The Hype Machine

This week’s topic comes courtesy of Steve Logan, who wrote in with the following:

Recently I was working with a label to try and quicken interest in my new album. Eventually it became clear that, from their point of view, I wasn’t sufficiently active on social media for them to promote me by their usual strategies. My latest Youtube video—‘The Manics, Hype and “Doors Closing Slowly”’—is a discussion of how some independent artists, not being able to play the game, eventually retreat from the music industry altogether. I don’t want to retreat. I have an established career as a live performer, having busked, played in cover bands, indie bands and fronted a highly successful tribute to Free called Free Again.

‘Social proofing’ now, however, seriously affects the ability of musicians to get gigs (apart from hire venues). I am busy with my seventh album and am about to publish a poetry book, Heartlands. Clearly I have to create my own audience. But I want to find a way of interacting with people who might enjoy my music that feels to me decent, open and honest... If you had any advice, I’d be grateful to hear it.

This is a compelling issue, one that I’m not certain I have the answers to. How do you generate genuine hype in an algorithmic era that has decimated the music press, and where music ‘discovery’ is passively consuming what you are fed rather than hunter-gathering?

Genuine scenes no longer grow organically, as they did in Laurel Canyon in the 60s, or Seattle in the 90s. Tastemakers, like experienced music critics, have been replaced by automated playlists, with songs selected by data such as ‘like’, ‘share’ and ‘save to playlist’, actions which generally favour the mainstream/accessible over anything challenging, or different.

Labels and venues want to see proof of a following on social media in order to sign, or book talent. A following means some level of success at playing by the rules of the game. At fifteen minutes long, Steve’s video essay on Hype and the Manic Street Preachers is insightful, measured, and introspective. I highly recommend it. But the rules of the game mean he would no doubt have more success doing a thirty second dance, or pranking someone.

Recently I’ve found myself tired of criticising the industry from the side-lines, wondering what effect it can possibly have against such odds. But I came across a quote that buoyed me a little:

‘Not everything that is faced can be changed, but nothing can be changed that is not faced.’ James Baldwin.

Part of The 21^st Century Musician project is building a supportive community of artists who do not have to rely on algorithms to promote their work. And we absolutely must continue discussing the current system’s shortcomings in the hope of creating positive change.

For now, all I can recommend is playing to your strengths within the confines of the game, and trust in the process to eventually bear fruit. Steve is clearly a wonderful writer and I very much enjoyed his thoughts on his YouTube channel, so please consider subscribing, and check out his music too. Steve, trust that if you continue producing content of the calibre of your Manics video, you will grow a small, but dedicated audience, which is far more valuable than a mass of the partially-engaged.

Mary x

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