It’s 4am in a hotel room far from home and you’ve just broken up with your lover. Aside from the minibar, there’s no empathy on offer: not a soul to talk to, no shoulder to cry on.You update your Facebook status with news of the split. Seconds later someone on the other side of the world sends your smart phone a digital version of What Difference Does It Make?, allowing you and Morrissey to wallow together in self-pity. Someone else sends you Paul Simon’s Fifty Ways to Leave Your Lover, which cheers you up a bit. This may sound far-fetched, but the hope of the music industry rests upon such connections. A future where songs are not bought, but accessed via telephones, sent across cyberspace, and passed around friends through platforms such as Twitter, is what is hoped will save music from the twin ravages of illegal downloading and a lack of strategic direction.
The full extent of the crisis was illustrated with the news that EMI, the label that gave the world the Beatles and Pink Floyd, faces the possibility of break-up if it fails to find £120 million by June. The smallest of the “big four” record labels, it has suffered from the battle between its parent company and bankers over a £2.6 billion debt — despite a jump in profits and the signing of 200 artists in 18 months.
“EMI are perceived to be in a terrible situation, worse than they actually are, and that’s putting off some artists,” said James Sandom, manager of the Kaiser Chiefs. “It’s a shame because they’ve got some great creative people and are out to prove a point.”
