Regan McVeigh
Abstract
This paper identifies that Web 2.0 affordances and social media sites are useful tools for musicians and fans to build and maintain thriving music communities. It explores seven articles which provide evidence that online communities can exist, and that musicians are using them successfully to benefit their careers and their fan base. The article also explains that record labels are now using these methods to enhance their business models.
Social media sites have become a part of our everyday life. It is quite common for people to connect with people at home or even overseas using social media. But can it be used to build and nurture communities? And, furthermore, can it be useful for independent musicians to strengthen ties with their fans and foster music communities? In short, yes, but in this paper, there is evidence that it is so helpful to independent musicians and fans, that record labels have adopted this strategy into their business model (Choi & Burnes, 2017). To begin with Gallant’s (et al, 2007) paper establishes that online communities are indeed built and maintained online. Using Gallant’s work as a measure, Forman (et al, 2012) provides an example of thriving online communities on Facebook. Tarassi (2018) gives some insight into the lengths musicians need to go to in order to have a career as a musician, which includes connecting and maintaining relationships with their fans and music community. Fountoukidis (2015) investigates the Greek music industry and provides evidence that artists and fans are using Web 2.0 affordances to form close bonds and nurture music communities through direct lines of communication. Ball (2010) explores Portland’s independent music scene and discovers extensive use of Web 2.0 and social media sites to provide accessibility and promote participation between artists and fans, and in their doing so have created a thriving music community. Warren and Evitt (2010) explain how Web 2.0 and social media sites were vital for the forming and maintaining of hip-hop communities despite originating in remote far North Queensland. And, finally, Choi and Burnes (2017) highlight that record labels have incorporated this strategy of using social media to strengthen ties and build communities with themselves, artists and consumers. This article provides evidence that Web 2.0 platforms strengthen ties and help form communities with musicians and fans.
Online communities strengthen social ties and increase interaction (Gallant et al, 2007). In Gallant’s (et al, 2007) article we can achieve a better understanding of how communities are built and maintained online. Gallant (et al, 2007) explains that through the affordances of Web 2.0 people are able to participate in social relationships with ease of accessibility. They are able to interact with one another, establish their online identity and make social decisions based on the identity of others. Using social network sites such as Myspace and Facebook, people were able to build friendships, coordinate as groups and form communities (Gallant et al, 2007). Gallant (et al, 2007) also indicates that even though their research was focused on “…social web-based communities…” (Gallant et al, 2007), it can also be applied to other online communities such as entertainment, among other aspects of social life. As you will see in this paper, music communities are taking advantage of Web 2.0 affordances to strengthen their communities. Gallant’s work highlights the ability to cultivate communities online and strengthen ties. When people interact online they are establishing a connection that can become a foundation for a community. Gallant’s subjects frequent the same platforms online and develop social relationships. As they are able to establish an identity online, they are then able to read other people’s online identities and make an informed decision on whom to connect with. These communities were then able to form around these relationships, much like the music communities in the following cases. Gallant’s (et al, 2007) article shows that social ties are strengthened, and that interaction is increased through online communities, as is prevalent in the music community cases in this paper.
Online communities are built through a support system when people come together to interact online (Forman et al, 2012). Unlike previous forms of community building, online communities do not require physical closeness, and instead are built upon human interaction (Forman et al, 2012). Forman’s (et al, 2012) article follows a community of mourners on Facebook R.I.P. pages. Using Gallant’s (et al, 2007) work they are able to establish that these communities are built from support, not unlike the underground music communities that will be discussed further on. Through these Facebook pages people are able to come together to talk, support, offer advice and connect with each other (Forman, 2012). The affordances of social network sites offer accessibility to the members of the community that may have previously been too intimidated to take part in, in previous community forms. Forman’s (2012) article highlights how a community can grow around support and connectivity over a mutual subject. The people in Forman’s (2012) article are able to share experiences and participate in open dialogue using the affordances of Web 2.0 as will be shown in the cases of music communities below. Through this open dialogue, sharing of experiences and support, relationships are formed. These relationships are then able to grow into a community. These communities are able to form due to the accessibility of Web 2.0 platforms as is highlighted further on with the music communities used in this article. Forman’s (2012) article illustrates that online communities are built on human interaction and support.
It is important to point out at this stage the lengths that independent musicians need to go to in order to establish themselves as working musicians and create local music communities. Musicians are required to do more than just write and perform songs (Tarassi, 2018). They must be engaged in multitasking and take on multiple jobs to connect with fans and promote their shows as well as distribute their work and organise with other artists and promoters (Tarassi, 2018). The musicians must actively build and maintain their community (Tarassi, 2018). Tarassi’s (2018) article gives us insight into this world by researching artists in Milan’s music scene. The artists maintain many platforms to achieve the different aspects of their careers and therefore take on a level of entrepreneurialism. The musicians in Tarassi’s (2018) paper are frequently working towards ensuring their music careers have room to grow and a fan-base to play to. This is achieved significantly by cultivating and motivating their community. Incidentally, Tarassi points out that during the research of their article they collected documents from the musicians that included blogs, websites, letters, articles, flyers, posters, fanzines, songs, webzines produced online and offline. This indicates that these musicians are also using the affordances of Web 2.0 to build these communities. Musicians need to go to great lengths to establish, maintain and be active members of their music community.
Web 2.0 platforms allow musicians to communicate directly to their audience (Fountoukidis, 2015). Fountoukidis (2015) article investigates the Greek music industry surveying industry types as well as fans with aim of establishing how modern technology has impacted the music industry. The findings from this study give insight into how musicians are using Web 2.0 platforms to strengthen ties and build communities. For instance, the internet technology available to musicians now grant much more access to processes and methods that were previously limited to large companies and agencies (Fountoukidis, 2015). Fountoukidis (2015) explains how the different aspects of music career practice i.e. production, promotion distribution and consumption, have been impacted from new internet technology. Musicians are now able to write and record music without record company interference and demands. This not only allows the musicians to write genuinely, but also allows them to distribute the music directly to their audience, sometimes free of charge (Fountoukidis, 2015). The significance of these changes for this article is that musicians are able to communicate directly to their audience. This allows for a healthy thriving music community, just like the communities in Forman’s (2012) article. The artists are able to set up their own sites for distribution and communication to their audience, allowing for feedback and comments, and in doing so strengthening ties and fostering a community.
Web 2.0 affordances allow musicians and fans to access music, promotion, distribution and community building tools much easier than before (Ball, 2010). Ball (2010) investigates Portland’s independent do-it-yourself music community and highlights that Web 2.0 affordances are being used to the benefit of musicians and fans alike. Using these platforms to write, record, and promote, they are also able to make local music more available and encourage people to be involved, and therefore, grow the community (Ball, 2010). The participants are identified as active members of their community who work to make it more accessible and share their experiences with musicians and audience members (Ball, 2010). Ball’s (2010) article is a prime example of musicians and fans taking advantage of the affordances of Web 2.0 platforms to strengthen ties and build online communities. The article illustrates an open dialogue between musicians and fans. There is also evidence of a willingness to share, connect and participate in the music community. Ball (2010) explains that these practices are not used to garner more consumers, but rather to “…increase the accessibility of local music and invite people to actively participate in the culture” (Ball, 2010, p.123). The musicians and fans in Portland’s music community have benefitted from the use of Web 2.0 platforms. The musicians and fans are taking advantage of the Web 2.0 affordances to the benefit of their music community. Web 2.0 affordances, in this case, are paramount to the success of a healthy, thriving music community in Portland, as is evidenced by the findings in this article. Musicians promote, distribute, strengthen ties and create places to blossom their music community using Web 2.0 platforms (Ball, 2010).
Social network sites allow musicians and fans to build a community despite geographical boundaries (Warren & Evitt, 2010). This is evident in Warren and Evitt’s (2010) article which follows hip-hop groups from far North Queensland. Warren and Evitt (2010) are able to indicate the significance of social network sites and Web 2.0 affordances in the building and maintaining of hip-hop communities from remote areas. Despite the groups and fans being spread across remote areas in Queensland and Australia they are able to grow a thriving hip-hop community by taking advantage of the affordances of Web 2.0 technologies such as Youtube and iTunes. The artists are able to make the music at home or in youth centres without having to travel to major cities to use professional recording studios and equipment (Warren & Evitt, 2010). They are then able to upload their songs to platforms such as Youtube and iTunes to reach larger audiences rather than just their local remote audience (Warren & Evitt, 2010). In turn this allows the group’s reach and community to grow through promotion of their aspiration and “…sharing, learning and helping others” (Warren & Evitt, 2010, p.156). As fans are able to keep in touch with the artists with social network sites and stay up to date with the latest offerings and promotions from the artist, they are able to participate in the community no matter where they are watching or listening from. This shows that without Web 2.0 affordances these communities could not exist at this level and these particular groups would not have a thriving music community. These social media sites are able to connect people, like in Gallant’s (2007) article, no matter how far apart they are geographically. Despite their remote locations, musicians and fans are able to participate in music communities due to Web 2.0 affordances (Warren & Evitt, 2010).
Record labels have adopted this strategy, building communities and strengthening ties using social media, into their business model to strengthen ties with their artist’s fan base (Choi & Burnes, 2017). In an effort to communicate directly with consumers, record labels have begun using social media (Choi & Burnes, 2017). As well as being beneficial to the label, it also forms emotional ties with consumers who then become connected to the larger music community and feel closer to the artists (Choi & Burnes, 2017). Using social media, the labels initiate contact with the consumers and encourage participation (Choi & Burnes, 2017). The labels are then able to communicate and share experiences directly with their consumers and therefore form close relationships (Choi & Burnes, 2017). These relationships, as discussed previously, are integral to the formation of music communities and mark a significant change to previous communities and record label practices before Web 2.0. The record labels and musicians are encouraged to approach consumers to help enhance the consumers experience and in doing so strengthen ties between themselves and the consumer (Choi & Burnes, 2017). This highlights the success of community building Online, as it would not be used by successful major labels in the music industry otherwise. The fact that record labels have adopted this method of bonding and connecting with their consumers is indicative of the importance of using Web 2.0 platforms to strengthen ties and build communities in the modern era.
This article has provided evidence that in the modern era, Web 2.0 and social media sites are an important tool in the music industry. Gallant (et al, 2007) shows that legitimate communities exist online. Forman (et al, 2012) provided examples of communities on social media sites using Gallant’s (et al, 2007) work as a guide. Tarassi (2018) pointed out that musicians multitask and perform odd jobs to ensure they have a thriving music community to enhance their career. Fountoukidis (2015) highlighted the impact of Web 2.0 on the music industry and its use to connect directly between artists and fans. Ball (2010) illustrated that Portland’s music community have embraced Web 2.0 affordances to the benefit of musicians, their fans and their community. Warren and Evitt (2010) explained that without Web 2.0 and social media sites the music communities of their hip-hop groups in far North Queensland would not be able to exist. And finally, Choi and Burnes (2017) explained that the use of social media to strengthen ties and build music communities was so successful that record labels are now using this as a business strategy. Web 2.0 and social media sites can be used to foster music communities and strengthen ties between musicians and fans.
References
Ball, R. E. (2010). Portland’s independent music scene: The formation of community identities and alternative urban cultural landscapes (Order No. 1478212). Available from ProQuest Dissertations & Theses Global. (737556887). https://search.proquest.com/docview/737556887?accountid=10382
Choi, H., & Burnes, B. (2017). Bonding and spreading.Management Decision, 55(9), 1905-1923. https://search.proquest.com/docview/1947034023?accountid=10382
Forman, A., Kern, R., & Gil-Egui, G. (2012). Death and mourning as sources of community participation in online social networks: R.I.P. pages in Facebook. First Monday, 0. doi: https://doi.org/10.5210/fm.v0i0.3935
Fountoukidis, E. F., (M.B.A.). (2015). The impact of rapid technological developments on industry: a case study.International Journal of Information, Business and Management, 7(1), 215-253. https://search.proquest.com/docview/1626374542?accountid=10382
Gallant, L., Boone, G., & Heap, A. (2007). Five heuristics for designing and evaluating Web-based communities. First Monday, 12(3). doi: https://doi.org/10.5210/fm.v12i3.1626
Tarassi, S. (2018). Multi-Tasking and Making a Living from Music: Investigating Music Careers in the Independent Music Scene of Milan. Cultural Sociology, 12(2), 208–223. https://doi.org/10.1177/1749975517733221
Warren, A. & Evitt, R. (2010) Indigenous Hip-hop: overcoming marginality, encountering constraints. Australian Geographer, 41:1, 141-158, DOI: 10.1080/00049180903535659
You made some good points in your paper. I do agree that Web 2.0 and social media has definitely strengthened the online music communities. However, I wonder if this is an advantage or maybe a disadvantage to the artists themselves. Because of the freedom and easy access of music online there are a lot more choices for people than ever before. So it is much harder for artists to keep he/her fans interested in their music. In addition, I feel that with the rise of social media, artists are now selling or promoting more of their image rather than their musical talent which in my opinion kind of takes away from their main goal. Not to mention there are a lot of music piracy to deal with for artist who produces their own original songs.
Hi Frederick,
Thank you for your compliments and questions. There are pros and cons to this sort scenario of course, and your concerns do need to be taken into account. However, in regards to increased access of choice, to me this has a major plus for independent artists. Speaking personally as a musician from Perth W.A., I find it has given us an audience to the niche genres that previously could not exist in a small and isolated city such as Perth. If you or a member of your band is proficient with social media, this gives your band and advantage over others and spreads your reach vastly. This includes your online presence or “image”. Having and selling an image is by no means a new concept in the music industry. Even the anti-establishment Punks had an image that was marketed. These days it can help your music reach the right ears by making it easier to find on social media. As for piracy, I believe that is a much larger issue than the focus of this paper. Having said that, artists such as Chance the Rapper have avoided this issue by giving their music away for free online. They make their income from sponsorships, tours, and merchandise.
Regan
“They make their income from sponsorships, tours, and merchandise.”
That’s where most bands made their money from though and have done for a while because of the way the music industry was setup, making more money for the studios from album sales then the people who created the album. Hence why CtR, NIN and Radiohead to name a few, decided to go their own way.
(I’m sure you already know this though, but others may not so I thought I’d mention it)
This is an interesting and insightful paper. Given the challenges musicians encounter in reaching target audiences the discussion identifies the pros in utilising Web 2.0. This is particularly relevant as you note, accessing local music as well as reaching geographically disadvantaged audiences in countries such as Australia. The paper identifies the shifting dynamic social media holds within the music industry and interestingly points to the control independent musicians have in promoting their work, identity and possibilities for generating and nurturing new and current audiences because of platforms such as Web 2.0
Thank you for your feedback. I enjoyed researching and writing this paper and I appreciate you taking the time to read and reply.
Hi Regan,
It was a pleasure to read your paper. You made me realise just how much musicians and record labels rely on social media and Web 2.0 in order to promote and distribute their music. You are correct in saying that bands have an advantage when they use social media and if a band is not doing this they will most likely not be as successful. As an avid music lover and new artist discoverer, I find it interesting how much time bands invest in connecting with the community of fans and interact with other bands. It is time well spent and maintains and expands an evergrowing community.
I feel like your comments about independent artists are absolutely spot on and this is where I think Web 2.0 has made the biggest difference. Here in Australia, independent music is thriving and this is in part to do with social media and Web 2.0 sites like Facebook, Instagram, Soundcloud, Spotify, and others. Music lovers have access to a whole range of music at their fingertips and there is a market for more and more bands. With this interest in independent music radio programs like Triple J Unearthed and FBI dedicate themselves to discovering new independent music and sharing it with the world.
Personally, I maintain a playlist each week with the best new music that I discover. I do this as I get a thrill out of discovering new music and sharing it with others, but this would not be possible without the affordances of Web 2.0. I use Instagram to follow bands, listen to snippets of music, find out when new music is being released, learn about an upcoming gig, and share this information with my followers. I agree that Web 2.0 and social media have strengthened the music community and allow a deeper connection between fans and musicians.
Regards,
Marcus
Thank you for taking the time to read my paper and leave feedback. As an independent musician, it’s good to know that there are fans also contributing to the community.
Hi Regan,
I think you make a good point about how the affordances of Web 2.0 platforms have allowed musicians to connect directly with their audiences and both distribute their music and maintain their fanbase, cutting out the middle men. Just like with any other business trying to build and maintain a brand, having direct contact with your audience gives you a great opportunity to market and grow your brand and get regular feedback.
It was an interesting example you gave about hip-hop communities in remote areas of Far North Queensland. I would have liked to read more about this. For example, how did these communities form originally and how did they go about building and maintaining thriving online communities via YouTube and iTunes? It’s such a great benefit that Web 2.0 technologies have connected these remote communities to a global audience.
As an avid music fan, it’s great to be exposed to such a huge variety of music from around the world – much of which I wouldn’t have been exposed to if it weren’t for Web 2.0 technologies. I especially love that Spotify, for example, can detect my musical tastes based on what I’ve played previously to offer suggestions on which artists I’d enjoy listening to. This has been a great way for me to discover new artists and constantly expand my music collection.
Thanks for sharing!
Hi Lana,
Thank you for your kind words and for taking the time read and comment on my paper. I enjoyed researching and reading about these communities and the different obstacles they faced in creating and maintaining their communities. The communities from far North Queensland were a great example considering the vastness of their homeland. The connectivity they achieved through social media is what this whole conference is about. What I learned from reading the article was that they were recognised for their talent at first and encouraged to perform and record their work. They then used social media to their advantage and were able to attract like-minded fans and artists to form a community.
Warren, A. & Evitt, R. (2010) Indigenous Hip-hop: overcoming marginality, encountering constraints. Australian Geographer, 41:1, 141-158, DOI: 10.1080/00049180903535659
I too enjoy the variety and the constant search for new artists and material, new and old, from the comfort of my living room, and the bragging rights that come with it when I share it with my friends.
Regan
Hi Regan
I tend to agree with Frederick Kwok’s comment on artists finding it much harder to keep their own music a live and maintain their audience as the Web2.0 has made it easy for patrons to move from one artist to another as they explore the music scene. Gone are the days of buying records, cassettes where the artists were paid for their music and had a manager. It is easy for anyone singer, musician or up-and-coming young children to put a You tube video online available to everyone who has the internet. I too believe these types of videos allows for a bigger audience to follow music groups, singers forming a deep connection in the music community.
Hi Robin,
Thanks for taking the time to read and comment on my paper. I do understand your point of view, however, as it has always been in the art world, the creme of the crop rise to the top. I too can concede that the nature of the industry has become rather frivolous, especially with shows such as Idol and X-Factor, it seems people are constantly jumping from one artist to the next without any real connection. If these artists did not have social media accounts they would not be able to compete. There is though, and I believe will always be, the genre-audiences who are not after the next big thing, but enjoy particular styles of music and will follow the artists that create that music, and make real connections with the artists and vice versa.
Nice article Regan, if someone was an upcoming artist who wasn’t quite well known yet then it wouldn’t be hard to maintain an online presence to inform their fans however it makes me wonder at what point does it get too much and they have to have their PR team take over to ghostwrite their tweets and facebook messages, etc. Also keeping an eye out for the latest ‘cool’ apps to jump on to stay ahead, or even just keep with the crowd.
It would be interesting to know what number of artists actually write their own social media posts.
> “This highlights the success of community building Online, as it would not be used by successful major labels in the music industry otherwise. The fact that record labels have adopted this method of bonding and connecting with their consumers is indicative of the importance of using Web 2.0 platforms to strengthen ties and build communities in the modern era.”
In my opinion maximum exposure for their client and therefore increased revenue would be the main motivating factor for studios to do this though. Like many companies before, if you don’t adapt your business model to the ever changing world, you’ll fall behind.
On another note, you made me think of something along the topic of exposure. In the past a band would have to audition at a pub or club to hopefully get a spot and get seen by the locals and potentially build a fanbase. Maybe one day someone in the industry may see them and sign them up and sponsor their marketing. As your paper details though now artists can spread the news and industry people can scout artists from the comfort of their home.
Hi J,
Thank you for reading and commenting on my paper. It is an interesting point you make about which artists actually post and respond on their social media pages. I am sure a lot of big artists from the past, who don’t actually use social media themselves, have dedicated social media teams, just like any other big business these days. There are a few who do have their own social media pages, or claim to, as I have spoken to some of my favourites personally.
It certainly is a great tool for scouting. As in ‘real life’ those who are good will attract an audience, and if they are lucky the ‘right people’ will see them.
Regan