An irritable day, trying to put together a Pecha Kucha talk. It’s supposed to be on Underground Music, Post-Capitalism & Twitter but in my heart I just want to show people my photos of toilets. (it’s HERE by the way)
Anyway, THIS piece by Eleanor Margolis in the New Statesman grinds my gears so much I have to respond. I tried to write (via iPhone) in the NS comments section but it got eaten by a shit authentication process, so I’ll do it here:
First, it’s unfair to pick on Grace Petrie. Petrie is a young, developing, as-yet unsigned artist (still works a day-job) who specifically sings in that classic sincere Bragg-esque acoustic protest style. That’s her schtick. It stinks to hit her simply because it’s a style (or hers a voice) you don’t dig, especially in such a high profile leftist space as NS.
Secondly, I think you’re dead wrong to extend that disdain out to make a universal point. It’s meaningless – for example even on the same bill, on the same night (Robin Ince’s beautiful Book Club night, 1000+ people in the woods), you’ve not mentioned (missed or ignored) two other music acts with political content, with markedly different style to Grace (me, and Jim Bob from Carter USM). For my part, I was fucking hilarious, even my miserable eco-song had talking trees and time travel.
Thirdly, the piece overlooks what’s happened to the entire music industry, regardless of politics, by assuming that ‘success’ equates to the old stuff, the ‘status’ of mainstream pop stardom. It doesn’t work like that anymore – there are a thousand new, different, better ways to build careers in music-making. So of course progressive or radical artists across all genres (just like all artists) are liberated from the hegemony of the ‘radio hit’. There are huge successes all over the shop that debunk your argument.
Fourthly, you missed the boat: where were you six weeks ago when we had this debate? NME editor Krissi Murison wrote a piece in The Guardian saying roughly what you’re arguing. Back then I wrote a rebuttal in the Morning Star (which you can read by scrolling down), there was a ton of comments across social networks and even Mr Bragg chimed in, in NME and on his blog. It concerns me that you feel able to make universal points about the modern music community, without having even been aware of the previous debate.
And yet again you focus on artists themselves, when clearly an argument along these lines needs to be framed as a critique of the establishment gatekeepers, who decide which artists will get mainstream TV and radio exposure.
Fifthly/finally, you’re simply wrong. Your readers would’ve benefitted far more from being pointed to: The Agitator, Sam Duckworth (Get Cape Wear Cape Fly), Scroobius Pip (solo or with Dan Le Sac), Rumour Cubes, Emmy The Great, LowKey, me, folkies such as Spiers & Boden, Chris Wood, Eliza Carthy, Frank Turner (a different political hue but still making powerful points), a whole bunch of successful heavy rock acts, plus huge amounts of UK grime, electro, dnb and hip hop stuff. And the rest. Especially if you include the Americans, there’s container-loads of the stuff.
To my mind, you’ve missed all this music because you’re not listening out for it, you only spotted an artist when she appeared to conform to your “cling for its life to another era” stereotype and then berated her for doing so.