If you look at the pop music charts for the last decade or so, one of the things you will not notice is the modern nature of the big bands. The reason you will not notice how bands have changed is that there are few bands on the charts. In fact, bands have just about disappeared from popular music. The few bands you see on the music services are those from a bygone era. The biggest selling bands are often those that no longer exist or still kick around playing for old people.

Instead, what you see are solo acts or the occasional dance group assembled like a Broadway play to perform to manufactured content. Even the “boy band” has faded from the scene for the same reason bands have disappeared. That reason is it is much easier for the music industry to create and produce a solo act than to find a band and then develop it into a top attraction. The same is true of “boy bands” which require some degree of organization and management.

Of course, as the doors to bands have closed in corporate music, the selection pressure for musical acts has changed. If a young person has any musical talent, she is better served investing her time in imitating the corporate acts, using software tools readily available to everyone now. She then posts her material to YouTube, hoping to get a following and then maybe catch the eye of corporate. Learning to play instruments and perform in front of a crowd is pointless.

One reason for this change in popular music is money. The music industry, like every industry in America, is fully financialized. This means everything about it is driven by factors like interest rates, return over time and investment opportunities. A “new act” is not judged on musical ability, novelty, or the personal tastes of the industry people, but by the accepted financial models of the industry. Just as wind tunnels made all our cars look the same, finance homogenized popular music.

For example, now that Taylor Swift is packing on pounds and years, the search is on for a singer who will do the same act for the same audience. The “same audience” in this context is age, sex, race, and economic model. The next wave of that demo is not going to get excited by a portly spinster, so they will find a younger model with a slightly different look to do the role. Even if she is not as popular with the target demo, the math of the model is predictable and safe.

The same sort of math affects the live show business. The people hosting the show want predictable sales and returns. The people producing the tour also want predictable sales and returns. The reason for that is the investors want predictable sales and returns, so the live shows follow a proven model. Since the money comes from the same source in terms of expectations, the effect has been a narrowing of the music industry around highly predictable products.

Another reason for the narrowing of the business around controllable solo performers is the market has changed. People spending hundreds of dollars on live shows want a predictably good time. They are not going to invest in an unknown, because that might mean not having the expected good time. In a culture that prizes safety and security above all else, bands are a high-risk proposition. The culture they represent in popular music is an affront to the culture of the modern audience.

Another fact is the death of radio. Once all the pop music stations were consolidated into a few massive corporations, the result was corporate slop. The first to go were the music directors, then the disc jockeys were chopped. The soundtrack to the modern age is the monotony of corporate radio. The legendary “shock jock” Anthony Cumia talked about this in a speech he gave at American Renaissance. Corporate radio is now as dead as the garage band.

Young people still want to play instruments and make music and the tools for producing good music are now freely available. The days of needing a studio are pretty much over as far as producing professional audio content. That means interested people can create bands and put their content out to the world. In theory, the same democratizing process that we have seen in other forms of content applies to music, but for some reason it has not democratized pop music.

This suggests there is something different about popular music compared to writing, podcasting, or livestreaming. Anyone can make music if they desire, just as anyone can publish a book or create a political talk show, but the latter forms have been vastly more successful compared to the music variety. Music needs social proof to gain an audience and that is manufactured at the same place the music is now manufactured. Without corporate, it is impossible to be a pop star.

There also may be a larger cultural issue at work. The concept of the pop star is a 20th century phenomena. Prior to that, entertainers existed on the fringe of society, generally regarded as low status. The 20th century is when this flipped around, and we got big stars from the entertainment world. We may be reverting to the norm as entertainment declines in both quality and status. The disappearing band phenomena is not just an American thing. It is thing everywhere.

What we may be seeing with pop music, and maybe movies and television as well, is the end of a peculiar cultural phenomena. These forms of entertainment were spawned in the 20th century. As that time recedes into the past, the culture of that time follows with it. The important parts of that culture, like the rock band, are fading away as well, to be replaced by whatever the next culture desires. As the West finally leaves the 20th century it is leaving behind its culture.

If you like my work and wish to donate, you can buy me a beer. You can sign up for a SubscribeStar or a Substack subscription and get some extra content. You can donate via PayPal. My crypto addresses are here for those who prefer that option. You can send gold bars through the postal service to: Z Media LLC P.O. Box 1047 Berkeley Springs, WV 25411-3047. Thank you for your support!