by Naila Aroni

With a rising number of prominent artists like Raye, Little Simz and Teni The Entertainer rejecting label deals and opting for the independent route, it appears to be an ideal time for independent artists to position themselves for success.

The increasing popularity of independent artistry is a result of various factors. One such is the ability of artists to create and release music on their terms without interference from label managers. Moreover, most label deals are essentially "glorified loans”, where fees must be recouped by the label before an artist is paid. The choice to remain independent also means an artist owns their recording masters, allowing them to keep the profits generated from their music. In turn, independent musicians currently account for the fastest-growing portion of the global music business. According to a 2020 report by MiDiA, independent artists generated $643 million of revenue in 2018, which was a steady increase of 35% from 2018. 

Though major labels continue to maintain a monopoly over distribution and radio play, the advent of the internet age has created an easier path for musicians to connect to their audiences directly and monetize their craft without the label advance.

As the future of music seems independent, AMAKA spoke to women professionals building the global music industry who shared expert insights for emerging women musicians striving to garner success on their terms.

Digital Distribution

Once a project has been recorded, uploading it to a music distribution service for public access is the next step. Digital distribution, through a distribution service, is the process of managing and transferring your music onto digital streaming platforms (DSPs) like Apple Music and Spotify. It’s also the process of recording royalties, which is the money you earn whenever your music is played, back to you as the rights owner.

You can directly upload your music onto platforms like Soundcloud, Bandcamp or Youtube. However, most DSPs don’t allow artists to upload their music directly but through distributors and distribution companies. 

Choosing a distributor isn’t clear-cut as each independent artist has different needs and finances. It’s crucial to research each distributor's fees and services. If you’re just getting started, Distrokid, TuneCore and Ditto Music are popular choices based on affordable user rates. Mid-level artists should look into distribution services that include music marketing packages. For instance, Platoon is a distribution services company owned by Apple that positions itself as an empowering platform for independent artists. Since its inception in 2016, Platoon has provided over 250 artists with free studio time, funding for music videos, playlist pitching, legal and accounting and data and analytics services. 

“At Platoon, each artist receives different services depending on what distribution package they receive. Our team can pitch your music to DSPs, or provide marketing services and access to our studios”, says Daisy-Mae Ogunlana, a Campaign Manager at Platoon. “Having good distribution is important because you essentially want to have a marketing plan and you want to be playlisted. When your music is featured on playlists with millions of followers, it opens up the access to people streaming your music”. 

Media Relations

Music public relations is a form of promotion that generates media and public attention towards your music and overall artist brand.

According to Tami Makinde, Managing Editor of NATIVE Mag, “Music and media work hand in hand because it enables you to connect to your audience. When people listen to your music, they want to know the story behind your body of work”.

A successful promotional campaign typically incorporates pitching your music to blogs and magazines. Pitching yourself requires an electronic press kit that includes an artist bio, catchy quotes, tour information and a link to where editors can listen to your music. For instance, NATIVE Mag runs a monthly column UNDER (formerly known as Fresh Meat), which artists can directly pitch to, which spotlights emerging talent across the continent. UNDER alumni includes household African artists such as Amaarae, Donli and Elaine.

Given the accessibility of social media, public relations now encompasses more than just traditional forms of media like magazines and blogs. “If you want to get noticed, tap into your community. Our editors are always on the lookout for community trends” Tami shares. “Doing those unconventional things on social media, within your niche groups is what gets us to pay attention to you”. In other words, you can take matters into your hands and shape your brand identity by consistently and authentically sharing content online. 

Music Management 

Management is a crucial part of artist development and a sustainable music career. An artist manager is a person who represents and advises you in a professional capacity. 

The services music managers can provide range from answering emails, devising PR campaigns, negotiating business contracts, and working with booking agents to develop touring schedules. Hence, by handling the day-to-day operations of music, an artist manager handles the business side of things so you can focus on music. In exchange, artist managers typically take 15-30% of the gross revenue generated from your income. 

To find management, a good place to start is by turning to turn to someone you trust and who believes in your music. A friend who is looking to break into the music management industry “can take you a lot further than, say, getting lost on a huge roster at a major agency”. Stefany Olaka, artist manager to Bensoul, one of Kenya’s biggest pop acts agrees. “The African music industry needs more people. A lot of us started out by managing our friends. I think it’s worth the shot”. Alternatively, If you’re generating enough income to pay for professional services, Stefany recommends hiring a booking or talent agency on a project-to-project basis. “That way, you can pay them according to the gigs or services they land you, rather than paying them a fixed salary”.