Beatles to Indochina through Maneskin, music groups have long reigned on the lists. But in recent years, its presence has been increasingly discreet in musical classifications in France for the benefit of solo artists and characteristics.
According to the data collected by BFMTV.com through SNEP, 5.33% of the titles classified in graphics in France in 2024 were made by groups, against 45.05% in 1994. In particular, in a matter of deep mutations in the way of producing, promoting and consuming music.
The managing director of the Parller Parller, Antoine Gouiffs-Yan, recognizes a “undeniable market trend” to the decrease in groups. “In the United States, less than 2% of artists classified in the advertising fence are groups,” said the specialist, whose catalog is composed of 10% of groups.
A turn influenced by social networks
For the general director of the salores, the social networks that have changed the situation are particularly. Where the groups once had no choice but to bet live to be seen, artists can now start alone, thanks to Tiktok, Instagram or YouTube, which are today the main sources of musical discovery among young people.
“In the 1960-1970, if you were an artist and wanted to create music and albums, you must surround yourself with musicians and create a group,” says Antoine Gouits-Yan.
“Now, with social networks, which in essence are extremely individualistic tools, and all help for digital creation, you have the ease of being able to create your universe without the help of third parties. De facto promoting the appearance of solo artists,” he continues.
An observation shared by Loïc Dumoulin-Richet, author of the podcast CD2tittes, Who returns to the history of the tubes that marked the 1990 and 2000 decades. “Before there was a bit of this snapshot of ‘we put ourselves to be stronger to create songs’. But, today, we can all do many things,” he said.
Not very favorable economic realities for groups
The evolution of the music industry economy is also reproduced against groups. For record companies, signing a group has now become a more expensive and risky bet: several contracts to administer, several advances to pay, several pills to pay on the tour …
“It is expensive to produce a group,” says Loïc Dumoulin-Richet. “A few years ago, I handled a rock group, there were five of them. And for the Turner, it was really less advantageous to have five people on the road because that means five cheeks to pay in addition to those of the technicians, etc.”
The same observation on the side of the labels, where the signature of a group can represent an additional challenge, especially at the human level, in case of tensions. “Technically speaking, it is more difficult to sign a group than a solo artist,” said Antoine Gouits-Yan. “It has several people and, therefore, a greater risk of conflict.”
“I think a group has, by definition, an expiration date,” abounds with Dumoulin Loïc richet. “The dynamic is not made to last long, in terms of pressures, jealousy that can be created.”
Therefore, even the groups that manage to make a career remaining in good terms are often tempted by solo adventure. In 2024, Damiano David, singer of the Italian Group Maneskin, revealed by his victory in Eurovision, for example, launched a career alone.
An evolution of genres and formats promoted by individuality
But, according to Loïc Dumoulin-richet, this domination of solo artists on the lists is also explained by the evolution of the musical genres consumed by the listeners. “Today, when we see the artists who hit the most, they are those who do what they are called a bit stupid of urban music (Rap, R&B …),” says the specialist. Musical genres Little World by groups unlike rock, pop or punk at that time.
In this context, some record companies increasingly attend to favoring solo artists, less expensive, easier to frame, often more autonomous in their creation process.
“There are more and more artists who arrive as a seal, who already have their community, who have already carried out projects and will sign on the license. That is to say that they bring their music already prepared and the label is only responsible for the exit and promotion,” specifies Loïc Dumoulin-Richet.
Instead of betting in a long -term group, record companies also promote occasional collaborations or characteristics, easier to configure and, often, more efficient on platforms.
“This type of collaboration explodes because by associating two or three artists, audiences are multiplied in a very practical way,” says Antoine Gouiffes-Yan.
“Therefore, it has the ability to emerge from its strongest music, especially in an extremely saturated market where a lot of virality and a lot of commitment to the launch of the title to exist,” adds the CEO of the Parlophone label.
Towards a renewal of groups?
But not everything is lost for groups. Like stars such as Coldplay, Indochina, Linkin Park or K-Pop groups such as BlackPink or BTS, certain historical formations continue to fill the stages and reach musical classifications.
“The greatest tour of the year in France is that of Indochina, the most lucrative tour in history is that of Coldplay and the K-Pop that fills the largest rooms in the world,” says Loïc Dumoulin-Richet.
Therefore, certain clues suggest a possible return of groups in musical classifications in the coming years. “Music is always made of cycles,” says Antoine Gouits-Yan. “Every time we say something will disappear, it has never really happened.”
“For a while, the rock was super fashionable, so Hip Hop completely supplanted and made a return a few years ago. On the pop side, it was believed that the female pop stars ended, then there are many who swarm at this time and offer other models, such as Charli XCX. What is great and the artistic and artistic formats, is finished,” says the Dumulino Richet.
Antoine Gouits-Yan even bets on a true “renewal” of music groups in the coming years: “When you are in an ultra saturated market of solo artists, in order to arise, you must also be different, to have more uniqueness, roughness.”
“Do you arrive in a few years with a group project with a real identity, a real artistic DNA, it would not be precisely the means to emerge in an ocean of solo artists that look like?” The specialist concludes.
Source: BFM TV
