It was like 1972.

And I mean that in a good way. I pictured myself bellied up to the bar, drinking a beer while a band played on the short riser in the corner. Members dressed identically to how they were on the street just minutes before, the music, the mood being everything, the trappings irrelevant.

There was a giant horizontal hi-def screen above the performers, a stage design I hadn’t seen previously, but it was just a little out of sync with the performers, which was disconcerting, however I was very close, did it matter to those in the back? Probably not. Then again, they have screens further back at the Bowl now.

Stapleton is the antidote to everything everybody complains about in today’s music world. You know, the generic, machine-made songs with vapid lyrics that could be written by a ten year old and make you wince, or are fantasy cartoons, no different from a high concept movie, at least “The Harder They Come” was somewhat believable, I mean Jamaica had a reputation for violence.

So what brings people to see Chris Stapleton?

The songs. Period. Showing their power. You don’t need anything else if you have those.

But the big surprise was Stapleton’s guitar-playing, it’s all about style, not speed, Lowell George taught us this. Your axe is just a starting point, everybody can have a unique voice, assuming they choose to. This show could inspire anybody to play, the power of a guitar is undeniable, in a way a synth never can be. Furthermore, there were a lot of guitars, it seems like each song demanded a new one, and there was even a change in the middle of a song. That’s the luxury of being a superstar, you can live out your fantasy, instead of playing the same damn instrument the whole night, like when you’re coming up. And I was especially inspired by Chris’s playing of a Jazzmaster, which Elvis Costello made his bones on, but everybody else pooh-poohed in favor of the Stratocaster. (And let’s not forget the Gretsch.)

And Stapleton is forty six years old. The antithesis of what we’re told sells. But that’s because he’s so good, so authentic. Chris paid his dues, and he knows it. He kvells at times, it’s rewarding, thrilled that he’s on stage singing his songs, especially when he’s in duet with his wife Morgane.

Unlike the four or five member bar bands, there were seven people on stage. You got a pedal steel player. Another guitarist who oftentimes played an acoustic. And a keyboard/organ player. No one was showing off, but they were locked in as an ensemble, which is the opposite of what we see so often, people showing off, like I said, the music was the star.

Chris talked a bit, but not much. But otherwise this was very similar to a Springsteen show. Chris is singing his inner truth, the angst is evidenced, it’s the heart of America. For all the red/blue divide b.s., there’s a part of everybody who can connect with Stapleton and his music, because we’re all people, human beings at the core.

Now as the show progressed, it left the bar, it had more of the characteristic of a concert, the average bar band doesn’t get to play this long, doesn’t have well-known originals. But Stapleton played for two hours and it didn’t drag. (And unlike so many performers Stapleton didn’t stretch out the numbers ad infinitum, he played them at the length of the records, and therefore he could play twenty three songs.)

And people knew the material. Singing along at times. These were fans, there were no casual users in attendance, it’s not like they’d heard one Stapleton number and needed to see the flavor of the moment, everybody there was very familiar with Stapleton and his music (you can ask me how I know, but you can feel it, whether people are paying attention, whether they sing along, whether they’re on their phones…or not).

This is rock and roll. Not the stuff you hear on Active Rock. That’s a niche product. Made for a minority. It tends to be hard, aggressive, and there’s a market for that, but it’s not very broad. The guitar tech tested the sound playing AC/DC, and in truth AC/DC is an American band, even though they’re from Down Under. Everybody knows them, everybody knows their music, credit Mutt Lange, and maybe we need to credit Dave Cobb when it comes to Stapleton, but the formula WORKS!

Now in truth no one is universal these days. It’s all about your trench, your niche, and how wide it is. You might not be passionate about Stapleton and what he does, but his fans certainly are, a mix of women and men, I cased the joint, about a 50/50 ratio, and there were no tweens there, no one brought their kids to the show, this was a party, an experience for those old enough to drink, who know what adult life is all about, and it’s complicated and difficult, and music when done right is a release.

Stapleton sets your mind free. You see no artifice, just a lot of hard work.

And when I exited the building I saw the trucks. They were all painted on the side, with ads for Traveller Whiskey. And I didn’t see it as a sell-out, or a brand extension, it reminded me of what once was, when the music was magic, when you needed to get closer, when you had to know everything about it, when your deepest desire was to be part of the touring party yourself, having an experience you can’t get anywhere else.

You don’t sit (or stand!) listening to Chris Stapleton and judge him negatively, saying you could do that yourself, listening for the hard drives, the triggered effects, it’s soulful, it resonates in a way that you know but rarely experience anymore. This is what the dinosaurs used to deliver. But Stapleton is not calcified, he’s making new music, he’s having success, he’s the most respected performer in Nashville, wins all the awards, everybody wishes they could do it his way, throw off the constraints of  Music Row and do it their way, but they’re too afraid, they’re worried about their careers more than their music.

I didn’t grow up in Kentucky. Driven through a couple of times, stopped once, but when it comes to the south, I’m a voyeur. But for some reason the south is known for the most authentic fiction and in many cases the most authentic music. You can do it without airs, even though some do. But if you strip it down and still have appeal, you’re a star. Like Johnny Cash, like Willie Nelson, they’re beacons, but most can’t see the light.

I’m not telling you to see Stapleton if you hate this music, if there are not enough beats per minute for you. But if you lived through the pre-internet era, when you had to leave the house for action, when it didn’t come through to you at home, when you had to go to the bar to meet people, to have a chance at love, Stapleton’s show will bring it all back, without sounding ancient, but totally present. When you strip it all down it’s about playing and songs, you need nothing more, and when you get it right anybody can feel it, anybody can see it.

You’d think we’d have more Chris Stapletons. But we don’t. Most people want success fast, or they want to take another direction, they’re not all-in. And of those who are all-in, many just don’t have the talent, the je ne sais quoi that separates the stars from the rest of us. You know it when you hear it.

And I heard it last night.

NOTHING LASTS

As Rob Thomas told me, it used to be a tiny funnel, now it’s a colander. You pour your music in and it slips right through. All the hoopla of yore that had an impact no longer does. Release parties, press…all the buildup means nothing. Except if you’re a superstar, and even then you can put out a new track and it can instantly disappear. The game has changed. You’re in it for the long haul. Your customers are your fans. Be in constant contact with them. You have to be in play to get lucky. Don’t listen to the dinosaurs telling you how it used to be, that era is gone forever. You need more product, more frequently. To satiate the hard core fans and to have more opportunities to get lucky. It’s nearly impossible to manipulate the system today, the key is to keep playing and if you’re good enough, you’ll grow, however slowly. If you have a moment of impact, expect it to decay faster than ever before. We live in a hit and run economy. And it’s not because today’s younger generations have short attention spans, but incredible sh*t detectors, which is why they can stream a TV show for five hours straight but skip your track after five seconds. You can go down the road less taken, don’t worry about creating hooks in early in the song, be focused on the art, but then you’re either good enough to make it, or you’ll be wandering into the wilderness and probably die. Revel in your momentary victories, but get back to work tomorrow. What is important in the morning is oftentimes forgotten in the afternoon. Yes, you are trying to create lasting music, but that comes down to the music itself, not the game. And if you think terrestrial radio is the end all and be all, you must be in the broadcasting business, or be a Boomer or Gen-X’er working at the label. Today’s active music listeners discover music elsewhere. You need to have an online strategy first, always.

TECHNOLOGY

Don’t be afraid. However, the channel is clouded with left behind boomers and young wannabes. We are never going backward, we are never returning to the past. Don’t lament the past days when people would listen to a record and do nothing else, when they’d listen to the whole thing as opposed to cherry-picking singles. Your hard core fans will stream everything you’ve got, which is why when you go to see Zach Bryan they know every song, never mind Noah Kahan, never mind Taylor Swift. These artists mean so much to their followers that they’re all in. But never forget, Taylor Swift started in a different era, originally in country music in the aughts, she crossed over to pop a decade ago, the landscape has changed since then. Think narrow and then expand, don’t go broad and then try to create dedicated fans. We are no longer in the big tent business, but the slice of population business. Don’t worry about reaching everyone, but just some. And early adopters will be there forever as long as you don’t try to go wide and play to the masses too early. But if you think AI is the devil, you also thought drum machines were the devil. And Spotify the devil. And what do we know? They’re all here to stay, having eviscerated past models. Use them in new, creative ways, don’t lament the old days. The future only goes in one direction, forward. Sure, there’s a business in horses, like there’s a business in vinyl, but it’s de minimis, a gnat on the ass of the aforementioned horse. Vinyl is about money, pure and simple. It’s a souvenir. Despite all the hoopla, most people are not listening. And if they are, it’s on crappy systems. Streaming is where it’s at.

SPOTIFY IS YOUR FRIEND

If you complain about Spotify, the joke is on you. Sure, writers should be paid more. Sure, the bundle concept needs to be addressed. But the bottom line is streaming pays about 70% to rights holders and if you’re not making bank either the label is taking most of the money or no one is listening. The model has changed. Don’t think about selling things, but access, streams, lifelong fans. Do you still buy DVDs? No, because this material is available on demand, whenever you want it (don’t e-mail me and tell me what is unavailable, you’re a nitpicker and missing the point). Music is on demand, ownership is so far in the rearview mirror that youngsters don’t even think about it. As for the aforementioned Swift selling dozens of versions of her new album… She’s a pop star, she won’t be at her peak forever, this might generate momentary revenue, but it ultimately alienates fans. You’re in bed with your fans. Treat them like brothers and sisters. Do not rip them off and always make them primary. Hits are evanescent, fans are forever. You want fans. And if you’re a rock band, tell all your fans to stream. That’s where the revenue is. If you’re a star there’s a ton of money to be made on streaming, but first and foremost see it as a low barrier opportunity for people to hear your music. You don’t want any barriers between you and a potential fan, monetization always comes last, remember that.

Michael Shrieve was the drummer on the first five Santana albums, you know him from the Woodstock movie! Michael goes deep into all of those records, as well as his work with Stomu Yamashta, Automatic Man and more!

Apple: https://podcasts.apple.com/us/podcast/michael-shrieve/id1316200737?i=1000660419605

Spotify: https://open.spotify.com/episode/6OiSmiGLE1P8x5CmwMY3Mg?si=Bqp60A7vRUSUSBuFO3MFwg

Amazon: https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/22466be0-be99-4091-9638-1689294b2b35/the-bob-lefsetz-podcast-michael-shrieve

iHeart: https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/michael-shrieve-189697021/?cmp=web_share&embed=true

Are you a meme or are you a musician?

If you’re willing to do anything for attention is it working for you, or against you?

The bifurcation began with the split of AM and FM in the sixties. Stations could no longer simulcast on FM what they were broadcasting on AM. As a result we got underground FM radio and album rock. Which ruled until there was a consolidation and corporate rock and disco emerged. Why did disco emerge? Rock did not encompass all demos, all interests, all desires, and not only does nature abhor a vacuum, people want that which speaks to them.

Then music was in the doldrums until MTV created a monoculture in 1981, and that has been the paradigm the major labels and the major media have operated under ever since, even though it’s in the rearview mirror, has been for years.

In other words, mainstream music, Top Forty music, the Spotify Top 50, works for fewer listeners than ever before. This is what consolidation has wrought. Fewer major labels, fewer mainstream news outlets…

But the bucket has been leaking for decades. Now there are a zillion news sources, some accurate, some inaccurate, some way ahead of the mainstream, some completely delusional.

If you want to know about it first, you find out about it online. A news story has to work its way up to the major media. And the big outlets can’t cover everything, while many are consolidating. If you’re depending on the L.A. “Times” to know what is going on in the world, you don’t know much.

And the same thing is happening in music.

But all we’ve got is the tsunami of hype over the Spotify Top 50 when most of the listening, STATISTICALLY most of the listening, is going elsewhere.

And what is everybody’s desire?

To go viral. When they’re not complaining about making little money.

As with everything in life, don’t listen to the hubbub. It tends to be a very few with an agenda.

In other words, if you’re a musician, if you’re not playing the game, what are your odds of future success? GIGANTIC!

Let me be clear, only a very few acts will go on to stardom. That’s the way it’s always been. Only a few acts deserve said stardom and the public only has so much bandwidth. But more acts than ever can make a living making music, or at least have a revenue stream while they keep their day jobs (many acts in the so-called pre-internet heyday kept their day jobs even after they got deals and released a record).

But too many are inured to the old monoculture game, to their detriment.

The major labels are doing it all wrong, they need to employ the Netflix model. More and more product that doesn’t appeal to everybody, but to niches. The goal is to satisfy a niche so it doesn’t cancel a subscription. And sure, there’s no music subscription (other than distributors like Spotify, et al), but in truth a subscription in music is fandom. How can you bond with your audience to the point they’ll keep you alive, see your shows, buy your merch and spread the word.

You don’t want to do anything uncharacteristic. Your fans have a perception of you. Go against it at your peril. Wait for people to come to you, don’t sell out for quick success.

And stop trying to go viral. What we’ve found is viral is unpredictable, it can rarely be gamed. If you’re lucky you might do something that goes viral, but odds are you’ll never go viral in a way that makes you well-known overnight, like the Hawk Tuah girl. But how long is the Hawk Tuah girl’s fame going to last? Not through the summer. Not through July. Maybe not even through June!

And maybe you’ve got no idea who the Hawk Tuah girl is. If this is so, you’re a passive consumer. You come last in the music business food chain. But even more this proves how even if you go viral, you don’t reach everybody. It’s a fool’s errand, and it doesn’t last.

Like the work of the social media influencers. They’ve got to create each and every day, otherwise people move on. That is not the job of the musician.

I’m not saying you don’t have to release a steady stream of product, I’m not saying you don’t have to have an online presence…

Tom Rush has a Patreon wherein he does a live show every week, for about fifteen minutes, usually with another act, sometimes famous, sometimes not. And ten days ago he featured this guy Brendan Cleary. I’m jaded, but I know it when I hear it. This guy had a great voice, interesting lyrics and good changes. But almost no online presence, not even a website. I couldn’t easily check out more of his work, someone else was operating under the same name, I gave up. I don’t even know if the rest of his tunes are as good, I can’t spread the word. Don’t operate with one hand behind your back, don’t hate the internet so much that you stay off it.

So now is the time to follow your muse, to do something different. And odds are it will take a very long time to resonate with the public. Are you in it for the money or the music? Are you willing to sacrifice everything to make it? Marriage, kids, home ownership, straight career? If not, you should give up now, it’s just not worth it, it takes all of your effort with no fallback position to break through. And never forget, the audience is the ultimate arbiter, and you can’t make people listen to your music, no way.

In other words, music is evolving. Even though those in control of recordings keep telling you otherwise. Just like the major labels hit a slump before the advent of MTV. The major labels are bleeding market share to the independents, and without their catalogs they’d be ripe for disruption.

You are the story. A lucky press article here or there might help you, but promotion is nearly worthless. Like those articles in the mainstream media about people who just released a record. It’s akin to a billboard on the Sunset Strip in the sixties, might make you feel good, but it doesn’t move the needle.

The only thing that moves the needle these days is your music. Your job is to make it and get it heard. And getting it heard is the toughest job of all. And the way you get it heard is by having fans, not getting it playlisted. Many acts are playlisted, make money, and no one knows their name and they have no career. Playlisting is a sideshow. Don’t focus on that. How do you create a fan base and grow that? Stop thinking about the masses. What you’ve got to know is if you do something great, people will spread the word, because there’s very little great out there and everybody is looking for it.

Stop trying to game the system.

Start doing it your way.

Blow our minds musically. If we can’t hear it and be taken away, impressed, then it’s never going to work. No publicity effort can trump the music today, because there’s so much of it. If you’re not great, we’ve got a history of great at our fingertips.

And there is great out there, and in truth it is growing. But it is obscured by all the stories about hit music which means about as much as it did in the heyday of FM, even less.

The game has changed. Sure, read Don Passman’s book to learn the ropes, but that’s not as important as lessons and rehearsal. And great art is always about ideas. And great ideas without execution are worthless.

It’s damn difficult. There is no barrier to entry, you don’t need a license to make music. But if you NEED to make music, there’s a lot of opportunity today. But walk into the wilderness instead of the mainstream, which tends to rise and fall like a wave on a beach. You want to last.