Ian Montone Criticizes Algorithm-Driven Music Industry

Artist manager Ian Montone says the music industry has entered a period of excessive conservatism, a byproduct of algorithmic playlists. In an interview with Music Business Worldwide, the founder of Monotone management argued that this environment has led to music that is overly polished and lyrically hollow.

Montone, whose roster includes Jack White, Vampire Weekend, and LCD Soundsystem, stated that artists often unconsciously make music for algorithms. He warned that now algorithms are making music for algorithms, shaping an entire generation's taste. "We've been in a period where music became too safe, a byproduct of algorithmic playlists," Montone said. He described a cycle where pioneers are followed by artists who broaden appeal, then copycats, and finally imitators who kill a genre, noting the speed of this cycle has accelerated.

The Chilling Effect on Art

Part of this conservatism, according to Montone, stems from a widespread fear of cancellation or demonetization. He observed that nearly everyone plays it safe, not only in music but across comedy, journalism, and news. While not advocating for all music to be protest music, Montone noted a real chilling effect that makes distinctive, risky art harder to find.

Artists Filling the Void

Montone pointed to a wave of interesting artists who are operating outside the algorithmic system. He cited acts like Cameron Winter, Dijon, SAULT, Caroline Polachek, and King Gizzard & the Lizard Wizard as examples of those making distinctive work. He sees artists re-embracing craft, musicianship, and live performance. Montone suggested this might be part of a broader hunger for authenticity and a human need to interact with tangible instruments.

He does not believe the younger generation's rediscovery of past music is mere nostalgia. "It's because it's genuinely good, and these artists can play," he stated. New artists are increasingly honing their craft and using great live shows to build what fans truly yearn for: community.

Streaming's Diminished Role

For Montone's clients, streaming matters less for their livelihoods than it did five years ago, a sentiment he says many managers share privately. He called it a rough gauge of listenership but emphasized that his focus is on building decades-long careers. Touring is a foundational element for Monotone's artists, but the company is equally deliberate about merchandise, sync licensing, and vinyl sales.

The core mission is building a meaningful connection with a fanbase. Montone defined a real fan as someone willing to hire a babysitter, pay for parking, buy a ticket, and give an artist hours of their attention. Fostering that relationship, he argued, is far more important than chasing pre-saves and online clicks.

Confusing Followers with Community

As an industry, we've confused followers with community, Montone asserted. He believes music is meant to bring people together, a function that has become harder. He contrasted the community built by physical record stores like the original Virgin Records or Jack White's Third Man with online interactions. Montone is skeptical that real community exists online, comparing it to the difference between texting and talking.

He views the online space as less about community and more about audiences being targeted as a group for data and sales. While distraction has been monetized, Montone believes people are catching on to this dynamic.

For his company, a key metric is whether an artist is becoming part of the cultural conversation, a quality he admits is hard to quantify. The essence of management, he explained, is believing in what the artists believe and amplifying it.

Building an Independent Infrastructure

Montone built Monotone with in-house teams for radio, streaming, touring, licensing, and production, creating a label-services infrastructure early on. He did this out of necessity, wanting to avoid dependency on entities with different agendas. This structure provides a broad view across touring, marketing, and development, allowing the company to move culture toward its artists' vision.

He acknowledged that good labels perform similar functions and stressed the importance of everyone knowing their lane. The best music companies now are everything companies, he said, depending on trust between the label and the artist's team. Montone cited Interscope's John Janick and Rob Stringer as examples of label executives with management-level insight and impeccable artist trust.