Beggars Group, Sub Pop & Because Music Launch Think Tank to Support and Promote Indie Labels
A coalition of some of the world’s biggest independent labels, including Beggars Group, Partisan Records, Sub Pop and Because Music, have joined forces to launch a “first-of-its-kind” think tank to promote better understanding of the global music business among governments and policymakers — and advocate on the industry’s behalf.
The Organization for Recorded Culture and Arts, or ORCA for short, will develop and promote research, data, and “qualitative and quantitative evidence that underscore the significant economic, social, and cultural value of music,” said the newly-formed organization.
Founder members also include the U.K.’s Domino Recording Company; Germany-based City Slang and !K7 Music; Spain’s Everlasting Records; and U.S.-headquartered Exceleration Music, Secretly Group and Hopeless Records. Other participants are London-based Ninja Tune, Stockholm’s Playground Music and Canada’s Secret City Records.
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Artists that have either been discovered by or are currently signed to the 14 founder labels include Adele, Nirvana, The National, Pavement, Christine and the Queens, Fontaines D.C., Arctic Monkeys, Mitski and Phoebe Bridgers.
“This is a concept long in the making, arising from a realization of shared values above and beyond our existing collective independent activities,” said Martin Mills, founder and chairman of Beggars Group, in a statement. “Music is an undervalued asset in the daily round, and we seek to translate the motivations underlying its production into an appreciation that art and commerce can live as one.”
In line with the organization’s launch, ORCA has published its inaugural research report, “Setting the Stage: How Music Works.” The free-to-access study is intended to provide government policymakers, finance institutions and cultural development agencies with an in-depth understanding of how the record industry operates and the economic and cultural benefits it generates.
The 155-page report was researched by the nonprofit Center for Music Ecosystems, which is working alongside ORCA, and features case studies of several indie-label artist success stories, including Guadalupe Plata (Everlasting Records), Patrick Watson (Secret City) and Christine and the Queens (Because), as well as an analysis of distribution practices, artist development and income revenues in the indie sector.
“We’re proud of the artists we choose to invest in and the people we choose to work with. We’re also aware of how little actual data there is out there that illustrates how this industry actually works or our contribution to it. We’re incredibly excited to get that ball rolling with this first report,” Tony Kiewel, president of Sub Pop Records, tells Billboard.
ORCA says future reports will focus on collecting primary data to demonstrate the benefits of independent record labels to the wider global music economy, looking at the positive impact the industry has on job creation, social equality, sustainability and culture. Members will meet at least once a month, with the next report due out later this year.
“Whilst we are in competition with the other ORCA founders, we are similar in what drives us to find and develop new talent and there’s a shared incentive to making sure that the benefits of our work are understood beyond just the industry itself,” says Zena White, chief operating officer at Partisan Records and chair of The Worldwide Independent Network (WIN).
White says that one of ORCA’s primary goals will be to measure the economic and social impact of labels’ investments in artist development, which she says has “been sorely lacking” in the global independent sector.
The think tank also aims to address some commonly held misunderstandings about how the record label business model works, explains White, whose label roster includes IDLES, Cigarettes After Sex, Ezra Collective and PJ Harvey.
“Labels at their best underwrite living advances, recording and marketing costs that the artists’ entire ecosystem will benefit from. Of course, there are bad actors, but many are essential to ensuring that music gets made and that it’s heard,” she says.
“We have a fantastic network of global trade associations for independent music… [but] they badly need empirical data that backs up their conversations with governments and players at a local level,” White adds. “ORCA is supplementary to that network and hopes to be able to help.”
“The music business is an incredibly complicated and messy industry,” says Kiewel. “We’re often the canaries in the coal mine when it comes to new technologies. If there are policy conversations happening that affect the livelihoods of independent recording artists and the labels that support them then we think it’s important that they have a seat at that table. I believe that there are many people and policy makers who would be interested in what we have to say, and we want to make sure that those representing our community have tools to help convey their perspectives.”
