Woe is the state of music these days.  There seems to be very few outlets for quality music on the radio, and the entire industry is undergoing an almost geologic shift that has companies, artists, and middle men surfing on shaky ground.

Last night, I found myself on the tour bus for Emma Pollock, who released what may be the best CD of the year and that is certainly one of the most impressive records by a first-time solo artist.  Emma was in Seattle to play her first headlining gig, after opening for the New Pornographers for the past few weeks.  From 1994 to 2005, Emmas was one of the primary songwriters/performers in the critically-acclaimed Scottish group The Delgados.

It's rare to discover a record with such consistently strong melodies to go along with resonant lyrics.  Emma's voice is clear as a bell, with a slight huskiness at its edge.  The production values are strong, with a very clean sound (perhaps too clean, and my only issue with the record).

On the bus, Emma talked about the pressure of being a solo artist, the rush of performing live every night, and the difficulty of quantifying success in an ever-changing business landscape.  When I complemented her about her new record, she practically blushed, reflecting true humility and gratitude that her music connects with others.

Unfortunately, her show was not scheduled to beigin until 11:30 pm ( or "half 11", as Emma referred to it).  It is such a  mistake for a headliner to start that late, especially on a weekday.   It's so common for smaller venues now, however.  In my opinion, headliners should never start later than 9:30 pm.  Respect your audience.  Understand that most people work for a living (or go to school).  Why dilute your potential audience by having such late starts? 

And so it was that I was truly disappointed by the small crowd that was there for the show.   It was an excellent performance by Emma and her band, but hardly anyone was there to witness it.  I was genuinely irritated.   Such is the state of music these days, when amazing talents get little press, have few options on the radio, and try to work within an industry that is imploding.  (This is not intended to disprespect her label, by the way.)

I started to think about the changing ways that people consume music these days.  One of the most negative things about the digital music revolution is that fewer people consider records as complete works, as artistic expressions.  Instead, we detach each song, pulling records apart by the seams, just so that consumers can pick and choose the pieces they want.  And the devaluation directly impacts the bottom line for artists. 

This commodification of music is tragic.

Being talented and producing great work has never guaranteed financial success or huge audiences.  In fact, it has always seemed that the truly gifted have struggled to find audiences.  Things seem different now, though.  Somehow in the giant levelling of the playing field that has occurred by turning once physical objects into digital files, both the industry and the consumers seem more lost than ever. 

It seems that it is half eleven for the current music industry.  And with the new day, the music industry will be reborn.  Hopefully, somewhere in the new business models that rise up, there will continue to be room for the true artists and there will be platforms to showcase them.

While on her current tour, Emma's husband and young son joined her for a week.  Her son drew a picture and a fan actually offered to buy it at the merchandise booth at a show.  Her son wanted $40.  The fan offered $10.  Maybe one day he'll get full value.

P.S. Our videotaped interview with Emma will appear on Groupee Backstage Live soon.