She 'played guitar like a man,' people told her, as a compliment. Dozens of musicians and performers credit her as a major influence, from Chuck Berry to Elvis to Keith Richards to my dad, who must have felt as if a spell had been cast on him as he sat glued to his family’s battery-powered radio and heard her voice pierce the gloaming over the cotton fields. | | | | Staying in his lane: The Weeknd performing in Los Angeles for the American Music Awards, November 2020.
(AMA2020/Getty Images) | | | | | |  | “She 'played guitar like a man,' people told her, as a compliment. Dozens of musicians and performers credit her as a major influence, from Chuck Berry to Elvis to Keith Richards to my dad, who must have felt as if a spell had been cast on him as he sat glued to his family’s battery-powered radio and heard her voice pierce the gloaming over the cotton fields.”
| | | | | | rantnrave:// A discordant juxtaposition of business stories over the weekend: Sales are booming at FENDER, as people stuck at home during the pandemic have been buying guitars and other music gear in record numbers. Sales are up 17% year over year and the company is expecting an even bigger 2021. And yet on Saturday, GUITAR CENTER, which dominates the American retail market for the exact same gear, filed for Chapter 11 bankruptcy protection, suffocating under a mountain of debt. There are understandable business reasons for the two guitar giants' opposite trajectories. As the New York Times notes, Guitar Center had been deeply in debt since long before the pandemic swept the world, dating back to its $1.9 billion acquisition by BAIN CAPITAL in 2007. And though sales had been trending upward before 2020, the company was ill-equipped for the pandemic economy. It lacked the e-commerce presence and know-how of younger companies like SWEETWATER, leaving it especially vulnerable when it had to close most of its stores in March. Fender shuttered its factories and furloughed employees at the same time, but reopened and rehired them a month later as demand began to surge. CEO ANDY MOONEY tells CNBC a "goodwill gesture" to offer Fender's online instructional videos for free to the first 100,000 people who subscribed showed the company how much demand there was. It got those 100,000 subscribers in a day, and nearly a million within three months. At the same time, sales began to spike. The buyers trended young, and a lot of them were women. And while they were buying online from retailers like AMAZON, WALMART and Sweetwater (which is reporting off-the-chart guitar sales this year, too), they were also buying directly from Fender. It's hard, while reading these stories, not to think about the two very different brands. Fender has been a dominant guitar and amplifier brand for over half a century, and players from beginners to Rock and Roll Hall of Famers are fiercely loyal to their Stratocasters and Telecasters, their Deluxe Reverbs and Twins. Mooney tells CNBC that market research suggests 90 percent of the beginners who bought guitars during the pandemic will quit within a year, but the other 10 percent will buy several more; "they have a lifetime value of $10,000." And while they may go into a Guitar Center specifically looking for a Strat or a Tele—beautiful instruments with versatile tones and distinct histories—it's doubtful they'll go into a Guitar Center specifically because it's a Guitar Center. It's never been that kind of brand. It's the big-box brand that at some point set up shop in their town and drove everyone else out; it remains as generic as its name. Given the choice between the five-mile drive to the closest Guitar Center and the 1,500-mile drive to SOUTHPAW GUITARS in Houston, I'd choose the latter in a heartbeat. (OK, I have specific needs. But I know plenty of righties who'd make a similar choice. And I'd choose the 15-mile drive to TRUETONE MUSIC in a heartbeat, too, and that means crossing the 405, which is kind of like driving to Houston.) Or I'll go to Sweetwater.com, which is easy to navigate and where I can generally get a salesperson's attention, an actual human salesperson, faster than I can at the Guitar Center on Sunset Boulevard. Guitar Center, I should add, expects to be out of bankruptcy protection by the end of the year and it's paying its employees in full in the meantime, which is especially welcome at a time like this. But as a brand, it's hard to not to see how it won't remain vulnerable, even still... TAYLOR SWIFT—who generally plays GIBSONs and, um, TAYLORs, not Fenders—accepted her AMERICAN MUSIC AWARD for Artist of the Year via a taped speech Sunday night. "The reason I'm not there tonight," she said, "is I'm actually re-recording all of my old music in the studio where we originally recorded it... I can't wait for you to hear it." It's possible she also didn't want to be anywhere near a Los Angeles theater that had socially distanced cardboard cutouts of BEYONCÉ, JAY-Z, DOLLY PARTON and a few other celebs in the good seats and socially distanced actual people in the balcony. But that wouldn't be nearly as good a speech. She, too, has a brand, a very good one. The three-hour show was a mix of live and taped performances, and though it wasn't obvious which was which, most seemed taped. SHAWN MENDES started his second of two performances in what looked like a living room but turned out to be a set in the back of the MICROSOFT THEATER. He walked through the living room door mid-song, ran down the aisle and onto the stage. That was a nice touch. And probably pre-taped.
| | | - Matty Karas (@troubledoll), curator | | | |  | protocol | | YouTube has always been important to the music business. Now, with YouTube Music, it's trying to build a music universe Spotify and Apple can't touch. | | | |  | Hypebeast | | How the streaming platform's playlists became a market-shifting force in the music industry. | | | |  | The Washington Post | | Its stars were gangly and unmuscled, but they could pass as debonair in the right suit, a good coif and a close-up. They adored soul music, high-hold mousse and shared the energy of yupped-up slicksters or corner office-contenders. | | | |  | Oxford American | | Rosanne Cash on Sister Rosetta Tharpe. | | | |  | CNBC | | Fender guitar sales have grown 17% during the pandemic and are expected to top $700 million this year as housebound consumers look for new hobbies, says Fender Musical Instruments Corp. CEO Andy Mooney. | | | |  | GEN | | Stan culture exposed how my loyalty to bands was measured by how much merch I could -- or couldn’t -- afford. | | | |  | Paper | | Jawsh's debut single, "Laxed - Siren Beat," dropped in July and promptly reached viral status on TikTok as millions of creators used the original sound to perform the "Culture Dance." The beat has since been remixed by the likes of BTS and Jason Derulo, landing him number one on the Billboard Hot 100. | | | |  | Music Business Worldwide | | Stat Of The Week: How indie acts are central to the strategies of China's two biggest streaming music providers. | | | |  | Slate | | Artists can sell more than just their music on major platforms—and they can put out a tip jar, too. | | | |  | Pitchfork | | A conversation about the captivating sounds, burgeoning industry, and increasingly global influence of West African pop music, on our podcast The Pitchfork Review. | | | |  | Pollstar | | It's been around five months, since Driift started producing high-quality ticketed concert livestreams. Since then, the team around CEO Ric Salmon has realized 14 shows with different artists, including Niall Horan, Dermont Kennedy, Kylie Minogue, Laura Marling, Lianne La Havas, Nick Cave and more, who've collectively sold some 300,000 tickets. | | | |  | Dazed Digital | | The community focus of Audius looks set to give the music industry a much-needed shake-up. | | | |  | Level | | Sometimes the best lessons come from the bumps and bruises along the way. | | | |  | The Guardian | | A prodigious talent, the young cellist was rewarded with a Deutsche Grammophon contract and toured all over Europe. Why has the ‘German Du Pré’ been forgotten today? A new documentary explores her life and legacy. | | | | | Pitchfork | | The unlikely story of how two childhood schoolmates changed each other’s lives. | | | |  | Music Tectonics | | Bob Moczydlowsky (you can call him Bob Moz), Managing Director of Techstars Music, explains how the accelerator program unites Techstars venture capital with member companies across the global music business. | | | | | Dazed Digital | | From rural Wales to London warehouses, illegal parties continue to grow and get more creative to defy government regulations. | | | |  | NPR | | Since the pandemic started, musicians have been trying to find ways to play together in real time online. Two platforms - Audio Movers and Jack Trip - offer promise. | | | |  | Groove | | The organic sound from Latin America has been making waves, but its makers have to still grapple with the continuous impact of colonialism. | | | |  | Africa is a Country | | How Tupac Shakur endures for urbanized and alienated African youth. | | | | |  | | YouTube | | | | | | | | | | | Not the Marvin Gaye song but the same question, more or less. From "Shadow of Fear," out now on Mute. | | | | | | | | © Copyright 2020, The REDEF Group | | |
