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“Where could we feature that artist so we knew there was going to be an audience waiting with open arms?”
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“Let’s say the next Billie Eilish came along,” says Szabo. No one was going to become a star by appearing on a playlist called something like “Indie Rock Road Trip.” So in 2019, Spotify set out to create a new playlist that could encapsulate the zeitgeist of an emerging generation the way MTV’s Total Request Live and Soul Train once did.
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The app had been making curated playlists since its inception, but most were neatly defined by either genre (rap, indie, pop hits) or functional purpose (working out, chilling, singing in the shower). “If you were a young listener trying to figure out who you were, you’d open Spotify, and there wasn’t anything that really spoke to you,” says Lizzy Szabo, a senior editor at the streaming service. A few years ago, the higher-ups at Spotify realized they had no idea how Gen Z got excited about new music. Traditional gatekeepers like MTV, radio, awards shows, music review sites, and most magazines haven’t paid much -attention-which is why others are stepping in to fill that void. “You don’t feel out of reach as a person.”Įven as their Instagram followings climb into the millions, many of these new stars have remained almost invisible to the culture at large. “The essence of being a bedroom pop artist is relatability,” says Umi, 22. Some get tagged with the term “bedroom pop” because, well, they literally started making music at home, appealing to other kids around their age looking for music to listen to while scrolling through their phone. The new up-and-coming teen idols, however, have a DIY ethos that is more in line with that of indie bands-long before any label approached them, they had already recorded songs, in some cases made videos, and generated their own connections with fans. While music execs have now been scouting young talent on the Internet for almost two decades (the 12-year-old Justin Bieber, to whom Gray is referring, was famously found on YouTube in 2007), artists were usually whisked away to record label finishing school and reintroduced to the world as fully packaged pop stars engineered to snag Tiger Beat covers and Pepsi commercials. “It’s just not that kind of a story anymore.” “We weren’t signed to developmental deals when we were 12 years old,” Gray says. In April, he had a little over 4 million more monthly listeners on Spotify than Mariah Carey, and 7 million more than Nick Jonas. Four years ago, he was a high school senior who uploaded a homemade music video of his self-produced song “Idle Town” to YouTube. We were all just normal kids making music,” says 22-year-old Conan Gray. If you don’t recognize any of these names, you aren’t alone-but you are probably over the age of 25. R&B stars Umi and Omar Apollo got their start on the music-sharing site SoundCloud purely by chance, and are now on the road to becoming the next Erykah Badu and Prince. When The New York Times called Girl in Red, aka the Oslo, Norway–based 22-year-old Marie Ulven, “one of the most astute and exciting singer-songwriters” working today, it was two years after cool teens had already figured that out. Take the musician Benee’s single “Supalonely,” which was a Top 40 hit everywhere from America to her native New Zealand last year you might have completely missed its rise if you weren’t on TikTok. Generation Z decides for itself what the next big thing is, whether anyone who owns a suit notices or not.
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Remember when record label A&R guys scouted dingy rock clubs and open mics looking for the next big thing? Today, that dream job is about as obsolete as a fax machine.
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