(Hypebot) – Record labels don’t have the best reputation, so the number of independent artists has increased recently. However, by taking a new perspective on the major record labels, one can understand how they contribute to the growth and sustainability of the music industry.
go through Amanda Schupf Posted in Baita
DIGITAL DIALOGUE is an interview/guest blog series launched by Byta, written by Byta’s friends. Digital Conversations explores niche, behind-the-scenes topics within the digital realm of the music ecosystem, providing readers with insights into the challenges, successes, and passion topics of everyday life for those working in digital.
Amanda Schupf is a native New Yorker, mother, creative executive, entrepreneur and founder of MAX, a trusted advisor to music industry leaders and creatives dedicated to bridging the gap between music rights and talent through music technology and investors.
With decades of experience in music publishing and managing artists, writers and producers (as well as a limited time as a DJ and recording engineer), Amanda has transformed over the past few years into a renowned expert in music rights, technology and the investment space that always gives She brings a depth of experience, relationships and vision to music making.
Amanda is a strategic leader with over 15 years of experience sourcing and negotiating complex rights transactions, with a proven track record in business development, strategic partnerships, operations and people management. She is a critical Creative, innovative thinker and skilled communicator known for building impactful teams.
Amanda is a strategic leader with over 15 years of experience sourcing and negotiating complex rights transactions, with a proven track record in business development, strategic partnerships, operations and people management. She is a critical Creative, innovative thinker and skilled communicator known for building impactful teams.
Who are you? where do you work?
Amanda Schupf lives in New York and runs her own music technology consultancy – maximum music – Helping music technology companies and investors bridge the gap between music rights and talent.
What are you listening to now?
“Lunch” by Billie Eilish. This song is a pop song.
Please give us a brief introduction to your daily life?
Wake up at 5:30, have my first cup of coffee, take the dog for a walk, feed my son breakfast, hit the gym, and then at 8am I’m at my desk answering emails from the day/night before and diving into the day. For better or worse, I keep working until bed around 8/8:30, around the same time I put my son to bed.
Over to you, Amanda…
Reconstructing the narrative: major labels through different perspectives (can we DIT instead of DIY?)
The music industry doesn’t have to be a zero-sum game. There is no one-size-fits-all solution for artists, and in my opinion there is room for diverse strategies and actors. True support for artists includes educating them on all their options and helping them navigate the landscape.
At this point, I want to talk about, from my perspective, the increasingly one-sided narrative surrounding the place of the major labels in the music industry ecosystem today, and how we can consider being more in the middle of the conversation Have a meeting. NOTE: This is an expansion of an article I published on LinkedIn a few months ago.
Lately, I’ve seen an increase in criticism of major record labels, partly due to/related to the rise of artist fan platforms. As someone who is deeply entrenched both within and outside the major label ecosystem, although I have never worked within it, I feel the need to address what I believe is a distorted narrative that portrays the major labels as both artists and the music industry ‘s archenemy.
To be clear, the rise of artist-to-fan platforms and other efforts to elevate independent artists signals a positive and necessary shift in the music industry. But this conversation has become so one-sided that it ignores the critical role major labels can play for some artists, especially those committed to massive global success. This includes artists who have found initial success on these platforms by positioning themselves in opposition to the major labels.
No one seems to be grappling with the question of what happens when platforms work, and an independent artist succeeds — producing a massive body of work, amassing a following, even achieving financial success — and still aspires to reach Beyon’s level Are Swift and Taylor’s levels of success? Achieving this while remaining “independent” is becoming increasingly challenging.
Even artists like Beyoncé and Taylor Swift, who don’t have complete control over their masters and creative direction, rely on major labels to provide the necessary support, including distribution, promotion, tour logistics, management, and, of course, extra financial support despite their own financial means. These artists, and many others, rely on the major labels’ global infrastructure and experienced teams, including many of our esteemed colleagues and friends, who are adept at navigating the intricacies of the global marketplace.
This is not to diminish the value of platforms that support independent artists, or those dedicated to helping all artists, including major labels, make more money and build more meaningful relationships with their fans (again, I am associated with several people working together). The efforts of artists transitioning from major labels also cannot be ignored when they feel it is the right move for them. I was part of a team of artists who decided to part ways with the brand, either due to lack of fit or the natural evolution of the relationship. This happens all the time and is healthy and completely understandable.
However, I think it’s important to recognize that behind the flashy press releases, many platforms have hidden limitations, and major labels have hidden advantages despite disparaging press releases. Everyone has a role to play in the music ecosystem, and throughout my career I’ve seen firsthand how many stakeholders have and continue to rely on major record labels for their survival.
The DIY approach, which has flourished for more than a decade, is a necessary response to a very different industry landscape than it was then. Back then, “fighting people” often meant wresting control from record labels that had a virtual monopoly on distribution and promotion. Today, however, artists and their teams have more control over their own destiny. I think there’s room for the conversation to shift from DIY to DIT (Do It Together). This collaborative approach means working with the right entities for each artist, including major labels, to provide the appropriate authority and resources to match the artist’s career stage and goals.
It’s no longer about fighting the system, it’s about finding the right partners within the system. At first glance, a major label might seem less focused on artist empowerment and success, but the reality is that no one at any level wants artists to fail. The support and infrastructure provided by major record labels helps artists reach the global stage. Collaboration is key, and understanding the nuanced roles played by different entities can lead to more informed and balanced discussions.
So, I would like to suggest that we all add some balance and perspective to the conversation.
The music industry doesn’t have to be a zero-sum game. There is no one-size-fits-all solution for artists, and in my opinion there is room for different strategies and actors. True support for artists includes educating them on all their options and helping them navigate the landscape.
Thank you for participating in Byta’s Digital Conversations series, Amanda!Release date: July 10, 2024
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