Gypsy Soul Sets The Stage For An Emerging Music Industry
By: Billy Wilkins
As record companies scramble to release artists that will turn a profit in this economic climate, consumers are becoming more disenchanted with the lack of originality in new releases and the insult of drastically overpriced music.
The basic concept of a "business" is the formation of a consistent system. For almost a century, commercial music has profited handsomely from this model built on presenting similar songs to the public (while playing and releasing them over and over and over again on commercial radio). In the 90s, cassette and CD sales were to astronomical levels due to the consumer's inability to obtain music without going to the record store to buy. Everyone can recall buying the "worst album" during the 80s and 90s and being completely powerless to return it. Buying music was once a luxury that many could not afford regularly.
The last few years have proven to be a game-changer (in many respects), exposing flaws in this precedent in commercial music. Sometimes the system eats itself and it appears that major labels are eating their financial shirts right now. Dazed, confused and hungry for hits - this clearly isn't Kansas anymore.
For years, the "system" of the music business consisted of signing artists whom executives feel can "sell" and throwing millions of dollars into promoting them. The "starmaking machine" (according to Joni Mitchell) has had many stars and many failures but most major label artists find themselves at the mercy of a budget and the limited ideas of executive decision makers.
This "systematic" major label music business is crumbling in the wake of the internet, forcing executives to scratch their heads wondering "what do the people want?” It seems as if this question was never pondered (judging by millions of underwhelming releases and a completely apathetic public).
Consumers now have the amazing opportunity to listen, support, and buy whatever they'd like from the comfort of their own home; with or without a multimillion dollar promotional budget from a major label to influence them. This glamorous power that major labels once held, is now democratically redistributed by an ironic stroke of human innovation.
Without the "systematic" business in place to spew its patternist/uninspired/offensive/contrived/dangerous product through every radio station in the world (mind you, the internet is competing with radio business as well) will people still want to listen to music? Of course.
Enter Gypsy Soul. A hybrid marketing collective that seeks to present beautiful soul music and host emerging artists in an intimate setting with a "pocket-friendly" promise. Part promotion and marketing company, part record label, part street team, part test group, part booking agency, part business social networking monster...and more? (shudder).
Gypsy Soul's Creator, Kayanecha Daugherty is charming and easy on the eyes. She is also the "rebel princess" behind this contoversy, at least in the Baltimore/DC area. Daugherty took time to graciously speak with Heed Magazine over a tasty order of citrus ribs from The Yabba Pot Restaurant in Baltimore.
Besides being a brilliant events specialist and life-long music enthusiast- Daugherty is a crate digger and audiophile. Dubbed the "Soulcialista" in her blogging and social networking, she has made a name for herself by combining all the elements of her passion and in a stroke of genius, creating a business which allows her to enjoy these passions regularly. Daugherty is 'accidentally' finding herself to be the hottest "soul-music endorser" in the mid-Atlantic.
Her company, "Gypsy Soul" has been the host of standing-room-only shindigs in Baltimore, DC and beyond for over a year; gently expressing to every soul-music fan, which artists are worth listening to. They are podcasting these shindigs in video, audio and HD. They are blogging and running content through distribution devices and newsgroups. Major label artists want to get slots in their "Ear Candy" series and their Gypsy Soul mix-tape compilations. This all turns out to be a band of "beautifully rebellious" individuals running a hybrid company that kind of looks like a big deal.
This glorious power, once fondled in the clutches of major record labels, is now held by the delicate hand of the Soulcialista.
Record labels are calling Daugherty and several other regional leaders like herself around the country, seeking their endorsement. The industry has no chance of surviving without people like Daugherty to advocate for their artists (or in some cases - trash them), because the tide of consciousness has risen all boats in the harbor. Musical options are unlimited now and consumers have no tolerance for the mundane.
Gypsy Soul's return to intimacy is allowing consumers to digest the authentic emotion of music without glitz and illusions. It never dawned on the music industry that consumers wanted "real" experiences to allow them to connect with artists. Major label artists aren't filling up stadiums and concert halls as they once did; probably because people don't feel connected and would rather stay home. Besides this, ticket prices are astronomical. Beyonce began offering $20 tickets to save face for her poorly attended tour this spring. Gypsy Soul and similar collectives create a more exclusive experience that draws the listener into the dialogue at a reasonable cost, and it works.
It’s amazing to know that Gypsy Soul is a part of an even larger international initiative; to promote and endorse great music (without major labels pulling the strings), and the FULLNESS thereof. MySpace and Reverbnation are just the tip of the iceberg for emerging artists; thousands and even millions of people are making music from every conceivable place in the world. The initiative has no name, but it’s an initiative that celebrates choice, and subsequently exposes the inability for major labels to compete on such a grand scale with the options available.
There are several other marketing collectives similar to Gypsy Soul and they appear to work in tandem when it comes to booking and presenting artists. Dubbed "the food cooperative" by soul artist Yahzarah (aka Purple St. James), these groups provide opportunities for Indie musicians as well as (some) major label artists to develop and maintain a connection with their respective audiences.
These groups also set up crash pads, food, transportation, press conferences, and all the features that a major label tour advance would provide. Remniscent of the black "Chitlin Circuit", these groups are unconsciously imprinting an old idea onto a new standard of business on a microeconomic level. No corporate backing, just hand to hand marketing and promotion. No "big players", just several individuals with small stakes - expanding the possibilities for growth over the long term
"There are amazing shelved major label artists selling their shelved CDs out of their trunks to survive. If you aren't Beyonce or Jay-Z, you get no respect from them. A lot of artists get dropped and are so humiliated that they just disappear. They really take the joy out of doing it, nobody ever expects to start hating their career - but that's what happens to so many artists" notes an anonymous former major label artist now living in Washington, D.C. and working at Nordstrom.
For every hit record, there are thousands that will never be heard. Gypsy Soul appears to be balancing the scale. Consumers are demanding quality options and authenticity and that's usually difficult when mass production is the only route to success. In order for labels to refashion their businesses to blend with next generation "systems", there needs to be a return to basics; mainly the original idea that music is art, not just a corporate payday.
Find out more about Kayanecha at http://www.thesoulcialista.com/
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