A Quote by Freya Ridings
Being signed to a major label was never an option because I knew having the time to find out who you are without pressure from other people is so important.
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It breaks my heart to see these young, really talented bands getting chewed up into the system. I remember a time if you'd signed to a major label it was such a sell out! But now... unless you've signed to a big label, you're a failure now.
My problem was never with the major label, it was with the guy who we put our trust in and then wouldn't take my phone calls once we'd signed to a major label, who then quit.
I know a lot of people feel pressure with their major label sophomore CD and having to follow up their first record real good. Well, we didn't have that pressure, because we have a real loyal fanbase, not a fanbase because we're on the radio, know what I mean?
The best part of being signed by a major label was having the support of a big company behind me and the ability to meet new artists and producers.
We're so humbled and lucky to be in a position where we've been a four-piece for over 15 years. We're signed to a major label. We're on our fourth record on a major label. We've won a Grammy. We've toured the world.
That's the best thing about being with an indie label, it feels like a family. If it's a major label, they put so much pressure on every single.
The people at the label were great but at the end of the day our visions didn't match up and I knew I had to do it my way. The potential success that could come with signing with a major label didn't quite outweigh how important it was for me to make my music the way I knew it needed to be made. It was a hard decision to make, but I've never regretted it for a second and it's only become more clear to me after making and releasing Stairwells that it was the right one.
For new bands, I think a major label is the safest place to be. Independent labels are the ones getting away with murder. A lot of them are hobbyists who rip-off young bands, taking advantage of people who would never get signed to a major.
We've been lucky. Even as a young, local-level band, we were able to rise out of the local scene without having any debt, without having signed the wrong deal with the wrong manager or the wrong booker or a small label.
There was a moment, a few weeks after I signed, that it actually hit me. I was signed to a major label.
I was signed at 19 years old to a major label, and dropped by the time I was 22.
My whole life has been completely about being underestimated. I remember when Blink signed to a major label, and we had a debut party for the signing. No one came to party, only the guy that signed us. And I remember sitting there, like, "S**t, no one likes this."
I've been on a major label for 14 years. I've always wanted as many people as possible to hear my music, and it definitely made sense for the majority of my career to be on a major label, on a distribution level, to be in people's faces and be out there, and have access to major labels' incredible machine, even though they have not understood or haven't been invested in what I was doing.
White people don't have that problem, they get to go through life never having to fit into a box, and it's really more so true for white men because even just being a woman, you sort of have to walk around other people's assumptions of you and it's so exhausting and there's a sense, especially among young people of wanting to just live your life, not having to wear the weight of that pressure - pressure that people of color feel, that gay people of color feel, that women of color feel.
Now, if I speak to people who want to act, I say, 'Don't give yourself a back-up.' If I had gone to university, I wouldn't be doing this job now. Having that pressure and no other option just made me work that much harder for it, because you have no other choice.
Doing things in my day was simple: you either signed to a big label or you signed to a very small label, and you worked with that one, and then they eventually signed you on to a big one.
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