What is it that makes original music less instead of more?

Notes from the Road – What is it that makes original music less instead of more?

One of the things I contemplated as I traveled from gig to gig on this most recent tour is the reluctance or disinterest of the general public when it comes to seeking out or listening to new original music. In this context I’m using the term “original music” to mean music written by the performer which has not received extensive commercial radio play and is, therefore, generally unfamiliar to the listener – i.e., new, different, etc. In those gigs I played which were not true listening rooms (places people come to listen to music, not just to talk and drink) I invariably had someone ask if I played any songs by (insert name of mainstream artist whose songs are played twice in any given hour on commercial radio). The answer is, of course, “I can, but I don’t.” It’s not what I do or what I have of value to share with an audience.

Now, in the folk music tradition I would understand this completely if it were a case of people wanting to participate, sing along, dance, etc. However, that wasn’t the case. These requests generally came from folks who were listening to the music “with one ear” while socializing, etc.

It seems to me that the majority of our society has come to treat music unlike any other art form. Whereas we will not usually read the same poem 20 times in a week, watch the same movie 20 times in a month, read the same book 20 times in a year or sit and carefully absorb the same painting or photograph 20 times in our lifetime, we will routinely listen to the same song or group of songs multiple times in a single day and then go out to hear “live music” hoping to hear those very same songs performed by someone else who will make them sound exactly the same as what was on the radio. Even then we don’t stop and listen to it to the music, but continue our conversations over it as loudly as necessary to relegate it to mere white noise in the background. Why is that?

Why is “live music” in a venue considered preferable when it simply consists of a commercial radio playlist performed by a band which may or may not perform it well? Why do people prefer venues with live music when they go primarily to drink and socialize rarely focusing on the music itself? Why not just have the radio on, a jukebox or karaoke in the corner?

Now, don’t get me wrong – I love the work of Jimmy Buffett, James Taylor, The Eagles, Willie Nelson, Merle Haggard and the current parade of performing songwriters of that ilk (those that truly are songwriters) as much as anyone. I’ve spent my share of time playing their songs for loud disinterested bar crowds too. And, I begrudge them nothing of their financial success – good for them, truly! But at some point it begins to feel like commercial radio, Nashville and the established music industry (emphasis on “industry”) has trained us as a society to behave as sheep. They tell us what to listen to, determine for us what is “good” and who has “talent,” and we simply swallow that without leaving room for anything else, i.e., the independent artist plying his craft on the back roads, in the small listening rooms and house concerts. We sit at home in our Lay-Z-Boys in front of our flat screen TVs and computers while the art, the true art, of live acoustic music passes us by.

Are we, at this point, simply a culture with an ever-shrinking attention span and increasing disinterest in music that doesn't immediately explain itself or with which we aren’t nauseatingly familiar as a consequence of continuous bombardment at the direction of a radio culture driven solely by sponsor dollars and the record industry’s dictates? I am a big fan of a large number of singer-songwriters whose CDs I own or whose mp3s are on my iPod. As much as I enjoy those songs I don’t listen to them multiple times in a month. And, I’m always most excited to hear something new from that artist. However, I seem to be in a diminishing minority in that regard and I suspect I’m preaching to the choir here inasmuch as those of you reading this are likely fans of the same music I am for the much same reasons.

Why is it that fewer and fewer people come out to hear something fresh and new in smaller, more intimate concerts by enormous songwriting talents like Chuck Brodsky, Jonathon Byrd, Jack Williams, Michael Smith, Cheryl Wheeler, etc. at a mere $10 - $25 per ticket when they continue to pay $65 - $125 and more to hear music they’ve heard incessantly on the radio being blasted at them in an arena with crummy acoustics in the midst of 10,000 screaming people who aren’t truly listening?

I’m observing, as I know all independent artists are, diminishing audiences, CD sales, etc. And, to the extent that I’m just not reaching people’s hearts and minds with my music so be it – that’s part of the deal and I have no complaints. However, since I get such gratifying feedback after every performance and I see it happening to artists, like the small sample I’ve listed above, whose work is so good that there is simply no debating the quality of what they offer, the smaller audiences, etc. must be the result of musical apathy or lethargy. Of course, the economy has its substantial effect, but it seems that money for the monthly house concert or small venue outings gets cut long before the daily smoothie, Starbucks latte and big name concert tickets. I find that disappointing, even disheartening.

What do you think? I’d love to hear your thoughts. It seems in these troubled economic times the trend would be different. It looks like people would be connecting to the grassroots, back road music that is out there. Let me hear from you!

All the Best –

Doug
"It's not how far you've come, it's what you've done with the miles"
Doug Spears
36 Interlaken Road
Orlando, Florida 32804
407-257-4242
dcsnole@yahoo.com
www.dougspearsmusic.com
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