‘More marketing then talent’ ... (November 18, 2007)
‘More marketing then talent’ – now who holds that view?
I heard recently the rise of young, ‘trendy’ folk performers is the
triumph of marketing, fashion and style over form and content. Apart from being a little scary, that statement depends on whether you find image more interesting than music. It also depends
on how far down the traditional ‘thou shalt not mess with folk music’ trench
you dig your hole.Some young performers have a conservative musical style that
does no more than regurgitate traditional folk songs, perhaps with added
electrics. That’s fine and sits comfortably I guess with just about everyone.
Although there is a traditionalist movement that actively frowns on anything
new – after all what’s wrong with the tradition? Well nothing actually. Then on
the other hand what’s wrong with new? Ah ha - that question alone makes it harder
to criticise ‘the new’.
There are some young performers who are superb technicians.
They may be ‘new’ but they add so much to tunes it’s difficult for
traditionalists (or anyone for that matter) to criticise their content.
Although, despite their technical competence (and inventive styles) there
remains much unfair criticism leveled at many
leading young performers. Clearly this negativity is sometimes just for
being popular. How traditional is it for the British psyche to deride something
that’s popular. And if in being popular it becomes successful derision is no
longer possible – it’s obligatory. Perhaps if there is a triumph of style over
content does that reflect a lack of content in traditional folk?
It's convenient and lazy to assume that popularity shows an
inherent lack of content or talent. Marketing may create ‘stars’ but marketing
is something for the masses not the minorities – in this case the folk
minority. Most singers and songwriters are talented, committed and sincere.
However, by holding successful bands and singers up to the wider public as a
shining beacon of the peak of folk prowess there’s the immediate risk of
commercial exploitation until their star fades. Then they run the risk of being
thrown back on the heap.
The latest top dog
may have ‘got something’ but then so have many anonymous folk musicians. By
contrast we should applaud such ‘new musicians’ for daring to take folk into
new territory. Ironically, though, what is considered daring in folk music is
commonplace in the much-derided pop world. How cutting edge was folk rock? Now it’s
almost a tradition in itself. Where’s the next stop? Who knows?
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