The Bitter Aftertaste of Consolidation in Music Journalism

The sudden layoffs at BrooklynVegan, Alternative Press, Revolver, and Goldmine are a stark reminder that even in an era of supposed digital abundance, the media landscape remains fragile. Behind the scenes of music journalism’s beloved institutions lies a complex web of parent companies, mergers, and acquisitions – one that is increasingly hostile to independent media.

BrooklynVegan has been a mainstay of New York City’s music scene since its founding in 2004 by Dave Levine. From its humble beginnings as a blog covering the city’s underground rock revival to its current status as an online publication respected for its in-depth coverage of emerging artists and genres, BrooklynVegan has consistently punched above its weight.

As a subsidiary of Live Nation, however, BrooklynVegan is now firmly entrenched within an ecosystem that values profit above all else – a system that has been slowly strangling the life out of music journalism. This dynamic was exemplified by Veeps’ acquisition of Alternative Press in 2020, which seemed like a coup for both parties involved at the time but ultimately proved to be a precursor to the brutal layoffs that followed.

Veeps’ actions serve as a stark reminder that even respected institutions are vulnerable to corporate whims and that music journalism’s existence is precarious at best. The very notion of “music journalism” – once a vibrant, pulsing entity that captured the zeitgeist of its time – has been gradually eroded by online content, social media influencers, and music blogs.

In an era where playlists and streaming services have reduced discovering new music to a mere algorithmic exercise, what is left for journalists like Dave Levine and his colleagues to cover? The industry’s obsession with consolidation has finally caught up with itself. As Veeps’ actions have made clear, even those publications that have managed to adapt are not immune to the ravages of consolidation.

The reality is that as our industry continues down the path of cost-cutting and consolidation, there is little hope for a new generation of writers, critics, and tastemakers. We will continue to rely on tired formulas – aggregating press releases, churning out clickbait headlines, and sacrificing editorial integrity for clicks and views.

But perhaps it’s time to reevaluate our priorities as an industry: instead of chasing after fleeting trends or partnering with corporate behemoths, can we find a way to reclaim music journalism’s status as a vital, living force? The answer lies not with Veeps, Live Nation, or any other parent company but with the writers, editors, and readers themselves – those who still believe that music journalism has a purpose beyond mere profit maximization.

As these beloved institutions fight for their existence, we must ask ourselves: what kind of industry do we want to have in the years ahead? One where clicks and views reign supreme or one where quality writing, rigorous reporting, and authentic voices can still be found? The choice is ours – but the clock is ticking.