Rounder Records New Leader: 5 Questions With John Strohm

NASHVILLE, TN - The music industry is changing almost daily with technological advancements, social media and the shifting population of music fans, and no one knows that better than John Strohm. Strohm, a former Birmingham resident and graduate of the Cumberland School of Law at Samford, recently was named president of Rounder Records in Nashville, after years as a musician himself and an entertainment lawyer. But Strohm made a name for himself musically as a member of bands such as the Lemonheads, Blake Babies and Antenna, and help launch the careers of some of today's most successful musicians - including Alabama Shakes, Sturgill Simpson and the Civil Wars.

Patch caught up with Strohm to discuss his new gig as a record executive, what brought him here, and where music is headed as an industry.

What led you here? What is your music and career background?

Up to age 30 I didn’t have any interest in anything but playing music. All of my professional efforts went into the bands I played in, Blake Babies, Lemonheads, Antenna, etc. For several years I mostly made my living producing music and playing in the Lemonheads. When that band broke up I had to assess my life, and I realized much of the work I’d done over the prior decade was on the business side, i.e. managing and seeking opportunities for my own projects. I decided to go to law school to try to find a way to work in artist development. I’ve practiced law for 12 years, increasingly in the artist development space. Recently I accepted a job as the President of Rounder Records, a nearly 50-year-old, legendary roots music label. I am certain that being a label head will be a perfect fit for me to make use of all of the skills I’ve acquired in my 30 years in music.

The business of music has changed exponentially in the last decade. How has that affected the role of a record label in the industry?

It used to be that labels were necessary to produce, manufacture, market, and distribute recorded music products such as vinyl records and compact discs. The Internet and computer technology have changed all of that, making music creation, marketing, and distribution more accessible to everyone, and eliminating the need for distribution of physical product. You would think that record labels would become obsolete; however, most artists and managers agree that labels are as needed as ever as music marketing becomes more complex and the opportunity to exploit music around the world becomes a reality. Labels become expert in creating value in specific genres and eliminate the need for artists to find their way in an increasingly confusing industry.

What changes do you see in the industry possibly coming in the next few years?

I think we’re all pretty grateful that the streaming model is maturing and growing, and the scale of the industry will continue to grow as music tech companies make inroads into international markets and more people adopt subscription streaming. There are many challenges, but it’s clear that the future of the industry is in scaling millions or billions of micropayments. But the accessibility of digital tools for individual artists creates competition with labels and forces labels to provide more artist-friendly models, and to give artists greater control and influence over their work.

If there is anyone, alive today, you would like to work with musically but have not, who would it be and why?

On the creative and the business side, I’d like to work with Dolly Parton. Rounder has an album with her (her bluegrass album The Grass Is Blue, initially released on Sugar Hill, which has merged with Rounder), so I’m keeping hope alive.

Tell me the first and last album you purchased.

First album purchased was Eagles Greatest Hits when I was 10 years old. I’m struggling to remember the last album I purchased since I subscribe to music services; but the album I’m listening to as I type this is & I’m Fine Today by Susto.

Photo by Don VanCleave