Between artists, labels, and a measure of risk
Artists and labels go hand in hand, and yet they are often at odds with one another.
Labels have business, profitability, and longevity in mind, while artists seek to bring their creative visions to life—and make a decent living off their dreams. In some cases, however, this profit-oriented approach has resulted in horror stories and cautionary tales that have ultimately led aspiring artists and fans to generally distrust labels.
Among the worst of these include Taylor Swift, who had to pay $360 million to own her music, and Kesha, who recounted incidences of physical, emotional, and sexual abuse over the span of a decade from her producer, Dr. Luke.
Locally, while there aren’t many high-profile incidents of label mismanagement to reference, it is generally understood that cases of unfair revenue splits and lackluster label support are especially prevalent among younger and less experienced talents.
Mrld and O/C Records
In a Facebook post shared on March 6, 2026, Meriel de Jesus—better known as Mrld—announced that she left O/C Records, an independent label owned by Kean Cipriano.
“The days of being under a label were purely mixed emotions. I don’t wanna write this message sounding ungrateful or holding grudges. I really am thankful to whoever trusted me and my capabilities as an artist,” shared the singer-songwriter.
“I have never been this happy and grateful. I am finally releasing my own songs.”
In another post dated March 8, 2026, De Jesus later clarified the circumstances behind her departure, going as far as to share that she only took five percent in revenue splits for her songs.
“I’m the breadwinner of my family… Ako nalang ang may trabaho sa amin at patuloy kong ipagmamalaki ‘yon. I deserve more than 5% of the songs I wrote and produced. I deserve more for all the hard work I put into my name.
“I asked several times for a meeting, but it’s always a no-show… I know what was written in my contract. I know my percentage share,” she added.
While O/C Records has yet to come out with an official statement on the matter, AdProm head James Banaag has shared that their contract with De Jesus is still in effect. Banaag also acknowledged her 5 percent share, but asserted that it was something she knew and willingly signed off on.
Industry response and the flipside of artistry
Following the widespread discussions that have ensued on the risk labels take and the fair compensation artists deserve, several industry veterans have gone out to share their thoughts on the matter.
In a personal post, Banaag painted the picture of a support structure that each released song relies on—far beyond just the artists and labels attached to them.
“For every song that becomes a hit, there are many others that don’t… The music industry has always been an ecosystem—artists, managers, creatives, and label teams all trying to make something work in a very unpredictable business.”
Meanwhile, songwriter and ABS-CBN Music AVP and creative director Jonathan Manalo delved into the dynamic between label and artist, and how the latter earns greater creative and financial control over time.
“Record labels invest significant time, resources, and capital in building and developing artists, often in good faith, making them superstars… When artists succeed, their leverage increases. But it is precisely because labels invested in them, building their careers, giving them platforms, that these artists now thrive.”
Manalo added, “Unfair practices and truly predatory arrangements should always be called out and corrected. At the same time, it is also important to address the artist bubble that can sometimes lead to unrealistic expectations about entitlement.”
Artist and musician Mondo Castro II, on the other hand, offered a middle-of-the-ground take. For him, both artists and labels carry a form of risk the moment they enter into an agreement with one another. The artist signs off on the creative and financial freedom they would normally enjoy as an independent, in exchange for a piece of the machinery labels operate with. Meanwhile, labels spend considerable resources on the off chance that their bet cashes in.
“If you’re an artist, learn the business side of what you do. Ask questions. Protect your work. Surround yourself with people you trust. If you’re running a label, remember that the music exists because of the artists. Respect that responsibility,” Castro maintained.
Who truly carries risk?
In the end, the question of who is entitled to what isn’t something that is so easily resolved.
Because while there is no music without the artist, keep in mind that some of the biggest hits we enjoy today didn’t come solely from the artists themselves, but the writers, producers, and composers they work with.
But to measure risk in terms of simply what the other gives is inherently unfair. How can a single artist compete with the hundreds of thousands, and maybe millions a label shells out? You simply can’t.
Instead, measures of fairness must revolve around the fact that artists bet their lives on the one-in-a-million chance that their dream somehow amounts to a worthwhile career. Meanwhile, labels bet on financial risks they can always recoup.
That’s the difference. Artists go all-in and labels always have another project they can look towards. The risk isn’t the same.
