The Evolution of the Artist

The evolution of the artist

Bernadette Galbraith interviews folk singer-songwriter Child of Mind to find out what it’s like to make a career as an independent artist today.

We will always owe a lot to music. It is not only everywhere but it also contributes to everything we do. Whether it’s through the perfect shower song to sing our hearts out to or setting the scene perfectly for the climax of a film. Take Titanic for instance, almost 20 years on from the release of the film and My Heart Will Go On is still one of the first things that comes to mind when you think of it. Music is memorable because we create emotional bonds with it through the ability to relate to the feeling it has conjured. These bonds can be relentless and carry us through some of the monumental moments in our lives. A wedding, a funeral, a break-up – music is there to carry you through.

Given what it means to so many people, it’s inevitable that there will always be a demand for its creation. But, in a world where we can access music at the click of a button, the criteria for a music artist in this day and age has developed and changed greatly.

If we take a look at Spotify, the streaming site that took the music industry by storm, we are able to see how big of an impact this has made on both the consumers and creators of music. Taylor Swift caused some controversy amongst the industry back in 2014, when she removed her entire back catalogue from the streaming site. Spotify sell themselves on being ‘Music for Everyone’, however, it seems Swift didn’t view it this way, with Rolling Stone reporting that she had said: “I’m not willing to contribute my life’s work to an experiment that I don’t feel fairly compensates the writers, producers, artists, and creators of this music,” According to The Guardian, Spotify says its average payout for a stream to labels and publishers is between $0.006 and $0.0084 (£0.00 and £0.01) and that’s the amount before other members involved in the deal have taken their cut. So in this digital age, we now have easier access to music and less of a reason to pay for it.

Declan Galbraith, 24, who now goes by the pseudonym ‘Child of Mind’ is a folk rock singer-songwriter who has surfed on this changing face of music. He would now class himself as an independent artist, working independently from a record label and writing and producing his own music. When discussing his current state as an artist, he said, “I’m not independent through some mission. It’s the best for me at the moment I think but I am also open to being signed.”

He also views independent labels as the new way forward, adding, “if the opportunity were to arise ... I think some kind of independent label would be the better option for me. It would provide the vital support and still allow me to do my thing.” Although Declan may be the sole force driving his music right now, it hasn’t always been this way.

Having started singing at talent contests in Kent and Essex at just seven years old, he was soon spotted by a talent agent and signed by two major record labels. He first signed to the now defunct EMI records and released his debut self-titled album at aged 10 with his first single Tell Me Why reaching #29 in the UK singles chart. The album comprised of a combination of originals and classic Irish folk covers, such as Danny Boy and Carrickfergus. EMI was classed as one of the ‘big four’ major record label groups before 2012, along with Universal Music Group, Sony BMG and Warner Music Group. Being home to some hugely successful artists and bands such as Kate Bush, Pink Floyd and Robbie Williams, it’s no surprise that they were selected into such an elite group.

Unfortunately, a fall-out between the management and production team, along with a lack of enthusiasm for a second album, meant that Declan was later advised to sign with Warner Music. It was also believed that Warner would provide the guidance and support to help breakthrough to America.

Again, it seems the holy grail wasn’t all it was cracked up to be. When speaking about his time with the two major labels Declan said, “I’ve never really been the greatest fan of the records I’ve released in the past. Even the records I released when I was nine or 10. You know, you sing what you’re told to sing by the production teams and labels.” He moved on to discuss the creative control and restrictive nature of major labels and Declan isn’t the first artist to feel trapped in this way.

With this kind of treatment from major labels combined with the lack of money received from new forms of consumption, it’s easy to see why more artists are having to adapt the way they work. They are not only finding it harder to break into the industry but also to sustain a living, resulting in an increasing amount of artists turning to an independent lifestyle, where they take charge of all aspects of the business. Remember that catchy hit Thrift Shop by rapper Macklemore? Believe it or not, the rapper released the song unsigned and according to technori.com, it was the first independent song to reach the top of the Billboard Hot 100 since 1994.

Advances in technology have also allowed artists to have wider access in the creative process rather than relying on a
big team. We can turn our attention to the growth of the home studio as an example of this. In the New York Times, Jon Pareles said, “Making an album used to mean booking a fixed amount of very expensive time in a well-equipped but unfamiliar room; now, it can be matter of rolling out of bed and pressing a button.” But Declan considers the implications this can cause, “With the opening up of these options, more is expected of you when you then try to approach a label.” Alternatively, others like Declan are working to seek out the independent labels, who would be able to offer the essential financial support they require, while also spending time nurturing and caring for their needs.

While it may have once been the great dream to be snapped up by a major label, this evolution means this is no longer something which fits the mould of every artist. Child of Mind is a fresh start for Declan, disconnected from his previous career, he reflects on himself before as “a voice for hire.” Today he has a catalogue of his own songs, a product he can be proud of and so in this sense, it’s as though he’s releasing his very first record all over again. But in order to draw attention to his new music, Declan is turning his sights to new ideas such as crowdfunding. Crowdfunding can be a great way to raise large amounts of money through the aid of a supportive fan base. By contributing money towards the growth of an artist’s project, the concept essentially allows you to pre-order music. This has become progressively popular amongst many artists. Returning to Macklemore, in February 2011 he raised $18,269 (£14,318.52) of his $10,000 (£7,837.61) goal on Kickstarter.com, which went towards the production of his music video for Wings.

There will always be a demand for major labels to guide and finance artists but I predict this will become a much more limited area, confined to mainstream pop where sales are guaranteed and risks are minimal.