Richie Mensah, the CEO of Lynx Entertainment, a prominent Ghanaian record label, has addressed the perceived decline in the success of artists after they leave his label, debunking the notion of a “Lynx curse.” He argues that the shift in an artist’s trajectory is not a result of any supernatural phenomenon but rather a natural consequence of the change in resources and support available to them when they transition from a well-established label environment to an independent career. Mensah emphasizes the significant investment and manpower that a label like Lynx pours into its artists, encompassing various aspects of their careers, from creative development and public relations to visual production and street-level promotion. This robust infrastructure, he explains, is difficult to replicate on an individual basis.
Mensah contends that success should not be solely measured by absolute financial returns but also by profit margins. While a label-backed artist might generate larger sums of money due to significant investment, an independent artist operating with a smaller budget might actually achieve a higher profit margin. He illustrates this with a hypothetical example: a label investing $1 million and earning $1.5 million represents a success, but so does an independent artist investing $200,000 and earning $400,000. The latter, despite earning a smaller absolute amount, boasts a superior profit margin, demonstrating a different, yet equally valid, form of success. This perspective challenges the common tendency to equate larger sums of money with greater success, overlooking the underlying economics and the relative profitability of different scales of operation.
He highlights the extensive team at Lynx Entertainment, comprising over 60 employees dedicated to various aspects of artist development and promotion. This comprehensive support system, he explains, is a crucial factor in the label’s success. When an artist leaves this structured environment to pursue a solo career, they lose access to this established network and the synergistic efforts of a large team. The burden of managing all these aspects—creative, PR, visuals, and promotion—often falls on the artist themselves, or a significantly smaller team, leading to a natural decline in the sheer volume of work dedicated to their career, and consequently, a potential decrease in output and visibility.
Mensah further breaks down the divisional structure within Lynx Entertainment, explaining how dedicated teams work on different facets of an artist’s career. This includes teams specializing in creative development, public relations, visual content creation, and on-the-ground promotion. This compartmentalization allows for a focused and efficient approach to artist management, ensuring that each aspect receives the necessary attention and expertise. When an artist departs from this structure, they are often unable to replicate this level of specialization and dedicated resources, impacting the overall development and promotion of their music.
The transition to independence, therefore, presents a significant logistical and financial challenge. Replicating the multi-faceted support system of a label requires significant personal investment, which can be difficult for artists who are accustomed to the backing of a well-resourced organization. Mensah underscores that this is not a sign of failure or a “curse,” but a realistic reflection of the demanding nature of the music industry, particularly when navigating it without the extensive infrastructure of a label. The reduced manpower and resources inevitably impact the artist’s ability to maintain the same level of output and visibility they enjoyed while under contract.
Ultimately, Mensah’s argument calls for a more nuanced understanding of success within the music industry, moving beyond simplistic comparisons of revenue figures and recognizing the varying levels of investment and resources available to artists at different stages of their careers. He stresses that the challenges faced by artists leaving a label are not unique to Lynx Entertainment but rather a systemic issue within the industry, highlighting the significant role that labels play in supporting artists’ careers and the complexities involved in transitioning to independence. His perspective offers a valuable insight into the often-unseen machinery of the music business, urging a shift in how success is perceived and evaluated, and encouraging a greater appreciation for the different models of operation within the industry.
