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Lesson time: (7min 15sec)
This lesson is part of the course Become a Pro Musician
Watch a preview of the full course below.
Lesson transcript:
It's very fashionable to not like major labels. They have traditionally been seen as the bad guys, and in my personal experience, it's a well-earned reputation.
The thing they bring to the table most for artists is:
I've met a lot of brilliant, fiercely independent artists who still need a team to get something to market because they don't know how to market their work properly.
You still need:
Behind whatever you're doing, there still needs to be that infrastructure. And fundamentally, you need some money behind it. I mean, they have a huge decisive advantage: far more money than I could possibly throw at this sort of stuff.
However, in the same way, that can almost be a disadvantage to them.
How many times have you seen a rich individual vilified just for being that way? We often know nothing about that person's personality or the good stuff they might be doing; we just see them and base our judgement on face value.
"The problem they face is that they are perceived on face value."
It's very difficult for a larger entity, like a big multinational corporation, to shake this perception. It usually comes with negative connotations.
Major label deals, to some degree, are dead in the water in a traditional sense. We're seeing them move slightly more into label services now, but that still comes with a lot of clout. Sometimes, people want to be on a label for heritage sake. They come with a good reputation and access to a worldwide network.
Despite this, I believe we're witnessing a shift. We are now able to maneuver into spaces that these larger entities are too big to invade.
Historically, record labels like A&M, Australia, and Island started as independent labels doing something unique. Instead of trying to destroy these smaller labels, major labels would buy them out when they saw potential in the audience they were tapping into.
We try to resist the major label influence as much as possible, but it does happen more often than not. It's not to say we don't deal with major labels; there are many good people and companies out there.
"Funnily enough, the first clearance for this volume came from a major label's A&R department."
In contrast, some independents take a long time to respond because they simply don't grasp what I'm asking or what's involved. Sometimes, it's beneficial for the artist to be represented by a larger company that knows what they're doing.
The more data you can accumulate for yourself directly, the more potential impact you'll have if you choose to go solo. If you've got nothing at all, then a traditional record deal may still be the right option.
But what's changed for me, especially since I also manage bands, is that bands don't necessarily have to chase after the massive carrot that used to be dangled.
When we used to see advances, they were incredible in comparison to what you get now. Major labels really expect you to have done a lot of work before signing you. The development deals that exist today are nowhere near as lucrative as they once were.
However, embarking down this route isn't something I'd discourage. If it feels right for you, it can be a smart decision.
To be a savvy artist, you don't have to sign a deal where you earn nothing for an extended period.
"In the old days, artists would see some money and sign away their rights without a second thought."
Now, you don't need to give that much away. There are excellent negotiation opportunities available where you can retain more rights and avoid taking instant cash offers.
In the streaming age, we've seen that many major labels failed to update their older contracts. Many heritage acts I've worked with can hardly fathom what their contracts were like, which makes adapting to the digital age challenging.
An increasing trend among larger heritage acts is to eschew major labels altogether because they don't need them. If you have a pre-existing brand and enough of a profile, you can pick and choose your own team, putting together a global network with independent resources.
D2C is crucial. I can't think of one campaign in the last five years that hasn't featured a D2C option. Often, it proves to be a much better deal for the artist, allowing for greater profit from sales.
You have the ability to create higher-end products, bundle merchandise, and develop ticket and album bundles, which can positively influence chart performance. Opting for the D2C route grants you the flexibility that working with larger retailers or corporations often does not.
If you're an artist starting out, it's important to look at all available options before settling on one. Don't feel pressured to accept the first thing offered to you. Take the time to explore all avenues, it might not be the right path for you.
Also, consider your short-term and long-term needs. If you're crashing on friends' sofas and need cash, that's one thing. However, if you can afford to wait and develop your brand further, you might be able to secure a better deal in three to six months instead of taking the first offer just to put food on the table.
In today's music industry, it's never been more vital to have a D2C strategy, even at a basic level. Before you sign anything, consider the countless routes available for direct music sales without a formal deal.
This DIY punk ethic is now accessible to everyone. Embrace the tools and approaches available to distribute your music directly, whether through digital service providers or physical means.
