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Started By
Message
The state of music the last 15 years is frightening
Posted on 5/12/26 at 8:37 am
Posted on 5/12/26 at 8:37 am
This is utter crap. I take comfort in knowing the music of the last 10 years specifically, is appealing to people with simple minds.
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Posted on 5/12/26 at 8:42 am to Geekboy
Posted on 5/12/26 at 8:43 am to Geekboy
Posted on 5/12/26 at 8:45 am to Geekboy
Sorry kids. The music you’re listening to today is trash.
Posted on 5/12/26 at 8:46 am to Geekboy
It usually takes a while to fully see the outcomes of massive changes in any industry. The way that the youth of today is increasingly relying on AI and computers to not jsut help them, but actually do everythign for them, I have to imagine taht within 15-30 years a frightening amount of young people won't know how to play actual instruments anymore. I can see a world 50 years from now where all music is simply created and played from a laptop or some other device without any real human input at all.
Posted on 5/12/26 at 8:57 am to WG_Dawg
quote:
I can see a world 50 years from now where all music is simply created and played from a laptop or some other device without any real human input at a
At this time, doubtful. There's no money in AI developed music. You cannot copyright without human authorship.
In 50 years from now, who knows...
Posted on 5/12/26 at 9:10 am to Novastar
The issue is that there’s no money for ANY music right now. Ticketmaster is the only one who is consistently turning a profit. Even livenation venues are struggling. Clearchannel’s radio empire is basically dead.
The labels don’t get enough revenue from streaming to actually develop artists. It’s all just a payola scheme of nepotism vanity projects and milking every last dollar out of legacy acts.
That’s because there simply isn’t enough money being made, not in touring, not in album sales, not in radio/streaming air play, nor by brand collabs to support a healthy industry that recruits and develops up and coming talent.
All the music industry does now is payola for fake streams on Spotify, payola for fake views on tiktok, and hope that somehow “going viral” will result in a new artist being able to sell tickets to live shows to sell shirts. However, since Covid, none of that strategy is really working.
One of the last few revenue streams available to producers and artists is sync licensing their work for advertisements, movies, tv, video games, etc; and AI is quickly taking over that space.
The labels don’t get enough revenue from streaming to actually develop artists. It’s all just a payola scheme of nepotism vanity projects and milking every last dollar out of legacy acts.
That’s because there simply isn’t enough money being made, not in touring, not in album sales, not in radio/streaming air play, nor by brand collabs to support a healthy industry that recruits and develops up and coming talent.
All the music industry does now is payola for fake streams on Spotify, payola for fake views on tiktok, and hope that somehow “going viral” will result in a new artist being able to sell tickets to live shows to sell shirts. However, since Covid, none of that strategy is really working.
quote:
At this time, doubtful. There's no money in AI developed music.
One of the last few revenue streams available to producers and artists is sync licensing their work for advertisements, movies, tv, video games, etc; and AI is quickly taking over that space.
This post was edited on 5/12/26 at 9:17 am
Posted on 5/12/26 at 9:21 am to Geekboy
There's a reason that The Weeknd has two songs in the top four.
Posted on 5/12/26 at 9:28 am to kingbob
quote:
The issue is that there’s no money for ANY music right now. Ticketmaster is the only one who is consistently turning a profit. Even livenation venues are struggling. Clearchannel’s radio empire is basically dead.
The labels don’t get enough revenue from streaming to actually develop artists. It’s all just a payola scheme of nepotism vanity projects and milking every last dollar out of legacy acts.
That’s because there simply isn’t enough money being made, not in touring, not in album sales, not in radio/streaming air play, nor by brand collabs to support a healthy industry that recruits and develops up and coming talent.
All the music industry does now is payola for fake streams on Spotify, payola for fake views on tiktok, and hope that somehow “going viral” will result in a new artist being able to sell tickets to live shows to sell shirts. However, since Covid, none of that strategy is really working.
Would it be incorrect to blame Napster for being the impetus in this? At least to a moderate degree?
Posted on 5/12/26 at 9:46 am to Geekboy
I’m far from a music expert and have somewhat simple tastes and even I can see that most modern music is using samples or beats from older music. Nothing is original anymore. Every single top pop hit on the radio uses an old edm beat from the 90s or some sample from the 70s/80s
Posted on 5/12/26 at 10:02 am to Geekboy
quote:
appealing to people with simple minds
Same can be said for the top shows on major network TV
Posted on 5/12/26 at 10:08 am to High C
Yes it is, but this really goes a lot deeper than Napster. Album sales were the lifeblood of the music industry as the revenue source for the labels. Having this revenue stream incentivized taking risks to find the next big sound because even niche acts could be profitable.
However, the consolidation of radio stations during the 90’s led to mass standardization and control over what songs and artists made it onto FM radio (clear channel getting a monopoly). Customers were dissatisfied by the loss in playlist diversity and local DJ’s. Artists lost that connection with local radio stations which would play music by local artists. Bands could “break” by getting airtime on stations, and get that airtime by networking in the scene. After clearchannel took over, they had sole control, local DJ’s largely lost the ability to make songs “hits” in their local area, and clearchannel restricted radio play to the big labels that agreed to work with them, essentially pulling up the ladder.
Napster filled the void. People would download songs and build their own playlists to play the songs they wanted to hear instead of relying on clearchannel. This consumer desire eventually led to the streaming revolution, which killed piracy in exchange for reasonable subscription costs.
Consumers were side stepping radio and traditional media and using MySpace to discover new bands. MySpace proved to be great at helping artists find fans and get those fans to actually show up at shows in person. However, MySpace didn’t know how to monetize that, but Facebook did. Thus, despite being the best music marketing platform ever created, MySpace was purposely killed for Facebook. Unfortunately for the music industry, while facebook was okay at live events, it was terrible for communicating with fans and finding new ones. The switch from MySpace to Facebook looked good from a paid ads perspective, but actually hurt the industry’s ability to break new bands and discover up and coming talent that could actually get butts through the doors of venues.
The reality is that the entertainment industry has never figured out how to properly monetize streaming. Consumers took to it like a fish to water, but content producers still haven’t figured out how to make it profitable. Their attempts at doing so have only resulted in sending more people back into piracy by eliminating the convenience that attracted customers in the first place. TikTok represents a return to a more MySpace style means of discovering music, but it has not translated into fans showing up at concerts despite being a proven vehicle for increasing followers and streams.
However, labels no longer know how to build something that works, only how to pour gas on something that already does. Because they don’t have the revenue to experiment, they only invest in proven winners (or people who buy their way in). Thus, safe, recycled m, generic music.
However, the consolidation of radio stations during the 90’s led to mass standardization and control over what songs and artists made it onto FM radio (clear channel getting a monopoly). Customers were dissatisfied by the loss in playlist diversity and local DJ’s. Artists lost that connection with local radio stations which would play music by local artists. Bands could “break” by getting airtime on stations, and get that airtime by networking in the scene. After clearchannel took over, they had sole control, local DJ’s largely lost the ability to make songs “hits” in their local area, and clearchannel restricted radio play to the big labels that agreed to work with them, essentially pulling up the ladder.
Napster filled the void. People would download songs and build their own playlists to play the songs they wanted to hear instead of relying on clearchannel. This consumer desire eventually led to the streaming revolution, which killed piracy in exchange for reasonable subscription costs.
Consumers were side stepping radio and traditional media and using MySpace to discover new bands. MySpace proved to be great at helping artists find fans and get those fans to actually show up at shows in person. However, MySpace didn’t know how to monetize that, but Facebook did. Thus, despite being the best music marketing platform ever created, MySpace was purposely killed for Facebook. Unfortunately for the music industry, while facebook was okay at live events, it was terrible for communicating with fans and finding new ones. The switch from MySpace to Facebook looked good from a paid ads perspective, but actually hurt the industry’s ability to break new bands and discover up and coming talent that could actually get butts through the doors of venues.
The reality is that the entertainment industry has never figured out how to properly monetize streaming. Consumers took to it like a fish to water, but content producers still haven’t figured out how to make it profitable. Their attempts at doing so have only resulted in sending more people back into piracy by eliminating the convenience that attracted customers in the first place. TikTok represents a return to a more MySpace style means of discovering music, but it has not translated into fans showing up at concerts despite being a proven vehicle for increasing followers and streams.
However, labels no longer know how to build something that works, only how to pour gas on something that already does. Because they don’t have the revenue to experiment, they only invest in proven winners (or people who buy their way in). Thus, safe, recycled m, generic music.
This post was edited on 5/12/26 at 10:30 am
Posted on 5/12/26 at 1:12 pm to Geekboy
How, on God’s green earth, did this song get over 6 billion views????
There are a thousand other crap songs that sound just like this.
That tells me society as a whole is doomed. This is top 5 greatest mysteries of the Universe shite.
There are a thousand other crap songs that sound just like this.
That tells me society as a whole is doomed. This is top 5 greatest mysteries of the Universe shite.
Posted on 5/12/26 at 3:27 pm to Geekboy
Ed Sheeran is legitimately popular among all ages. My 72 year old neighbor loves him, she goes to see him whenever he's in town.
It's not for me, but she legitimately loves it.
It's not for me, but she legitimately loves it.
Posted on 5/12/26 at 3:36 pm to Geekboy
There is a lot of great music out there if you take the time to search and listen. If you want it spoon fed, you will have to eat the ultra processed garbage.
Posted on 5/12/26 at 3:39 pm to rebelrouser
I've been listening to some CD's I made from my favorite radio station in Phoenix. No longer around. Man, radio was far greater then AND the music.
Posted on 5/13/26 at 1:59 pm to Geekboy
The musicianship, writing, production and preforming of pop peaked somewhere between 1974 - 1980.
One simple way of proving the above statement would be to go back and take a look at every Top 40 song between 1974 and present day and track the slow death of the bridge in pop music. In the mid 70's the vast majority of songs had a bridge, a third part that allowed songwriters and performers to stretch and bring a different feel to a song. The bridge began to die (along with songwriting and performing ability) around the early 80's.
Can a song be great without a bridge? Sure it can, however it's a simple measurement that shows the change in songwriting skill.
Rap and Hip Hop has now destroyed multiple generations of what could have been the next Quincy Jones or David Foster. No longer in need to become proficient at reading or writing music or learning an instrument, one look at the state of high school band departments proves this. Gone are the small school bands, replaced by drum lines only.
Producers seldom have the same abilities that those of the 70's had. Schooled musicians with the ability to not only hold the hand of the artist, but make meaningful contributions to both the writing and performing of material as it was being recorded.
Regardless of whether it was rock, metal, pop, or country, during the peak of songwriting and recording, the producers were almost all schooled musicians who helped guide the bands through the process. Hell, when Bob Ezrin began recording Destroyer with KISS back in 1975, the band has openly admitted they didn't even know how to correctly tune their guitars.
it's all tied together to a large degree.
One simple way of proving the above statement would be to go back and take a look at every Top 40 song between 1974 and present day and track the slow death of the bridge in pop music. In the mid 70's the vast majority of songs had a bridge, a third part that allowed songwriters and performers to stretch and bring a different feel to a song. The bridge began to die (along with songwriting and performing ability) around the early 80's.
Can a song be great without a bridge? Sure it can, however it's a simple measurement that shows the change in songwriting skill.
Rap and Hip Hop has now destroyed multiple generations of what could have been the next Quincy Jones or David Foster. No longer in need to become proficient at reading or writing music or learning an instrument, one look at the state of high school band departments proves this. Gone are the small school bands, replaced by drum lines only.
Producers seldom have the same abilities that those of the 70's had. Schooled musicians with the ability to not only hold the hand of the artist, but make meaningful contributions to both the writing and performing of material as it was being recorded.
Regardless of whether it was rock, metal, pop, or country, during the peak of songwriting and recording, the producers were almost all schooled musicians who helped guide the bands through the process. Hell, when Bob Ezrin began recording Destroyer with KISS back in 1975, the band has openly admitted they didn't even know how to correctly tune their guitars.
it's all tied together to a large degree.
Posted on 5/13/26 at 2:28 pm to geauxbrown
Geekboy's example of Ed Sheeran is a bad example, but he's known for being a one man band with guitar loops, guy can definitely play.
Posted on 5/13/26 at 2:31 pm to Geekboy
GROSS 
i've heard every one of those songs more than i ever wanted to and i can't imagine being subjected to the 'top hits' only.
the worst of the worst.
i've heard every one of those songs more than i ever wanted to and i can't imagine being subjected to the 'top hits' only.
the worst of the worst.
Posted on 5/13/26 at 9:05 pm to Geekboy
Music in general died at the turn of the century. Not saying their isn’t a good song come out now in then but for the most part it just sucks. And I mean across all genres. Go back and look at sheer amount of great music in the 50’s, 60’s,70’s, 80’s, and 90’s. Hell take anyone year of any of those decades and there is probably more good music than the last 25 years combined.
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