MP: How did the agency come about?
BT: From the outset, a focus on excellence within communities has been at the core of the Rap Club programme. This focus meant the quality of outcomes was continually improving, which led to the industry becoming more and more aware of the project and the individuals within it. It started off with one artist the industry spotted through the platform we use to share videos, then they found another artist through the same platform, until it got to a point where they knew it was a space to discover lots of young talent. We're now in a position where the industry comes directly to us and we have those relationships. If young people feel part of a community that can go with them, they are going to want to take the community with them, rather than having to rely on someone unknown.
MP: What support do you offer?
BT: Initially, it was signposting. We'd say, ‘This is someone you can talk to; we can be in the room with you, but we're not going stay the whole time, and so on.’ The industry isn't set up in a way where the best interests of the creatives are at the forefront, so one issue was just simply around getting them the best ‘deal’ they could and being in their corner to support. The other side was safeguarding; there are just no structures in place for that. You could have a 16- or even 15-year-old who is treated exactly the same as a 30-year-old by the industry, which is problematic, to say the least. Coming from an education background with Rap Club, we are well placed to help bridge that gap and build that understanding within the industry.
MP: What other issues come up at the negotiating table?
BT: I can see young people not quite understanding what the label representatives are saying. I'm thinking the label is saying one thing when they're meaning something else; but the young person – and often their parents – think it sounds amazing.
I think it's a misconception that the main issue is always money. The main risk is really time: being locked into contracts which go on for long periods. You might initially get paid less for something than you should, but if a young person is locked into a contract for a significant period of time, that can have a major impact on what they can do.
MT: Do you think labels are doing enough to support artists?
BT: First and foremost, I think the label model doesn't work and hasn't worked for a long time. The only reason they're still relevant is that they have a monopoly on the traditional roots into the industry. Labels don't nurture or brand artists in the ways they might have done in the past; now, essentially, it's ‘here's some money and here are some connections’. That's it. And an email list is not worth 80% of an artist's earnings. This is one of the reasons more and more artists are moving away from labels. Once this becomes enough of a thing, and people realise you don't need to go through labels, doors will open for easier artist–streamer relationships – which will be a significant shift.
MT: What do you think the industry will look like in 10 years' time?
BT: It could go so many different ways. For me, I'd like to see a move towards a more team-based approach, where young creatives can build their own teams around them. This would empower young creatives and the people around them to make things happen for themselves. As long as there's some kind of monopoly on access to the industry, that's where the roadblocks come in. It could end up being the opposite situation to now, with streamers rather than labels having that kind of restriction and control over what artists can do. Throw AI into the mix, and who knows what might happen.
