Self-brand or be branded out: the convergence of mainstream and independent music talent scouting under platform capitalism

While extensive scholarship has examined how platformisation has transformed music distribution and consumption, relatively little attention has been paid to its impact on talent discovery and artist development processes. This study investigates how the increasing dominance of digital platforms as mediators of musical circulation has reconfigured talent-scouting practices across different market segments. A first round of interviews focusing on mainstream record labels has identified three predominant scouting paradigms that have emerged in response to platformisation: the ‘platform strategy’ (predicated on digital metric analysis), the ‘preventive overexposure strategy’ (leveraging traditional media for market testing), and the ‘familistic strategy’ (mobilising established industry networks). These findings evidenced a marked transition toward ex-post selection processes, wherein artist acquisition is predominantly contingent upon predetermined market validation through digital platforms or media exposure. Through a second round of interviews with 15 independent labels specialising in alternative music genres, the present study reveals that despite their distinct subcultural positioning, these enterprises largely conform to similar patterns of ex-post selection. While these labels maintain certain specificities, they demonstrate comparable reliance on pre-existing market validation. This alignment between independent and mainstream practices raises significant concerns about the industry’s systematic disadvantaging of artists lacking digital proficiency, self-management capabilities, or self-branding skills. Even within purportedly alternative music sectors, the increasing prevalence of ex-post selection risks creating barriers for musicians who may struggle with platform visibility and digital marketing despite their creative output. This suggests a broader transformation of talent discovery practices that potentially limits access to recording opportunities based on artists’ capacity to deal with digital environments rather than other aspects of their musical activity.