Help Improve Our List Of Artists Who “Made It” Without Major Label Support
Two weeks ago I asked Hypebot readers to help me prove that all this music 2.0 marketing mumbo jumbo actually works. Stories about Trent Reznor, Radiohead and Jill Sobule who have grown careers using all the 2.0 techniques after leaving a record label who spent hundreds of thousands of dollars to break them are great; but for this list, they don't count.
I want to build a useful list that could serve as inspiration for other artists and entrepreneurs. Several music bloggers encouraged participation and the response so far has been encouraging as readers suggested and debated several dozen artists who have joined the new musical middle class (or above) without label largess.
But we need to do more.
I need your suggestions. I'm willing to do some work, find an intern or volunteer (anyone interested?) and even spend a little money (unless someone wants to sponsor) to create a useful ongoing database of new music success stories.
But what is the best way to do it? A wiki? A downloadable spread sheet that I host? And what should it include? Does it need annotations, like noting that Drake was a TV star prior to selling 300K downloads in 2 weeks as a d.i.y. artist? How can we best add to and then turn a list of new music industry success stories into a useful resource?
- Leave your suggestions below
- View the original post and add more success stories here
Kid Cudi – His single Day ‘N’ Nite was in Billboard’s Top 20 prior to signing his deal with UMRG
I don’t know if anyone mentioned Dispatch.
For real proof that 2.0 works, I think those who sign with commercial record labels (major or indies) should be disqualified from being added to the list. Using the Net to attract label interest is a smart move … but signing with a label removes much of the business and financial burden being an authentic 2.0 artist requires thus making the artist just another spoke in the big media wheel. [By the way, if a commercial, deep pockets label were to show interest, I personally would jump at the chance. The Net has yet to provide the machinery needed to successfully propel an artist into major, high value opportunities that only exist beyond the Net.]
We The Kings Sold over 100k DD without radio or MTV
Drake is also co-managed by Lil’ Wayne & Kanye West’s managers so he has access to major label marketing & relationships which was instrumental to his break out buzz and press relationships. Google KOVAS he is an indie artist and producer without management who has had his music featured in the EA Sports video game Madden NFL 09, Sony Screen Gems motion picture “Prom Night”, MTV;s Making the Band & had his indie video debut on BET’s 106 & Park. It is a story of network & hustle and has lead him to producing & remixing some of the bigger names in the biz.
I have been saying this for years and even got into an argument with an indie label 3 years ago when they presented a marketing plan to me for a band I was managing and it consisted of interns working MYSPACE and Absolutepunk.net. They thought internet marketing could break a band.
Just like finding a good product on the shelves of a supermarket, you need to bring attention to it in more ways than one.
I’m still a fan of the label system and what they can do. I think the last 5 years have shown that they still are the ones with the $, which in turn leads to effective marketing and strategy. Sure, their releases suck and few are worth anything musically, but the public hears it and that crap is selling.
Which leads to this:
Everyone is complaining about the record labels and the RIAA and how they’ve ruined the music business. I think radio ruined the business. RADIO is our #1 problem. Playlists are too tight, music directors pick songs based on whether or not they like the promo guy, and how many female voices are on the playlist, etc.
RADIO is one of the strongest villains.
We need to change terrestrial radio. We need to open up the playlists and give indie artists a chance. There’s a lot of good music out there that should be heard.
And Sonicbids is a scam too.
I love the idea of Airplay Direct and I took the time to sign up my artists but not much action there at all.
Let’s address the radio situation aggressively as an industry. Or is everyone afraid?
I agree, most artists who have broken into the “mainstream” are at least affiliated with a major or indie (especially the latter). Either that or a major promotions company/booking agency.
Jill Sobule, Trent Reznor/NIN and Radiohead are far from the role models needed for an artist leaving the garage today. Sure, they have bucked the system and are all indie now but they were each major label artists for a significant period of their career. In exchange for often onerous terms, record labels provided artists significant marketing and publicity to grow a base to sell records.
Even the major artists that people deem indie today are really major label artists. Take Asher Roth for example. His million selling song was released not as an indie but on a Universal Music joint venture.
Corey Smith, on the other hand, has been a huge success as an indie and it is not likely a major would have ever sneezed at the guy until he started pulling in the revenue from touring he does. His music is very niche oriented even though it is neither hip hop or country. Regardless of whether or not I like his music, Corey Smith is one of the few artists that has popped on your definitive list that is truly indie.
I find it interesting that his name didn’t make the lead paragraph of this post.
hey,
I’ll help brainstorm and compile a list. We’ll need to brainstorm a non-intensive strategy whereby we can pull some nice data, in addition to just names.
Anyways, sounds interesting.
email i posted with is valid. Holler.
lemonwilde did a free giveaway of their album, and they’re all over los angeles. not exactly middle level yet, but they are big here and i assume that is going to catch on a bigger level soon
sam
My 2c : A wiki could be a good start to add as much details as possible and to have many add/comment content from others…
A global template to enter data might help too (headings or titles or areas…) so that a newcomer can just fill blanks with available data and others can update the missing fields…
Sincerely
DJM
The reality is that the M.O of mass market commercial music radio is all about advertising because it the sponsors that pay the bills … not the music.
The music that makes it to broadcast is highly focus grouped before it goes on air. The point is to present music that will appeal to the largest number of people and keep them from tuning to another station while the advertising is being delivered.
Interestingly enough the type of music that does that best in focus groups is the music that is the least challenging. Anything designed to tax the mind of the listened will never be offered in major markets. Leave that stuff to the small audience of ‘intellectuals’ who listen to public radio’s advertising free offerings. No money to be made there.
The major record companies understand what mass market radio needs and work diligently to provide a large selection of narrowly cast music from which commercial radio can chose.
They understand the demographics that particular radio stations try to reach and deliver the goods … That’s one of the reasons radio sticks with the majors – The music directors know that when they go through the stack of product from the majors it will meet their needs even if they chose not to play it.
Additionally, the MDs know that the music from the majors will fit their technical requirements, that the quality of the product will be top notch and equally, or more importantly, in all major and many minor markets where the stations are union shops, they know that the musicians and singers will all be union members and that all of the proper licenses will be in place to they don’t have to worry about getting fined or sued.
Radio in influential markets also know that the labels will support tours for fledgling artists and provide marketing for their talent all of which makes the radio look hip.
The sad fact is that unless accompanied by a serious marketing push by some non major label entity, most of the other stuff that comes in hits the round file or is treated to a zap from the delete key before anyone takes a look at what it is … certainly the chances of it ever being heard are next to nil.
from the comments listed here, it seems that hypebot is proving the big labels ARE needed, not the opposite
Miggs has been touring for 3 years without major label support. Opened up for Duran Duran and got on to Good Morning America.
Most ArtistShare.com artists fall into this category. ArtistShare is a fan-funded business model that started in 2003. People like Jill Sobule directly modeled (stole – read this http://voices.allthingsd.com/20070905/calling-all-recording-gurus-ive-got-nothing-to-prove-but-i-still-need-your-help-see-my-video/) their concepts from this model. 4 Grammys and 11 nominations since they started. Not one of their artists was/is an x-major label and to make things even more difficult they are mostly Jazz artists.
Maria Schneider’s Concert in the Garden – First recording to win a Grammy without being available in retail stores. 2004 Grammy awards. Album was fully funded by her fans.
Lior went gold in Australia without a record label. He has sold over 100,000 albums thus far.
See lior.com.au
what Billboard issue?
Bomb The Music Industry has gained quite a following without major label representation
If you want historical reference to this piece, think of bands like REM, who already had a cult like following when they finally grabbed a major. The Smiths were on Rough Trade, an indie. If you want to go back to the 70’s, think of Casablanca, the most impressive indie of that decade. Initially backed by Warner Brothers, but cut all major label ties in 1974, and were indie until 1980’s merger with Polygram. The acts on the roster that achieved success during it’s 6 indie years? Parliament/Funkadelic, Village People, Donna Summer, and the most legendary indie rock band of all time, KISS. Yep, KISS were on an independent label, and almost didn’t make it. Their story is pretty impressive for new bands to read and research. It gives one hope. Innovators make it regardless of the era. Be different, be innovative. You’ll never need a major if you tap into the right thing.
Damien Rice self recorded ‘O’ over a few years after walking away from record company manipulation. The original ‘Blower’s Daughter’ video cost a couple of bottles of wine and some potato chips – I was in it.
While it was eventually picked up for distribution by a major, I imaging that Damien has for more control.
Incidentally, I sold over 10,000 CDs playing songs live, ‘door to door’ all over Ireland.
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Dunno if I would call Bomb the Music Industry anywhere near successful…
When did this happen? We the kings has been signed for a good while and has been on and off radio for probably 2 years? They toured with metro station. They also have a good booking agent.
Allison Crowe in Canada has succeeded by following Ani DiFranco’s model. Radically, her success is based upon the quality of her music. She’s not selling merch apart from CDs and downloads and has a large international fan-base.
As usual, so many pieces of mis-information here.
Damien Rice’s ‘O’ was released BEFORE his affiliation with Warner Bros.
R.E.M.’s very first album was on IRS (distributed by A&M Records).
Kiss’ first album was on Casablanca when it was distributed by Warners. (I still have the promo copy with the pink WB sticker.)
There are plenty of examples of successful acts on independent labels.
However, these are not them.
Arctic Monkeys …
Radio was less restricted in those days and playlists were very loose, which led to a lot of those acts getting airplay, which led to them becoming a bit more popular.
Rough Trade had a budget comparable to majors and there was a strong independent distribution network, prominent independent charts etc when the Smiths hit pay dirt.
In fact, for the purposes of this exercise we need to exclude ANY label involvement whatsoever – and I agree with Tonso up there – we should also exclude any bands who use “Music Industry 2.0” to attract interest and then sign.
And as for artists – how about Ani DiFranco? Runs her own label, always has… but she pre-dates Web 2.0, of course.
Walking away from a deal doesn’t count, nor does major label distribution. See Radiohead, NIN etc.
All they did was create fan interest and used that to sign to a major independent.
I think Hypebot misses the point here. Or maybe it’s me – I thought we were trying to prove that labels are obsolete.
Help improve list of artists who made it without major label support – well there are hundreds.
Artists who made it without ANY label support (really used Music Industry 2.0) – well that’s the real point. Are labels obsolete in today’s music industry?
I haven’t heard an example of it yet.
Hey, a great one from Australia would have to be John Butler Trio. Although they have help from a major now, back when they started was their real success. John Butler was a hard working busker. Selling CD’s and merch all during his busking. He began receiving but loads of grants to help his touring. He established his own label his packaging company and soon enough he was receiving 100% of profits his album releases. the band sold 300,000 units before signing to a major.
Thanks
Eddy Current Supression Ring are also big music marketing giants with low expediture on there music videos. Releasing the recent one that cost a little over $1,000 to make. The have also been an independent band since the beginning increasing their fan base while being nominated for the best award in the Australian music industry, album of the year.
Has anyone seen this fantastic band/group, currently gaining a huge fanbase with those in the know, they are selling thier new album for “pay what you like” its very Lemon Jelly, DJ Shadow, Avalanches.
“Alchemists of sound” are destined to be the next big thing as a 2.0 artist… One of the members originally worked for a major label, now that is cool
http://alchemistsofsound.bandcamp.com
Corey Smith.
Didn’t Joan Jett put out her 1st blackhearts record on her own?
Seems to me the new 2.0 benchmark ought to be YouTube views. That’s where most people are experiencing music now.
Additionally, 2.0 Indies still have to do battle with label acts for sales and attention, that’s the real world.
When an Indie can sell/move 10,000,000 units of anything, the new template gets duplicated and improved upon.
I have a feeling that Search Engine Optimizing is going to be a crucial part of every marketing plan for a long time.
Sure am glad to see people talking about it tho. It would be good to get Derek Sivers’ thoughts too.
I’m not sure how you are defining “making it” but these artists have built impressive businesses without Major label support (to the best of my knowledge) String Cheese Incident, Sharon Jones & the Dap Kings, The Faint, Jupiter Coyote, Ani Difranco…