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For undiscovered artists, social media is a ‘double edged sword’ [VIDEO]

In a short time, a more democratic music industry has meant that independent artists aren't only competing with large companies, they're also competing with thousands of small ones and solo efforts.

At a Radio 104.5 concert.
Here’s something you already know. In the last 15 years, the web has changed the music industry faster and more completely than perhaps any other. Like changes to the traditional business model, artist communication and discovery have taken on social media as fast as any other.

The explosion of dissemination tools is generally regarded as a triumph for undiscovered artists, but as this becomes old hat, why do some great music acts never reach wider awareness? In short, more pathways to stardom have just meant more people traveling on them — the crowd continues.

Social media is making it easier for new artists to be discovered in many ways but Wendy Rollins of Radio 104.5 said, “It’s kind of a double edged sword.”

It allows undiscovered artists a way to get their name out and a way to be noticed that they never had before. Unfortunately, this is something that anyone can do, so artists have to be even more creative in order to stand out amongst all of the other videos, tweets and websites.

“There is more competition for an independent artist now,” Rollins said, “It’s how those really talented artists rise above.”

Vine was used to record local artists at World Cafe Live.

That means for every MySpace discovery in 2009 or Youtube viral hit in 2010, today there are hundreds more. In a short time, a more democratic music industry has meant that independent artists aren’t only competing with large companies, they’re also competing with thousands of small ones and solo efforts.

Now what the industry is starting to see are bands that aren’t that good, but really know how to make a good video, Rollins said, getting noticed while other great bands, who lack those video skills, aren’t getting that exposure. Creativity in delivery often trumps form.

What is becoming more common are cross industry partnerships.

“They get some of their buddies that are amazing at something like that, film students,” Rollins said, “and say you need to get some experience and I need a video.”

It’s a trend that makes two-year-old JUMP Magazine, which seems downright traditional in its printed, local music focus, arguably more valuable than ever. Twitter is great because it allows musicians to connect with fans in other cities, but something like JUMP, Rollins said, is “just another avenue for them to get their face out there.”

It’s why that standard form of music publishing has continued locally on the web — JUMP is joined by alt-weeklies like CityPaper, culture blogs like Philebrity.com and 215mag.com and regional legacy media is giving early artists a chance to cut through the social media noise and get broader distinction. Think about the success of The Key, the local music blog from decades-old alternative music station WXPN.

Grace Bernicker, a singer-songwriter with a country style and presence on Facebook and Twitter, noted her appreciation for smaller communities like iRadioPhilly.com that highlight up-and-coming efforts, which go beyond the very act of performing often.

“You can only go so far with social networking,” Rollins said, “and screaming into the void and hoping that somebody thinks your Instagram is cool.”

John Vettese, editor of “The Key,” WXPN’s music blog, listened to bands looking to be featured on the station.

Some social media platforms are more conducive to getting a band noticed than others.

“I have noticed a lot of bands using Vine,” Rollins said.

Vine allows artists to put together short clips of whatever they may be doing into a short video for fans to see. Vine allows people who aren’t musicians that look inside the process. It lets them see what happens between making the music and listening to the finished product.

But, what’s clear is that Vine is simply earlier on its growth than Facebook or Twitter, so the crowd is likely smaller. The explosion of options widens the toolbox and makes certain artists pay mind to distribution.

The crowdfunding movement, including the giant Kickstarter and others with local ties like Lucky Ant, is changing how artists think about delivering their music to fans. Music sharing sites Bandcamp and Soundcloud are blossoming as early delivery tools before artists land on sites like Pandora or Spotify.

In all, the gatekeepers of old were harder to attract but, remarkably, likely easier to keep around. Today, there is no end to the ways for getting attention in small communities, but sustaining that effort takes as much attention from artists as their music.

Companies: Jump Magazine / Philebrity / WXPN
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