If radio competition is even that viable anymore, I could potentially see a fork in the format. Indie-pop learning Alt-Rockers morphing into a Modern-AC like format, while more rock-oriented Alt Rockers becoming the face of Modern Rock. Especially since the same thing happened back in the 90's.
The 90's you ask? Well, back in 1993, the burgeoning Modern Rock format was going through an identity crisis. Grunge was the popular new rock by this point, but not all Modern Rock stations wanted to truly embrace grunge. This was especially true of heritage Modern Rockers dating back to the 80's, such as WOXY 97x Cinncinatti and WDRE 92.7 Long Island. The synth-pop/ post-punk basis of the format was still in place by in 1993, with top 5 singles going to such outwardly songs as Kite by Nick Heyward (Yes, the guy from Haircut 100 had a top 5 alt-rock hit in 1993), The The, Kate Bush, Bjork and so on. The electronic-bias the format had at the time was so strong, even ambient and world music would obtain extensive airplay on alt-rcokers. Deep Forest, the Beloved, Engima and Enya each had Modern Rock hits between 1992 and 1994, with the Enya and Enigma singles hitting as high as #3 and #2 on the format.
By mid-1994, this was starting to change. By this point, even most of the heritage alt-rockers started emphasizing grunge, even if not giving much airplay to the rougher sounds of Alice in Chains, while preferring the more mainstream PJ, Nirvana and STP records. Newer Alt-Rock stations, such as WJRR Orlando, focused purely on the Rock side of Alternative. While others, such as WDRE, WOXY and 99X Atlanta, trended towards females and limited airplay to hard-rock that wasn't too abrasive. KROQ in L.A was somewhere in-between. While KROQ did play RATM, Alice and Chains and even Metallica, the station still played a good deal of what be considered considered indie-pop if it came out today (such as Tori Amos).
In 1995, Grunge strengthened its dominance within alt radio. While this worked well for stations like KROQ, which saw its best ratings since the early 80's, this didn't go over well with stations like WDRE. WDRE was on thin-ice with some of their older listeners that preferred Siouxsie and the Banshees and Depeche Mode over what was current rock. While most Alt-rockers could agree on Nirvana, Pearl Jam and R.E.M, artists that weren't of the elite status were played on the discretion of what audience a station was trying to reach. Artists like Alanis Morissette, Better then Ezra, Toad the Wet Sprocket and so on were favored on older, female-skewing stations. On the other end, RATM, Korn, AiC, White Zombie came to dominate the more Active-skewing side of the format. Some Alt-rockers more on the female-leaning side even played Melissa Etheridge and Hootie and the Blowfish, while Guns N Roses showed up on the active side.
By 1996, the contrast between the two sides of the format became so much that a new-format was created in its wake. That year, WDRE got its WLIR call letters back. Without changing the playlist too much, 92.7 the Island was launched. The Island launched with a new format known as Modern AC. While WLIR still played new alternative, the station steered clear of anything that was too hard. New artists on the station included Alanis Morrisette, Sarah McLachlan, Better than Ezra, as well as new releases from heritage new wave artists. While most alt-rockers only played 1-2 80's and hour by 1996, most Modern AC's played 4-6 an hour. WLIR also had specialty dance programming on Saturday nights, carrying on the 80's electronic tradition through the new millennium.
During this time, even the mighty KROQ got a new Modern-AC competitor. Cross-town rival KYSR Star 98.7 ditched most pop music from its playlists, and in its place put together a light, older-skewing alternative format. Strangely enough, such hard-rocking but older KROQ staples, such as Dramarama's "Anything, Anything", found a new life on KYSR's 80's-heavy playlist.
Indie-pop has been seeing a lot of crossover success over at Top 40. Which means, sooner or later, a backlash will develop. To some degree, the recent stagnation of alt-chart mirrors 1993. The Lemonheads, a jangle pop band that sounded more at home on 80's college stations, than on 90's rock stations, topped the alt chart for a record breaking 9 weeks during the later part of that year. Six months later, Pearl Jam had their 1st number one hit, while Elvis Costello had his last charting hit. New Order and Tears of Fears topped the charts in mid-1993, by late 1994, it was the Offspring, Green Day, with Bush around the corner. Maybe, just maybe, the over-saturation of older-style alternative music was just enough reason for programmers to finally ditch Morrissey and the Ocean Blue for Soundgarden and STP. Then afterwards, the lingering demand for older alternative artists would become the key selling point to the Modern AC and Adult Alternative formats.
The 90's you ask? Well, back in 1993, the burgeoning Modern Rock format was going through an identity crisis. Grunge was the popular new rock by this point, but not all Modern Rock stations wanted to truly embrace grunge. This was especially true of heritage Modern Rockers dating back to the 80's, such as WOXY 97x Cinncinatti and WDRE 92.7 Long Island. The synth-pop/ post-punk basis of the format was still in place by in 1993, with top 5 singles going to such outwardly songs as Kite by Nick Heyward (Yes, the guy from Haircut 100 had a top 5 alt-rock hit in 1993), The The, Kate Bush, Bjork and so on. The electronic-bias the format had at the time was so strong, even ambient and world music would obtain extensive airplay on alt-rcokers. Deep Forest, the Beloved, Engima and Enya each had Modern Rock hits between 1992 and 1994, with the Enya and Enigma singles hitting as high as #3 and #2 on the format.
By mid-1994, this was starting to change. By this point, even most of the heritage alt-rockers started emphasizing grunge, even if not giving much airplay to the rougher sounds of Alice in Chains, while preferring the more mainstream PJ, Nirvana and STP records. Newer Alt-Rock stations, such as WJRR Orlando, focused purely on the Rock side of Alternative. While others, such as WDRE, WOXY and 99X Atlanta, trended towards females and limited airplay to hard-rock that wasn't too abrasive. KROQ in L.A was somewhere in-between. While KROQ did play RATM, Alice and Chains and even Metallica, the station still played a good deal of what be considered considered indie-pop if it came out today (such as Tori Amos).
In 1995, Grunge strengthened its dominance within alt radio. While this worked well for stations like KROQ, which saw its best ratings since the early 80's, this didn't go over well with stations like WDRE. WDRE was on thin-ice with some of their older listeners that preferred Siouxsie and the Banshees and Depeche Mode over what was current rock. While most Alt-rockers could agree on Nirvana, Pearl Jam and R.E.M, artists that weren't of the elite status were played on the discretion of what audience a station was trying to reach. Artists like Alanis Morissette, Better then Ezra, Toad the Wet Sprocket and so on were favored on older, female-skewing stations. On the other end, RATM, Korn, AiC, White Zombie came to dominate the more Active-skewing side of the format. Some Alt-rockers more on the female-leaning side even played Melissa Etheridge and Hootie and the Blowfish, while Guns N Roses showed up on the active side.
By 1996, the contrast between the two sides of the format became so much that a new-format was created in its wake. That year, WDRE got its WLIR call letters back. Without changing the playlist too much, 92.7 the Island was launched. The Island launched with a new format known as Modern AC. While WLIR still played new alternative, the station steered clear of anything that was too hard. New artists on the station included Alanis Morrisette, Sarah McLachlan, Better than Ezra, as well as new releases from heritage new wave artists. While most alt-rockers only played 1-2 80's and hour by 1996, most Modern AC's played 4-6 an hour. WLIR also had specialty dance programming on Saturday nights, carrying on the 80's electronic tradition through the new millennium.
During this time, even the mighty KROQ got a new Modern-AC competitor. Cross-town rival KYSR Star 98.7 ditched most pop music from its playlists, and in its place put together a light, older-skewing alternative format. Strangely enough, such hard-rocking but older KROQ staples, such as Dramarama's "Anything, Anything", found a new life on KYSR's 80's-heavy playlist.
Indie-pop has been seeing a lot of crossover success over at Top 40. Which means, sooner or later, a backlash will develop. To some degree, the recent stagnation of alt-chart mirrors 1993. The Lemonheads, a jangle pop band that sounded more at home on 80's college stations, than on 90's rock stations, topped the alt chart for a record breaking 9 weeks during the later part of that year. Six months later, Pearl Jam had their 1st number one hit, while Elvis Costello had his last charting hit. New Order and Tears of Fears topped the charts in mid-1993, by late 1994, it was the Offspring, Green Day, with Bush around the corner. Maybe, just maybe, the over-saturation of older-style alternative music was just enough reason for programmers to finally ditch Morrissey and the Ocean Blue for Soundgarden and STP. Then afterwards, the lingering demand for older alternative artists would become the key selling point to the Modern AC and Adult Alternative formats.
Last edited: