By Craig Strachan

The record label industry reached an oligopoly over the wider music industry not really seen since the times before The Beatles and of Frank Sinatra in the 1940s and 50s. Universal, Sony, Warner and EMI make up 88% of the market today and have dominated the music industriesÔÇÖ output like this for nearly the last 20 years. 

However, the last few years have been brewing a growing comeback for the independent record label. I think this influx is really a sign of the times. Independent record label numbers have always surged when music makes big advances and needs a vital change up. It occurred in the 60s with the birth of rock ÔÇÿnÔÇÖ roll, it occurred in the 80s to reinvent the music industry when stadium rock became oversaturated and it seems to be occurring now too. It feels like something about the current political and social climate thatÔÇÖs been sent into a whirlwind fever over the last few years that has created a bit of a brainwave in modern alternative and indie music as well as itsÔÇÖ lyrics. The rising popularity of Idles (and thereafter Joe TalbotÔÇÖs own independent label) are a massive example of this. Confusion seems to be on the rise, the ÔÇÿfake newsÔÇÖ era has bred a sense of uncertainty that people want to break free of, and the music seems to be catering to this call for a brutal and plain honesty. Whether it be about politics, mental health or sexuality. The age of the deeply shrouded lyrical metaphor is over. A breaking point has been reached somewhere along the line and artists now seem to be reacting in favour of direct emotional honesty. 

With Idles, the Bristol act throw out lines that conjure no illusions on their left wing politics. Take the line ÔÇ£the best way to scare a Tory is to read and get richÔÇØ off their track ÔÇÿMotherÔÇÖ. Or lead singer TalbotÔÇÖs portrayal of his struggles with toxic masculinity on the track ÔÇÿSamaritansÔÇÖ; ÔÇ£The mask of masculinityÔǪ this is why youÔÇÖve never seen your father cryÔÇØ. All from an independent label. 

Worcester born, B-town indie kids Peace released their third album ÔÇÿKindness is the New Rock and RollÔÇÖ in 2018 which tackled mental health in the same style. First single ÔÇÿFrom under liquid glassÔÇÖ affirms some depressive and anxious emotions by simply shouting ÔÇ£and IÔÇÖm left alone in my big f**king mental headÔÇØ in a way that indicates thereÔÇÖs no other clever way to say this. Again, from an independent label. 

Or look at Wolf AliceÔÇÖs not-so-hard-to-figure-out song title ÔÇÿYuk FooÔÇÖ. ItÔÇÖs a furious explosion of a track that feels like lead singer Ellie Rowsell is delivering a big yuk foo to her experiences of societal standards on feminine sexuality. Again, from an independent label (Dirty Hit). 

ItÔÇÖs this change in the style and delivery of recent music which is why we are seeing a revival in independent labels. Only independents can facilitate such a quick turnover in style. Criticism aside, a major record label is a massive sprawling monster of a corporation and they are very set in their ways. In terms of indie music, they seem to have established certain formulas ÔÇÿthat workÔÇÖ.  The fast teenage ÔÇÿanthemsÔÇÖ about adolescents on the pull down the clubs, overindulging on booze and cigs. Then the occasional ballad on the acoustic guitar about how some guyÔÇÖs girl has left him. 

DonÔÇÖt get me wrong this kind of model has produced some of the best music of the turn of the century. That attitude brought us Oasis and early Arctic Monkeys to name just two. However, it has been twenty years plus since some of these artists best works were released. And now in almost 2020, this type of indie music is oversaturated and clich├® (See Catfish and the Bottlemen). But because of the pure massive size of these major labels nowadays and how long they have trusted in these formulas, they canÔÇÖt keep up it feels to me anyway with the fierce intensity and turnover of the new musical and political climate. TheyÔÇÖre stuck in a rut of ramblings about lacklustre relationships when the real people theyÔÇÖre supposed to be speaking for are screaming and protesting about things that really matter to a lot of like-minded people today. IndependentÔÇÖs then fill the place theyÔÇÖve always adopted in the music industry; giving a platform for those trying to make original music that exceeds what came before it. Therefore, rendering the major labels irrelevant unless they can adopt these values too. However, this seems unlikely considering how it contradicts the corporate values the major labels embody.