The UK grime rapper transformed Merky into a music label, a book imprint, and advocacy campaigns—something that may be impossible in the new Twitter era.
Such has been the case for many established acts. This spring, Halsey told fans her label wouldn’t release her new single “unless they [could] fake a viral moment on TikTok.” She went on to say that it was the kind of thing labels are doing “to basically every artist these days.” FKA Twigs and Florence + the Machine’s Florence Welch have bothBut not all A-listers feel trapped by the internet’s new demands.
Of course, the question of how streaming has impacted the construction of the actual music that fans hear is a massive and. But Swift’s craftiness does underline one basic idea: Some artists are just better than others at living in this current reality. For artists, navigating that reality also means knowing when to double down on certain platforms—and knowing when it’s time to go.
All of which is to say, aspiring pop stars are a varied lot, and they’ll do what they have to. “If you look at the history of musicians using the internet, from sites like the Internet Underground Music Archive in the 1990s to Napster to MySpace to TikTok,” Morris says, “you see that musicians have been constant innovators in figuring out ways to bend these new technologies to meet their needs.”
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