For most artists, getting a message from a record label feels like winning the lottery. Years of grinding, uploading music, chasing playlists, building a following — and finally, someone from “the industry” wants to talk. The problem is, that moment of validation is exactly what labels rely on to push artists into deals that benefit the label far more than the artist.

The truth is, labels rarely sign artists because they believe in “art.” They sign artists because they see leverage. Data, momentum, audience, image, marketability. If you’re being approached, it usually means you’ve already done the hardest part: building something on your own. Ironically, that’s often when a bad deal becomes the most dangerous.

Most modern label deals are structured around ownership and control. The label offers an advance, which sounds like free money, but is really just a loan you have to pay back from your future earnings. Then they take a large percentage of your masters, your publishing, sometimes even your brand, merch, touring, and image. You’re essentially financing your own career while giving up the rights to it.

The biggest trick is urgency. “We need an answer by Friday.” “This opportunity won’t be here long.” “Other artists are interested.” Labels know that scarcity creates emotional decisions. Artists start thinking in terms of being chosen instead of being strategic. They stop asking the most important question: What am I actually giving up, and for what?

Another common tactic is the illusion of support. Labels promise marketing, playlisting, radio, PR, connections, and “the machine.” In reality, most artists on labels get minimal attention unless they’re already performing. If your first release doesn’t hit, you’re often quietly deprioritized while still locked into a multi-year contract you can’t escape.

What artists rarely realize is that in 2026, labels need artists more than artists need labels. Distribution is cheap. Marketing can be outsourced. Fans are built on TikTok, Instagram, YouTube, Spotify, and email lists — not through label offices. Many artists today are doing millions of streams independently, keeping ownership, data, and long-term income.

The smartest artists don’t ask, “How do I get signed?” They ask, “What does this deal give me that I can’t already build myself?” If the answer is vague — exposure, credibility, industry access — it’s usually not worth giving up your masters for the next 10 to 20 years.

A good deal should feel boring on paper. Clear splits. Short term. You keep ownership. You can leave. You understand exactly how money flows. If you can’t explain your own contract in simple language, it’s probably not in your favor.

The real flex in today’s music industry isn’t getting signed. It’s having leverage. It’s owning your catalog. It’s being able to say no. Labels aren’t evil, but they are businesses, and their job is to acquire assets at the lowest cost possible. Your job as an artist is to realize that you are the asset.

The moment you stop chasing validation from the industry is usually the moment the industry starts chasing you. And that’s the only position where a deal ever makes sense.