Chappell Groan: The Misguided Rhetoric of an Instant Industry Insider (Guest Column)

by

How might Prince or Tom Petty have responded? They stood firm for their artistic integrity, risking their careers for what they believed in deeply. And as time goes by, one learns that genuine change doesn’t stem from words alone; it happens when the rubber truly meets the road – in life’s challenges, on the front lines, and in taking bold actions. Whether it was Prince reclaiming his master recordings during his peak fame or Petty financing his legendary album “Damn the Torpedoes” only to withhold its release, having a stake in the game means having a voice. It means being prepared to spill blood and put money where your mouth is – qualities that ensure you’ll always have a place at the table.

It appears Roan is proposing that labels take on roles as landlords, employers, and insurance providers. Have you ever attempted to get your expenses reimbursed from a record label? And now you’re suggesting they manage claims? It seems odd to entrust them with such responsibilities, considering the potential backlash, like being called “slumlords” on national television by next year’s top artist. Berry Gordy, the pioneer behind Motown, faced criticism for Hitsville’s remarkable success, but all artists were content with their royalties and credits, correct? Precisely.

Roan receives admiration and genuine recognition for her talent and courage, yet lacks the experience and knowledge needed to bring about the change she desires now. She might grow rapidly, form a network of influential figures, or even hand over leadership to another potential leader, but her Grammy speech came across as repetitive and plagiarized, showcasing adoration from the industry while unintentionally revealing innocence and criticizing the same system that propelled her. The question arises: if record labels manage artists’ wages, healthcare, and overall welfare, where does self-reliance come into play? Should Chris Blackwell act as a guardian, taking care of her needs like tucking her in at night? Under no circumstances is there an ethical or moral duty that requires labels to provide extra funds beyond advances and royalties.

Roan’s suggestion for record labels to ensure artists receive a living wage and healthcare was admirable – however, it seemed to be based on a misunderstanding of her own situation. Her ascension to fame, driven by viral sensations, backing from major labels, and an industry eager for the next breakout alternative pop sensation, indicates she is no longer a struggling artist. Instead of merely discussing change, she should actively pursue it. Change is yearning to be championed, not just declared.

The Outsider Who Became the Establishment

Chappell Roan (formerly Kayleigh Amstutz) isn’t unique among artists in portraying herself as an outsider challenging the status quo. However, when she graced the Grammy stage on Sunday, she moved beyond her indie underdog persona and solidified her place within the establishment. It’s misleading to collect a substantial record label paycheck, leverage industry backing for mainstream fame, and then feign being overlooked when your name is called – especially if you’re no longer the kid left out of the dodgeball game.

I have some news to share with you: Your role is no longer that of a rebel challenging the system, which is an age-old music trope, but rather, you are now poised to make significant contributions to the arts and literature. Don’t worry, there’s still plenty of room for puppies and ice cream in this narrative.

The goal here was to maintain the original meaning while making the text more natural and easy to read by breaking it down into simpler sentences and phrases.

Roan’s success isn’t solely her own; she’s a product of the same system she criticizes. Island Records, part of Universal Music Group (often referred to as the world’s largest music company), didn’t just spend money carelessly – they made calculated investments. They analyzed potential earnings, crunched numbers, and poured both financial resources and organizational efforts into developing her brand and creating a long-term business strategy for her music. This is how the music industry operates. Record labels function as businesses, not philanthropic organizations. The arrangement is straightforward: They provide the funding, shoulder the risk, and in return, they receive a portion of the earnings.

Is there room for improvement in the system? Definitely. Should artists receive fairer compensation? Without a doubt. However, Roan’s speech seemed to miss the necessary complexity and understanding of the industry to foster agreement or address the concerns of an artist-focused platform. Proposing that record labels should pay artists as regular employees disregards the basic economic framework of the business. Artists are not compelled to sign these deals. For the millionth time, if they’re unhappy with the terms, they can opt for independence, keep their master rights, and shoulder the financial risks themselves.

The Realities of Label Deals & Artist Compensation

In other words, they should manage their business professionally so that your funds can be directed towards more essential matters – for instance, hiring a personal ayahuasca shaman from Detroit or installing a multilingual toilet.

Why doesn’t Roan encourage her fellow artists to follow through on their words and donate around 2-3% of their advance to a fund that helps other artists? It seems she has now moved into an exclusive circle, and time is running out to involve the Beyoncés, the Biebers, the Taylors, the Brunos in this cause. As the race nears its end, it’s crucial to secure funding from the top, which is where they come in. If they genuinely care about fair compensation, perhaps they should first examine how their own advance payments are organized.

It’s important to acknowledge that labels face criticism, but what might be overlooked is the challenging situation faced by writers in this industry. Contrary to popular belief, many artists are grappling with harder times than performing artists. The assumption that labels or publishers should be responsible for nurturing artists into fully-formed adults seems unrealistic and smacks of self-entitlement.

To clarify what Roan may not grasp: record deals function as investments, rather than regular wages. When an artist signs a contract, the label offers an advance, which essentially serves as a loan. This advance is used to cover recording expenses, marketing, distribution, and—if agreed upon—tour support. Major labels invest at least seven figures in every artist, understanding that nearly 60% of artists will never recover their costs, and around 15% will foot the bill for the entire roster.

Indeed, artists should be provided with more accessible and suitable healthcare options. It seems that this issue is not exclusive to the artist community but rather an industry-wide concern, as many independent managers lack insurance as well. Artists have the power to structure their contracts as they see fit, including allocating a portion of their advance towards securing health coverage, just like they do with recording expenses. In fact, some artists are already practicing this approach.

A livable wage is a topic for a separate discussion, but let’s start by considering this: Isn’t such an amount provided primarily for that purpose? It could be argued that the six-figure advances labels offer simply for signing your name are sufficient – and they do provide you with the time to complete the entire album before you run out of funds, don’t they?

“Let’s be revolutionaries—right after my direct deposit hits” is a sham.

Bill Maher Had a Point

Lately, Bill Maher’s criticism towards Roan resonated, as he pointed out her tendency to engage in fashionable activism, which is often more about appearances than a genuine understanding and tackling the intricacies of the problems she addresses.

Maher’s argument? Roan lacks industry knowledge – not because she’s lacking in talent, but because she hasn’t spent enough time in the industry yet to grasp its complexities. Having recently been crowned best new artist, she’s enjoying her first taste of mainstream success and, like many others before her, feels empowered to instigate systemic change without providing practical solutions.

Here’s the crux of the issue: Artists similar to Roan aren’t innovating; instead, they’re rehashing the past — newcomers experiencing triumph, transitioning into critics of the apparatus that catapulted them, and ultimately, carrying on profiting from that selfsame system.

The main issue is this: Artists akin to Roan aren’t revolutionizing; rather, they’re resurrecting the past — up-and-coming artists tasting success, morphing into critics of the mechanism that launched them, and eventually, maintaining their earnings from that exact system.

Less Talking, More Doing

Supporting underdog artists is best done through personal action rather than just words. The true power of influence lies not in fleeting Grammy spotlights, but in tangible actions that can truly impact change: there are numerous ways to offer meaningful help.

  • Start a foundation that helps independent artists with healthcare and fair compensation — and demand your fellow Grammy winners match your funding.
  • Offer mentorship programs for young musicians navigating label contracts.
  • Put your money where your mouth is and invest in new models of artist compensation instead of expecting labels to change overnight.

Innovators like Taylor Swift, Prince, and Tom Petty didn’t just voice their discontent; they took bold actions that shook up their industries. Swift re-recorded her entire catalog, raking in a billion dollars while she was at it. Prince overhauled his business model. Petty withheld one of his best albums during a creative strike to drive change.

Such is the way to bring about transformation – present your ideas fearlessly and be prepared to endure temporary setbacks for the greater good.

As a passionate fan, I’m putting it out there: ‘We’ve got your back, but have you got ours?’ That’s the question echoing from the heart of the arena. This isn’t child’s play at the arcade; it’s raw combat at a sold-out Madison Square Garden – it’s the most challenging game on earth. The artists and their managers know that the cutthroat world of commercial creativity has its limits, a peak and an expiry date – no matter how kind-hearted the intentions. They support you until your worth diminishes and you support them until another comes along claiming to be more skilled and talented, ready to prove it with wealth. It’s not pessimism, it’s acceptance. Stevie Nicks predicted this with ‘Can I handle the changes in my life?’ – that uncertain abyss that time brings. Labels and publishers can’t mend all that is fractured, nor should they be vilified for neglecting careers and lives that crumble when opportunities fade away. Embrace it. It makes finding solutions simpler when you understand there’s only ‘us.’ Right, Stevie?

If artists collaborate as allies with constructive ideas to safeguard our community during these challenging periods, I’m confident that the same supportive individuals will be present, just like they were this past Sunday. The music industry has its flaws and can sometimes resemble a chaotic circus, but Roan isn’t aiming to be the hero (Neo). She needs help from knowledgeable people to create a platform. Utilize your fame to persuade for good causes – visit the homes of your industry colleagues and truly listen. Otherwise, you might end up as an artist who fades into obscurity, using up their 15 minutes of fame in a self-serving echo chamber. Timeless music endures forever, and I believe our creative community’s genuine issues deserve more than just a temporary “trending” status.

Previously, Jeff Rabhan served as the Chair for the Clive Davis Institute of Recorded Music at the Tisch School of the Arts, New York University. Additionally, he is a co-founder and CEO of bored-of-ed.com, an educational entertainment platform catering to both consumers and industry experts.

Read More

2025-02-06 03:56