Last year, I received an unvoiced expectation from the indie rock scene: I was meant to be a fan of the band Geese. Although the young Brooklyn band produces quality music, the question lingers: are they truly the heralds of rock revivalism or just another wolf in sheep’s clothing?
The hype surrounding Geese peaked following the release of their album “Getting Killed,” which set the stage for them to burst into mainstream consciousness. Their frontman, Cameron Winter, performed an “extremely sold-out” solo concert at Carnegie Hall, leading many attendees to anticipate this moment as a historic turning point in American music history—comparable to witnessing the rise of Bob Dylan. How does one meet such high expectations?
I found some comfort when Wired suggested that Geese’s fame was a manufactured phenomenon. I had always sensed something amiss, and their association with the marketing firm Chaotic Good, known for fabricating trends by using a plethora of social media accounts, confirmed my scepticism. This firm’s tactics are not unique to Geese; they’ve been employed by others like TikTok stars Alex Warren and Zara Larsson.
Chaotic Good’s co-founder Andrew Spelman explained that while it’s easy to get views on platforms like TikTok by leveraging trending sounds, artists struggle to promote their music authentically. Their strategy involves generating enough visibility across multiple accounts to create an illusion that a song is currently trending. This reveals a troubling reality akin to discovering that the Tooth Fairy isn’t real—it shatters the fantasy that every viral success story is genuine.
And it’s not only the music industry adapting these marketing tactics; startups are also adopting similar playbooks. For instance, during an interview with Gen Z founders of the fashion app Phia, I stumbled upon promotional content where influencers were praising the app in repetitive, rehearsed tones, suggesting a carefully orchestrated social media campaign. Phia’s founders were open about their strategy, which involved engaging numerous creators to amplify their message on social platforms.
As marketing firms scale these strategies, they not only promote artists or products but also manipulate public perception through inflated online engagement. With Geese, being labelled an ‘industry plant’ is taken seriously. After initial speculation regarding their association with Chaotic Good, the firm distanced itself from Geese’s marketing efforts to sidestep accusations of manipulation.
In contrast, the K-Pop group Katseye openly embraces their crafted image, featured in a Netflix docuseries showcasing their rise to fame. I found myself both horrified and fascinated as I watched the series, rooting for the girls while grappling with the reality of corporate exploitation.
This raises the question: do we care if these artists are fabricated entities or not? The discourse around Geese and similar acts prompts us to establish our own boundaries about what constitutes acceptable marketing versus inauthentic growth. Ultimately, it’s up to fans to discern and decide where to draw the line.
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