At the dawn of American popular music culture, the largest way to share your love for an artist may have been wearing a t-shirt with their name written across the front, now our interactions with music artists could range anywhere from directly responding to Twitter posts, sending messages on a multitude of different platforms, commenting on a live stream, or even dueting one of their TikToks. Never before have we been so close to getting involved with musical aristocracy as distant listeners. The function of artists in the twenty-first century is beyond the era where rare individuals with a unique talent for music valiantly progressed to the top; now people with any kind of (musical) influence in the media are everywhere. A conglomerate of social platform advancements along with changing cultural behaviors and shifting recording industry systems have cultivated an environment of democratic opportunity for artists to cut the long track to fame drastically and fans to be closer than ever before. The audible ecosystem and our current interactions in it (either through artist social media pages, content creation, or other) have fostered a culture that has intertwined with our daily lives and completely restructured the functioning of artist ascendency. Looking at the technological, cultural, and ethical evolution of this social progression, the goal is to understand where we started as a country when it came to artist/fan engagement and where we are headed now. In more detail, this is to seek more of an understanding on how digital changes have altered independent artists' opportunities for success, the artistry and legitimacy behind songwriting/production, and in what ways industry alterations have already adapted music to conform for UGC (user-generated content) social media success. 

Before any cultural impacts could begin, the logistical processes of how music was absorbed had shifted. Where gearheads first were collectors of vinyl, cassettes, CD’s, and radios, the MP3 revolutionized the concept of audible curation. Listening went from physical pieces of finesse to portable pockets of software that allowed for easy listening anywhere, anytime. Not only did this majorly contribute to an appreciation change in music culture, it heavily influenced the structure of the industry itself. If we could get all of our favorite songs on a small (and efficient) hard drive, why would we continue purchasing physical copies of artists' creations? 

The emergence of digital listening completely rearranged the function of music sales as file-sharing applications such as Napster (1999), BitTorrent (2001), MySpace (2003) and the analog iPod (2001) completely wiped the functionality of physical music systems, allowing for people to have more control, freedom, and power of their listening habits (Haynes). This not only started the decline of physical media sales that still persists today but also began to “destabilize long-established business patterns of the industry (Haynes).” The increasingly technological based dependence the music field was adopting meant for less interaction with physical music, a new change in recording styles, and an overall refusal of traditional audible consumption. We have seen this playout as a decline of well executed music being produced, simply for the sake of online popularity. The more classic listening and music creation techniques were and still are used today, however, there was no fighting the increasing functionality of online sharing and streaming platforms that was being thrown at the industry. Realistically, people continuously tend to prefer the ease of modernity over the aesthetic of tradition.  

As the industry went from simple listening, to evolved file-sharing, then to our current method of undemanding streaming platforms that offer endless amounts of varying genres of music, consumers played along with the industry and have reinvented music culture as much as the devices did. Instead of having a specific audible collection and no other source of music available, streaming applications and social media platforms have allowed an infinite access to whatever kind of genre/artist the consumer desires, even ones they are not yet aware of. With high quality algorithms and a social-media-like adaptation to music applications, the desire to listen for poetic analysis has emerged into a more extroverted, communal endeavor. Having a music platform, or account, is now a method of meeting people, conversing, and putting yourself out there–it is no longer just an internalized hobby or personal passion. Once everyone got access to all kinds of music, it became less individualistically unique, calling for a new era of music listening culture in America. 

The new form of media consumption (and artist marketability) was introduced with the creation of user-generated content (UGC) based platforms such as Facebook (2004), Youtube (2005), Twitter (2006), and Instagram (2010). Users were given complete freedom to post whatever they wanted, whenever they wanted, with little regulation. This kind of online freedom created opportunities for musical success that were never before possible. Not only do these personalized sites pave the way for independent management but it also allows for a more controlled strategy of musical business. When artists are “bypassing labels, uploading their projects to online streaming platforms and speaking to their fans directly through their social media” the possibilities for progress are in the hands of artists themselves, instead of the companies that would obtain most of their hard earned profit (Cole). 

While many artists still post independently with the goal of being recognized by a label, many musicians attempt to build their brand identity and platform completely isolated from any established industry company. Instead of having to choose between the gambled success of a significant music career or leaving all musical talents behind, the worldwide accessibility to platforms have allowed artists who would have never had a chance, a path to give it a shot. See Justin Bieber and Lil Nas X for example; Bieber started his $300 million dollar career posting song covers on Youtube at the age of 13 and Nas surpassed 10 million streams with his first country/pop hit, “Old Town Road,” in 2019 after posting it in a single TikTok. Streaming platforms (such as Spotify, Apple Music, Youtube, or the most recently popular and previously mentioned, TikTok) can “propel lesser-known songs or artists to mass consciousness” as people have the ability to make any video/post go instantly viral, increasing the likelihood of success by a dramatic amount for independent artists (Cole). 

Where recording labels and distribution companies used to stand independent of other creative fields, music converged with other sources of media as previously mentioned, that have developed this new dynamic between business and consumers. This new culture transgressed previous musicophile habits as it became increasingly “immediate” and “intimate” for listeners since more social, cultural, and economic connections to the surrounding industries of audiovisual media also increased (Fairchild 445). Fans no longer have to rely on album releases, magazine interviews, or tours to see their favorite musical celebrities because all kinds of online posts give listeners another, more direct, outlet to communicate and engage with artists in. This makes the fan and artist connection incredibly close and personable and it has also restructured the duties and standards for music as well. 

 Because of this upgrade in programming, more genres have been appreciated and brought to light, which has been another contributing factor to the rearrangement of music industry norms. Cole mentions a report by Wintel that shows the indie sector streaming revenues having increased over 46% since 2000, expanding its overall music market share to 39.9% in 2017 alone (Cole). Even though pop has always dominated the general field, other underrated genres such as hip hop/RNB, Latin, and electronic dance have all dramatically expanded due to their increased exposure within streaming platforms. In giving a new power to the people, social media has contributed to a wider appreciation of lesser known musical groups all the while pushing creative boundaries of music marketing and continuously diversifying general musical habits. Previously underappreciated musical groups and genres are having a chance to be in the spotlight as the marketability from streaming platforms have created more exposure to these musical minorities. 

The industry, like other creative/media based fields, is currently dependent on constantly adapting trend cycles created by influence-based dictation that can be detected by anyone who is present on those influential platforms. Such widely accessible and relevant technologies are giving artists the ability to maintain a “more stable, financially self-sustaining independent career,” which allows for more risk with music production and greater opportunities for independent management (Haynes). The industry has transitioned from relying on musical talent and controlling record labels to self-controlled independent artists with not particularly tuneful skills, and whether that is a positive or negative thing, in the end we are getting a more varied and diverse display of music than ever before. Since 90% of social media users interact with some form of music or artist related media activity, it is to no surprise that the largest contributing factor to a musician's success is not their musicality but their marketability and brand (Cole). If someone has media influence that is in some way connected to music, they have an ability to make a profit and find some kind of “musical” success within the industry. Currently, we are facing a constantly cycling system of meta-exchanges that are dictating the success and popularity of modern day musicians and artists instead of musical talent. 

No longer dependent on the quality of songs, this increasingly demanding audible audience has not only altered the atmosphere around music but also the songs themselves. Because of the ease of virality (going “viral” and gaining a large amount of followers over a short period of time) on UGC based platforms, artists are gaining more and more access to online authority. Anyone with a song or beat can label themselves as a “musician,” causing most of the modern responsibilities of an artist to no longer be that of making music but more of maintaining an online media presence, further decreasing the priority of high standard work. While music has always been a means of profit and financial gain, artistry still lingered within instrumental talent and production expertise; however this era of online competition has made the game of success even more compelling and the heart of music that much less important. An artist with a larger discography (lengthening albums) is more likely to be picked up by algorithms causing them to prioritize quantity over quality and songs themselves have a higher chance of virality if they are shorter, simpler, and more repetitive (Cole). The standards of music are technically decreasing. However, as negative as some of the components of social media and the music industry’s combination are, such as less skill in production or practice, we still see amazing musicians revolutionizing sound and the power of audible brilliance because of it. In the end, we would have never noticed nearly any of these artists, however good or bad they are, if it weren’t for their social media presence. 

Social media has given a new voice to music. Having started out a densely corporate based industry, the music field has evolved into a creative facet of adaptability and prospect. Large corporations continue to dominate the basic foundation for the American popular genre, securing the business function of the industry in general, however because of social media and specifically UGC applications, a new life has been given to people who would have never been able to pursue the traditionally lined path of musical success. We are witnessing a convergence of “new media fitting into existing social relations of musical production,” that is reframing musical and cultural success all the while not fundamentally overturning them (Haynes). Although our interaction with music originally began as a locally niche endeavor, it having dramatically transitioned to an internationally attainable form of media in just decades has allowed for a wider spread of appreciation, connecting the creation of music back to its founding principles–universality and passion. My prediction is that listening habits will evolve just as extraordinarily as the technology does, co-existing as a multi conglomerate industry. Although standards may be diminishing in viral or popular scenes, the exposure of other genres has raised the potentiality of success for smaller artists and increased standards for other areas of music. We can utilize this morphed dynamic exchange between creators and listeners to craft a more personal and individually impactful culture of audible design that benefits everyone. 

Cole, Sean. “The Impact of Technology and Social Media on the Music Industry.” Econsultancy, 9 Sept. 2019, https://econsultancy.com/the-impact-of-technology-and-social-media-on-the-music-industry/. 

D'Souza, Shaad. “Screen and Heard: Is Tiktok Changing the Way Pop Stars Perform?” The Guardian, Guardian News and Media, 5 Jan. 2023, https://www.theguardian.com/culture/2023/jan/05/screen-and-heard-tiktok-changing-pop-shows-rosalia-lorde-1975.

Fairchild, Charles. “Crowds, Clouds, and Idols: New Dynamics and Old Agendas in the Music Industry, 1982-2012.” American Music, vol. 33, no. 4, 2015, pp. 441–76. JSTOR, https://doi.org/10.5406/americanmusic.33.4.0441. Accessed 3 Apr. 2023.

Haynes, Jo, and Lee Marshall. “Beats and Tweets: Social Media in the Careers of Independent Musicians ...” Beats and Tweets: Social Media in the Careers of Independent Musicians, University of Bristol, UK, 2018, https://journals.sagepub.com/doi/10.1177/1461444817711404.