I wrote this today after reminiscing about my embarrassing past as a music snob, specifically, an Indie music snob. You know, the kind that only listens to bands that sound like they recorded their albums in a damp basement, surrounded by fragile egos, stella and half-eaten takeout? Sadly, (and it is sad, as my life would have been much easier) I wasn’t one of those posh snobs with a trust fund, strutting around in someone’s grandad’s trousers as if they were the latest runway fashion. Unfortunately, I was the worst kind of music snob, a 90’s music snob. If you didn’t swagger about like you just fell off your Lambretta, had a scrap every Saturday at the match, sing about council estates and lad culture, you could do one. Seriously, if your band didn’t sound like they were haggling for change outside of a pub, I was ready to toss your record straight into the bin. Back then, I didn’t want to hear anything that didn’t seem indie cool to me and now to say I’m slightly embarrassed would be an understatement. But luckily, I’m no longer an Indie snob; neither is my magazine, me and Anne have successfully incorporated alternative music writers and partners who listen to all different genres and styles of music. Like most major magazines, we know that by incorporating various genres we can appeal to people with varied musical tastes. Hey, who knows, we may even get someone to entertain a different genre and even better like it!
But let’s be real, a lot of other businesses, promoters and labels often stick with specific genres due to branding or appealing to target audiences. The fact is, this doesn’t have to verge into snobbery or exclusivity. Diverse appreciation or promotion of the many faces music takes can take place without moving away from one’s core identity. With that openness to different genres, businesses can reach out to a larger audience and will be in support of an inclusive music industry. In these dire times, the need for collaboration is greater than ever.
“I think the snobbery around pop music is a real issue. It’s as if people think you can’t be a serious artist if you’re making music that appeals to a wide audience.”
Charli XCX.
The snobbery that permeates the musical world involves not only a lack of critical taste but sadly, too often, affects how artists’ careers will be pursued. Most times, this comes out as the praise of genres and artists, with the discrediting of popular or mainstream ones. The formation of cliques in the music industry because of such outlooks results in some voices finding space for articulation while others are shut down.
“The snobbery around indie music is as bad as the snobbery around pop. Both camps need to chill out and just enjoy the music.”
Alex Turner.
Snobbery in music is essentially a prejudice for certain genres and a disregard for others. This could be seen when certain critics look down upon genres such as pop or hip-hop music as “lesser” art compared to indie or alternative music, which they may then hold up as superior. This bias is furthered by promoters and labels, and at times even the fans, as a means of preserving some kind of aesthetic and demographic niche. I could name a handful of venues, scenes, and labels that are absolutely horrific for this kind of exclusive behaviour but because I’m not a bitch I won’t show them up. I used to avoid certain venues and wouldn’t even review bands in those circles because I knew I wasn’t part of that clique. Even now, I sometimes review or share/feature these so-called ‘cool’ bands, and I can’t help but laugh as I type that at how ridiculous it all seems. Most of these labels, promoters are owned and ran by grown adults that really should know better than to create divisions, especially class ones. Don’t even get me started on some of the bands.
Indie snobbery specifically targets mainstream music; for some of its fans and critics, indie artists are more “real” or artistically worthy. Thus, a certain kind of elite culture evolves in which indie alone is considered “authentic,” while pop music is actually too commercial and void of substance (I must state here that again, I did share something a while ago about my fear of Fontaine’s DC been lost to the mainstream but that was purely out of selfishness of them performing at arenas and not smaller venues, not snobbery I promise!).
“There’s definitely a bit of an indie snobbery. People think that because it’s not on the radio, it’s somehow more real or more meaningful.”
Florence Welch.
But perhaps the most crucial result of musical snobbery takes place among the artists themselves. The musicians who do not mold into the right mold often receive completely unfair criticism or are wholly ignored. For example, pop artists are often judged for being overly commercial, with big budgets and undervalued artistic contributions. In all, this can grossly affect careers, mental health, and creative freedom. Indie artists also face their fair share of challenges. While they might be praised for their authenticity and creativity, they often struggle with limited resources and support. Independent or ‘indie’ music scenes fight back against this by organising and writing their own material that, while highly commendable, is unfortunately left underappreciated on the same large scale when squashed by its competition due to big-budget advertising.
Snobbery works in the way of alienating music listeners by creating exclusiveness. Listeners of popular music may feel that their tastes are invalid or lesser, leading to a lack of diversity in the music that is promoted and celebrated. This creates a self-perpetuating cycle where only certain types of music receive recognition, while others are left in the shadows.
A striking example of this snobbery can be seen in the treatment of certain music genres by prominent critics. For instance, when an artist from a popular genre releases an album, it may receive less favourable reviews simply because it doesn’t fit the critic’s preferred aesthetic. Promoters and labels also play a role in this by pushing for coverage that aligns with their desired image, often ignoring journalists who don’t adhere to their vision. This can lead to a homogenised narrative in music journalism, where only select voices and perspectives are amplified.
“There’s a clear bias in music journalism where certain genres are consistently overlooked. It’s frustrating to see how much incredible music is dismissed simply because it doesn’t fit the ‘cool’ narrative.”
Lizzo.
One perfect example of such snobbery is also found in the way some genres of music are treated by prominent critics. For instance, when a musician from a popular genre releases an album, it may get less favourable reviews simply because it doesn’t fit into the critic’s preferred aesthetic. And all this is reinforced by promoters and labels, who demand that coverage reflect their own vision of the artist, freezing out journalists who refuse to toe the line. This can lead to homogenization in music journalism, where just a select few voices or perspectives are amplified.
Snobbery in music isn’t just a barrier to inclusivity and diversity, it’s a wall that stifles creativity and silences unique voices. By recognising and addressing this issue, we can tear down these walls and foster a more equitable environment where every type of music and artist is celebrated.
