The Evolution of Digital Music, Part I

I've been thinking a lot about music over the last week. Partly because I discovered both Amy Winehouse and Sharon Jones in the space of 48 hours, partly because my son has rediscovered the pleasures of Massive Attack's Mezzanine album, but mostly because of news from the music industry.

Last week Trent Reznor of Nine Inch Nails (okay, practically speaking Reznor is Nine Inch Nails) announced that he's walking away from his record label; it's speculated that he'll sell his music online on his own, in much the same way that Radiohead started doing just last Wednesday (buyers can pay what they consider a fair price for their In Rainbows album). Meanwhile, Oasis and Jamiroquai, both of whom are currently free of recording contracts, are considering giving their music away (again, presumably online).

It's worth mentioning that both the pay-what-you-want and here-just-take-it schemes have been done before; it's just that in this case, these plans involve four bands who have done very well for themselves and are likely to continue doing so. While some consider (or at least hope) this the beginning of a new era, others think that it's a luxury that only those that have established followings can afford.

I'm not so sure either case is true. Look at the example of Jonathan Coulton, who simply produces good music, puts it up on his website, gets good word of mouth, and as a result has a career. Is he rich? No. Is that the point? Most definitely not. Consider that most of the people behind the musical acts you hear actually aren't rich -- Courtney Love did a great breakdown of the music industry seven years ago that's still required reading -- and you begin to wonder why anyone with reasonable talent would bother with a recording contract at all.

Ah, but there is a reason. Not everyone can market music the way an experienced label can. Not everyone can broker licensing deals or get great concert venues. Depending on the kind of musical career you want, the big four players can be a worthwhile consideration.

But what Radiohead, Reznor, and Coulton -- especially Coulton -- prove is that the Internet, combined with digital recording technology, has given everyone new options. The labels can no longer assume that their traditional all-or-nothing approach is best. The next Jonathan Coulton might decide that he or she wants to use, say, Warner's clout in getting their work into movie and TV soundtracks. The next Trent Reznor might just want Universal's distribution reach. A more modular approach to making and selling music might be in the offing, and the major players would be wise to become a little more flexible as others look to these pioneering musicians' examples.