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Abstract
For decades, the record deal has been the main goal for artists aspiring to enter the recording industry. In the wake of the digital revolution, entry barriers into the recorded music market decreased and this has enabled artists to produce, distribute and promote music on a large scale without the help of record labels. Celebrated by the press as the democratisation of art production, belittled by the established recording industry as amateurism, hailed by artists as long-awaited independence, and neglected by the academic community, artist-entrepreneurship warrants a critical in-depth examination.