So this the the world I study, folks. The ways that the music recording industry interacts with performers, and in particular how these two parts of the music world intersect with how music gets made.
I encourage you to pay attention to the Kesha/Sony case, not the least of which because it’s another example of how problematic the relationships are between performers and their labels.
The Amanda Petrusich’s article in the New Yorker yesterday (2/25/16) does a nice job of identifying one of the big issues here – not about right or wrong, but in the ways the American system of economy and justice assumes that – as Petrusich put it – “since Sony has an undeniable mercenary stake in Kesha’s continued success, it is likely acting in her best interest.”
Kesha signed her current contract when she was eighteen. EIGHTEEN. There is a long history of labels signing young performers, and there is also an equally problematic history of the catches buried in those contracts.