[This interview is one of the best statements of what signing and breaking a songwriter or an artist is all about. When I was reading Jody Gerson’s interview I remember when I asked David Anderle once why we didn’t do bidding wars at A&M. He said quite simply that A&M helped compelling artists make great records and then stuck with them until they found an audience. They didn’t always work out but it wasn’t for lack of trying. That had nothing to do with bidding wars.]
I think it is a difficult time for songwriters who aren’t writing massive hit songs. When I first came into the industry, you could write a cut on a big album, like for Whitney Houston, and it would sell a lot of records, and you could make a lot of money as a songwriter. But unless you’re writing hit singles or you have pieces of songs on enormous numbers of streamed product, it is very difficult right now….
A lot of people are relying on data today. I don’t go in that direction. I judge music based on what I feel. Does it move me? Is that a lyric that articulates a feeling that I have better than I can articulate it? Is there a driving beat that makes me want to move? Is there a melody that makes me want to sing along? I have found in my career anytime that I have trusted my instinct, I’m right….
What everybody’s missing is the role of the record company. There’s talk about whether artists need to be signed to a record company. I would like you to show me one streaming platform that has broken an artist, made a major investment in breaking an artist. It is not easy.
Just because a song is on a digital platform doesn’t mean you’re breaking that artist. The companies that put the most into the development of artists are still record companies. The investment in breaking artists still is something that we can’t underestimate, and platforms do not do that.
Hit artists, superstars, are never flukes. It just doesn’t happen that way. It takes a village to break an artist.
h/t Artist Rights Watch