I reposted this blog because if you read it, you'll see that all the "rules" within the music industry are DEAD:
Mumford & Sons
The story of the week is not Amos Lee entering the chart with an anemic sales total of 40,000. That’s like seeing your name in print in the newspaper. All your homies call you up thrilled and the following day you’re forgotten. Ditto with Cake. These are not bad stories, the fans come out and support these acts, they can make a living playing music. But they’re never going to go platinum. They’re never going to blow up like Mumford & Sons.
Could it be the Hot AC play? And there’s been adult radio spins, but there are barely any adult radio stations.
We could debate all week long what’s fueling Mumford’s sales, but the fact is Mumford & Sons’ "Sigh No More" sold 31,000 copies this week to place number six on the SoundScan chart. They’re almost at 750,000 copies. And number 10 on the 2010 chart was Ke$ha, with 1,143,000 copies sold.
In other words, in the world of recorded music, Mumford & Sons are SUPERSTARS!
Katy Perry’s vaunted "Teenage Dream" has sold barely over a million. Despite being on the chart for 22 weeks. Then again, Mumford’s been on the chart for 49. You see it takes that long to build.
And building is the story.
It’s no longer about the peak. The Black Eyed Peas are going to headline the Super Bowl this weekend on the downswing of their career. Not because they’re decades beyond their moment in the sun like the classic rockers, but because their latest album, "The Beginning", is the beginning, of the E.N.D. It’s over. It’s like everybody in America looked at each other and said THESE GUYS SUCK! In a world searching for meaning, the Peas are meaningless. It’s hard to party all the time when you’re broke and don’t have a job.
When that happens, you’re looking for something more soul-fulfilling.
It turns out Top Forty radio is not king.
Most of those Top Forty acts, which do sell singles on iTunes, can’t tour for shit. Whereas Mumford sells every ticket. Then again, Mumford underplays and undercharges. What a concept! Create a frenzy, get everybody talking about you!
In other words, your friend says he’s going to the show. Do you want to come? You debate. The Ticketmaster charges, the lame opening act, you’re gonna pass. But when your friend is going to the show of an act you’ve never heard of, and is foaming at the mouth about it, and you get excited and want to go too and you can’t get a ticket you’re frustrated and ask yourself WHAT IN HELL IS GOING ON HERE?
What is going on here?
The media is driving towards a cliff of its own device. The record labels and the movie studios and the newspapers and magazines and TV stations are in cahoots, believing it’s still the nineties, when hype is everything and it pays to be mainstream.
You know how you become mainstream today? By driving in the complete other direction and doing something so different, so unique, so ALIVE that the public is drawn to it.
Mumford doesn’t need the usual suspects. It’s just the music. That’s enough. Acoustic instruments, no beats, HUH?
You can decry the Internet. But it’s the Net that breaks these new acts. Because the mainstream, if it cares at all, cares last. People are looking for something new. And they’ve found Mumford & Sons… WHO’S NEXT?
Could it be the Hot AC play? And there’s been adult radio spins, but there are barely any adult radio stations.
We could debate all week long what’s fueling Mumford’s sales, but the fact is Mumford & Sons’ "Sigh No More" sold 31,000 copies this week to place number six on the SoundScan chart. They’re almost at 750,000 copies. And number 10 on the 2010 chart was Ke$ha, with 1,143,000 copies sold.
In other words, in the world of recorded music, Mumford & Sons are SUPERSTARS!
Katy Perry’s vaunted "Teenage Dream" has sold barely over a million. Despite being on the chart for 22 weeks. Then again, Mumford’s been on the chart for 49. You see it takes that long to build.
And building is the story.
It’s no longer about the peak. The Black Eyed Peas are going to headline the Super Bowl this weekend on the downswing of their career. Not because they’re decades beyond their moment in the sun like the classic rockers, but because their latest album, "The Beginning", is the beginning, of the E.N.D. It’s over. It’s like everybody in America looked at each other and said THESE GUYS SUCK! In a world searching for meaning, the Peas are meaningless. It’s hard to party all the time when you’re broke and don’t have a job.
When that happens, you’re looking for something more soul-fulfilling.
It turns out Top Forty radio is not king.
Most of those Top Forty acts, which do sell singles on iTunes, can’t tour for shit. Whereas Mumford sells every ticket. Then again, Mumford underplays and undercharges. What a concept! Create a frenzy, get everybody talking about you!
In other words, your friend says he’s going to the show. Do you want to come? You debate. The Ticketmaster charges, the lame opening act, you’re gonna pass. But when your friend is going to the show of an act you’ve never heard of, and is foaming at the mouth about it, and you get excited and want to go too and you can’t get a ticket you’re frustrated and ask yourself WHAT IN HELL IS GOING ON HERE?
What is going on here?
The media is driving towards a cliff of its own device. The record labels and the movie studios and the newspapers and magazines and TV stations are in cahoots, believing it’s still the nineties, when hype is everything and it pays to be mainstream.
You know how you become mainstream today? By driving in the complete other direction and doing something so different, so unique, so ALIVE that the public is drawn to it.
Mumford doesn’t need the usual suspects. It’s just the music. That’s enough. Acoustic instruments, no beats, HUH?
You can decry the Internet. But it’s the Net that breaks these new acts. Because the mainstream, if it cares at all, cares last. People are looking for something new. And they’ve found Mumford & Sons… WHO’S NEXT?
No comments:
Post a Comment