Artist Development Agreement

In addition to financial support, the publishing house will strive to work closely with the artist and provide valuable feedback and direction. The publishing house can act in an A-R capacity and help the artist compile the best demo presentation to impress labels when it`s time to make purchases for a label market. The publishing house can also associate the artist with a successful record producer to create some quality masters, and create collaborations with other talented authors to develop the best possible songs. The new artistic development agreements range from the advantage for both parties to artistic exploitation. They have in common the short-term investment of time and resources by the “developer” in exchange for a portion of the artist`s income. Today, most producers work as freelancers, welcoming artists and groups for different labels in project studios, high-end installations or even studios specially built in Switzerland and abroad. Independent producers such as Stuart Price (Madonna/Seal), Nigel Godrich (Radiohead/Paul McCartney/Travis) and Danger Mouse (Martina Topley-Bird/Gnarls Barkley/Gorillaz) have had great success with American colleagues such as John Shanks (Take That/Kelly Clarkson/Alanis Morissette), Nate Hills (Britney Spears) or Ryan Tedder (Leona Lewis). Greedy producers should bear in mind that the attempt to exert too much control over their artists may be counterproductive, since unfair or overly restrictive agreements may not be legally applicable. The problem with the artist is that if they don`t already have some kind of balance sheet – that`s unlikely in this scenario – the production agreement will most likely be developed in favour of the production company. The production company is supposed to be an intermediary between the artist and the label – it provides songs, sound, a producer, and industrial contacts – and can therefore dictate the terms and conditions seized. Unfortunately, artists often refrain from proper legal advice before signing production contracts (although ironically, this may render the agreement against the artist unenforceable in court – overzealous producers should be aware of this last point if they try to “run away” from the artist right away!).

Comments are closed.