Artists Tread Different Routes: Exploration of Individual Creative Journeys
Rewritten Article:
Entreneur Artists: A Hidden Tide, More Than You Think. La Presse Interviews Three with Diverse Journeys.
Marissa Groguhé, Our Site ## The Veteran
Catherine Durand
"My stint with Warner Music led to two albums, but they dropped me. Swirling in confusion, I thought my career had barely begun.
"I made contact with record labels, one of which offered me a contract. But it made me queasy. I ain't signing that.
"I dipped into savings and explored the subsidy system. That's how I birthed my third album, Diaporama, under license.
"Post-tasting that freedom, I never wanted to return. Over 20 years now, I've self-produced. I lay eyes on what Catherine Durand, the author, composer, producer, and record label garner. It's obvious the producer/record label takes the lion's share.
Catherine Durand
"Warner money helped me start, certainly, a part of the big machine. But with the right planning and people on your side, you can do a lot with a little.
"It takes grit and hard work, but you don't have to do it alone. Surround yourself with those who want to help push your project forward.
"I ain't got no regrets about my path. In fact, it led to securing my own label. But there are numerous paths, and we're fortunate to have funding, even if it's tougher these days for performing arts."
The Visionary
Andréanne A. Malette
"Star Academy, by default, means you're stuck with Productions J. So, after I was a finalist in 2012, I stayed with them for two success-starved years. But I craved freedom, and so did they, parts of their roster. It was a contract of over 15 years—just a two-year reality.
"At first, I looked for another label, but didn't fancy the salesy vibe. So, I invented my own showbiz school. I crammed every course under the sun into my ride and passively learned through podcasts and audiobooks.
"Freedom reigns for me. Record labels are like ocean liners, and I'm a kayak. It may be chug-chug slower than cruise ships, but the satisfaction is unmatched. I navigate with my own compass, able to steer left or right at my whim.
"I revel in all aspects of creation, from song to marketing. At first, I was alone in this nautical journey, nearly succumbing to burnout. Today, I have an assistant, and she sparked more artistic freedom in me.
Andréanne A. Malette
self-produces and wears multiple hats, including Porter, for Quebec Professional Authors, Composers, and Entrepreneur Artists Society. Originally, I saw mostly greenhorns or aged dreamers vying for their artistic dreams. But recently, I'm seeing more established folk join the ranks. Cash is the main challenge. Royalties from all sides, though minimal, accumulate over time.
I support coexisting models. Record labels do good work, especially new ones that adapted and offer fairer deals. Self-production should be seen as equal to other models.
The Outsider
Fredz
"I rose independently, handling everything from recording to production solo. Then I signed up with E.47 Records, K. Maro's label, lasting two rocky years. Bankruptcy sent them packing, and I found myself adrift.
"I balked at E.47's control from the start. It felt like I didn't belong, and I was tightly leashed. I felt traumatized by my exit. We had offers from other labels, but I wasn't keen on that again. Especially since I create, record, and produce everything myself, backed by friends, and manage by ex-E.47 associates. Together, we founded Nova Musique.
I now wield total control, but beware, a stumble won't be cushioned by a label's backing.
Fredz
"This is my creation, pure and simple, offering a significant artistic advantage. The first E.47 album required three variations, to satisfy their demands. They thought I had too many love tunes, then not enough...
"Some folks presume it's easy to produce an album, but it's a complex art form. That's why record labels aren't obsolete, but once you've had some success, independence is enticing."
Entrepreneur artists like Catherine Durand, Andréanne A. Malette, and Fredz chart the industry's waters through careful consideration of self-production versus working with record labels. The following summarizes their possible strategies:
Embracing the Indie Scene
- Artistic Autonomy: Self-producing grants artists creative control and the means to preserve their artistic visions.
- Monetary Loyalty: Artists reap larger shares of their profits but shoulder production and marketing costs.
Partnering with Record Labels
- Resources Galore: Labels offer monetary resources, marketing supports, and distribution networks, aiding in broader exposure.
- Industry Connections: Labels boast established connections with professionals like promoters and radio stations, aiding in securing gigs and airplay.
Collaborative Approaches
- Balanced Relationship: Some artists blend self-production with label partnerships, sharing the burdens yet enjoying the benefits of both worlds.
The decision-making process for these entrepreneurs typically centers on artistic aspirations, financial feasibility, and long-term career goals. Pinpointing these factors ensures informed decisions about self-producing or partnering with labels.
In the world of music, entrepreneur artists like Catherine Durand, Andréanne A. Malette, and Fredz navigate the industry by weighing the benefits of self-production versus working with record labels. Self-producing offers artistic autonomy and larger profit shares, but artists bear the production and marketing costs. On the other hand, record labels provide monetary resources, marketing support, and valuable industry connections that aid in wider exposure. Some artists opt for a collaborative approach, balancing self-production with label partnerships to enjoy the best of both worlds. The choice often depends on artistic aspirations, financial feasibility, and long-term career goals.
