Industry Insider: Lynn Elliot Discusses New Artists & Evolution of the Music Industry

A standout amongst her peers, Lynn Elliot is one of the leading figures in the world of entertainment law. It was announced earlier this month that she had joined Smith Entertainment Law Group as Senior Counsel (SELG) (read the news here), a significant development for both the firm and the industry itself. In her impressive career, Elliot has worked on hundreds of independent films, documentaries, and programs. She also has extensive experience in music and live events. She has clients from across the spectrum of entertainment, including film and television producers, screenwriters, directors, actors, musicians, music managers, and live event promoters. Before joining SELG, Elliot served as Associate General Counsel at Dayglo Presents. Her primary responsibilities included handling legal matters for New York music promoter Peter Shapiro and his many ventures.

In her new role with SELG, Elliot will focus on structuring deals, negotiating agreements, and providing risk assessment. She will also guide business operations for the group’s roster of clients. Founder and managing partner for SELG Kerry Smith oversaw the addition of Elliot to his team, marking another significant milestone in the firm’s growth. With offices in New York and Los Angeles, SELG was founded in 2021. In the short time since then, they have become one of the leading firms in America. They specialize in providing production counsel for awards shows, scripted and unscripted series, independent films, documentaries, and so much more.

Lynn Elliot joins us for our Industry Insider interview, discussing her advice to young artists, modern realities of the music industry, the evolution of live performance, and more.

What’s your advice to new artists considering whether to sign with a major label or stay independent?

Lynn Elliot: “When a new artist is offered a label deal—either a major or indie—that’s an amazing accomplishment! Not everyone gets a record deal. Choosing between whether to go with a label or stay independent is a personal decision, but most artists choose to go with a label. Choosing a label has a number of deciding factors, including the size of the advance, the length of the commitment, the recording, touring, and marketing budgets, the label’s distribution network, and what other artists are on the roster (you may want a label that understands your genre) to name a few. Whether the label will own or license your music is also key. These points can all be negotiable, and choosing is dependent on where you are in your career and what you need at the time you’re considering signing.

“If you’re unsure about the label, a shorter term with fewer album commitments is wise. One of the most important factors in choosing whether to go with a label and which one is the people signing you. You need to click with your label reps and believe they will work to support your development and career trajectory. Your career will go through many ups and downs, so you want to be confident your label is in it for the long haul.”

Do you believe the responsibility for artist development now lies more with the artists themselves, or should labels and managers still play a bigger role in shaping careers?

“Ultimately, it’s your career, no one will care more about your career than YOU, so it’s important to be proactive. Until you have a label or manager to support you, it’s 100 percent on you. When you’re successful or established enough as an artist, your career becomes a team effort, and ideally, you have a team that believes in you and works for you, because no one can do it alone.”

What’s the biggest mistake artists make when they first start building their team (managers, agents, publicists, etc.)?

“Not doing their due diligence before signing a deal. There are a lot of people in this business who will take advantage, so you want to be sure the people you’re thinking about working with are respected, experienced and have a good reputation in the business. They shouldn’t just be about money or want unreasonable or long-term control over your finances or career.”

What’s the most overlooked aspect of an artist’s development?

“Honing your craft! The 10,000-hour rule comes to mind. It takes endless hours of practice to become a master of a skill. Talent is undeniable, and there’s always a place for truly talented people.”

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What’s one hard truth about the music industry that no one prepares you for when you first enter it?

“There are too many factors that are out of your control, so you have to focus on what’s in your control: practicing your instrument; writing alone and with collaborators; honing your craft; networking; getting comfortable on stage —even an audience of one! So when your opportunity comes, you’re ready.”

Do you think playlist culture has made it harder for artists to build a cohesive body of work, like an album?

“Well, sure. People don’t listen to music the same way anymore. I still love listening to whole records, but I don’t do it as much as I used to. Labels are leaning into placing tracks on playlists, as well as promoting albums. As someone who loves making and listening to playlists, I enjoy the diversity of different artists and songs that create a vibe. If there’s a single I keep coming back to, I’ll go listen to more from that artist. Playlists can be a gateway into an artist’s broader catalogue. I’ve discovered many artists that way.”

Do you think there’s too much pressure on artists to be ‘content creators’ in addition to musicians?

“When MTV began, artists had to lean into music videos and think more visually than they ever had before. With social media and the convenience of a camera phone, that need has increased a millionfold—maybe a billion. Social media is accessible 24/7, so yes, artists are pressured to constantly and consistently push out content to keep fans engaged and stay relevant. Especially for new artists, fan engagement and follower count matter. That’s why there’s now an entire industry of content managers and creators helping artists with their online presence.”

Do you think the music industry today prioritizes profit over artistic merit, and do you believe it’s stifling creativity in favour of commercial hits?

“It’s the music business—it’s always been about profits, and I doubt that will ever change. The good execs can usually recognize both artistry and commercial potential. Many labels do well when they support both.”

How do you see the role of live performances evolving in a post-pandemic world?

“Live performances are more important than ever. Artists don’t earn what they used to from record sales, so touring is now the primary income stream. It’s harder on the artists to be on the road constantly, but for the fans, it’s a win. There’s nothing like being in a room with your favourite artist and feeling that connection to the artist, the audience, your friends enjoying the show with you, and to the parts of yourself that come alive and are inspired by the music. We just need to find a way to keep ticket prices affordable so everyone has an opportunity to enjoy the magic of live music.”

What do you believe is the next big disruption waiting to hit the music industry?

“I wish I knew, I’d buy stock in it! The Sphere is pretty amazing. If more spheres existed in other cities, it would give fans an unbeatable way to experience their favourite bands. Similar to the IMAX experience, seeing live music in 360 is unbeatable. I’m also curious about what will happen with AI—both the good and the bad—especially how it can benefit how music is created and distributed. And of course, I’m hoping the next big shift will bring more financial equity for artists and songwriters, so they get their fair share of what they’ve created.”