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Grammy Awards provide a big boost for indie music

Arcade Fire-Grammy Robert Gauthier 
Arcade Fire’s album-of-the-year Grammy award on Sunday night for “The Suburbs” was a victory for a lot of people, and not just because it seemed as if the Canadian rock collective brought half the population of its native Montreal onstage during its show-closing musical performances.

It also was a win for the grassroots community of independent musicians and record companies to which Arcade Fire and its label, Merge Records, belong. Combined with the win in another of the top four Grammy categories -- jazz bassist-singer Esperanza Spalding’s upset for best new artist -- indie labels and artists came away from Sunday night’s ceremony with two major boosts to their self-esteem.

“A lot of the jaws that hit the floor when those two categories were announced were those of independents,” said Jim Selby, chief executive of Naxos of America, the independent Nashville-based classical label that racked up 35 nominations and took home 10 awards for its artists and distributed labels Sunday. “Independent artists winning against Eminem? A lot of people were thinking, ‘This is insane!' "

Those marquee category wins represented the tip of what may not represent an iceberg, but a growing presence for smaller music companies in an industry dominated on many fronts by the four major conglomerates: the Universal, Sony, EMI and Warner music groups.

Indie artists and labels -- broadly defined as any musician or company that owns and control its master recordings -- often have watched from the outside as major label acts have gone home year after year with the music industry’s most prestigious awards.

But in recent years, they’ve made steady inroads in the world of industry honors.

This year, indie labels and musicians accounted for just over half the total Grammy nominations, picking up 273 of 542 possible nominations across 108 categories. Indies took home Grammys in 45 of those 108 areas, all the more impressive given the dominance of the majors in the marketplace. That’s up from 195 nominations and 36 wins four years earlier.

Additionally, Arcade Fire’s win sent the album-of-the-year Grammy home with an independent label for the third consecutive year, following last year’s trophy to Taylor Swift’s “Fearless,” on Nashville-based Big Machine Records, and the previous year for Robert Plant and Alison Krauss’ “Raising Sand,” released by longtime folk and roots-music label Rounder Records.

Esperanza Spalding Grammy-Robert Gauthier

Such high-profile wins, Selby says, create a precedent demonstrating that “there’s a chance for everybody who’s an indie artist to win.”

Several factors are at work behind the increasing representation of independent artists and labels at awards time.

Historically, independent labels often operated like rogue comets, charting trajectories that rarely intersected with those of the major labels or other independents.

In 2005, however, a consortium of indie labels formed its own trade organization, the American Assn. of Independent Music (A2IM). Since that time, A2IM has worked to instruct independents on how to become active in the Recording Academy, which bestows the Grammy Awards.

“Joining anything doesn’t come naturally for any independent,” said A2IM vice president Jim Mahoney. “This community hasn’t always participated at a sophisticated level in mainstream activities like the Grammy Awards…. Now, if it’s in your brand’s best interest and part of your ethic that you don’t want to participate, fantastic. But if not, we tell people how to join in and become voting members of the Recording Academy.”

The increasing number of indie nominations and wins is all the more impressive in light of the dominance of the majors.

According to a market-share breakdown released by the Nielsen SoundScan sales monitoring service, Universal, Sony, Warner and EMI were responsible for 89% of total album sales in 2010, while nonmajor labels collectively tallied just 11%.

But the statistical waters get muddy because many independents contract with majors for physical and/or digital distribution services, while retaining ownership of their master recordings. Nielsen SoundScan, however, typically credits sales of indie releases to the marketshare of the major that distributes them.

In reality, A2IM’s Mahoney said, recordings on indie labels actually constituted 30% of the physical market and 38% of digital sales last year.

Another key factor is the rise in the last decade of social media that have amplified indies’ ability to target fans of specialized genres and artists, further helping them compete despite far more limited resources.

“The indie community has always been a great incubator of creativity and new music and new directions,” said Glen Barros, president and CEO of the Concord Music Group, whose releases garnered 24 nominations and took five Grammys, including Spalding’s new artist award, on Sunday. “Now it’s easier for indies to connect with an audience in all the different sectors: in the very commercial ones and the not-so commercial ones.”

“The barriers aren’t what they were before,” added Dave Hansen, general manager of Epitaph Records, whose Anti- subsidiary label released Mavis Staples’ “You Are Not Alone,” which won the Americana album Grammy on Sunday, Staples’ first. “Great artists can break through without getting airplay from that small handful of [major market] radio stations or MTV. We can get through all that now.”

The struggles of the majors to compete with the plethora of entertainment options available to consumers have further mitigated some advantages they enjoyed in previous decades.

“The fact that we can promote our music and get the same amount of airplay on Pandora, on different websites, on Internet and satellite radio, on MySpace and Facebook, it’s all helped level the playing field,” said Naxos’ Selby.

“The fact that we are independent and doing so well, our peers proved that to us on Sunday night through voting for our recordings,” Selby said. “It’s more exciting to be an independent now than ever.”

-- Randy Lewis

RELATED:

 Critic's Notebook: A night of bold moves and noisy risks at Grammys

 Grammy Awards: Lady Antebellum, Arcade Fire take top honors

Top photo: Lead singer Win Butler and other members of Canada's Arcade Fire accepting a Grammy Award on Sunday at Staples Center in Los Angeles. Credit: Robert Gauthier / Los Angeles Times.

Second photo: Jazz musician Esperanza Spalding, named best new artist at Sunday's Grammy Awards. Credit: Robert Gauthier / Los Angeles Times. 

 
Comments () | Archives (2)

Coming from a family of musicians, I only have this to say...
IT WAS SLIM PICKINGS!
PEOPLE WANT SOMETHING DIFFERENT...
THEY WANT SUBSTANCE..
THEY WANT MEANING...
THEY WANT SOMETHING ELSE RATHER THAN ANGRY RAP & AMERICAN BEE BOP!
THE UK HAS BEEN AHEAD OF THE MUSIC INDUSTRY FOR A LONG TIME.
THE ARTIST'S FROM THE UK BLOW OUR US ARTISTS AWAY.
THANK GOD FOR MICK JAGGER. HE HIT IT OUT OF THE PARK.
Get an education folks...
Learn how to read & write, and give us some music here in the US!
Rhythm, poetry, meaning.....LIFE
Adele should have won again.
Sia should have been nominated.
Temper Trap is decent...Soldier On....
The Grammy's were an embarrassment.

I believe internet technology makes it possible for literally any artist/band to make it big, and in a much shorter time span. The viral nature of the internet coupled with the viral nature of music exploration and sharing has created the the potential to literally receive world wide exposure and fame overnight (see Susan Boyle).

It will be interesting to see the effects of the current generations of tech savvy milenialls change the ballgame as streaming radio sites like Pandora.com and Grooveshark.com expand into and improve upon incorporating seemlessly into mobile technology. Album sales will start to mean less and less in terms of an artist's success, which will make it that much more important for bands to not only have a great sound, but leave a lasting impression in the increased clutter, whether it be through smart marketing and branding or an innovative live show.

I believe this need to connect on a deeper level will power expansion into new and more creative digital mediums like iPads or tablets...Wouldn't we much rather have an interactive digital history of Woodstock for both our listening and viewing pleasure? Hopefully it's complete with audio, commentary, interviews and live video on an instantly accessible database streamed to your lap. This would be as opposed to the old method, having to actively drive to a brick and morter business to buy an overpriced box set with a bunch of albums and a vague idea of what the experience might have been like (unless you were there...in which case you still may have a vague recollection).

Digital please.

For more on the digital music revolution and Arcade Fire at the Grammys:
http://luminositymarketing.com/blog/?p=3537


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