FAME ISN’T THE POINT, IT’S THE BYPRODUCT.
THE LONG GAME IS THE ONLY GAME…
For years, I’ve had songs sent to the NE inbox that are imitations of something I’ve listened to before. And that’s one of the biggest issues I’ve encountered with up-and-coming bands these days. There’s nothing wrong with this on its own; imitation is generally admiration, not laziness. That’s how most of us learn our voices. I admire nineties Britpop too; the problem is that admiration is also what boxes you into a niche, unwillingly. Chase a certain promoter, or release something that sounds like a nineties act, and people will expect the regurgitation. Not everyone has the money to showcase themselves properly, and sometimes it’s just the music that needs a lot better presentation than it got. Nevertheless, what you release in the first place is not just a song. It is the label people reuse.
I know in five minutes whether the new artist is just a copycat of some other band. I’ve turned down a couple of up-and-comers this week for that reason. Not because they sounded bad. They could be amazing. I would rather refrain from promoting someone I will not be able to give proper attention and justice. This would be called gatekeeping because withholding coverage means a certain loss of exposure. But established bands are tough enough to ignore the wrong first impression. Up-and-comers are not, and they need protection, and I’m happy to provide it to those who need it. I have never claimed to adhere to rules or fit into journalistic boxes of being told what I should do, and I never will. I’m not rebellious for the sake of it, it’s my ethics. I admit I wasn’t always this patient. I used to fire off harsher takes, but I’ve learned that emerging artists deserve space, not pressure. Ultimately, I still honour my own perspective. Not out of ego, but because honest, independent criticism is part of supporting artists with care.
That first impression sticks. When I decide to cover an up-and-coming band, the way they introduce themselves affects the audience’s perception for a very long time. So it is crucial to make this first introduction right rather than wrong. Bands evolve. Most of them manage to maintain their signature style regardless of changes. That’s why their debuts are so important, although they shouldn’t be. Foundations have lasting consequences, and nobody should be criticised for having imperfect ones while they haven’t started evolving yet. Social media pressures force people to post instead of developing their style. It may seem like a choice. In most cases, it’s a necessity. Fans and experience come later; they aren’t there at the beginning. The urge to get instant satisfaction, then disappointment, then despair is not just impatience. Some people simply lack the time and space.
Fame appears once you build your foundation; it should never be the aim. Fans and recognition can appear afterwards only because you have developed your inner core and roots. It is disingenuous to pretend that fans are the main priority here. Ignore all that noise and invest the time you have into building your unique voice from the inside out.
I say that with empathy, not to judge. Imitation as the method of learning happens. The industry boxes people into a niche unwillingly. I don’t criticise them for struggling with something that isn’t supposed to be theirs. What matters is the relation to their own expression, and I prefer to avoid writing the piece at all rather than risk their development and confidence for some point. I’m not pretending I’ve always been gentle, or pretending I’m now soft. The truth is I’ve learned how to balance care with critique, and ultimately in some cases care sometimes comes with saying nothing at all.
