I was recently commissioned to write an article for The Guardian (Australia) around this week’s BIGSOUND music industry convention in Brisbane. So a whole slew of interviews from the participants ensued, many of which weren’t used in the final copy.
Rather than let their words and time go to waste, I thought I’d print the full response here.
Amanda Palmer
What do you think of the current state of Australian music?
The Australian music scene seems to be alive and well and kicking from the impressions I’ve had while touring here. I’ve made a lot of friends who have taken easily to crowd-funding, I think there’s something in the oz mentality, unlike the Europeans, who see it as totally kosher to go direct to their mates and family for support. It’s in the blood.
What needs to change?
Well, Australia is also the land of the tall poppy syndrome. So I think like many other places, musicians need to get over the fear of scarcity, and the fear that if “someone else is doing well, there’s less for me”. That’s a general problem endemic to the whole music scene, unfortunately. I imagine Australia is no different, and from what I’ve heard from my oz friends, success is usually scoffed at, and the successful wind up being rejected. Which is sad.
What are your thoughts on the internet’s relationship with music, and how has it changed you (personally and professionally)?
How many hours have you got? The internet has completely changed how I make music, how I communicate, and how I tour. It’s nice to have come up in the space of time that was immediately pre-internet-gone-wild, around 2000-2003, when not everybody had an email yet. Our rehearsal breaks were spent burning CDs and stealing the MIT Xerox machine key to make flyers. There was no community on the internet to go to. And now, everything’s different. Bands spend time cranking on Facebook and Twitter and Tumblr instead. Not good or bad, but certainly different. And it’ll change again, doubtless.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
I hope that people can remember that talking about music is like dancing about architecture. If there isn’t some joy to be had in the music, and in each other, then we’ve gathered for no reason. I hope at least 34% of the people attending get laid by someone unexpected.
Darren Levin, editor-in-chief Mess+Noise/FasterLouder
What do you think of the current state of Australian music?
It’s pretty healthy when it’s not being stymied by draconian laws, overzealous regulators, gentrification, developers, venue closures and wowserism. We’ve got world beaters in Gotye, Tame Impala, Flume and Cut Copy, who’ve never had to compromise what they do to breakthrough internationally. We’ve got more middle-of-the-road indie bands than Brooklyn and Portland combined. We’ve got thriving metal, electronic and hip-hop scenes, and the stuff on the margins is diffuse and progressive and really interesting (but it’s always been). We seek validation and approval from British and US tastemakers, but we’re comfortable telling our own histories without getting bogged down by the cultural cringe. Sadly, it’s still very difficult to carve out a sustainable career here, but that seems to be a global problem, rather than something uniquely Australian.
What needs to change?
Any industry with only a couple cultural gatekeepers (triple j and festival promoters) runs the risk of becoming samey and homogeneous, and at times we really straddle that line. We need more financial support for community radio and independent labels like Mistletone, R.I.P Society, Bedroom Suck and Chapter. We need protection for established venues from inner-city developments. But most of all there needs to be respect at all levels of government for an industry that contributes so much to Australia’s economy and cultural standing. The Australian Sports Commission gets $1.2-billion while shock jocks jump up and down about a recent 500k government grant. What’s fair about that?
What are your thoughts on the internet’s effect on music, and how has it changed you (personally and professionally)?
Staying away from the whole piracy debate which is boring and about a decade old, the internet has democratised the creation and distribution of music to the point of over-saturation. It’s becoming harder and harder to sift through the crap, which is why the public is still so beholden to cultural gatekeepers like triple j and community radio, respected blogs and critics (which in Australia are few and far between), algorithmic filters and playlists. How has it changed me? I’ve stopped buying CDs, got an Rdio account and spend all my money on vinyl. I’ve never listened to so much music before, and it’s great. Put simply, without the internet I wouldn’t have a job.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
I hope these conversations play out informally, drunkenly and passionately at BIGSOUND. The conference part is great (if you’re into that sort of thing), but getting the entire industry together in a place outside Melbourne and Sydney – which, for better or worse, still dominate the conversation – is the real value in a conference like this. Plus the chance to see some bands I may’ve missed this year.
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Darren Middleton, Powderfinger
What do you think of the current state of Australian music?
I think we are producing some of the best music you can get your hands on these days. The number of bands, artists and producers has at least tripled to when Powderfinger were starting out and I have to say I am stunned at some of the stuff I’ve been hearing out of my car speakers… amazing. Radio support also is strong, JJJ have offered a lot of support to Australian groups in particular.
What needs to change?
Well, the main thing for our bands is that the venues remain open for them to play in. It’s one thing to make a beautifully produced recording, in fact, that’s the easy part… but the key to music is the songwriting and then the live performance. The live arena is still the place where songs and a person’s skills are really tested, so what I would like to see change is the push by developers to close our live venues, or build apartments in entertainment designated zones. We need to keep these places open and alive.
What are your thoughts on the internet’s effect on music, and how has it changed you (personally and professionally)?
It’s been a boon and the bane of musicians’ existences over the last eight years. Early on, there was a rough transition period as record companies struggled to adapt to the new formats of musical distribution, causing confusion and frustration to its signed artists. With increased access came increased piracy of music, which benefits neither band nor business. Personally, it’s been a very interesting learning curve as I am releasing an album independently, and utilising the internet for much of it… the work load of releasing an album has not decreased, just a different text book to learn.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
To catch a whole lot of other music makers and have a great gig myself. It’s been while since I’ve been on stage, and I’m both a smidge nervous and incredibly excited about it. BIGSOUND is the SXSW of Australia, it’s considered an industry event, but in reality, it’s more like a two-day party with great music the whole time. It has established itself now in Australian band music planning… it’s an event for both new and established bands to get together, in a relaxed environment, play music and catch a few seminars to learn about the other aspects of their business… the trick is to stay lucid enough to soak it all in!
Clubfeet
What do you think of the current state of Australian music?
It’s Awesome! There’s just such a diverse range of music and creative talent bubbling out of Australia. Apart from the big Oz names which have smashed the international stage in the past few years we’re really spoiled for choice with local music talent.
What needs to change?
Why change anything? The music industry will continue to evolve at a heady pace running off its own beautifully neurotic steam. Anyone caught lamenting what was or how if some necessary condition were met then music-making would be better/easier is missing out on the massive opportunities open to all artists regardless of their station. Adaptation is everything now.
What are your thoughts on the internet’s effect on music, and how has it changed you (personally and professionally)?
The internet is kinda like the good new step dad, suddenly thrust upon your life, embracing your mum (music) and keen to make an impression – winning you over with a laconic ‘here when you need me’ vibe, bowling offies at you in the nets and recco’ing nips of Taliskers before the date mum said you couldn’t go on. He gives you stuff you never had before, promises even more and yet you feel strangely enamoured to the shit dad you had before, maybe not his ways, but his authenticity.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
It’s a great way to meet/see other bands or otherwise just reconnect and high five. The Oz industry is comparatively small to O/S scenes so it’s always nice to restock the love and support for other artists and of course the industry peeps busting their guts around them. We hope to make big party.
Josh Buchanan
What do you think of the current state of Australian music?
There are less barriers to entry for a new artist these days – so anyone can purchase a MacBook and make a song, which is great. But on the other hand it makes it harder to stand out, purely because of the sheer volume of new music available. That kind of scenario naturally lifts everyone’s game and forces you to push the envelope musically, but it can also be disheartening when you work on a track for six months and because of the amount of new music coming out you only get a few weeks of airplay. I think the problem in Australia is unless you are on a talent show or land an incredible synch, your only platform as an artist is radio, and radio is currently buckling under the pressure of the amount of new music they’re being serviced weekly.
What needs to change?
I think a second Triple J FM channel could help – the digital Triple J Unearthed channel is certainly a step in the right direction, perhaps not enough. Austereo had their Radar show which they started broadcasting on their FM channels, which was great for new artists but it ultimately fell apart because of ratings. These things take time to build, and fans want to engage in a platform that they feel is credible and cool. They don’t want to be embarrassed to talk about where they discovered new music. So the challenge in building a new station or a new platform is to have the courage to wait until your audience naturally gravitates towards it and not to buckle in the interim under the pressure of a board who are concerned about an initial struggle in the ratings. Commercial FM stations could afford to place Australian music in prime time and not just meet their quota between the hours of 12-3am. I think if they took that leap of faith they’d actually find their youth demographic would be more receptive to it than perhaps they think.
What are your thoughts on the internet’s effect on music, and how has it changed you (personally and professionally)?
We absolutely rely on the internet as a band. Our fan base was built predominantly online and so I couldn’t convey the importance of the internet enough for a fledgling artist. That said, streaming services like Spotify, which until very recently I’d been a huge proponent of, have absolutely eaten out of our album sales. I released Buchanan’s album on my own label which involved a significant investment on my own part and our model for recoupment was based on very tight margins which were ultimately undermined by the popularity of the album on streaming services. On the one hand I’m grateful that anyone’s listening at all, but on the other hand you have to sit back and go, “how can you fathom recording a follow up if people are loving your works but no longer have the mindset of purchasing it?” It’s a very tricky business.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
We’re just happy to have the opportunity and the exposure. As an international music conference it’s only getting bigger each year and as we transition from promoting our album here in Australia to overseas it’s the perfect transition moment for us to start getting our name out there, beyond Australian borders.
Alex, Bleeding Knees Club
What do you think of the current state of Australian music?
I think it’s growing and there are heaps of new bands which is awesome! Kids are realising that they don’t need to shred on guitar or be musically trained to start a band and have fun.
What needs to change?
Bands need to lose their egos and get rid of this Tall Poppy syndrome. Be happy for other bands who are doing well don’t try bring them down. Also all this hype on DJs needs to go. Don’t pay $20 to see a kid standing behind a dinner table with his mum’s tablecloth over it playing some CDs. Get your sister to bring her laptop to dinner and you’ll get the same thing for free. You should go pay to see some spastic kids play their guitars and mosh and get drunk with your friends. That to me sounds like way more value for money.
What are your thoughts on the internet’s effect on music, and how has it changed you (personally and professionally)?
I think it’s really cool but also real bad. Good because it’s so easy to show thousands of people your music really quickly and easily, and you can get feedback on what you’re doing easily which is cool. Oh and it’s great to find new music. BUT it sucks because now everyone is putting their stuff on the internet and there is so much shit that it’s hard to find the good stuff. And obviously it sucks because no one buys music any more because of it which means everyone in a band is poor. If you like a band enough just go buy their record! It’s like two hours of working at Maccas and your get endless plays of the record AND you’ve helped out the band get lunch on tour or something.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
I just hope our show is packed and really fun. I hope it’s not just full of industry people in suites judging us. Actually it would be cool to see old men in suits crowd-surfing and pouring beer on their heads. As for what it plays in the industry I really don’t know. Every year I go it just seems like a place for all these music industry types to wank off over each other and drink beer and talk shit. I’ve never really seen much business go down. But who cares? It brings heaps of bands to Brisbane and it’s a good time so that’s all cool with me.
Nick Findlay, triple j
What do you think of the current state of Australian music?
The Australian music scene is in a real healthy state right now – bands are getting a lot of local and international exposure, punters are actively seeking out new local talent (as well as wanting to interact with them) and despite the digital age we live in, record sales seem to be pretty healthy. It’s great to see that in the past five years the majority of requests coming into triple j from listeners are for fresh Australian music, and that they’re really keen to “own” these artists as something to treasure.
What needs to change?
Live music venues are always in need of a helping hand, and despite the recent mass public outcry to venues shutting down and the like, they still seem to be in a difficult position. Saying that, it’s something that is obviously getting better, but small to medium venues still seem to be lacking (at least in Sydney, that is). Less red tape, as well as more enthusiasm from local punters to see gigs mid week, will no doubt help out on this level.
What are your thoughts on the internet’s effect on music, and how has it changed you (personally and professionally)?
I am always shocked when I hear people in the industry talk about the internet having a negative effect on music, when all I see is it advancing music in so many ways. Not only has it liberated and empowered artists to do things more independently, it has given consumers easier ways to find their new favourite band and communicate directly with them. Professionally I scour through a heap of music daily, but whereas years ago most of that would have been serviced directly to me or found through live gigs and social groups, now a lot of it comes organically through blogs, social media, streaming services, etc.
What is your main hope for BIGSOUND, and what role do you think it plays in the industry?
There are two things I enjoy most about Bigsound; firstly getting to watch an incredible amount of great live music, and secondly to meet with artists and managers on a one on one level, to hear what they’re up to, discover new music, and dispel any myths in regards to servicing music to triple j. As the country’s largest music radio station, people can often feel like they need to jump through hoops in order for us to hear their music, when in reality all you need to do is say hi!
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