to get exposure without major distribution deals, the fact is it can be done on a smaller scale. Porcupine Tree is a band that has developed a following over time and now has a loyal and growing fan base thanks mainly to the Internet and word of mouth.

What might be learned from Radiohead though? It is time for people with a vested interest to look at what has been happening this decade because things are happening out there that still make it a vibrant and artistic environment. But do not think this is the end of the major labels and although some have suggested this might send some shockwaves, I doubt it will even ripple the coffee in the boardroom cups. After all this is still the industry that believed iTunes was a good idea and their savior!