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\n\tTo get a sense of what excites those in the indie world the most, Billboard reached out to 130 executives, the majority of whom also appear on Billboard\u2018s 2026 Indie Power Players<\/a> list. From cultural exchanges with the K-pop industry to utilizing social media and streaming services to connect with fans across the world, these executives say that indie music has never been bigger \u2014 or more advantageous for artists. Indie labels also note that they\u2019re able to provide their artists with more creative control \u2014\u00a0allowing them to have a direct-to-consumer relationship and connect with their fans in their own way. <\/p>\n \n\tOn the Billboard charts, the indie world has shown its muscle. \u201cYou don\u2019t need a major label to own the charts, and we proved it,\u201d said Jes\u00fas Ortiz Paz, frontman of Fuerza Regida<\/a>, who achieved the highest-charting regional Mexican album in history last May when 111XPANTIA \u2014 released by Ortiz Paz\u2019s own indie label, Street Mob Records \u2014 peaked at No. 2 on the Billboard 200<\/a>. He added, \u201cThe majors no longer control the door. We kicked it open ourselves.\u201d<\/p>\n \n\tRead below for all the responses. <\/p>\n \tTroy Carter, Venice Music<\/p>\n \n\t\u201cI\u2019m excited to see artists becoming less afraid to leverage AI outside of their creative processes. Last year it felt taboo to even have a discussion about it.\u201d <\/p>\n \tAndre Benz, broke records<\/p>\n \n\t\u201cThe ongoing landscape of developing and brand new labels that are redefining the future of the indie landscape for artists.\u201d<\/p>\n \tBrandon De Oliveira, broke records<\/p>\n \n\t\u201cThe variety of paths available now. There\u2019s no single blueprint for a breakout anymore, and that\u2019s a beautiful thing. The indie world is relying less on gatekeepers and more on communities to move the needle.\u201d<\/p>\n \tKatie Dean, Leo33<\/p>\n \n\t\u201cWe are not beholden to the \u2018that\u2019s the way it\u2019s always been done\u2019 mentality \u2014 because we do have the ability to focus, execute and adapt in real time. Indies are now legitimate competitors to the majors and I love that \u2018scrappy\u2019 hustle mentality that the indies provide \u2014 it makes the wins that much sweeter.\u201d<\/p>\n \tScott Borchetta, Big Machine<\/p>\n \n\t\u201cBeing truly independent again, I had forgotten how much I enjoyed being a jet fighter pilot and not having to answer to anyone. Now, when I want to sign something, I sign it. When the team needs to hire someone, we hire them immediately. When we need to throw support at a release that\u2019s blowing up, we throw fuel on the fire immediately. To me, that\u2019s always been, and will always be, the beauty of being an independent label.\u201d<\/p>\n \tNoem\u00ed Planas, WIN<\/p>\n \n\t\u201cDespite the challenges facing our industry, new independent record labels emerge around the world every year, and new trade associations are formed to represent them. There is significant growth potential in Asia, Southeast Asia, the Middle East and Africa, and it is inspiring to see how independent record labels in these regions are eager to have a seat at the table and make their voices heard.\u201d<\/p>\n \tAlison Ball, JBR CREATIVE GROUP<\/p>\n \n\t\u201cWhat excites me most is the freedom. The indie world is no longer the alternative, it\u2019s the innovation hub of the industry. We\u2019re seeing groundbreaking artists, creative release strategies and new business models emerge every day. There\u2019s a real opportunity to build meaningful, long-term careers without compromising vision. For me, it\u2019s about being able to develop artists holistically, think outside the traditional system and create culturally impactful moments on our own terms.\u201d<\/p>\n \tBobby Davin, Stem<\/p>\n \n\t\u201cThe future of the industry is being built by creatives with all of the same tools at their disposal as the majors. \u2018Underground\u2019 artists are gaining market share as fans become more drawn to unfiltered art and authentic marketing.\u201d<\/p>\n \tSeth Faber, Stem<\/p>\n \n\t\u201cThe rush of new tech that allows resourceful independent artists to propel themselves forward cheaply, without sacrificing creativity.\u201d<\/p>\n \tEmmanuel de Buretel, Because Group<\/p>\n \n\t\u201cAt a time when many companies are letting go of creative talent \u2014 focusing instead on distribution deals and catalog exploitation \u2014 we believe in the opposite approach. We invest in creatives: people who know how to make records with artists, shape songs, direct films and build real cultural momentum. We don\u2019t follow trends. We use technology to amplify what\u2019s alternative, to optimize it and to give our artists access to the same tools and firepower as major and pop-driven companies.\u201d<\/p>\n \tDana Biondi, G59 Records<\/p>\n \n\t\u201cWhat\u2019s most exciting about being independent has always been control and having the freedom to move how we want and make music that feels true to us. Nothing\u2019s forced and we\u2019ve always been proud about doing everything ourselves and on our own terms. It\u2019s also easier to connect directly with fans globally and see what they\u2019re responding to in real time. G59 has built a real family of fans and being independent lets us show up for them consistently whether it\u2019s music, tours or new merch drops. That mutual trust and transparency is what matters the most.\u201d<\/p>\n \tSeon Jeong Shin, BIGHIT MUSIC<\/p>\n \n\t\u201cWhat excites me most is how the indie world is expanding beyond music into broader cultural and lifestyle experiences. We\u2019re seeing a shift beyond traditional merchandise toward more lifestyle-driven expressions that reflect an artist\u2019s identity and creative vision. This allows fans to engage with artists in more meaningful, everyday contexts \u2014 going beyond simply consuming music. These extensions are creating new touchpoints for connection, enabling more people to engage with and enjoy music as part of their daily lives. I believe this will continue to unlock new forms of engagement and shared experiences within the indie space.\u201d<\/p>\n \tSung Soo Han, PLEDIS Entertainment<\/p>\n \n\t\u201cWhat I find most exciting right now is how the K-pop system and production model are being adapted and reinterpreted across different markets. This kind of cross-cultural exchange is leading to new forms of sound and artist development, while also reshaping how local markets cultivate globally competitive artists. Each region brings its own identity and cultural context, while integrating global influences in distinct ways. I see this evolution as a reflection of where the music industry is heading \u2014 where local creativity and global connectivity coexist, continuously expanding possibilities for both artists and audiences.\u201d<\/p>\n \tSung Jin So, SOURCE MUSIC<\/p>\n \n\t\u201cOne of the most exciting developments is the blurring of traditional genre boundaries. We\u2019re seeing a rise in hybrid, cross-genre sounds, where artists are less constrained by conventions and more focused on expressing a distinct sound and identity. Listeners, in turn, are increasingly drawn not to specific genres, but to an artist\u2019s vibe and perspective. Another shift is how fans are forming deeper, more engaged communities that go beyond passive music consumption. Through authentic, unfiltered storytelling, artists share their philosophies, lifestyles and everyday moments \u2014 allowing for deeper emotional connections with fans. As a result, artists are evolving into fully-fledged brands, where identity and narrative are becoming just as important as the music itself.\u201d<\/p>\n \tJorge Brea, Symphonic<\/p>\n \n\t\u201cIndependence is no longer the alternative, it\u2019s the center of gravity. Artists and labels are building real, scalable businesses while keeping control of their rights. That shift is permanent. Even in the face of AI and all the noise, the most forward-thinking independents are focused on what actually matters: ownership, audience and long-term growth. That combination of control, ambition and global access is creating a much stronger and more sustainable indie ecosystem.\u201d<\/p>\n \tRandall Foster, Symphonic<\/p>\n \n\t\u201cThere has never been a more powerful time to be independent. What was once defined by flexibility and artistic freedom has evolved into something far more formidable. Independence is now about infrastructure, scale and control. The modern independent artist has access to the same data, tools and global reach that were once exclusive to major labels. The playing field hasn\u2019t just leveled, it\u2019s been rewritten. Gatekeepers are no longer the barrier they once were; today, the only real limitation is capital. With the right investment, an independent artist can execute at a level that rivals or exceeds any major label campaign. And the results speak for themselves. Independent music is no longer on the fringes of success, it\u2019s at the center of it. From commercial radio to the Grammy stage, and across global market share where independents now account for nearly half the industry, this is no longer a shift. It\u2019s a takeover.\u201d<\/p>\n \tMichael Goldstone, Mom+Pop Music<\/p>\n \n\t\u201cWhat\u2019s exciting is how much great artistry is coming from all directions. Audiences are more genre-diverse than ever, and that challenges us to keep finding new ways of reaching fans.\u201d<\/p>\n \tSean Stevenson, MNRK Music Group<\/p>\n \n\t\u201cCommunity-driven growth. Building fan bases alongside our artists is core to what we do. At MNRK, we also benefit from a strong network of independent teams beyond our in-house staff, sharing resources, advice and opportunities that accelerate learning and success. Collaboration across genres and geographies is another major driver, unlocking fresh sounds and creative cross-pollination that indie labels are positioned to support. Direct fan connections \u2014 through exclusive drops, limited editions and storytelling \u2014 continue to deepen loyalty and create sustainable revenue loops. Finally, the longevity of catalog is incredibly exciting. Older records are finding new audiences and a strategic focus on reissues and remixes generates renewed interest and stable revenue over time. Growing sync opportunities for indie catalogs also provide meaningful licensing income that supports artists between releases.\u201d<\/p>\n \tShawn Barron, EZMNY Records<\/p>\n \n\t\u201cWhat excites me most about the indie world is showing that we can have global superstars come from an indie model.\u201d<\/p>\n \tTy Dolla $ign, EZMNY Records<\/p>\n \n\t\u201cAs an artist who has been independent and also been signed to a label for my whole career to date, to now be in a position co-founding an indie label, I\u2019m most excited about taking more chances, trying new things and signing artists who are career, generational artists. Not saying you can\u2019t do this with a major but there are so many times any of the artists on our roster come to us with an idea and we don\u2019t even flinch and say yes, let\u2019s try it. Because the indie world feels a bit more risk-free in an ironic way, there feels to be a shift back towards good music over everything.\u201d<\/p>\n \tGeorge Prajin, Double P Records<\/p>\n \n\t\u201cWhat excites me most is being able to discover and develop new artists and watch them grow into global acts. There is nothing more powerful than taking a raw idea, building the right team around it and helping shape an artist\u2019s vision into something the world connects with. The indie space gives us the freedom to take those risks and build something from the ground up without limitations.\u201d<\/p>\n \tPeso Pluma, Double P Records<\/p>\n \n\t\u201cWhat excites me most is seeing m\u00fasica Mexicana grow worldwide while still representing where we come from. The indie space gives artists the freedom to experiment, blend styles and tell their stories without limits. We are creating our own lane and proving that our culture can lead on a global stage.\u201d<\/p>\n \tJack White, Third Man Records<\/p>\n \n\t\u201cThat more and more younger people are playing real instruments and making beats and recordings themselves and that the internet and social media are feeding maker culture constantly by showcasing talented individuals and inspiring people to create their own art and music more and more. Live music by real artists will never die no matter how much AI nonsense is fed to all of us. AI isn\u2019t cool and everybody knows it, it\u2019s only out of touch billionaires and corporations that are trying to push it on all of us.\u201d<\/p>\n \tBrent Faiyaz, ISO Supremacy<\/p>\n \n\t\u201cArtists are finally realizing you don\u2019t have to sign your life away to win. I built Lost Kids, kept my masters, did it on my own terms, and launching ISO Supremacy was the latest chapter in that. Now, I\u2019m watching a whole new generation take that blueprint and run with it. More artists owning their creative vision and building real businesses around their work [is exciting].\u201d<\/p>\n \tAshani Allick, ISO Supremacy<\/p>\n \n\t\u201cOperating an indie label is a slow grind but when you win, you win big. And you do this with your team most importantly. Brent, Darren [Xu, ISO\u2019s COO] and I have full control of our business, so that allows us to empower those around us and create opportunities for the artists of today and tomorrow.\u201d<\/p>\n \tBrett Gurewitz, Epitaph + ANTI- Records<\/p>\n \n\t\u201cWhat excites me most about the indie world right now is that more great artists have a real chance to be heard. The barriers are lower, the tools are better, and that means some future genius who might once have been overlooked now has a better shot at finding an audience.\u201d<\/p>\n \tSue Lucarelli, Epitaph Records<\/p>\n \n\t\u201cWhat excites me most is the level of creative freedom that comes with that shift. Artists can come from anywhere, create the records they want and connect directly with their audience without needing permission.\u201d<\/p>\n \tPeter Berard, Domino<\/p>\n \n\t\u201cThe indie world still far and away produces the most interesting and unique music, which I find incredibly exciting. No matter how hard it gets for artists, they still find a way to create the most magical and meaningful work.\u201d<\/p>\n \tPushkar Ojha, Domino<\/p>\n \n\t\u201cI\u2019m excited that we\u2019re trying to redefine our role in how artists\u2019 works are released and strengthen the ecosystem around it. Whether it\u2019s events in real life or online, I\u2019m reminded how much of this starts with a single person\u2019s response to music and sharing it with another person. Narrative and world building that inspires someone\u2019s curiosity to engage further with an artist\u2019s work is a facet the independent sector does well.\u201d<\/p>\n \tMichael Gallegus, EMPIRE<\/p>\n \n\t\u201cWhat excites me most is how blurred the lines have become between indie and mainstream. Independent artists and companies are not just participating, they are driving culture, breaking global records and building real infrastructure around their businesses. There is also a shift toward artists thinking like owners across masters, publishing and direct fan relationships, and indies are best positioned to support that. And while AI is changing how music gets made and distributed, it is also putting more value on taste, curation and human perspective, which plays directly to the strengths of the indie space.\u201d<\/p>\n \tKen Bunt, Disney Music Group<\/p>\n \n\t\u201cWe are excited about Disney Concerts led by GM Chip McLean. We have another exciting U.S. arena tour this fall \u2014 \u2018World\u2019s Collide Concert Tour\u2019 with our Descendants, ZOMBIES and Camp Rock franchises. We also continue to develop new ways to experience the worlds of Star Wars and Marvel in concert.\u201d<\/p>\n \tJesus Ortiz Paz<\/p>\n \n\t\u201cYou don\u2019t need a major label to own the charts and we proved it. At one point, our artists, our songwriters and Fuerza Regida held more than half the market share in our genre. That\u2019s not luck. That\u2019s strategy and culture. Indies have proven a point now, on the charts, in growth, in longevity. The majors no longer control the door. We kicked it open ourselves.\u201d<\/p>\n \tDaniel Glass, Glassnote Music<\/p>\n \n\t\u201cWhat excites me most is the creative freedom. Independent artists today aren\u2019t confined by genre boundaries or traditional release strategies, and audiences are far more open to discovering music in unexpected ways. I\u2019m also encouraged by how global the indie community has become. Artists can build meaningful careers with fans across multiple countries from the very beginning. For independent labels, that creates an opportunity to support artists in building sustainable careers rather than just chasing a single hit. The combination of artistic independence, global connectivity and passionate fan communities makes this a very dynamic moment for the indie world.\u201d<\/p>\n \tEric Benet, JBR Creative Group<\/p>\n \n\t\u201cI\u2019m excited about the fact that there\u2019s no longer gatekeeping for distribution. If you\u2019re good and you got some good shit, it will find its audience.\u201d<\/p>\n \tLouis Posen, Hopeless Records<\/p>\n \n\t\u201cIndie music, especially in the alternative space, is evolving. I feel like we\u2019re moving away from \u2018safe\u2019 sounds and toward the raw vulnerability of artists like Scene Queen, Sweet Pill and Melrose Avenue who are staying true to their deepest feelings. The goal isn\u2019t to be the next Green Day anymore, it\u2019s to be unapologetically yourself.\u201d<\/p>\n \tErin Choi, Hopeless Records<\/p>\n \n\t\u201cThe indie world has always taken chances on artists that shape culture and I think that sentiment is stronger than ever. We always talk about narrative and story, but the exciting thing is that there are so many different ways to share that story. We have artists that love to broadcast and chat directly to fans, others that write Substack articles about their daily musings, still others that create elaborate visuals that could be short films. The overarching idea is that artists are building more layers, connecting with fans on a deeper level and creating more links to the music and the art. I love being in the indie world because we know these things matter and our fans believe that, too.\u201d<\/p>\n \tEric Tobin, Hopeless Records<\/p>\n \n\t\u201cThe most exciting thing right now is how much great music and culture is coming from everywhere; new sounds, new perspectives and artists building their own worlds from the ground up. There\u2019s a real sense of independence in how artists are creating and connecting with fans, and as an indie, we get to be part of that \u2014 helping amplify what\u2019s authentic rather than trying to manufacture it. It\u2019s also a shift in scale. Indies aren\u2019t just breaking artists anymore, but building the next generation of global stars and arena acts.\u201d<\/p>\n \tLauren Demarte, GoDigital Music<\/p>\n \n\t\u201cI love watching an artist hit that moment of clarity, when they fully understand who they are and operate in a flow state. You can\u2019t manufacture that kind of connection, and fans can feel it. That level of alignment used to take years to build, but now it can happen in real time, with artists moving quickly and fans right there with them. That\u2019s what makes this moment so important to get right.\u201d<\/p>\n \tNeil Jacobson, Hallwood Media<\/p>\n \n\t\u201cThe artists. They are smarter, more creative and more self-aware than ever. They know what they want and they know what they are worth. Our job is to meet them where they are and build around them, not put them in a box. When an artist walks into Hallwood they get a full team from day one. That is what excites me.\u201d<\/p>\n \tGee Davy, Association Of Independent Music<\/p>\n \n\t\u201cWhat excites me most about the independent music world right now is what has always defined it: fearless creativity, innovation and a powerful sense of collective strength. We\u2019re seeing a new generation of artists, labels and music entrepreneurs coming through. That was clear from the nominations to 2025\u2019s Independent Music Awards, with more new entry nominations than ever before. Independents continue to be early adopters \u2014 experimenting with new technologies, building tools in\u2011house and opening up new areas for fan connection \u2014 always with creativity and culture at the core. Of course, this is oftentimes out of necessity, to compete in the current climate of consolidation and find good outcomes for artists. But what\u2019s most inspiring to me is seeing success being built through partnership, collaboration and shared ambition across the independent community. This is an ecosystem that thrives on working together to find success, and that\u2019s at the heart of the work we do at AIM: providing the tools and bringing people together to find success and fight common challenges.\u201d<\/p>\n \tLogan Mulvey, GoDigital Music<\/p>\n \n\t\u201cThe collapse of the genre gatekeeper. We\u2019re in a post-genre world where authenticity is really the only thing that holds value. Something interesting is the rise of the \u2018human premium.\u2019 As polished, AI-assisted content becomes easier to make, the value shifts to what feels real \u2014 raw storytelling, texture, imperfection. At the same time, the best artists are using AI as a tool, not a replacement. It handles the friction so they can focus on being more human, not less. The result is an artist who can reach a global audience without losing their edge. That wasn\u2019t possible a decade ago. It is now.\u201d<\/p>\n \tMarie Clausen, Ninja Tune<\/p>\n \n\t\u201cThe two things that excite me the most are the people and the music. To me, that has always been the magic of this space. We are competitors, but we are also collaborators, united by our love for music. We care, we want to make a difference, and we are extremely well connected. Working with Fcukers and Thundercat on their new incredible records earlier this year was another exciting experience and a reminder on what matters most: driving value to the artist we work with and growing the independent footprint.\u201d<\/p>\n \tLecrae Moore, Reach Records<\/p>\n \n\t\u201cWhat\u2019s most promising is the shift toward interest-based communities. Algorithms are now tailored to the individual, which means you no longer need to market to the masses to break. The opportunity for labels is to build infrastructure that connects deeply with these communities and creates sustainable revenue around them.\u201d<\/p>\n \tBen Washer, Reach Records<\/p>\n \n\t\u201cAll the change keeps you sharp. Today\u2019s environment doesn\u2019t reward the slow, calculated approach \u2014 you have to be willing to try new things and fail fast. With new technology and trends emerging monthly, being indie actually feels like an advantage. The smaller size means more freedom to move, adjust and go where the moment takes you.\u201d<\/p>\n \tDean Tabaac, AMPED<\/p>\n \n\t\u201cThe thing that truly energizes me is the incredible diversity of music we see today, coupled with the way social, economic and neighborhood barriers are breaking down. The rise of streaming has been a game changer \u2014 it\u2019s opened doors for artists and listeners, allowing music to reach beyond local influences. Now, we\u2019re seeing artists who draw inspiration from all corners of the globe, which leads to a more varied musical landscape. While genre-specific music will always have its place, the blending of styles and influences from around the world is creating new opportunities and pushing boundaries. It\u2019s fascinating to imagine what fresh genres might emerge as a result. When you think about it, we really haven\u2019t seen a truly game-changing genre since the grunge era in the \u201990s, and the current climate feels ripe for something revolutionary.\u201d<\/p>\n \tPip Smith, AMPED<\/p>\n \n\t\u201cThe rebound of the CD, a great option with a reasonable price. From cool box sets to new artists, there is continued growth when it was projected to die off. Sound familiar? CDs are a wonderful way to collect and enjoy music. I am personally a big collector and appreciate the price especially with the deluxe box sets that are out of range price-wise on vinyl. We always appreciate the artists that have the inclination to promote and direct fans to retail to find these offerings and not just on the D2C platform. That is a winning formula we want to encourage and expand.\u201d<\/p>\n \tJocelynn Pryor, AMPED<\/p>\n \n\t\u201cThe indie world is on fire right now. There is an incredible wave of new music coming out, and even more momentum as indie labels and distributors acquire and revive quintessential catalogs. We\u2019re seeing previously dormant record labels come back to life, artist catalogs being repressed and reintroduced into the marketplace, and renewed discovery around legacy releases. At the same time, it\u2019s genuinely exciting to see CD sales increasing, vinyl LP sales continuing to grow and new physical formats entering the conversation. All of this plays a critical role in helping artists build superfans and long-term audiences, which ultimately supports sustainable careers. At the end of the day, we want artists to be financially viable over the long term, and physical product plays a meaningful role in making that possible.\u201d<\/p>\n \tSasha Safavi, UnitedMasters<\/p>\n \n\t\u201cWe\u2019re experiencing audio and visual creativity at an all time high. Deals are flowing and the resources available to independent artists, labels and platforms are endless. This creates a high-growth, opportunity-driven environment. I\u2019m excited about that.\u201d<\/p>\n \tJesse Morav, UnitedMasters<\/p>\n \n\t\u201cWe\u2019re in a moment where you can build something meaningful from zero without asking permission. Indies are no longer the alternative; in many cases, they\u2019re the blueprint.\u201d<\/p>\n \tAlec Henderson, Artist Partner Group<\/p>\n \n\t\u201cWhat excites me most is the renewed focus on individuality and influence beyond traditional platforms. Artists are building deeper connections with fans through narrative, world-building and community, not just algorithms. It creates an environment where truly unique voices can break through and sustain meaningful careers on their own terms.\u201d<\/p>\n \tServando Cano, SERCA Music<\/p>\n \n\t\u201cWhat excites me most about the independent model today is the flexibility and speed of response to the changes the market demands. Our ability to operate with agility will always be a competitive advantage, as our structure allows us to adapt in real time to trends and the industry\u2019s constant evolution.\u201d<\/p>\n \tJavier \u201cJay\u201d Sang, Rebel Music\/Open Shift Distribution<\/p>\n \n\t\u201cWhat excites me most is that indie is not just a stepping stone anymore. For a lot of artists, it is the goal. They are looking for real partners who can move fast, understand them and help build something meaningful. That creates a huge opportunity for indie companies that know how to develop artists and build real businesses around them.\u201d<\/p>\n \tPascal Bittard, IDOL<\/p>\n \n\t\u201cAs more companies are absorbed into larger groups or operate on shorter return cycles, truly independent players are becoming more valuable. Labels and artists are looking for partners who prioritise stability, transparency and long-term vision over sheer volume. That shift plays to the strengths of companies like IDOL, where a two-decade commitment to curation, bespoke service and genuine partnership has put us in a stronger position than ever to differentiate, build trust and grow alongside our clients.\u201d<\/p>\n \tAsmarina Zerabruk, Young Recordings<\/p>\n \n\t\u201cWhat\u2019s exciting is that many of the qualities now being recognized as progressive \u2014 like genre fluidity, cultural specificity and a more holistic, artist-led approach \u2014 have long been inherent to the indie ecosystem and Young. This allows for less confinement to traditional pathways, giving artists even more access to build worlds that pull from film, fashion, internet culture and beyond. While short-form-focused social platforms and DSPs offer immediate and easily-accessible discovery, there is a renewed confidence in slower, more intentional storytelling. We are seeing a profound impact from campaigns that are thoughtful and built with care over time. From a label perspective, that opens the opportunity to support artists more holistically; not just around new releases, but across their catalog and their long-term cultural positioning. That\u2019s where indie can really lead \u2014 by continuing to take creative risks, nurturing community and helping artists shape culture in a way that feels genuinely artist-first.\u201d<\/p>\n \tJimmy Humilde, Rancho Humilde<\/p>\n \n\t\u201cCulture is back in control. Artists are leading, not the system. We\u2019ve seen it with Natanael Cano, Junior H and Fuerza Regida: raw, authentic movements going global without asking permission. That\u2019s what excites me. Indie today is fearless, global and building what\u2019s next, not following what worked before.\u201d<\/p>\n \tMiguel \u201cMickey\u201d Sanchez, Rancho Humilde<\/p>\n \n\t\u201cIt\u2019s harder to build long-term fan loyalty. Us in the industry have to work even more to make them stay relevant but for that we need to educate our talent on shifting responsibility on becoming creators, marketers and entrepreneurs.\u201d<\/p>\n \tSimon Mortimer-Lamb, Nettwerk Music Group<\/p>\n \n\t\u201cThe tension in the indie space right now is that consolidation is increasing at the infrastructure level, while optionality is expanding at the operating level. That\u2019s ultimately what gives me optimism. Even as ownership concentrates, the ways artists and independent companies can reach and develop audiences are diversifying. The winners will be the ones who can leverage that optionality to understand audience behavior, build deeper fan relationships and create sustainable models that don\u2019t depend on any single route to growth.\u201d<\/p>\n \tChris Atlas, FatBeats<\/p>\n \n\t\u201cArtists and creatives are developing exciting new physical products and continuing to speak directly to their fans. I\u2019m excited to see the vast amount of new packaging ideas and offerings available for ecommerce and D2C.\u00a0 Indie artists are taking advantage of speaking directly to their fans and offering them unique ways to get their music.\u201d<\/p>\n \tKevin Engler, FatBeats<\/p>\n \n\t\u201cIt\u2019s a great time to be independent. We are more nimble in adapting to artists\u2019 needs and consumers\u2019 wants, regardless of how music is presented and consumed.\u201d<\/p>\n \tCharlie Lexton, Merlin<\/p>\n \n\t\u201cThe ever-increasing significance of the independent business is attracting more and more investment into the sector. We see this as creating a massive opportunity for independents to dictate their own futures without having to tread the well-worn path of a finance-driven deal with a major. Merlin\u2019s partnership with Pipeline to provide advances for our members is a reflection of that trend and a focus for us as we look for as many ways as possible to leverage the collective value of our membership for the benefit of our individual members. I am excited to develop that partnership and that offering to facilitate the continued independence of our members.\u201d<\/p>\n \tAlexandre Williams, Create Music Group<\/p>\n \n\t\u201cCreative control is rising and niche cultures are thriving through technology and direct fan connections. Indies are proving you can win by building real businesses and redefining success on your own terms.\u201d<\/p>\n \tPhil Bauer, DistroKid<\/p>\n \n\t\u201cIt\u2019s not just that the indie sector keeps growing \u2014 it\u2019s that the quality is growing with it. Every day, I come across artists I\u2019ve never heard of making something genuinely great. Across genres, languages and geographies, the level of creativity is incredibly high right now. That combination of scale and quality is what makes this moment so exciting.\u201d<\/p>\n \tSteve Stoute, UnitedMasters<\/p>\n \n\t\u201cI love that artists don\u2019t have to \u2018starve\u2019 to be successful anymore. We are in the era of the direct-to-consumer artist. You can reach fans all over the world and keep 100% ownership of your work. What really gets me excited is the leverage. A young creator with a phone has access to the same tools and info as a big record company. Seeing artists stay independent while partnering with massive brands is the ultimate win. It\u2019s no longer about getting \u2018signed\u2019 \u2014 it\u2019s about owning your future. The indie world today isn\u2019t about being \u2018small\u2019 \u2014it\u2019s about being agile. That\u2019s not just a trend; that\u2019s a paradigm shift. We\u2019re finally seeing a world where the talent has the leverage. That\u2019s why I get up in the morning.\u201d<\/p>\n \tLynn Oliver-Cline, River House Artists<\/p>\n \n\t\u201cI think what excites me most is the mind set of new artists taking control of their career and finding a real partner for their vision and not just needing validation by signing to a major.\u201d<\/p>\n \tZebb Luster, River House Artists<\/p>\n \n\t\u201cThe control artists have. Artists can build a foundation on their own terms and connect with fans in a way that actually feels real. The barrier to entry is lower than ever, but the bar to stand out is higher than ever, and that\u2019s the opportunity. The artists and teams willing to outwork, outthink and play the long game are the ones winning.\u201d<\/p>\n \tAnnie Ortmeier, Triple Tigers Records<\/p>\n \n\t\u201cThe amount of artists choosing to come to the indie space now, rather than being forced. They are starting their own labels, running and gunning their own way, partnering with established indies and rewriting their own rule book and other artists are taking note.\u201d<\/p>\n \tKevin Herring, Triple Tigers Records<\/p>\n \n\t\u201cI always look at Triple Tigers as fast and nimble. I\u2019ve always been excited about our focus and ability to make decisions quickly. In the end it\u2019s great music and relationships that matter more than logo on the product.\u201d<\/p>\n \tDmitry YJ Tak, SM Entertainment<\/p>\n \n\t\u201cWhat excites us most is the profound and evolving dynamic of the artist-fan relationship. Engagement is no longer defined by discrete, singular moments, such as a release or a tour; instead, it is a continuous exchange shaped by high-quality content, intentional storytelling and direct communication. Beyond digital engagement, live performance and merchandise are being reimagined through greater diversity and new purchasing models, evolving into more immersive avenues for fans to engage with an artist\u2019s creative universe. In the indie space, we see this evolution unfolding organically, with artists establishing highly direct and personal ecosystems around their audiences from the very outset. This sustained, high-quality connection is the essential ingredient that leads directly to long-term value and enduring careers.\u201d<\/p>\n \tAmber Grimes, LVRN<\/p>\n \n\t\u201cThere are a lot of really great Direct-to-fan tools available that make it possible for indie artists to build communities. Communities convert, show up and invest in artists long-term. If used properly and built intentionally, it can reduce the artist\u2019s reliance on algorithms and having to do things that don\u2019t align with their brand for visibility.\u201d<\/p>\n \tJustice Baiden, LVRN<\/p>\n \n\t\u201cThe power dynamic has completely flipped. An artist doesn\u2019t need a major to reach millions anymore, that\u2019s just the reality. So the best artists aren\u2019t coming to independents out of desperation, they\u2019re choosing us because of what we stand for. That\u2019s what gets me. At LVRN, we\u2019ve always said culture over commerce, and now the infrastructure finally exists where that\u2019s actually a competitive advantage. Artists want to own their story. We help them do that. That was true for us in 2017, and it\u2019s even more true now.\u201d<\/p>\n \tHelen Smith, IMPALA<\/p>\n \n\t\u201cWith so much speculation around music companies as financial assets to extract value from, it\u2019s an exciting time for independent labels as genuine artist partners. IMPALA\u2019s Faces of the Independent Sector interviews, launched for our 25th anniversary, are a great illustration of this. Freedom to make decisions in the interests of your artists and their music is one aspect that comes across that sets independents apart. But it\u2019s not only that. Independently owned music businesses are smarter, faster and fairer because they want to do the best job possible for all amazing artists they work with. By being free to decide what\u2019s important, including working together where needed, independents are also leading sector change on streaming models, as well as sustainability and inclusion and more.\u201d<\/p>\n \tJamie Oborne, Dirty Hit<\/p>\n \n\t\u201cI\u2019ve always believed that the most important thing we can do is protect the feeling that made people care in the first place. Not chase scale for its own sake, not optimize the life out of something, but really invest in the artist, the world they\u2019re building and the time it takes for that to connect properly. It feels like the industry is shifting back toward that now \u2014 where trust, taste and genuine creative partnership matter more than just volume. That\u2019s always been the intention here: to build something that lasts, that feels honest and that gives artists the space to become who they\u2019re meant to be. This excites me.\u201d<\/p>\n \tRomain Vivien, Believe<\/p>\n \n\t\u201cI am especially excited by the new generation of music entrepreneurs who are leading local and regional music scenes around the world \u2014 discovering and nurturing new talents, allowing artists to showcase their craft and creative vision to audiences locally and beyond. They are investing in A&R every single day, and that is what matters the most. They are strongly connected to the artist community and know better how to support and elevate artists to create cultural impact. I am very proud we are partnering with these local entrepreneurs, whether they are labels or artists, in each market we operate in. This puts us in a position to better understand local trends and be able to take some risk and invest in as many of them as possible. Our goal is clear: actively support the existing artist community and its next generation to help them reach success locally, regionally and globally for some of them.\u201d<\/p>\n \tElsa Bahamonde Bourgain, Believe<\/p>\n \n\t\u201cThe rise of local and regional music genres to the global stage. By working at Believe, I am lucky enough to be able to witness it firsthand every single day: from India\u2019s Punjabi scene reaching Canadian fans, all the way to Brazil\u2019s forr\u00f3 or Regional Mexican conquering global audiences, but also amapiano and afrobeats continuing to cross borders \u2014 all these genres are capturing new listeners and fans around the world and creating endless opportunities and value for independent artists.\u201d<\/p>\n \tBrian Miller, TuneCore<\/p>\n \n\t\u201cThe indie world continues to drive much of the real musical innovation and experimentation, and independent artists have more power than ever to succeed on their own terms without compromising their creative vision or output. There\u2019s a real demand for authentic, independent voices willing to put themselves out there, and we are seeing some incredible, exciting talent emerge \u2014 and succeed \u2014 in response to that hunger. At TuneCore, we\u2019re excited to be able to provide a clear path for those artists to grow and reach new audiences without compromising what makes them unique, whether they\u2019re just starting their careers or filling arenas around the world.\u201d<\/p>\n \tNicki Shamel, TuneCore<\/p>\n \n\t\u201cThe barriers that once existed are largely gone \u2014 artists can create from anywhere, reach global audiences and build sustainable careers on their own terms. Independent doesn\u2019t mean small, it means having autonomy over your career.\u201d<\/p>\n \tNabil Ayers, Beggars Group<\/p>\n \n\t\u201cIt\u2019s bigger than ever with everything from bedroom projects to superstars. While music remains a competitive space, the barriers to entry have never been this removed.\u201d<\/p>\n \tClaire Taylor, Beggars Group<\/p>\n \n\t\u201cI\u2019m excited by a lot of new records right now from artists just breaking through to artists on their seventh album who I\u2019ve loved for years; not just on our own labels\u2019 rosters, but across labels of all size and scope.\u201d<\/p>\n \tAndy Larsen, Beggars Group<\/p>\n \n\t\u201cAs spaces grow and change, it\u2019s exciting to work directly with artists that want more personal control over their campaigns. We can work with them to carve new avenues.\u201d<\/p>\n \tPam Garavano-Coolbaugh, Beggars Group<\/p>\n \n\t\u201cAs always, the artists \u2014 what else? \u2014 and the community. While there is friendly competition within the independent community, it\u2019s heartening to know organizations like IMPALA and A2IM work to support the community as a whole.\u201d<\/p>\n \tGlen Barros, Exceleration Music<\/p>\n \n\t\u201cIt feels like a genuine counter-movement is underway. Audiences are pushing back against algorithmic homogeneity and gravitating towards music with depth, intent and stronger artist connection. We believe this trend will only intensify as more low-quality content floods the market. This shift plays directly to the strengths of the independent sector, which has always thrived on adaptability. With the continued revival of physical formats, the growing value of independent catalog, the rise of direct-to-fan sales and a renewed appetite for connection, the scene is set for an exciting future.<\/p>\n \n\t\u201cWe\u2019ve built an ecosystem where true creators and entrepreneurs can access the right mix of capital, expertise and global reach to achieve their goals. Increasingly, others are recognizing this model, too. Our belief has always been that culturally meaningful music, driven by genuine fan relationships, will ultimately prevail. That success will depend on strong yet flexible human relationships with partners able to best help them on that journey. That makes this a hugely exciting moment for the indie space.\u201d<\/p>\n \tDan Waite, Better Noise Music<\/p>\n \n\t\u201cDespite the various headwinds, it\u2019s never been easier to start a band and start to build a following. For a record label like Better Noise which specialises in growing and developing artists, we are able to take bands to the next level and give the level of hands-on development that can take a band from clubs to arenas, alongside our trusted touring, media, radio, streaming and distribution partners.\u201d<\/p>\n \tJaqueline Saturn, Virgin Music Group<\/p>\n \n\t\u201cFirst and foremost, the music. More flexibility and choice in today\u2019s business means more creativity and more experimentation. Artists can really be themselves, which is great for all of us.\u201d<\/p>\n \tIke Youssef, gamma.<\/p>\n \n\t\u201cIt\u2019s great to operate in the part of the pond that is rising, and that growth has attracted a lot of attention from the establishment and new capital.\u00a0 With this high level of interest seen in the recent consolidation of companies, our commitment to real independence and formulation of a strategy around that is an integral part of the gamma. mission.\u201d<\/p>\n \tGerard Cosloy, Matador Records<\/p>\n \n\t\u201cI am continuously excited by the emergence of new talent that isn\u2019t mining nostalgia and the plethora of great labels, some of them not in the least bit dependent, that are not merely content with nipping at our heels but instead finding pathways of their own. Also, if you keep telling people online that Suno is actually pronounced \u2018Sumo,\u2019 it\u2019s fun to see how upset they get.\u201d<\/p>\n \tChris Lombardi, Matador Records<\/p>\n \n\t\u201cA generation of new bands having grown up with streaming their whole lives have been inspired by an infinite catalog of music.\u201d<\/p>\n \tLonny Olinick, AWAL<\/p>\n \n\t\u201cThere was a period where much of the world was looking for shortcuts in order to be successful. The artists who have cut through over the last couple of years show that great art and great storytelling matter more than ever. But, the catch is you can only create great art and tell great stories with years of relentlessly hard work. There are no magic tricks to build real, sustained success. So companies that thrive are those with enough conviction to continue to invest their time and energy over many years knowing that they have the right artists and that it will work even when no one else believes it will. Successful indies throughout history have been built with this exact purpose.\u201d<\/p>\n \tHumberto Novoa, Azteca Records<\/p>\n \n\t\u201cWhat excites me most about the indie world right now is how technological advancement, especially through social media, has opened doors that used to be extremely limited. Opportunities that were once controlled almost entirely by major labels are now more accessible to independent artists. Indie artists now have the ability to build audiences, test music in real time and create momentum without waiting for institutional validation.\u201d<\/p>\n \tSergio P\u00e9rez, Azteca Records<\/p>\n \n\t\u201cThe indie landscape\u2019s rapid growth fosters an environment that encourages fierce competition with major players in the industry. These major companies possess vast resources that enable them to develop sophisticated algorithms, maximizing their streaming potential and audience reach. However, this challenge invigorates us; it pushes us to deepen our understanding of the market dynamics and learn from our past missteps. By meticulously analyzing the wealth of data at our disposal, we are committed to enhancing our strategies, refining our approaches and ultimately creating compelling content that resonates with our audience. The thrill lies not only in the competition itself but also in the continuous journey of learning and adaptation that drives our passion for the indie scene.\u201d<\/p>\n \tNigil Mack, drink sum wtr<\/p>\n \n\t\u201cBeing nimble and able to take your time to really build an artist regionally to the global stage.\u201d<\/p>\n \tRobby Morris, Secretly Group<\/p>\n \n\t\u201cPeople are feeling the churn of recommendation engines and the manufactured way everything hits in the first 15 seconds and they\u2019re actively looking for something different. Those are the spaces where indie artists flourish: Where tracking down a physical record is part of the experience, where an album opens up on the third or fourth listen, where you discover an artist\u2019s world through word of mouth or a live show or a longform music video rather than in a feed. Art that rewards patience and real fandom is what people are actually hungry for right now.\u201d<\/p>\n \tChris Welz, Secretly Distribution<\/p>\n \n\t\u201cIt has been incredible to see incoming generations of fans supporting indie shops of all kinds like never before.\u201d<\/p>\n \tIain Catling, AudioSalad<\/p>\n \n\t\u201cDespite the recent acquisition of indie distributors by major labels, artists are still turning to the independent sector as a compelling path to release music while retaining ownership. Innovation remains strongest in the indie space, promoting long-term partnerships between service providers and artists, labels and rights holders.\u201d<\/p>\n \tZack Bia, Field Trip<\/p>\n \n\t\u201cWith the democratization of musical releases and content funnels there will be an increasingly large number of artists that can galvanize true core cult fandom. The advantage in an endless well of content is that unique creatives can stand out and be rewarded on their own terms. Independent artists at any scale can truly find their audience more than ever before. We can then be there to help champion and scale that.\u201d<\/p>\n \tJae Yoon Choi, hello82<\/p>\n \n\t\u201cHow essential fan communities are becoming to long-term value creation. We love fandom, and our focus is on connecting organic enthusiasm across different parts of the business. For us, fans aren\u2019t just customers, but valued partners in the ecosystem alongside the artists. That perspective is the guiding factor for how we operate. At hello82, we function as both a label and distributor, building a 360 business across merchandise, tour promotion and even our own festivals. Everything is designed to deepen the connection between artists and fans. We are still in the early stages of what a community-driven model can be. This is what makes this moment so exciting. There is still plenty of room to develop new forms of engagement and entirely new business models.\u201d<\/p>\n \tRicky Reed, Nice Life Recording Company<\/p>\n \n\t\u201cThe old ideas of what was achievable by independent labels vs. majors have disappeared. Success comes from the quality of the art and passionate, hard work. Whoever wants it more, wins.\u201d<\/p>\n \tNicole Enos, Nice Life Recording Company<\/p>\n \n\t\u201cHonestly, what excites me most is how indies are elevating what artist development can look like while reacting quickly to cultural moments.\u201d<\/p>\n \tJoJamie Hahr, BMG<\/p>\n \n\t\u201cOur agility in response to discovery and adaptation. One of our core values is curiosity and that is reflected both in the acts that we sign and the passion that the team brings to our projects. The global connectivity of our team is enabling us to get in earlier with burgeoning artists and our digital team is now at the forefront of virality and trends that are driving culture and algorithms across the platforms.\u201d<\/p>\n \tDan Gill, BMG<\/p>\n \n\t\u201cArtists and labels now have more room to build sustainable businesses around fandom, creating career longevity. The real upside is in helping artists create identity, narrative and community in an organic way, then turning that connection into long-term value across streaming, merch, live, content and direct-to-fan relationships. That plays directly to the strengths of the best independent labels, because we tend to be closer to the artist, closer to the culture and more flexible in how we build. For artists, that means there is more freedom than ever to define their own brand and own the relationship with their audience. For labels, it means there is a real opportunity to be more than a service provider. The best indie labels can help artists sharpen their story, amplify what makes them distinct and build businesses that are not dependent on a single platform or one moment in the algorithm.\u201d<\/p>\n \tNate Albert, Giant Music<\/p>\n \n\t\u201cHow easy it is for artists to make music, the low barrier to entry and how amazing the next generation of talent is at using technology to make creative statements using their own resources.\u201d<\/p>\n \t<\/p>\n \t<\/a><\/p>\n Daily newsletters straight to your inbox<\/p>\n