Welcome to an age where everyone lives in their own musical universe.
Legendary artists once defined musical eras through mass media dominance. But streaming platforms have shattered this tradition, at least according to renowned music analyst, Rick Beato.
He points to a new reality where Taylor Swift can be a global phenomenon while millions have never heard her songs.
The Death of Musical Eras
Music used to come with a timestamp built right into its sound. Each era carries its own distinct musical signature:
- Swing defined the 1930s and ’40s
- The ’50s and ’60s were built mostly by rock and roll
- MTV built up pop music in the ’80s
- 90s enjoyed the rise of grunge
But, if you ask people what music era we’re currently living in, you may get very different answers or none at all.
Beato brings this to life with a perfect example from his own family.
His daughter recently fell in love with LĂĄve’s “From the Start,” a modern hit that’s racked up over 500 million plays.
What’s cool about this song? It’s got bossa nova vibes that take you right back to the 1960s classic “Girl from Ipanema” by Antonio Carlos Jobim, who just happens to be his father’s favorite composer.
“Mass media—meaning radio, TV, MTV, print media—was all coordinated with major labels. This controlled the distribution channels of the music to create dominant narratives so that you would have these ubiquitous artists and songs,” Beato explains.
“If you think of Sting’s “Every Breath You Take,” that song was known by everyone, which made it easier to label the era by a few breakout genres or styles.”
Just look at what happened with grunge music.
Bands like Nirvana, Pearl Jam, Alice in Chains, and Soundgarden weren’t just playing similar music with their heavy, low-tuned guitars and deep lyrics. Their singers created a whole new music era.
Let’s not forget how their thrift shop style became the look of a generation. Think flannel shirts, band tees, ripped jeans, and combat boots.
“Okay, so when was the last definable era? To me, it would be the late ’90s, early 2000s—pop acts like Backstreet Boys, NSYNC, Britney Spears, or even Avril Lavigne.” he continues.
He points out that this was when the music industry hit its peak. And back then, the music industry pulled $40 billion in 1999, with 600 million people spending about $64 each on music.
How Streaming Killed the Radio Star
The internet basically turned our whole musical landscape upside down.
It started with Napster, then came the iTunes Store, Spotify, and YouTube.
At first, these platforms just wanted to change how we find and listen to music. But, eventually, they completely transformed the way hits are made and swapped out carefully planned industry campaigns for playlists picked by algorithms.
Any music can now reach anyone, anywhere.
Gone are the days when you had to pay big bucks for individual albums. Now, for the price of a couple coffees, you can stream millions of songs.
This new reality crushed the old system where record labels needed three months to build up excitement for a new release.
These days, streaming platforms don’t play favorites.
Whether you’re Taylor Swift or a kid making beats in their bedroom, you’ve got a shot at finding your audience. This means no single style of music can take over the way rock or pop once did.
Welcome to the Post-Genre World
We’re living in what Beato calls a “post-genre world,” where artists mix and match musical styles like never before.
You’ll find countless sub-genres thriving side by side, from bedroom pop and lo-fi beats to hyper-pop and neo-soul revival. Each with its own dedicated fan base doing its own thing, completely separate from what’s trending on the charts.
Radio and MTV used to be our shared musical campfire, getting everyone to listen to the same songs together.
But now, we’ve got mood-based playlists and influencer recommendations shaping what we hear. This creates an interesting situation where songs can rack up massive streaming numbers while flying completely under many people’s radar.
Even mega-star Taylor Swift shows how fragmented music has become.
Beato suggests we might be in a transitional “algorithmic age” where everyone’s musical discovery is personalized rather than shared.
Meaning, instead of all experiencing the same musical era together, we’re each creating our own personal soundtrack in an endless universe of musical options.
Is This a Bad Thing?
Sure, losing those shared musical moments might feel like we’re missing out on something special. But streaming has opened up music discovery in ways we never imagined possible.
As Beato mentioned, it “gave equal footing to niche artists and micro-genres.“
This means talented musicians don’t need huge marketing budgets or industry connections anymore. They just need great music and the right listeners to find it.
Maybe we should look at this as music growing up rather than falling apart.
Back in the day, big record labels called all the shots, deciding what we’d hear through their controlled channels. Now listeners can explore whatever catches their ear and connect with other fans who love the same obscure genres.
Whether that’s hyper-pop, neo-soul revival, or underground metal scenes, you have the right to choose.
The post-genre world might not give us those big cultural moments everyone remembers together.
But, it offers something pretty special instead: the freedom for every music lover to find their perfect sound and their own community of fans, without worrying about what’s supposed to be popular or what fits neatly into traditional genre boxes.