An example of this tension is the pop duo Frenship from Los Angeles.
In 2016, the group with Brett Hite and James Sunderland had a breakout hit with “Capsize”, recorded with singer and songwriter Emily Warren. Frenship released the song independently, and it was quickly added to a prominent playlist on Spotify. Capsize hit 40 million streams in 10 weeks and raised $ 150,000 in payments, the group said.
“Spotify made our career possible for us,” Hite said in an interview.
Then the group signed with Columbia Records, which launched a radio advertising campaign centered around “Capsize”. The song failed to break the Top 40 on the Billboard Hot 100 chart, but it remained a steady streaming success, now with around 570 million clicks on Spotify. The band declined to disclose specific details of their time in Columbia – they agreed to confidentiality in their 2018 separation agreement with the label – but Hite glorified his time with the majors with an anecdote about buying a car in the months “Capsize” lifted off.
“I look at BMWs and when I break down, I leased a Honda CR-V,” he said. “I’ll let this be the tale of where our hit brought us from.” The group is now independently preparing its next release.
Columbia declined to comment.
Despite the criticism of the artists of their labels, the contracts with the big record companies have steadily developed in recent years, which benefits the performers. Joint venture deals and shorter engagements are now more common, according to music managers, lawyers, and artist managers.
And the all-important license fee is also increasing. A 2002 study by Steven S. Wildman of Michigan State University that examined hundreds of major label contracts from that time found that artists who received their first contract from a label had, on average, royalties of 15 to 16 percent were offered. Tony Harlow, the managing director of Warner Music UK, told the parliamentary committee in January that the company’s royalties to artists had “increased from 27 to 32 percent” since 2015.
