Jeeni Blog

Helping the next generation of talent to build a global fanbase

Where Did All The Bands Go?

/ By Andie Jeenius
Where Did All The Bands Go?

This month, Adam Levine of Maroon 5 caused a ripple when he was chatting to Apple Music's, Zane Lowe. Whilst referring to all the bands about in 2002 when they released their first album, he questioned, "where did all the bands go? I feel like they're a dying breed." After clarifying he meant bands, "in the pop limelight", it still managed to spark a mix of bemusement and outrage from some fellow artists.

Maroon 5's Adam Levine - photo Mauricio Santana

Though his remarks may have smarted somewhat, it can't be denied, he has a point! In the early 00's new bands were a dime a dozen, filling arenas and regularly collecting platinum discs. New TV talent shows such as Pop Idol and X Factor filled Saturday nights with girl groups and boy bands, but the trend is shifting. According to Dorian Lynskey in the Guardian, currently, there are nine groups in the UK Top 100 and only one in the Top 40. Two are the Killers and Fleetwood Mac, with songs 17 and 44 years old respectively, while the others are the last UK pop group standing (Little Mix), two four-man bands (Glass Animals, Kings of Leon), two dance groups (Rudimental, Clean Bandit) and two rap units (D-Block Europe, Bad Boy Chiller Crew). There are duos and trios, but made up of solo artists guesting with each other. In Spotify’s Top 50 most-played songs globally right now, there are only three groups (BTS, the Neighbourhood, and the Internet Money rap collective), and only six of the 42 artists on the latest Radio 1 playlist are bands: Wolf Alice, Haim, Royal Blood, Architects, London Grammar and the Snuts.

Of course, radio and streaming are dominated by pop, rap and dance music but festival lineups don’t point to a golden age of bands, either. Of those that have emerged in the past decade, only half a dozen have headlined either Coachella, Reading/Leeds, Latitude, Download, Wireless or the main two stages at Glastonbury. That’s The 1975, Haim, alt-J, Rudimental, Bastille and Tame Impala, and the last of those is effectively a solo project. Only one band, the Lathums, appeared on the BBC’s annual tastemaking Sound of … longlist this year, which is not unusual: bands haven’t been in the majority since 2013. The album charts are still regularly topped by bands thanks to loyal fanbases who still buy physical formats – such as Mogwai, Architects and Kings of Leon in recent weeks – but not since 2016 has one hung on for a second week. So what happened?

With even the largest, well known bands struggling to get into the Top 20 in the streaming world, could one theory be, solo artists are cheaper and easier to handle for the record labels? Apparently not, according to Dirty Hit label's, Jamie Osborne. His independent label is responsible for among others, Wolf Alice and The 1975, but he is still desperate to find the next band he can sign and develop. However, he's not finding it easy! The problem is, he says, there aren’t that many around. “It’s more likely now that a kid will make music in isolation because of technology. When I first met the 1975, they were all friends meeting in a room to make noise. So much is done in bedrooms these days, so you’re more likely to be by yourself.”

The 1975 - photo Spotify Press

Ben Mortimer, co-president of Polydor Records, says that cost is more of an issue for artists than for labels. “If you’re young and inspired to become a musician, you face a choice. If you go the band route, you need to find bandmates with a similar vision, you need expensive instruments and equipment, and you need to get out on the road to hone your craft. On the other hand, you could download Ableton [production software], shut your bedroom door and get creating straight away. Culture is shaped by technology.” So if the expenses are too high to even start a band, then rehearsal space and travel costs just add to the negatives. Does that mean bands and touring will only be for the rich, middle-class kids?

Social media has filled the hole, creating individual stars who are seen as more ‘authentic’ than anything the retro talent-show format could offer,” says Hannah Rose Ewens, author of Fangirls, a study of contemporary fandom. "Social media is built for individual self-expression. Platforms such as TikTok, Instagram and Twitter – and even the portrait orientation of a smartphone screen – give an advantage to single voices and faces while making group celebrity less legible. 

Hannah Rose Ewens with her book 'Fangirls'

The challenge posed by all pop cultural trends is to work out whether or not it is a permanent structural shift or just another phase. The right group at the right time, whether it is the Strokes or the Spice Girls, can change everything. In the short term, the pandemic has made it impossible for new bands to form and threatens the survival of the regional venue circuit on which they depend, while Brexit has thrown up expensive new obstacles for touring bands. Yet Jamie Oborne remains optimistic. “I’m excited about the wave of creativity that’s going to follow this period that we’ve just lived through,” he says. “I feel this hankering in youth culture for real experience and connection. I’m still quite the romantic when it comes to music. Look at Fontaines DC. I see a picture of them and wish I was in a band. It’s the same thing as walking down the street with your friends and feeling like you’re part of something. Anything’s possible.”

03
Sep

The People's Lounge - Meet My Ancestors

Meet My Ancestors is Championing Zimbabwean Arts: Performance and Workshop Established in 2020. A theatrical production and album telling stories from Zimbabwean culture. Through ancient mbira music fused with contemporary sounds. The multidisciplinary performance piece aims to challenge the concept of UK mainstream theatre. Additionally, exploring the imposition of western music structures on music from cultures around the globe. They will be performing at the Global Bandstand Weekender 2021. Also, they will be performing at Victorious Festival 2021. Where you can see them perform and host a drum workshop - Presented by The People's Lounge.  Meet My Ancestors is composed and arranged by London-based actor, songwriter, multi-instrumentalist and vocalist John Falsetto. John is set to star as Mr Snow in Carousel at Regent’s Park Open Air Theatre this summer. And has composed music for theatre, including the award-winning The Jungle by Good Chance Theatre and Ben Johnson’s Volpone for Tangle Theatre Company. Since announcing Meet My Mancestors, the project has received funding from the Genesis Foundation. The Mbira music endeavour features one of Zimbabwe's artists of the moment in Probeatz. Although only establishing in 2020 the group are already making a name for themselves performing and running workshops. Including residency at Battersea Arts Centre and Hawkwood CFT. Meet My Ancestors is a perfect example of the independent talent that Team Jeeni can support, by having a showcase on Jeeni.com. JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.• We empower our audience and reward them every step of the way.• We promise to treat our members ethically, fairly, honestly and with respect. Check out their showcase here on Jeeni:   Meet My Ancestors | Showcase | JEENI. Along with other showcases to add to your playlist. jeeni.com. The People's Lounge Meet My Ancestors will be performing at the Global Bandstand Weekender - Presented by The People's LoungeGBW is bringing some of the Freshest Tropical Sounds from around the World to Portsmouth for a Free Weekend Festival at Southsea Bandstand from Sat 31st July – Sun 1st August 2021 | 12.30-6pm | @ Southsea Bandstand | Portsmouth | FREE PUBLIC EVENT! And at the Victorious Festival, World Music Village 2021.

05
Jun

Independent Musicians and Performers Community Group

The Independent Musicians and Performers Community (IMAP) has been set up by the founders of Jeeni. Our Community is for everyone and anyone creative: musicians, voice-artists, performers, poets, singer-songwriters ... the list is endless. We connect, collaborate, share and support each other, while we have some fun and make a real difference. We are a completely independent group and have no interest in political debate in this community. We encourage our members to share their original music and performances. Jeeni launched IMAP 28 days ago today with the single purpose of helping and supporting fellow artists with relevant news, blogs, stories, videos and top tips on how to cope in these challenging times. We scan the media every day for what support is available for musicians and performers. We make it our mission to wade through lengthy documents and policies so you don't have to, and we grab the main highlights and takeaways to make it easy for you to absorb the plethora of information swimming around. The industry is being very responsive and coming up with lots of ideas, like allowing artists to keep earning by adding donate buttons on streaming platforms. Some organisations are making grants available, some are discounting their streaming platforms, whereas others are allowing artists and fans to sign up for free. We expect to see many online services partnering with one another to combine their overall membership offerings, such as Soundcloud and Twitch. And we are very interested to see what the major global companies do and how they respond to these new and unknown market conditions. How practical these ideas are in real terms, only time will tell, and we will keep an eye out for scams, as in this very sad and challenging time it's inevitable that many will try to profit from COVID - 19, by introducing unethical and downrights crooked practices. We are making it our mission to name and shame projects and organisations that are under scrutiny and suspect, and encourage our members to do the same. IMAP is an active community group with over 1.2K new members in 28 days 2.8K approved for sign up, and 2.2K posts, comments and reactions. We very much want our members to invite their friends, families and other artists, we are all in this together and your great ideas need to shared. It doesn't matter where you are around the globe, and we would love to hear more about what other community groups are doing to support their members. Take a look at the Independent Musicians and Performers Community and join us today. You will be welcomed with open arms. https://www.facebook.com/groups/2529935880656436/about/ Shena and Mel

08
Jul

Zed, The Dreamer – ‘I died too’ Single Review

Charming, layered and dreamy, the latest single from this starry-eyed balladeer might be his most impactful yet.  With a rich roster of influential artists like Bon Iver, Michael Kiwanuka and Matt Corby, Zed, The Dreamer has a wide and varied well from which he draws inspiration and these influences reveal themselves quite clearly across Zed's young, bright discography. The style of the previously mentioned muses can essentially be reduced to an initial representation of the broad genre of folk music, however, they all individually decide to expand beyond that folk core by enriching it with their own individual styles, experiences and personalities. This is a skill that Zed has adopted in full-effect. A notable element of Zed’s style is his subtle embrace of lo-fi aesthetics. Before, this has materalised as some unfiltered-out background fuzz in tracks like ‘Comfort (Not Love)’, but Zed's latest track takes this raw, casual sentiment to a further level as he uses it to almost reinforce the heart aching messages that he displays in ‘i died too’. The track whirs to life like a tape machine accelerating to the right speed, instantly giving off a warm, analogue tone to the track. The sudden click to silence after just a second of guitar also contributes to a feeling that this is an impromptu recording, straight from the heart, to the microphone.  As more elements are introduced, this nonchalant façade crumbles and Zed’s ballad blossoms into a polished and astonishing chorus of love. Intricate and symbolic lyrics aren't needed for the confessional “Baby, I love you” chorus, because the verse has already provided poetic details into the relationship.  Interestingly, after the first chorus, Zed doesn’t use its natural momentum to maintain the energy, but instead, he brings the composition back down to where we began with an interlude of radio-effect conversational samples and background ambience that replaces the full, lush textures that we just heard over the chorus. Once back down to the ground, Zed’s forlorn vocals begin to slowly levitate the piece once more with the next verse. The second verse consists of simple guitar-tapped percussion, rumbling bass and shimmering chords, all ornamenting Zed’s gentle acoustic guitar and crooning vocals which creates the folk centre of the piece. The second verse much more seamlessly feeds into the second chorus which now professes the title of the piece, “I died too” in replace of “I love you”. This heartbreaking variation to the chorus is such a clever story-telling device. It’s not often that a chorus is altered to reveal an entirely different side to an emotive narrative, it adds a stunning amount of weight behind an already compelling single. The piece winds down one final time as a more distant and mournful "Baby, I love you" is heard underneath auto-tuned vocalisations and a self-comforting "It's alright, now" repetition. This extended ending at almost a minute long is a beautiful finish to an already unorthodox song structure. A final, pensive guitar chord rings out to finish the piece with one last poignant resignation. Zed, The Dreamer will be performing at Victorious festival this August (26th-28th) so be sure to check him out if you have tickets!