The music industry, at just about every level below the C-suite, has had enough.
The recording business is still haunted by its 2000s slump, which resulted from a rapid decrease in physical and digital unit sales as well as the fallout from multiple economic recessions. Yet it’s largely recovered from those lows: The industry has been consistently profitable as a whole since 2014, thanks primarily to streaming and, in part, still-growing vinyl sales. But both artists and label staffers have time and again made clear that the industry’s newfound wealth is not trickling down to most of them; unjust label deals and the complicated mechanics of streaming finances have excluded them from this economic turnaround. And, after experiencing decades of career precarity while falling back on a fragile safety net, receiving little to no government support, and facing relentless deprivation due to the pandemic-induced economic crash, musicians and music workers in all sectors of the industry
Is This Review Of Shawn Mendes’ New Album The Most Brutal Of The Year? Mendes’ elevation of Cabello as his eternal muse is surely meant to be romantic, but it comes across as naive - and vaguely terrifying.
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Pretty much since its inception way back in 1995,
Pitchfork has become known for publishing some of the most inventively barbed takedowns ever unleashed upon the music industry.
Who can forget, for instance, the site’s “review” of Jet’s