Many dance music labels have closed down, particularly those owned by the majors like Strictly Rhythm and Credence. Cream runs festivals and restaurants rather than clubs and looks to Latin America and Eastern Europe for growth, Home is looking to be let out as retail space and the giant screen on the side of the building sits there in darkness
– Young people are listening to rock now, yes they are but they also have varied taste – which is why dance music festivals are doing well
– People want live music, the amount of live music venues in the UK dropped way below what it should have done and it is good to see it come back
– People want R&B, R&B has always been popular
– The dance music scene has stagnated, much of it has and UK record labels have been guilty of churning out more rubbish than most. The mash-up is a classic sign of creative bankruptcy in the industry and Hoxton’s tastes do not play well thoughout the rest of the UK. I cannot remember the last record I bought from a UK label, I suspect it was probably this time last year. I have however, kept buying imported records from the US and Europe
– US labels like Nervous, Guidance or even going back to Trax Records and DJ International, survived in a hostile home market by selling abroad, why can’t the UK labels
-US labels on the west coast are surviving an onslaught on to their scene by police using draconian crack house laws to shut the parties down and send organisers to jail for ten years, they are still making good music and selling records worldwide successfully
– Young people are drinking and not doing drugs: that’s why cocaine seizures are up, MDMA is plentiful and cheap
There are labels that are thriving: Defected is licensing American content from the likes of Miguel Migs. While there is much of the input like Junior Jack that is not my cup of tea you have to hand it Simon Dunmore that he is managing to walk the line between quality and commercial success for his label
AATW – all around the world. A label based in Blackburn, Lancs that realised what Pete Waterman discovered twenty years ago. You can run a record label on single sales. Like Pete Waterman the records are well produced tat that know their target market really well. They are down market and the listeners are disparaged as ‘Northern Pill Monkeys‘ by London based record executives, and their acts are criticised as ‘a plumber with a tired lap dancer’ but they are getting out there and buying the singles.
I personally don’t believe that you have to provide customers with a ‘crap’ product, that a well crafted one will sell, but you have to know your marketplace. Many of the tastemakers within the industry have lost sight of that and need to move on.
One person that seems to have it right (all be it on a small scale) is my friend Nick Lawrence’s label Altered Vibes that has gone from strength to strength by not compromising on quality and developing its artists. Something that is hard to do when the majors like EMI are dropping 30 per cent of their rostered artists in one fell swoop and putting less and less each year into development.