In the age of streaming and algorithm-driven discovery, the way people engage with music is changing fast. Steven Wilson, the prolific solo artist and creative force behind Porcupine Tree, believes these shifts are both inevitable and nuanced, particularly when it comes to the role of the album.
Speaking on The Vinyl Guide podcast, Wilson weighed in on whether the studio album will still hold relevance in the next decade or two (as transcribed by Ultimate Guitar): “The idea of the playlist will become the prevalent way that people listen to music, or it already is. You know, most people, certainly under 35, now listen to music primarily through streaming services. They create playlists of songs they like, so they’re not necessarily engaged with the idea of an album.”
Wilson illustrated how listening habits now often involve mixing artists from entirely different eras and styles into a single, customized experience. “A set of songs they like — one song by Bob Dylan, one by Miley Cyrus, one by Pink Floyd, and one song by Kanye West. They’ll put them all in the same playlist.”
This playlist-first model comes with upsides and drawbacks, in Wilson’s view. He noted that one benefit is the loosening of genre boundaries. “In a way, I think that’s kind of interesting, because it means this idea of genre is breaking down. Certainly, for young people, the idea of genre is not so relevant as perhaps it was for my generation. That’s a good thing.”
Still, he acknowledged that the decline in album-oriented listening marks a cultural loss. “But of course, that means people are no longer listening to the album as a kind of continuum.”
Yet, Wilson doesn’t believe the album is headed for extinction. Instead, he sees it taking on a new identity — not as a mainstream staple, but as something appreciated by a more niche, dedicated audience.
“However, the one thing I would say is that whenever there is a swing of the pendulum strongly in one particular direction, there’s always a little bit of pushback in the other direction. And I think we are seeing that, because there are a lot of young kids now getting into vinyl records. And they’re obviously very attracted to that idea of the album as an entity, as something to treasure, something to own and hold to their heart.”
In this rebalanced landscape, the album becomes more than just a format; it’s kinda evolving into a statement in itself: “So, I think there will always be a place for the album, but it will now become a subculture, rather than the dominant popular culture.”
Wilson’s perspective reflects a broader truth about how technology shapes — and sometimes distorts — the art it delivers. The album may no longer sit at the center of how music is consumed, but for those who still value the arc of a full-length record, there’s room yet for it to thrive, even if outside the mainstream spotlight.
