Spotify Gives Indie Artists More Exposure

The Indie music scene has managed to evolve because it is connected to a wider platform. There are people that have become part of the Spotify environment even though they may not be getting any play on the radio. These types of artists have the ability to build a greater fan base because millions of people are using Spotify right now. It is easily one of the most successful streaming platforms for music, and the independent artist that really wants to earn money for their music will benefit greatly from this.

This tends to work well because it creates an opportunity for so many people to hear new music. At this point in time an independent artist that decided to build their own website would fail easily. They would have a hard time with the website where they were strictly depending on their own website to generate interest in your music.

Most music lovers are not going to work this hard to find new music. They’re not going to go and search for random websites in search of something to listen to. New music, for most people, comes by way of their Spotify account. If they do not discover anything through their web streaming app they are probably not going to hear anything from you.

The great thing about the Indie music scene and Spotify is that it becomes incredibly easy to recommend new material to friends. You can simply tell your friend to search for a certain
artist through their Spotify account. This makes it so much easier than trying to go out and search the internet for something new.

Most people have no idea what they really want to listen to on when they are looking for new music. Most people look at the concept of web streaming as an opportunity to find something that they may have never considered before. This is the main reason why Spotify as become perfect for spotting new artists.

Indie Music Artists Get More Exposure Through the Web

The people that sign up for shows like “American Idol” and “The Voice” become contestants that sing. They may have a great voice, but they have not taken time to pay their dues and build themselves up for an audience that may actually buy their music. This is the reason that many of these contestants win the shows and never take off. The success that they have is too instant. It is too premature and there’s no fan base to support what they are doing. This is often the trouble that keeps people that go on shows from evolving. They become labeled as the winner of a show as opposed to serious music artists. This has plagued many winners that have never really amounted to the success that the judges said that they would have in the music business.


The music business is filled with a lot of different people that have many different personalities. It is easy to see how someone that wins a contest like the ones for reality shows can find themselves struggling to make it song. In the world of music it is all about the backstory there person has. Most of these singers that become part of the reality television get success without the struggle, and that makes them less desirable.


There are artists like this that make a quick splash, but they may not last as long as others. There are other artists that may be linked to a mainstream professional, but they may not have a desire to do music that is mainstream. This is definitely the case with Del the Funky Homosapien. He doing what is considered alternative rap on the West Coast with a small group, but he is actually the cousin of movie mogul and hip hop rapper Ice Cube.

Supporting Indie Music Scene

There are people on the Indie music scene like Emily King that was once on a major label, but now she is an independent artist that is somewhat low-key. These are the type of people that are simply passionate about the music. They do not have a desire to go into a mainstream circuit where their music will be filtered down. This is what many of the artists that may not win on shows like “American Idol” may consider. They do not look for the mainstream appeal if they have the ability to find people that like their music. The thing that they really are interested in more than simply doing quality music that gets to a loyal fan base that supports their musicianship.


It goes without saying that people that are serious about their music are not going to give up. They are willing to make the sacrifice if it allows them to actually build an audience that will support what they’re doing. Groups that have had major success like One Direction have actually failed on reality shows where they were in singing competition. This just goes to show that persistence is something that allows people to get beyond where they are.


It does not matter if they have struggled in the past. If they really want to achieve something they must have the ability to set goals and make an effort to achieve these things.


The Internet has really made it easier for these artists to do this because there are so many social media possibilities that exist. What they ultimately need to do beyond the time that they have gained their 15 minutes of fame on reality TV is continue to work on their craft and look for a smaller audience that can support what they do.

How Arcade Fire Maintains Indie Culture in the Midst of Fame

A recent story about indie band Arcade Fire highlights some important points. Fame can be a rather odd thing for indie musicians. On one hand, the ultimate goal of any artist is to find an audience. But at the same time fame has a way of pushing people to a more consumer friendly style. For some musicians this isn’t really anything to worry about. The art and the profit are tied with each other in importance. But this is very different for indie musicians.


The term itself really showcases the reasons. Indie musicians are just that, independent. They chose their path so that they’d be able to hold tight to true artistic freedom. But this can make for a difficult balancing act when wider popularity enters into the picture. The desires of fans and the desire for freedom can be difficult to hold on to.


But there’s a strong lesson to be learned from Arcade Fire’s example. They’ve long been able to stay in touch with their reason for being by paying attention to their roots. Even if members change, the underlying history and purpose maintain. And as the article points out, this is exemplified by their recent trip to Dublin. Of course it’s not so much the trip as the reason for it. They came to pay their respects to the late Dolores O’Riordan. As part of the Cranberries, she was in many ways part of Arcade Fire’s foundation.


Arcade Fire’s style of music showcases a level of experimentation with music that did for the naughts what the Cranberries did for the 90s. And it’s little wonder that they did an amazing job covering one of the bands most beloved songs. The fact that they traveled such a long distance to pay their respects in such a big way says a lot about the band. And it showcases how indie musicians stay true to the craft.

Arcade Fire’s Rendition of ‘Linger’ Pays Tribute to the Cranberries’ Singer

On Friday, April 6, 2018, Canadian indie rock band Arcade Fire took to the stage and performed a cover of Linger by the Cranberries as a special tribute during their concert in Dublin, Ireland. The Cranberries’ late singer Dolores O’Riordan, who recently passed away this year in January, would’ve been proud of the Arcade Fire’s rendition of one of her greatest hits. The crowd of hundreds proudly sang along as the band played and the performance ended with a loud applause. The Cranberries’ late singer was 46 years old when she suddenly passed away on January 15, 2018. Dolores O’Riordan and the band were in London, U.K., to work on a few recording sessions before her untimely death. The cause of her death will not be released by the coroner until later this year.

Arcade Fire continued their act with a grand performance of their song Wake Up, which was released on their debut album “Funeral” back in 2004. The indie band’s latest album entitled “Everything Now” was released last summer and its track sharing the same title, became the band’s first ever single to reach number one on the Billboard charts. The album also won a 2018 Juno Award for “Album of the Year” and was nominated for four other Juno Awards. Arcade Fire will continue their 2018 tour and play throughout various venues and festivals located in the United Kingdom, Germany, Spain, Canada and the United States before finishing it in Hasselt, Belgium. The band’s current members that kicked off the tour were lead singer Win Butler, his wife Régine Chassagne, Richard Reed Parry, Tim Kingsbury, Jeremy Gara and Win’s brother William Butler.

Speedy Ortiz Debuts New Video Ahead of Album Release

The Massachusetts indie rock quartet known as Speedy Ortiz has a colorful new video out for the single “Lean In When I Suffer” that has its fans anticipating the band’s forthcoming new album.

The video features over-the-top eccentric costumes, surreal situations, and animation layered over footage of the group’s members. The protagonist of the video is played by lead singer and guitarist Sadie Dupuis.

Dupuis appears to be depressed, and is wearing a bizarre, mostly white-and-grey ensemble that has animated splashes of blue. She is whisked away by a more colorful character to join her bandmates, and together they are trained to become more colorful and happy.

The lyrics and the video suggest that the song is a sarcastic response from the point of view of a depressed person to suggestions from others to try harder to be happy. The video, for example, mocks the recommendation that an activity like yoga can cure depression.

Speedy Ortiz’s new album, “Twerp Verse,” will be released in late April. The indie rockers will shortly thereafter begin a tour.

Prior to “Twerp Verse,” the group released “Foil Deer” in 2015 following its 2013 debut record titled “Major Arcana.”

Dupuis launched Speedy Ortiz as a solo effort while serving as a teacher at a songwriting camp in 2011. Later that year, she put a band behind her. Speedy Ortiz released a few EPs that built anticipation for its eventual first full album, which ended up being reasonably well liked in the indie rock scene.

“Foil Deer,” however, really put the band on the map three years ago. The indie rockers developed a reputation as a group that often gives to charitable causes, spurning the idea that an indie rock band has to cling onto every little piece of revenue it generates.

The release of this new video will likely spark questions in the indie rock community regarding whether or not Speedy Ortiz will be taking another step forward in its development when its new album is soon released.

Indie Bands Are Making An End Run Around Nashville Music Label Giants

The music business has been owned and controlled lock, stock and barrel by giant record companies for decades. Most artists today who have “made it” were lucky enough to get a record deal from the likes of Capitol Records, MCA, Mercury, Sony music Entertainment and a few others.

Nashville, Tennessee, arguably the greatest music city in America, is strictly the realm of the corporate music giants. Any band that hoped to get a song played on the radio had to go through one of these gatekeepers.

But times seems to be changing for Nashville’s rock music scene. Indie rockers are flourishing in the Nashville environment like never before. Dozens of acts are creating their own albums and finding their own audiences – and they relish bypassing the greedy corporate middleman.

DIY artists are recording music in their basements. They’re being helped along by advances in personal computer music mixing technology. Now anyone with a laptop and a few extras can command the power of a studio and create an end product that sounds as sharp and shimmering as a professional studio product.

But Indie bands still need to perform live and find audiences. That means booking gigs at physical locations – again, an aspect of the music industry under control of the music label giants. Even this isn’t stopping new bands from breaking out of the mold, however.

House parties, neighborhood venues and slap-dash arrangements for putting on concerts in back allies or empty lots are proliferating across Nashville. Cash from tickets sold goes directly into the pockets of the artists, bypassing the corporate ticket sales and distribution companies, such as Ticketmaster.

In a sense, music has come full circle from the time when major labels had far less power and organization as rock ‘n’ roll began to rise in the late 1950s.

Big Thief’s “Capacity”

If you’ve listened to any of the tracks from Big Thief’s new album entitled Capacity, then you will recognize the trademark poetic imagery set against a canvas of haunting melody. It will surely come as no surprise that this indie band from Brooklyn is playing to sold out crowds in the United States and Europe throughout their 2018 tour.

It may also go without saying that Big Thief is enjoying positive reviews. Will Hermes described Adrianne Lenker as “a romantic folk-rock poet of the first order” in his review for Rolling Stone. Her words are at once captivating, unnerving, and soothing. The lyrics’ subtle twists combined with Lenker’s delicate vocals are driven by dissonant chords that connect each image. The juxtaposition of the elements in the title track do, in fact, remain bound to one another much like the consonance that introduces the first stanza.

It’s a tricky combination of pieces that flow together but are difficult to pin down. “Capacity” is, according to Lenker, based on a dream she had the night before writing this piece. There’s a stream of consciousness effect that leads the listener from one moment to the next in a series of vignettes. It’s the capacity of imagination that binds them.

Perhaps that’s why it is difficult to find an exact label for Big Thief’s style of music. Asked in an interview for Newsweek if she identified the band’s music as folk-rock, Lenker responded, “I don’t identify with genre.” Their music, like genre, is challenging to pin down. You get in the neighborhood of identifying what it might be, but finding the exact street, let alone the house number, is a matter of interpretation. As Lenker states in the same interview, “Any time you bring something out of an intangible space . . . into the realm of words . . . You lose something when you try to communicate belief to someone.” Riding through Big Thief’s landscape is an intriguing journey.

Kwes Releases New Enigmatic Track “Midori”

British producer and performer Kwes is back in the recording studio, and this time he is working on his own material after five years of producing for other musicians. The first song released by Kwes, whose 2013 debut album featured a new and exciting strain of R&B, is completely devoid of vocals. “Midori” is the first song in a forthcoming EP tentatively named “Songs for Midi,” and it suggests an electronic music departure for the talented musician.

The new song by Kwes sounds as if he has an ongoing love affair with older synthesizers spliced with analog recording equipment. “Midori” is a fun instrumental track that evokes a musical landscape without being pretentious. The sound effects that Kwes compiled for “Midori” include a hint of a human voice, but that is as close as the song gets to any vocals.

Kwes is not known as a solo artist; his 2013 album “ilp” was released on a smaller label when it could have been published by just about any major record production house that he has worked with in the past. As a music producer, Kwes has worked with Damon Albarn, Bobby Womack and Solange Knowles. He has also collaborated with Dan the Automator and Gorillaz on critically acclaimed recording projects. In 2011, Kwes was part of an ensemble that traveled to the Democratic Republic of the Congo to record the “Kinsasha One Two” album, a special project with Damon Albarn that mixes traditional African music with electronic beats.

By the sounds of “Midori,” Kwes seems to be ready to return to his Kinsasha electronic phase, and this may not be the most ideal direction for fans of his R&B crooning. Kwes has always been attracted to experimental music; “Midori” makes this very clear, and he stands to gain many new fans who enjoy different takes on electronic music.

Pitchfork Festival Announces Initial Lineup

“Pitchfork” is widely respected as one of the best indie music publications in the world, so it is not surprising that they also put on one of the best festivals every year in Chicago. The 2018 edition of the Pitchfork Music Festival will take place in Union Park on July 20-22, and the iconic indie festival just released a large portion of the lineup this afternoon.

The lineup reveal began this morning with a local artist painting names on a mural. The painting process took a few hours to reveal approximately one-third of the entire festival lineup. The rest of the acts will be revealed in a similar manner on March 6 and 13. While only 14 artists were revealed today, there is still a lot of get indie rock, r&b and electronic music fans excited.

There were several big names announced today, but only one headliner was revealed. Australian psychedelic rock band Tame Impala will be the headlining act on Friday, July 20. Some of the other top acts that just got announced include Rafael Saadiq, This Is Not This Heat, DRAM, Julien Baker, Japandroids, (Sandy) Alex G and Kelly Lee Owens. Saadiq is one of the most iconic R&B artists of all-time, so it is rather exciting to hear that he is not one of the top names on the lineup.

Tickets for Pitchfork Music Festival are on sale right now. A three-day pass will cost $175. You can also purchase a pass for one day of the festival for only $75. An upgraded VIP experience called Pitchfork Plus will let you enjoy private bars, exclusive food establishments, air-conditioned bathrooms and shaded viewing areas throughout the festival for $375. The festival will surely sell out before July, so you will want to get tickets while they are still available.