Are Music Magazines Going Out of Style?
When Q Magazine announced its closure last July, the discussion of music magazines - and their chances of survival - popped up once again. The debates weren’t dissimilar to those of the early 2000s, however this time print publications aren’t only facing the rise of the internet and digital media, but a deadly global pandemic.
For long over a decade now critics have predicted the imminent death of print media, with a particularly gloomy outlook for music mags. And when free music blogs and streaming services are only a few clicks away, these predictions are hardly unjustified. Most of us no longer turn to printed reviews to decide which albums to purchase. Instead we listen for free and decide for ourselves.
So, when COVID-19 hit, it seemed like a potential tipping point for music journalism. With no live concerts to review, content was significantly reduced, and paying for a monthly subscription became impossible for some readers. It wasn’t only Q that suffered in the initial lockdown period. Many magazines, such as In Stereo, also had to suspend printing.
Yet despite the undoubtedly bleak outlook, we are now nine months on from the initial UK lockdown and you will find many music magazines that are not only surviving, but continuing to flourish. Much like we saw in the early 2000s, many music magazines have adapted to new ways of working. For example, Bristol based Crack Magazine went entirely digital due to the pandemic, but this hasn’t held them back as they have continued to expand across Europe.
When speaking to music journalist and founder of The Cusp, Hannah Nepil, she explained the surprisingly positive outcomes of the pandemic:
“It has forced me to engage with streaming, which is something I previously found quite intimidating. Thanks to that we managed to run a whole online concert series during the first part of the pandemic. On the back of those experiments I'm now live streaming interviews with musicians, and hope to continue this beyond the pandemic as it's a very valuable way of building an audience.”
Coronavirus, however, isn’t the only issue magazines are adjusting to. Today many artists use their social media accounts to publicise themselves. This means using their Instagram and Twitter profiles to announce upcoming tours or new releases, rather than an official publication. It also means artists can provide sneak peaks into their life, which can be damaging to the traditional interview format. I mean, why read a lengthy interview with your favourite artist, when you can just watch their live-streamed Q&A?
That being said, a feature in a magazine does still seem to bare some importance for artists. For example, making the cover of Rolling Stone is still considered a significant career landmark. And social media isn’t necessarily a magazines enemy. If they use it well it can become a tool to expand and maintain their readership. Monthly and bi-monthly mags often face the struggle of remaining current, but their social media can overcome this by sharing news stories when they happen, not four weeks later.
When music magazines are straddling social media, digital content and even other media outlets like podcasts and YouTube channels, it can be hard to understand the need for print editions. But a physical edition can still provide something that online content can’t replicate—an in-depth and creative collectible item.
With so much current news being transferred to online platforms, the print editions become a more sacred space for well-crafted, specialist writing. When reaching out to Freya Parr, editorial assistant at BBC Music Magazine she explains that:
“When we spend our lives online, and looking at screens, a print product becomes more precious than it ever used to be. Engaging with brilliant writing from home, is one of the few forms of escapism we have.”
The value of this is seen most in genre-specific publications. When NME stopped printing in 2018, transitioning to only digital content, it seemed inevitable that others would follow. And while some have, those with more niche markets have managed to maintain a loyal readership. The detail of genre-specific publications, such as BBC Music Magazine, means that what they offer can’t all be found in one place anywhere else.
“Ultimately a niche interest creates a sense of brand loyalty, which has definitely helped us get through the last few months.” - Freya Parr.
Essentially as long as we consume and enjoy music, there will be stories behind songs, artists and events. So while the future of music magazines may be unpredictable, the industry has proven time and time again that its ability to adapt allows it to remain relevant and successful.
Written by Rosie Olver
I’m a violinist currently studying music performance at The Royal Welsh College of Music and Drama. I love all things music and art and can often be found showing off pictures of my two lovely springer spaniels!