Radiohead revolution

Band aims to shake up, take down record label industry

By Jess Novak, senior writer
Posted on October 11, 2007

New owner of EMI Records, Guy Hands, called Radiohead’s latest stunt a “wake-up-call” to the company. The band’s new release may be more than an alarm for EMI. It might be a warning for the entire music industry.

While labels continue to fight the digital revolution, artists take advantage of the mass audience provided by the World Wide Web and the limitless possibilities of tools like MySpace and purevolume.com. The legendary British band, Radiohead, has simply taken the digital concept to a new level and shaken up the entire industry as a result.

Last July, guitarist Ed O’Brien announced that the band’s seventh studio album, In Rainbows, was near completion and effectively sparked the interest of fans worldwide. However, unlike the typical months of single releases, television appearances, magazine covers and advertisements that most bands initiate after announcing an upcoming album release, Radiohead disappeared.

The next major announcement did not occur until Oct. 1 when the band announced their album would be released exclusively online in 10 days — and buyers could name their own price.

Within one day, the group not only created a craze of anticipation that takes most bands months of appearances and advertisements to build, but also simultaneously challenged the entire industry to start taking action.

Illegal downloading is thriving, RIAA lawsuits are becoming more out of hand, legendary record stores like Tower Records are closing and record labels are trying harder than ever to take as much money as possible from their artists to make up for crashing sales. It is painfully apparent that the industry is in a dangerous state of flux that needs to be recognized and addressed.

Perhaps this release will help do just that.

Radiohead’s release has been called a social experiment and the industry should pay careful attention. What is the average price fans will pay? What percentage of listeners will choose to download the album for free? (Though there is a $1 processing fee.) What is the most fans will try to pay? (There is a limit of about $205 for one album.)

What may be most interesting is the actual calculation of net money earned. The only reason Radiohead can afford to release the album in this way is because of their already well-established fan base and their current lack of a label. Without contracts binding them to agreements and payment procedures, Radiohead will receive 100 percent of the profits from the album in addition to more publicity than most bands will experience throughout their entire careers. Using this publicity and tours, as well as band merchandise including their to-be-released box set, will inevitably gross record highs.

The bottom line: Radiohead wins. Though there will be millions who choose not to pay, there will also be die-hards who will choose to pay exorbitant amounts of money for no reason. By allowing fans the option to show their appreciation for the band they love and the opportunity to “stick it to the man” in a way they have never been allowed before, Radiohead has succeeded in making an album release an artistic statement of independence and rebellion against a dying industry.

For a band that sang about “no alarms and no surprises, please,” just a few years ago, Radiohead has delivered quite a shock to fans and industry professionals alike. Whether the release marks the death of labels or the beginning of a revolution is difficult to judge. But it is simple to see the industry has little choice but to respond. The question now is how?