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Oct 05, 2004 - Fwd: Bluegrass Music article
Here's a pretty amazing article on Bluegrass Music from Reuters. Lew Scheinman ========================== Reuters Amid Tough Times, It's Blue Skies for Bluegrass Sun Oct 3, 9:15 PM ET By Deborah Evans Price NASHVILLE (Billboard) - At a time when much of the mainstream music business is desperately trying to connect with consumers and sell albums, the bluegrass music community has seen its fortunes rise. Tapping traditional promotional avenues such as festivals that have served the genre well for decades, and combining that exposure with more aggressive marketing techniques, bluegrass labels have boosted awareness of the music and its stars. As the bluegrass community gathers in Lexington, Ky., for the 2004 World of Bluegrass event Oct. 4-10, executives have good reason to be upbeat. "We are not competing with mainstream country or pop music," notes Dan Hays, executive director of the International Bluegrass Music Assn. "We are still a niche genre, but the number of people who are getting into it and are finding they have access to it has dramatically changed over the last decade." According to a spring 2003 report by Simmons Market Research, nearly 8 million U.S. adults had purchased bluegrass recordings in the previous 12 months. That's double the number reported in 2000. O BROTHERLY LOVE The growth of bluegrass music has coincided with the rising success of such artists as Alison Krauss, Rhonda Vincent and Ricky Skaggs, the enduring popularity of such veterans as Ralph Stanley and Earl Scruggs and the massive breakthrough of the bluegrass soundtrack to the film "O Brother, Where Art Thou?" Released in 2000 on Lost Highway/Mercury Records, it has sold 6.8 million units, according to Nielsen SoundScan. In general, Hays says, "those people buy more records than your average consumer does. They are buying other music as well as bluegrass, but the fact that that number has grown by that much speaks to their interest in the music and the fact that it is a growing format." According to the IBMA, bluegrass radio programing is also on the rise. The association has 826 stations in its database that provide some bluegrass programing, up from 700 outlets in 1996. Even satellite radio has embraced bluegrass with programing on Sirius and XM. "Bluegrass not only represents a link to the past, but an incredible musical art form that continues to evolve in immeasureable ways today," says Scott Lindy, director of country programing for Sirius. "There are millions of bluegrass fans in this country. Few have a full-time bluegrass station to listen to, and most (stations) only budget a few hours of bluegrass a week on the FM or AM dials." SPIRIT OF COOPERATION The IBMA attributes growth in bluegrass to three factors: the music itself, its increased availability and a spirit of cooperation in the bluegrass community. "People in the industry are working together more today than they were maybe a generation ago," Hays says. "Event producers are tuned in to what's going on with radio programers, who are tuned in with what is happening at retail and with record labels. (We) have that network that has been built." The music has also become more physically accessible. "You can find it a little easier today than you could 10 to 20 years ago," both in retail stores and on the Internet, Hayes notes. "Twenty years ago you really had to know where to look for it." Artist accessibility is another positive factor contributing to the growth of bluegrass. "The No. 1 marketing tool is the artist, the ability for those acts to actually be out there touching fans," Hays says. "If you go to a Rhonda Vincent show, I'd be surprised if you don't get to hug Rhonda's neck or at least shake hands with her while you are there. You don't get to do that at a Britney Spears (news) show ... Bluegrass artists are accessible and they are the ambassadors for the music." The Down From the Mountain tour, featuring artists from the multiplatinum "O Brother, Where Art Thou?" soundtrack, enjoyed similar success, as did a live recording of the tour. But the soundtrack and subsequent activity tapped into an infrastructure of labels, artists, promoters and broadcasters "that was in place before 'O Brother,"' Hays says. BREAKING STEREOTYPES Live performances have always been the driving force in bluegrass music. Although multiartist tours have done a lot to boost careers, industry observers feel those opportunities need to be further exploited. Such tours "could do more than anything else to break down the false stereotypes sometimes associated with the genre," says Brian Smith, VP of store operations for Value Central Entertainment. "I recently saw Mountain Heart packaged as the opener for George Jones," he says. "They stole the show and generated significant interest in themselves and today's bluegrass music as a result." Smith also cites the Del McCoury Band's participation in the recent Bonnaroo festival. "They did wonders for the format by appearing with such a diverse mix of artists, both new and old," he says. "We showcase just about every genre," says Jonathan Mayers, co-owner of Superfly, the company that co-produces Bonnaroo with A.C. Entertainment. The event drew more than 90,000 fans to Manchester, Tenn., in June. "Bluegrass continues to be one of the most popular types of music we present," Mayers says. "There is an ever-expanding audience for music that is based on musicianship and songwriting, both of which (are) integral to bluegrass music." (Phyllis Stark in Nashville contributed to this report.) Reuters/Billboard