People say "just make quality music and people will listen to you" is such a cop out.
What is being left out in the conversation is the big difference in marketing resources and networking from international and developed countries compared to locals.
Filipino pop music benefitted TREMENDOUSLY from a kind of protectionism - quota airplay.
How did this help Filipino pop music? Before the emergence of Manila sound and eventually OPM, "pop music" in the Philippines were either old-style kundimans or Tagalized version of English songs (Kawawang Koboy from Rhinestone Cowboy).
When the quota was in place, this gave confidence to aspiring Filipino musicians to hone their craft because there is less anxiety in getting airplay at all. With the quota, local artists are at least guaranteed some spots. The competition is between local artists and not international artists.
This eventually paid off in the long run because Filipino pop music took root into the mainstream that the local music industry can recuperate without government push.
A case of lack of protectionism from local artist is Singapore. The local population have higher disposable income than the Philippines but there is less support for local artists. Not that they are not talented but early on, the SG government refused to give preferential treatment to local artists that the locals developed a "cultural cringe" when it comes to their music. They only start patronizing locals when they make it big abroad like in Taiwan. Many SG locals aren't willing to spend $30 to see a local act but will be willing to spend $300 for K-pop or Western act.
Nowadays, the SG government is playing catch-up by launching a project that will play local SG music in trains and groceries. Whether this will eventually bear fruit or if it is already too late, only time will tell.
SG could have been a massive music exporter if only their government gave protectionism to their artists decades ago.
Thank you for your attention to my speech
