Are Musicians Trapped in the Attention Economy?
Once upon a time, an artist’s success was dictated by radio play, record label investment, and live performances. Today, the rules have changed.
By Ali Iannattone
For modern musicians, self-promotion is not just an option—it is a necessity. Whether through TikTok, Instagram, YouTube or Spotify playlists, artists are expected to maintain an online presence, engaging with audiences as much through their personal brand as through their music.
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This shift has granted musicians unprecedented autonomy, but it has also blurred the line between artist and content creator. Success is increasingly measured in engagement metrics rather than artistry, with social media visibility now a defining factor in an artist’s trajectory. As a result, musicians must navigate an industry that prioritises marketability and image as much as, if not more than, the music itself.
Four independent artists—Norah, Josephine, Theo and Bella—offer insight into the realities of self-promotion today. Their experiences reveal not just the opportunities this new landscape presents, but also the pressures it places on musicians to become their own marketing teams, branding strategists and digital personalities.
The music industry has always relied on some form of self-promotion, but where traditional word-of-mouth once revolved around live gigs and radio play, it now functions through social media shares, algorithmic recommendations and viral trends.
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Josephine, a 21-year-old singer, sees self-promotion as both essential and symptomatic of broader cultural shifts:
“Self-promotion has become essential, but its omnipresence is a byproduct of not only the industry but also society as a whole. So many modern interactions happen through social media—even ‘word of mouth’ works through reposts.”
​This omnipresence has also affected how music is conceived and produced. For many artists, promotion is no longer just about sharing a finished product—it seeps into the creative
process itself. Norah, 23, acknowledges this uncomfortable reality:
“It has shaped my relationship with my music in a way that marketing ideas come to me almost at the exact time as the songwriting does.” For better or worse, social media is now an inextricable part of an artist’s workflow.
While social media has democratised music distribution, allowing independent artists to reach audiences without label backing, it has also introduced new obstacles. The expectation to produce a constant stream of content leaves little room for artistic development. Bella, 23, sees this as a major distraction from the core of being a musician:
“Having to constantly think of ways to gain traction with your art takes a lot of focus away from the actual effort that goes into making it.”
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Beyond the logistical issues, the emotional toll of self-promotion is significant. Many artists find their self-worth tied to their engagement metrics. Norah describes the highs and lows of this dynamic:
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“It feels like an obligation when my self-worth is low, but it can feel thrilling when I’m doing well mentally.” For some, self-promotion has become an existential struggle. Theo, 23, speaks of the disconnect between their real self and their online persona:
“It ends up feeling like a game I am playing with myself—trying to be as truthful as I can while knowing that what I see on the screen is nothing like myself.”
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The pressure to be not just a musician but an online personality is shaping how artists think about their careers, their creativity, and even their sense of identity.
Despite its challenges, self-promotion does offer some advantages. Artists today have far more control over their image, brand and career trajectory than those who relied solely on label representation. Josephine appreciates this autonomy:
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“I enjoy the creative control it allows—through visuals and other forms of media.”
However, these benefits come with an underlying caveat: they are entirely dependent on the whims of social media platforms. Bella highlights the volatility of success in this environment:
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“One video could go viral, and the next could only get 100 views purely because you didn’t post at the ‘right time on the right day.’”
While self-promotion may empower artists in some respects, it also makes them more vulnerable to external forces beyond their control.
As social media dominance continues to shape the music industry, one question remains: is this a passing phase, or is it now an irreversible part of an artist’s career?
Theo is hopeful for change:
“History repeats itself, and I feel like we are slowly reaching the end of an overly saturated phase in music history.”
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But for now, self-promotion remains unavoidable, particularly for those without pre-existing industry connections. Norah is blunt about the reality:
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“It’s possible for artists that were born into money, or into a family with connections—nepo babies are everywhere in the industry.”
The balance of power is shifting towards those who can play the digital game well, which means that music alone is no longer enough. Josephine warns of the growing overlap between musicians and influencers:
“There is a very fine, very easily crossable line between being a self-promoting artist and accidentally becoming an influencer.”
In an industry that increasingly values image and marketability, artistic substance is often secondary. The expectation that musicians must cultivate an online persona raises broader concerns about what is being prioritised in today’s industry. If success is dictated as much by an artist’s branding and aesthetic as by their music, then what does this mean for the future of the art form itself?
Josephine points to a rare few who have resisted this trend:
“Artists like Ethel Cain promote their art with their art, rather than leaning on influencer-style content.”
But these cases remain the exception rather than the rule. The industry at large is moving towards a model where visibility is paramount.
Theo is sceptical of where this is heading: “I genuinely hope we go back to self-promotion being simply self-expression.”
For now, however, it seems more likely that the pressure to market oneself will only increase. Self-promotion has become a fundamental part of the modern music industry, and while it offers independence and direct audience engagement, it has also placed musicians in an exhausting cycle of content creation.
The biggest concern is that the emphasis on visibility and engagement is reshaping not just how music is promoted, but how it is made. With viral appeal often taking precedence over artistic depth, there is a risk that creativity itself is being compromised in the pursuit of relevance.
Theo offers a final piece of advice:
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“The best advice I could give is to separate self-promotion as much as you can from art-making.”
Yet, for many musicians, that separation is becoming increasingly difficult to achieve. As social media continues to dictate industry trends, the question is not whether self-promotion will remain a necessity, but how much further it will shape what it means to be an artist in the digital age.