New report reveals who owns indie music systems
Independent music is generating massive revenue, yet artists often find themselves navigating an opaque and complex infrastructure. A recent report, Independent Music 2026: The Fight for Music’s Infrastructure, sheds light on this tension, arguing that simply owning a share of the recorded music doesn’t guarantee control over the business surrounding it.
The report reveals that while independent music accounts for a significant portion of global recorded music revenues, the ownership and control over the essential tools, distribution systems, and royalty accounting are often firmly held by major music companies. Acquisitions, such as Sony’s purchases of The Orchard and AWAL, illustrate how major-label involvement expands their footprint, making it crucial for artists to understand the ownership behind every service they use.
This dynamic raises a critical question for artists: how can they maintain true independence when relying on systems controlled by giants? The report emphasizes that control over these underlying systems provides access to valuable data and significantly influences how music reaches the global market, underscoring the need to dissect these operational structures.
The next frontier of infrastructure is Artificial Intelligence, and the report highlights that while AI licensing offers a potential opening, significant hurdles remain. Independent organizations are positioned to define the standards for consent, attribution, and payment in the rapidly evolving AI music landscape. Agreements like those made between Merlin, Kobalt, and ElevenLabs demonstrate the possibility of opt-in arrangements, yet complex questions about catalog contribution and payment calculation still need to be resolved for widespread adoption.
To build sustainable alternatives, the report champions collective investment. By pooling resources, independent businesses can effectively counter the dominance of investor-controlled services. Examples include 24 independent labels investing in the streaming platform Cantilever through ORCA, and Merlin partnering with Jamen Capital to acquire Curve Royalty Systems. This approach allows smaller entities to support essential services, especially the often-invisible systems that track and distribute royalties.
Furthermore, the landscape of streaming itself is evolving beyond a one-size-fits-all model. STVDIO points out that services built around specific listening habits or genres offer powerful opportunities. Platforms like Qobuz, Audiomack, and specialist classical services like Idagio demonstrate that catering to niche communities can unlock unique discovery experiences.
Finally, the most immediate and tangible asset for working artists lies in direct fan relationships. The report cites examples where artists leverage live events and social engagement to forge deep connections. Whether it is Mitski converting fans to a mailing list or Japanese Breakfast collecting contact information through venue QR codes, these direct channels allow artists to turn momentary attention into ongoing, valuable relationships.
Ultimately, the report serves as a roadmap for independent artists, suggesting that the fight for music infrastructure is not just about distribution; it is about establishing transparent, equitable, and artist-centric systems for the future of music.
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