One of the unexpected consequences of the technological revolution is the death of the popular music industry. The sale of physical content has just about disappeared, outside of the vinyl subculture. Even if you count downloads, the gross sales of music decline more than ten percent per year. On a per capita basis, popular music revenues are a little more than half of their peak fifty years ago. The biggest drop in sales started with the introduction of the mp3.

Unlike the newspaper industry, which thought they could make money giving their content away on the internet, the music industry always saw technology as a threat to their business model. They famously fought the introduction of cassettes because it would make it easier to record and transport music. If you could copy that album and give the copy to a friend, the music industry reasoned, there would be no reason for the friend to buy the album.

The music industry went to extraordinary lengths to protect their cartel, but they simply could not hold off the flood of technology. They treated downloaders like the Israelis treat Palestinian civilians, but it failed to deter people from downloading free copies of the song they wanted. Eventually, the industry gave into reality and started selling single copies of songs, but by that point, the horse had left the barn. There are too many ways to get a copy of a song free of charge.

The hope was streaming services would stem the bleeding. Instead of loading up on free music maybe people would pay five bucks a month to have access to everything all the time from anywhere. That did seem to work for a while, but then it just further cratered the music sales side of the business. There is also the fact that the public does not listen to as much pop music as in the past. Part of it is demographics, but part of it is the collapse in the quality of content.

This is starting to damage the last area where money could be made in the music business, which is the live show. For the first time in a decade, excluding the Covid years, live shows are in decline. The popular excuse is to blame the ticket sellers and the secondary market for pricing people out of the events. The claim is the ticket sellers are gouging the consumer with demand-based pricing, which is like saying no one goes to a restaurant because it is too crowded.

One reason for the decline of live shows is Covid. A weird thing happened during Covid and that is people discovered that they could live without things they suddenly could not have due to the panic. Restaurants never fully recovered from Covid because people got used to not going out to dinner. Something replaced it. Live events are another thing people did not miss as much as expected. Pro sports have had to work hard to regain their crowds and college sports never fully regained them.

Another reason live music is struggling is the quality of the product. As the industry relies more on technology to create listenable content, the less able they are to stage compelling live shows. This is not a new problem. In the golden age of pop music, they often used studio musicians to record the songs. The “band” often could not play their own music at all. This limited the “band” to doing studio shows where they could lip-sync to the recorded music.

This changed in the 1960’s when bands could play their own music and insisted on recording their own music. They also did live shows where they could actually play their stuff and not sound like a bag of cats. Technology has reversed this so that the performers are no longer able to produce the songs live in any way that sounds like the recorded material. Technology has made it easier to make music, but that has resulted in fewer acts that can do live shows.

Here is where you see the damage done by hip-hop. This is content easy to create in the studio, but it is hot garbage when performed live. In a small venue, the tight spaces and use of drugs can result in a good time for the audience, but in an arena it is often hilariously terrible. It looks like that homeless guy who yells at passing cars got on the stage and is yelling at the audience. Whatever the merits, there are none, hip-hop does not make for a compelling live show.

Another issue for live music is young people are not being socialized in the meat space, so live shows fall outside of their comfort zone. A generation used to interacting with their peers through internet platforms is not going to see the live show as an opportunity for socializing and dating like the old days. They would rather hear the music while cartoon characters perform the concert online. For a generation that prefers the indoors, the outdoor music show may as well not exist.

Of course, the music business was always a racket. The golden years of pop was when the music companies ruled with an iron fist. They could make you buy the album when you wanted just one or two songs. They forced radio stations to play the songs they wanted played. Most important, they we free to rob the music acts. Technology nibbled away at the music cartel eventually freeing the consumers and the music creators from the clutches of the music companies.

One result is there is probably more music available now than in the golden age of popular music. Creators can make good stuff from their bedroom and make it available to the world via the internet. The other side of this is the days of the rock star are coming to a close. Taylor Swift is probably the last mega star and her fame is mostly due to her general weirdness. Her songs are popular because she is popular, not the other way around. Her music is secondary to her act.

Otherwise, the golden era of popular music, especially rock music, will be viewed as a strange artifact of the American empire. A generation from now that music may sound as weird and alien to young people as Chinese opera. They will not understand it, because the people and culture that produced it are as alien to them as the people and culture of China. The concept of the rock star will disappear with memories of phone booths and quadrophonic sound.

If you like my work and wish to donate, you can buy me a beer. You can sign up for a SubscribeStar or a Substack subscription and get some extra content. You can donate via PayPal. My crypto addresses are here for those who prefer that option. You can send gold bars through the postal service to: Z Media LLC P.O. Box 1047 Berkeley Springs, WV 25411-3047. Thank you for your support!

**Promotions: **Good Svffer is an online retailer partnering with several prolific content creators on the Dissident Right, both designing and producing a variety of merchandise including shirts, posters, and books. If you are looking for a way to let the world know you are one of us without letting the world know you are one one is us, then you should but a shirt with the Lagos Trading Company logo.

Minter & Richter Designs makes high-quality, hand-made by one guy in Boston, titanium wedding rings for men and women and they are now offering readers a fifteen percent discount on purchases if you use this link. If you are headed to Boston, they are also offering my readers 20% off their 5-star rated Airbnb.  Just email them directly to book at sa@******************ns.com.