The Goo 1
Dance Feature MAX HEYRAUD WHY ARE ARTISTS SNUBBIN
G LABELS IN 2024? In 2024, more and more musicians are opting to self-release their music. We investigate why artists are choosing to employ the DIY approach to publishing music, as well as why industry trends and norms are rapidly altering, leaving the oncesafeguarded concept that labels rule the music business behind. Dance music has always been home to nuanced imprints that have released music on their own terms, whether it was through white labels, limited presses, cassette runs, or obscure and undisclosed releases. Certain labels, however, have dominated the scene, leaving indelible impressions on artists’ careers. Releasing on illustrious imprints influenced who was popular and which DJs would play their music and while the value of these labels is rooted in tastemaking and cultural prestige, their overhanging importance may be fading. Outside of dance music artists such as Kanye West, Megan Thee Stallion, Chance The Rapper, AJ Tracey, RAYE, Halsey and more have been releasing music independently. In Halsey’s case, the label refused to release her music without a “viral TikTok moment”. While this seems like a world away from club music, these expectations will soon trickle into dance music culture, as certain pivotal figures become synonymous with their ability to make tracks viral. Although labels’ expectations have shifted and their market strategies are now geared toward 30-second TikTok clips rather than radio plays, the bright side is that the burden of determining who makes it and who doesn’t has shifted, PAGE 32 ruffling the keystones that previously piloted the music industry. Whilst there are still certain fundamental guidelines for making your content or art trend, the responsibility to get your artistry widely recognised by the masses mostly rests within the palm of the artist’s hands (a phone) and this empowerment will shape how the music industry evolves for future generations. Social media’s influence continues to be a source of disarray in electronic music, as trends and algorithms spiral out of control and somewhat shadow creativity. However, it has shown to be an exceptionally successful tool for exporting music. The chokehold of social media and streaming platforms on artists can be rooted within their algorithms, which micromanage our taste and influence as they govern where and when we look at content. Although it appears that social media’s hands are permanently wrapped around our content-hungry throats, there is some solace in the fact that, for better or worse, social media has propelled a number of artists into the spotlight without the need for major labels to bulldoze the ‘next big thing’ down our vulnerable little consciousness. The way we consume music has fundamentally altered, and social media has been the driving force behind this cultural transition, which trades chart places for trending sounds and record deals for employing influencers. This DIY approach to releasing music has freed up both labels and artists to quickly turn around projects, leaving a paper trail of releases that is reflective of the artist’s vision at that present moment. This brisk style of sharing music acts as an opposition to lengthy waiting times with physical releases and allows artists to wear their hearts on their sleeves as they can easily craft an idea in the morning and have it out in the world by the evening. Vinyl pressing delays have been spanning over a year turnaround, ultimately compromising the artist’s immediate vision, as sounds mutate and quality improves during this time, producers can be left with a body of work that doesn’t echo their existing expressive needs. Artists that choose to solely release music in a physical medium can suffer in this fast-paced theatre of music consumption, as a release that may have taken the guts of a year to hit the shops may also have the same shelf life as a digital release that took a fraction of the time to see the light of day.