George Britton has countered the growing belief that record labels exploit musicians, a notion reinvigorated by Sarkodie’s 2024 Hennessy Cypher verse suggesting some artistes feel “caged” within their deals.
In response, music executive George Britton argued that both record labels and artistes can face exploitation, underscoring the importance of vigilance and well-structured contracts.
Britton emphasised the role of record labels in amplifying an artiste’s talent to a global audience through marketing and promotion. He likened the relationship between labels and artistes to any professional partnership, where services rendered require compensation.
“Artistes are compensated for their talent, and similarly, record labels deserve payment for their promotional efforts,” Britton explained. “It’s about rewarding each party’s contribution. The label provides services, and in return, they receive a share of the revenue generated.”
He expressed dismay at the negative perception surrounding record deals, urging artists to carefully scrutinise contracts to ensure a mutually beneficial relationship.
Discussing the dynamics of negotiations with labels, Britton illustrated how collaboration can significantly enhance an artiste’s career prospects. “As an independent artiste, you might earn a certain amount, but with label support, your earning potential could skyrocket,” he elaborated.
Britton cited historical examples, such as Sony’s impact on Michael Jackson’s career, where strategic promotion catapulted Jackson’s music to global success. “Michael wouldn’t have achieved his iconic status without the label’s backing,” Britton asserted.
In conclusion, Britton emphasized that while challenges exist, well-negotiated record deals offer artistes substantial advantages over independent pursuits. He underscored the necessity for artistes to approach partnerships with labels as strategic alliances aimed at maximizing their artistic potential and commercial success.
George Britton shared these insights in an interview with Prince Benjamin (PB) on the Class Morning Show (CMS) on Class 91.3 FM.
Britton, drawing parallels with EMPIRE-signee Black Sherif’s career trajectory from his roots as a “Konongo boy,” posed a rhetorical question: “Is that exploitation or a significant increase in brand reach, revenue, and status?”
He highlighted Black Sherif’s rise from earning “US$10 or US$20,000” independently to “making US$50,000” under a record label.
Reflecting on the global stage, Britton pointed to Burna Boy’s evolution over the past decade, from struggling without support to selling out stadiums after signing a major deal.
He juxtaposed this with the challenges faced by talented but unsupported artists in Nigeria.
Discussing his own business philosophy, Britton expressed openness to investor partnerships to accelerate growth, acknowledging the limitations of solitary efforts in achieving desired scale.
Addressing common grievances in the industry, Britton noted that artistes often accuse labels of exploitation once they achieve fame, despite the initial support and investment. He attributed this shift in perception to a natural inclination towards self-interest as artists gain prominence.
He emphasized the necessity of fair treatment and equitable benefit-sharing in record deals, stressing that labels involve multiple stakeholders who contribute to an artiste’s success.
In conclusion, Britton underscored the importance of effective marketing and promotion by labels in elevating artistes to top-tier status, acknowledging legitimate concerns when labels fail to deliver on their promises.
With over 15 years of experience managing artistes across generations and genres, Britton recently concluded a successful tenure with Afrobeats star Camidoh before focusing on personal growth and education in the UK.
Source: classfmonline.com