Obscure David Bowie reference for you there. Before we turn to the NME, I just wanted to let you know that James McKean and the Blueberry Moon, in which I play guitar, have just released a new track called Rocks and Pebbles. And here it is. A full EP to follow in June, then an album. All mixed by your genial host at this weblog.
And now to the NME.
The NME lost me in the early noughties, when it became obsessively focused on the Strokes, the White Stripes, Interpol and, slightly later, their inferior British knock-offs. I simply wasn’t interested in a paper that could find nothing more worthy of discussion and analysis than Pete Doherty. It seemed to me then, and still seems now, that Conor McNicholas (the paper’s then editor) had driven them into a cul de sac, and was at some point going to have to reverse out of it, allowing his writers to turn their attention to something beyond retro indie rock.
When the NME did pivot away from indie towards pop, it was far too late.
But wider forces are at work here, of course. Chief among them is that, for all McNicholas likes to think his paper “owned” that cultural moment, and he’s been quoted plenty saying that it did, all the initial heavy lifting that made Brooklyn indie into the dominant form of rock for a decade was done online, by MP3 blogs, webzines and the young Pitchfork.
Like any long-lived print publication, the NME did not think digital. It’s now a web-only publication and it still doesn’t. Of all the music-writing portals online (they are legion, and some are spectacularly good), none has an uglier, more badly designed website than the NME. They’ll need a total site redesign immediately to have any chance in such a saturated market.
There’s also the thorny issue of music fans not needing gatekeepers to tell them what is and isn’t worth listening to, when they can do it themselves on their phones immediately and at no cost other than data. Oh, and the whole issue of editorial focus. These are not partisan times, musically. We all listen more widely than 20 years ago, because it’s so easy. The NME needs a staff who know stuff, can offer insight and analysis. If all they’re going to do is publish lightly edited press releases or stories off the wire, they’ll be completely dead inside 18 months.
I never knew the NME in its glory days, whenever you consider those to be. But I grew up with the NME still a thriving, widely read publication that could set an agenda, and seeing it slowly crawling to its end is a deflating experience. I hope those working for it are able to find new work, but my gut tells me that most of them won’t be able to find gainful employment in a similar sphere. The online ad market won’t support the number of titles it’d take for everyone to keep their jobs. The issue remains, how do you make money from something that everyone can get for free and that no one’s willing to pay for? And if you can’t get people to pay for music writing, how can you pay the people writing it?