WP3: Exploring Cultural Disparities in the American Music Industry

Across the world, many different languages and cultural customs set us apart, but one thing remains universal: music. Music has existed as long as humans have been on this earth; if music is defined as sounds presented at a variable pitch, then even the earliest humans had a capacity for creating music before they could even speak. As the years went on, each society modified their styles of music with the invention of new instruments and vocal styles to suit the intricacies of their cultures, and their innovations still persist today in the modern world. Every heritage has their own form of music, and although these traditional performance styles have remained in the current age as integral parts of cultures throughout the world, with the ever-growing connectedness of humankind, these traditions have spread and morphed into brand new genres and even the development of an entire music industry. As the music industry continues to grow globally, countries and regions are becoming increasingly interconnected while maintaining a strong sense of their own cultural and creative identity. The music industry is a global powerhouse, influencing millions of lives, shaping popular culture, and serving as a mirror reflecting the diversity of human expression. However, with music now becoming an industry in itself, a way to make money and a career, styles from certain cultures have dominated the industry and become popular all over the world, some much more so than others and leaving others underrepresented. While this industry is undoubtedly diverse, it is not immune to cultural biases and disparities. This essay explores why certain cultures are more prevalent in the music industry, the barriers faced by musicians from underrepresented cultures to become more recognized in the greater American society, and strategies to overcome these barriers to promote diversity and inclusivity in music.

As an aspiring industry professional myself, this issue is central to my career journey. The majority of the career opportunities that are available work with solely American artists in very niche genres such as mumble rap or factory-produced, only-for-radio pop music. As a lover of languages and of exploring new cultures through media, these “basic” American genres have never been interesting to me, and I have always preferred to delve into less well-known styles and international works. Not just within music, but within television, fashion, beauty, and all other forms of consumption, I have always chosen to obtain a global perspective and expand my horizon outside of the accepted “mainstream” trends. Amongst my media explorations, I always wondered why my peers were not interested in expanding their horizons, or rather why they were not aware that any other options even existed. As I begin my job search while I approach my graduation, an increase in international representation within the industry would enhance my career greatly and make my work entirely more enriching and meaningful, thus I am searching for an answer to this dilemma.

In the music world, there is a necessity to stay relevant with today’s digital age, so artists have begun to rely heavily on social media such as TikTok and Instagram to continually communicate to their fans. This necessity to stay relevant has resulted in a shift towards EP releases, with only 5 or 6 songs, rather than full albums so that the artist can release more frequently and stay current in the minds of their fans. As a result of this, cultures that understand social media and global awareness as a whole are more widely appreciated since they are able to reach a greater audience and remain pertinent amongst all of the competition. Promoting music in other languages requires a specific set of skills, resources, and connections that not all artists possess. Record labels and promoters may be less willing to invest in music that may require additional marketing efforts due to linguistic and cultural differences.

Also, certain genres appeal more to certain groups who have many things in common with the artists and the messages their music conveys, particularly in more homogenous countries. Specifically, the genres that dominate world charts are American hip hop and rap in the western world, spanish reggaeton in the latinx world, and k-pop in the asian world.

According to the 2023 IFPI Global Music Report, the US was the number one music market in the world in 2022 due to the amount of different styles and genres available, followed by Japan and the UK, and remains the world’s largest region for recorded music. In the US, as such a diverse country with people immigrating from all over the world, there is a mix of all of those cultures, allowing for many types of music from different countries to become popular and even begin to mix.

However, there are still barriers to exploring new cultures through music due to our natural inclination to listen to music in our native language. The reasons that many dislike music in foreign languages are the same reasons why mainstream rap and pop music here in the US are disliked — mediocrity and over-exposure. Mediocrity exists in all music industries but what separates “mediocre western songs” from the “mediocre reggaeton songs” is that as Americans, we are used to having to sift through mediocre English music to find the gems. Foreign songs provide a much greater challenge because it is more difficult to understand the language and genres like k-pop and reggaeton are such huge industries; it would take years to catch up. It is hard to get accustomed to a new sound, especially if it is in a different language, if it is not outright something you perceive as awesome and catchy, and dip your toes into those genres. Thus, the languages that are more widely spoken in the US, such as Spanish, allow for their music to be more widely spread and absorbed more easily into the greater American society. Spanish is spoken by more than 41 million Americans, providing the reason for reggaeton’s success in the US as 11 of the top 50 artists on the 2020 Spotify charts were spanish-speaking artists (Noe), including the number one spot — Bad Bunny.

The rise of digital dependence has created another barrier — there is an abundance of information and diversity in the US, so new and interesting cultures are taken for granted, preventing many from wanting to dive deeper. Artists do not sell albums in the US since there are so many other ways to consume information about them, such as live concerts, special guest appearances, merchandise drops, and interactive livestream. For example, U2 made $54.4 million dollars in 2017, according to Billboard’s annual Money Makers report. Out of their total earnings, about 95%, or $52 million, came from touring, while less than 4% came from streaming and album sales. Bands such as U2 who have residencies, which means they perform at the same venue for a long period of time, generate an absurd amount of money touring in the United States that physical album sales are practically irrelevant and fans take their overwhelming presence as a guaranteed thing in their lives, removing the excitement around them.

However, internationally is where album sales have a significant impact since there is not an opportunity to see the artists live. For example, BTS’s album Map of the Soul 7 sold 400,000 copies of the physical record to the United States within its first week of release and 3.7 million units internationally throughout the course of its promotion, not including the additional 3.37 million units sold in South Korea (Leal). The novelty of international bands such as BTS is that they do not have the opportunity to tour in every country around the world, and are only able to come to more populated cities such as LA or New York City once every other year or so. Artists that maintain that sense of novelty with their fans, providing something new and interesting or an incentive to buy the physical album, peak their interests in exploring new bands similar to them and in the genre in general due to the excitement of having the opportunity to connect with the group in some way. If music companies internationally follow the mold of leaning on the scarcity of their artists in American society, there is a great potential for growth in revenue and global recognition. Of course touring is where the money is at these days due to the complicated revenue sharing of streaming services, but there are other confounding factors at stake.

Cultural stereotypes and biases play a role in limiting the success of musicians from underrepresented cultures. Audiences may hold preconceived notions about certain cultures, leading to a reluctance to explore their music. The lack of recognition of artists from underrepresented cultures in the music industry perpetuates the cycle of invisibility. It is challenging for emerging artists to break through without role models and mentors who have succeeded in similar circumstances, thus emphasizing the importance of artists such as Bad Bunny or BTS, leading the charge for others after them to be able to permeate into the American music scene because of the example they set.

Although we are a long way from being the inclusive music community that we should be, there are steps that can be taken that we as a society can do to overcome these barriers in learning about other cultures through music. In the post-covid world, live music is back and bigger than ever. Many popular bands have openers that are less well known, so going early to see these openers will allow you to immerse yourself in new music and new genres, all for one ticket price. Large events like music festivals offer consumers the opportunity to watch a multitude of artists for one ticket price, as well as the ability to discover someone new just through the convenience of being at the festival already. With the rise in popularity for music festivals such as Coachella or Lollapalooza, fans are more likely to be more open-minded towards new artists and buy a ticket for these events even though they might not know every artist that is performing because of a few popular headliners. They are a great way to get introduced to new genres without having to take the risk of spending time and money on an artist you might not necessarily enjoy, since there are artists already at these festivals that are guaranteed to bring in the crowds.

Song features are also a simple and less-intimidating way to gain awareness of new types of artists. More and more American artists are featuring foreign artists in their songs, and it is a much more approachable way to get exposed to new artists without having to navigate their solo works with no guidance. The task of diving into an artist’s repertoire without any prior knowledge can be a daunting ask, but through samples and features, these foreign and less-well-known artists can place a clip of their work in another more “mainstream” artist’s song, thus increasing their audience in a new market if that song is a success.

The imperative for transformative measures within the music industry extends beyond mere superficial changes, urging a profound reevaluation to foster sustained growth and the harmonious integration of a multicultural music community. There are tangible changes that can be made in the near future to work towards this goal. A pivotal recalibration lies in redirecting the spotlight of music promotion towards local communities. The concept of localization transcends mere geographical focus; it necessitates a nuanced tailoring of marketing and promotional endeavors to specific linguistic and cultural markets. This strategic shift not only dismantles language barriers but also establishes a profound connection with audiences, surpassing the impact of generic, broad-reaching approaches. Appealing to the unique differences of diverse audiences will allow artists to branch out of their primary, most accessible audience and increase their worldwide recognition. Also, the music industry needs to embrace cultural diversity as an asset, not a hindrance. Key stakeholders, including record labels, promoters, and media outlets, should actively and deliberately seek to amplify a more extensive spectrum of cultures and languages. The pursuit of diversity within leadership roles becomes pivotal, acting as a linchpin for the holistic integration of the music community. If the leaders in the industry set a positive example of bringing on a myriad of artists from around the globe onto their roster, the precedent will set and others, agencies and listeners alike, will follow. A proactive effort to diversify leadership positions within record labels, media organizations, and other music-related entities will not only amplify inclusivity but also contribute significantly to the industry’s overall coherence and vitality.

Music serves as a universal bridge that connects disparate cultures, offering a glimpse into the rich tapestry of human expression. The evolution of musical styles over the centuries reflects the diversity of societies worldwide, from classical compositions to contemporary genres like K-pop and reggaeton. While the global music industry has grown exponentially, becoming a powerful force shaping popular culture, it is not immune to cultural biases and disparities. Certain genres and languages dominate the industry, leaving many underrepresented cultures struggling for recognition. Overcoming these barriers requires a concerted effort to embrace cultural diversity within the music industry. Localization, cross-cultural collaborations, and diversifying leadership roles are essential steps towards fostering inclusivity. As individuals, we can contribute to breaking down these barriers by actively seeking out and supporting artists from diverse backgrounds. The post-COVID era offers opportunities through live music events and festivals, where exposure to new genres becomes more accessible. Song features provide a less-intimidating entry point for listeners to explore artists outside their comfort zones. Promoting inclusivity and recognizing the value of music in all its linguistic and cultural diversity is not only an ethical imperative but also a path to enriching our musical experiences and fostering global unity through the universal language of music. It is through these efforts that we can create a more equitable and representative music industry that celebrates the multitude of voices and cultures from around the world.

Works Cited

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