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28.11.14 Music Week 23
artists as well. That’s never easy but we have the team and the nous needed”. Roe adds: “Certainly as long as I’ve been
working in label services, which is pretty much since its inception in its current guise, it’s been a route for development artists as well as established. However, it has certainly grown. Artists that Caroline work with such as Glass Animals on Paul Epworth’s Wolf Tone label, Bear’s Den on Communion or Shannon Saunders on Yup! are young, savvy artists and labels who don’t necessarily want major label A&R - or, if they do, they want it provided in a more subtle way. Caroline has all the pieces in place to provide them with all the elements they need to work a campaign locally or internationally.” Believe Digital announced a new strategic
alliance with Kartel in May 2013, which combined Believe’s digital distribution and Kartel’s management focused label services. Kartel started offering services deals in 2005 from the position of artist management working with artists who didn’t feel comfortable relinquishing control to a record label - the first being Fat Freddy’s Drop. Ten years on, Fat Freddy’s Drop have just sold out Alexandra Palace, remaining in control of their masters and copyrights. Kartel founder and CEO Charles Kirby-Welch
says that there is still truth in the idea that the artist services sector is predominantly used by established acts. He adds that while increasing competition in the sector has meant more opportunities for developing artists, “finance is often the stumbling
Shannon Saunders (Caroline)
Lenny Kravitz (KLS)
Ward Thomas (Absolute)
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