The YouTube phenomenon has its pluses and minuses, at least when it comes to music. First, the negatives. Since consumers aren’t paying for what they watch, the artiste is at a loss. When they physically buy a compact disc (CD) or download songs through legal platforms, listeners are actually contributing to the musician’s career. With YouTube, the songs are not only seen free but shared with hundreds through social media. And everyone enjoys the ride.
Secondly, YouTube can make sensations of the most talentless people, who often depend on remixes rather than creating any original material. Examples abound both in India and abroad. The number of views determines success, irrespective of whether the performer deserves it or not.
Finally, the sound one hears on YouTube is erratic. Even if somewhat decent, it can never match CD or vinyl record quality. Yet, YouTube has become a way of life. Almost every tech-inclined music lover uses it, and shares whatever he or she likes on social media. The recipients pass it on, and thousands enjoy in the process.
The best thing about YouTube is the sheer range, of course. Any Talat Mahmood song you want, early concerts of Pandit Bhimsen Joshi, documentaries on your favourite rock stars, historic jazz and western classical music performances, rare global genres, the making of famous albums, you have everything. And one finds the rarest of material.
For diehard music fans, YouTube is also a great source of exploration and discovery. Let me cite a personal example. Recently, a Facebook ‘friend’ posted a performance by Annie Lennox at the Polar Music Prize ceremony in Stockholm, Sweden, on June 16. She paid tribute to this year’s winner Sting by singing his ‘Fragile’. It was an amazing recital, and worth sharing. Below the main video, I saw links of other artistes at the same event. There was Jose Feliciano who did ‘Every Breath You Take’. But what was stunning was the rendition by names unknown to me.
There was Gregory Porter who did ‘It's Probably Me’, Petra Marklund on ‘If I Ever Lose My Faith In You’ and trombonist-vocalist Nils Landgren on ‘If You Love Somebody’. Likewise, there were some brilliant tributes to this year's other winner, renowned jazz saxophonist Wayne Shorter. In the end, I ended up discovering some real yet unheard-of genius.
Similarly, a video of a tribute to Jethro Tull’s Aqualung album by the Pride of Arizona Marching Band in 2011 led me to some rare flute performances by Tull frontman Ian Anderson. A wonderful late 1980s Doordarshan interview of sitar maestro Pandit Ravi Shankar, posted on Facebook by his wife Sukanya, led me to discover some fascinating concerts from the past.
Interestingly, many artistes themselves use YouTube for self-promotion. Whether it’s their latest single, teaser to a concert or even a rough pout-expressioned rehearsal at home, they have a clip ready for the world to see. In some cases, the more the Facebook ‘likes’, the bigger the egos bloat.
What’s strange is the thought of putting out entire albums. John Mayer’s latest The Search For Everything could be heard on YouTube much before its official release. And it wasn’t a leak, but put by the official record label. Wonder how that would help physical or digital sales.
But that’s what. YouTube has come to define the way most of us listen to music these days. Probably aware that record sales are heading nowhere and the real focus is on live events, musicians are using this as a platform to keep in the news. As long as listeners get it readymade and free on their laptop or smartphone, they’re happy.
The author is a freelance music writer
