Times are changing, and nowhere is that more evident than in the ever-fluid landscape of music. Artists have always been cultural bellwethers, supported by misfit kids and grassroots movements. Now, with algorithms, automation, and AI, the game looks a little different, blurring the lines between what’s authentic and what’s manufactured on the backend.
Amid the perceived oversaturation and allegations of industry plants, artist exposure is at an all-time high, allowing sub-genres and hyper-niche sonic movements to gain traction faster than ever. In the before times, it could take years for a particular sound to catch on. Now, it happens after a single post goes viral on your For You page.
For contemporary players such as music executive and brand owner Steven Victor, underground rap princess Molly Santana, and burgeoning musician and multi-instrumentalist Flwr Chyld, these shifts have a direct impact on how they operate day to day.
For someone like Victor, who has worked with influential acts like Clipse, Pop Smoke, and Pharrell Williams, these emerging trends impact how he scouts and supports the talent he brings into the fold. For creators like Santana and Flwr Chyld, real name Kevin Brown, the onus is on them to ensure their message is clear and reaches their intended audiences. Neither is an easy feat in a space that’s always in flux.
We chatted with all three about navigating the music business as it continues to evolve.
This conversation has been edited and condensed for clarity.
What’s one word or phrase you’d use to describe today’s music industry?
Steven Victor: I’d say “competitive” because there are no barriers to entry. You have artists who’ve been topping the charts for years going up against someone who put out a song last week. There’s no real differentiation.
Molly Santana: “Analytical.” Ten or 20 years ago, I feel like things were more about whether artists had a specific kind of star power. Now, it seems like the industry doesn’t really care if you have that superstar look; it’s more about the data.
Flwr Chyld: I’ll go with “constantly evolving.” Some parts are very beautiful, and others are extremely chaotic. You’re having to adapt to a lot of different shifts that may not align with what you believe in on a creative level. But art is currency at the end of the day, and you’ve got to do what you’ve got to do to support yourself.
What’s one thing you had to learn or adjust to when you first started working in music?
SV: You can’t take anything for granted, and you have to be very, very focused.
MS: The number-one thing I’ve had to learn is how to be my own boss. Because I’m so young, I didn’t understand that as an artist, you have to be the person who stands up for yourself. Before, I was a “let things come to me” type of person. But I realized I have to push the needle forward and advocate for myself in every single situation, especially as a woman.
FC: I learned how to be malleable and put more trust in others. All artists are stubborn because you’re only seeing things from your perspective. Since adding more people to my team, I’ve had to relinquish some control and lean into the plans or visions others are setting for me.
What do you think captures people’s attention these days?
SV: If you can speak to one person who identifies with you, that’s what you really want. That’s how you connect, and that’s how you make a name for yourself. There’s that saying, “A fisherman always sees another fisherman from afar.” I think it’s the same thing.
MS: Just being fully transparent — whether that’s in your music, your interviews, or wherever. Being relatable is the number-one thing that grabs people.
FC: Everyone is looking for something different, but they want to hear music that resonates more on a spiritual and emotional level. As a response, you see a lot of artists saying, “Fuck the trend, I’m going to put out music that feels special to me, and I know it’s going to resonate.”
How do you think the industry has evolved in the past decade or so?
SV: Everybody gets to see behind the curtain. It makes anyone with ambition, determination, and a good work ethic feel like they have a chance. On the flip side, now some people think this thing is easy, and they don’t give the creative process the grace, honor, and respect it deserves.
MS: I see a lot more freedom, whether that be in speech or thought, or sound. A lot of women have stepped up and used their platforms to speak about global issues and what they consider important. Things are way more clear. When you see an artist nowadays, you know almost instantly whether they’re about it or not.
FC: Streaming, man! There are a lot of negatives to it, but I’ve found some of my favorite artists through streaming and playlisting, and sharing music digitally.
How are artists making their money?
SV: There are so many different ways to make money — that’s another good thing about this time. Merch, concerts, writing, creating content, and fan experiences. If you have a group of people who really believe in you, there are so many different points that they can interact with you and support you.
MS: Merch. That’s the one for real, especially if it’s something cool and unique.
FC: Shows, man. If you like touring and have the stamina, go get your bag. It can be physically taxing, but some artists just love to be on the road.
What worries you about the state of the music industry?
SV: There aren’t enough people putting the art first. When you’re trying to put out the most authentic product possible, you can benefit and become commercially successful. You don’t get it the other way around.
MS: There are not enough women or people of color in these label systems. I feel like this is our playing field, and my biggest concern is that we’re being pushed out of places we built. We start to lose the real feeling and foundation behind the music when the founders are not a part of the decision-making. Music is such a powerful thing, so we need to be conscious about who’s behind it.
FC: These platforms need to pay artists more. Streaming has its upsides, like exposing artists to new audiences, but the rates on a lot of these platforms are really shitty. If they could figure out a fair conversion rate, I think we’d see a significant shift. Imagine they paid a penny per stream; that would change everything.
What are your thoughts on AI in music?
SV: The people who learn how to use AI are going to be very, very successful. If you’re already super talented as a musician and can use technology to filter your thoughts or get through things faster, forget about it. I don’t think it’s going to help people who aren’t talented, but for those who are, they’re going to turn into a superhero.
MS: I really, really, really, really do not like the idea of AI artists or songs. It takes the soul out of everything. There’s no intention or real emotion behind it, and that’s what music is at its core. It’s already here, though, so I think we should use it as a tool to help perfect the craft, not become the craft.
FC: I will be at the forefront of the conversation, saying how much I hate it every single time.
What’s the biggest misconception about the music industry?
SV: Outsiders think it’s easy to find success. But it’s like anything else in life. If you want to be fucking successful, you’ve got to put in that pain.
MS: When I was younger, I thought being an artist was simple: You make music, go to shows, say what’s up to your fans, that’s it. Now, I see that there are a lot more games in the background than most people realize. I think we’re all starting to understand more what artists go through and how much effort and heart it takes to really be something.
FC: That everyone within the industry is taking care of themselves off the music. It’s okay to have a day job; you don’t have to struggle.
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