This question comes from a couple of users on the AbsolutePunk.net forums. They write:
“I keep hearing that if you work hard you can do just as much as a label to promote your band. Would you recommend that a smaller band join a label? What exactly does a label do and how do they help your band?”
I could go on for days about the pros and cons of signing to a label. Some labels do a really incredible job for their bands while others do more harm than good. I decided to get some secondary input on this one, so I hit up my friend Francesca Caldera, publicist and A&R rep at Equal Vision Records. Here’s what she had to say:
“After Radiohead did what they did, everyone sort of woke up and thought “wait a second, why do I even need a label” and the truth is not everyone does. I know, this is strange coming from someone who works at a label.
If you work REALLY hard, learn to budget yourself, and get a good team around you (a manager that actually does something, a book agent who can get you on the right tours, superfans talking to their friends about you, etc) you will probably be fine. The key there is working REALLY hard. By signing with a label, you have, essentially, another 5 or 6 (depending on the size of your label) members of your band working with you.
You are in a band for a reason: you like to write and play music. Most band members don’t want to have to deal with all of the business side of things and don’t have the time to make the connections needed to take care of that business. A label has already established those connections, built relationships, and earned the trust of these connections so when they pitch your hot new band, they’ll listen better than if it was just coming from you.
The main thing labels have (or should have) that you might not is money. Think of a record label as a bank that you are taking a loan from to record, manufacture, and promote your album and tour, but that bank is also doing everything it can to help you make that money back and then some, so that you’re not only debt free but also get paid.
Another thing labels have that you don’t (at least not on the scale that many labels have) is physical distribution. As the digital world takes over and the physical sales diminish, this isn’t going to be in the “pro” column for too long, but it certainly isn’t a “con”. While you can get digital distribution yourself, putting your album in places such as iTunes, Rhapsody, etc., the labels usually have deals in place to get a better rate than if you were to try and get your album up for sale in the same places.
And scene.”
This is a pretty good summation of what labels are good for. In this business, a lot of your opportunities come through connections. Everyday you have labels folks, managers, booking agents, and publicists swapping favors like Tiger Woods swaps trashy bar skanks (ZING!). Having a team on board that can pull these strings and ease the workload will streamline the efficiency and effectiveness of your business (band).
However, as Francesca said, not every band needs a label. If you find yourself rising rapidly and finding success without the help of a label, then stay independent and keep that money in your own pocket. If you decide that you want to sign to a label, make sure that they’re a good fit for you. It’s important to make sure the label has the right goals and vision for your band. Look at the things that each label can offer you, and compare this to what you can do on your own.
If you’re like to submit a question to “Ask Me Anything About the Music Industry,” email me at AlexBurton5000 [at] gmail [dot] com.
The music industry is a tumultuous place. Its troubles are no secret and as jobs are axed, spending decreases, and executives fight the advancement of the digital age, everyone hopes that solutions will be found to bail out a sinking ship. But record companies aren’t the only part of the industry that need to adapt to changes in technology. Social media has provided new and unique opportunities for instant communication, rapid dissemination of information, and creative approaches to business. To get a clearer picture of this changing landscape and how it’s affecting the broader music industry, I interviewed a number of artists and publicists about social media and how they use it. I’m gathering my findings into a three-part essay that I will post in installments on this blog. Part one will deal with publicists, part two with artists, and part three with my conclusions and ideas about how to move forward.
