Grizzly Bear May Be Indie-Rock Royalty, But That Doesn’t Mean They Make Any Money
Nitsuh Abebe writes for Vulture magazine about Grizzly Bear’s origins and unlikely success, and the surprisingly humble lives of its members as they make their way in a changing music industry:
Musicians often find themselves in the position they occupied before the rise of the LP, working as accessories to other, more profitable industries: nightlife, advertising, film and television, “music discovery” engines, streaming services, press, social networks, branding. (Grizzly Bear once licensed an unreleased track to the Washington State lottery.) But these industries also require musicians to approach what they’re doing as an art—something with authentic, organic connections to style, aesthetics, and youth culture—not a craft to be dutifully plied for a living. And in a trend-driven art, success has a tendency to end.
Droste doesn’t expect a middle-class living, but he wouldn’t mind one. “I’d like to someday own a house, and be able to have children, and be able to put them through school, in an urban environment that one enjoys living in,” says Droste. “A lot of people do it. And doing it through music is harder than doing it as a lawyer.” I ask him if Grizzly Bear, with all its success, offers the beginnings of that. “No,” he says, very quickly. “I’d have to keep doing this forever. But the biggest thing you can’t do is focus on money.”