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Inflo, the reigning BRIT Awards Producer Of The Year, has been absolutely on fire as of late with his work as the creative force behind
Sault, producing tracks for
Adele’s latest album, 30, and for British R&B singer
Cleo Sol. But as the London producer (whose real name is Dean Josiah Cover) sees his success skyrocketing, he has his mind on protecting the interests of aspiring creatives who are looking to follow in his footsteps.
In a recent Instagram post, Inflo indicated that he and Nathan Burke, his partner on the Forever Living Originals label (that releases Sault and Cleo Sol’s music), are trying to establish a base rate and royalty structure for up and coming producers in the UK. Inflo said that they’ve been engaged in talks with music industry leaders in hopes of changing the paradigm.
“This will ensure young producers are protected on any major label releases and have a code of conduct to go by,” he said.
He acknowledged the significance of being the first Black person since 1977 to win the Producer Of The Year award at the BRITs and notes, “Most young producers, especially young black producers, come into the business really pure, with friends as management and no real guidance, protection or understanding.”
You can read the entire statement from Inflo below and power to him and this effort.
“Nathan & I have been on a mission to introduce a base rate and royalty for young producers in the UK.
This will ensure young producers are protected on any major label releases and have a code of conduct to go by.
We’ve been having conversations with producers, artists, labels and lawyers to see what that rate can be. Everyone agrees no young or upcoming producers should be exploited, and the artist shouldn’t have to give up any further royalty share than they already have been.
Most young producers, especially young black producers, come into the business really pure, with friends as management and no real guidance, protection or understanding. They’re often eager for placements and would sign without fully understanding contracts, in desperation of life-changing opportunities.
I honestly feel most of us have come into the music business to make it a better place creatively and economically, for the opportunity to leave a legacy that our children and children’s children can be proud of.
I didn’t want to speak on my award without any real progress being made, but we are now at the halfway point and I wanted to acknowledge the moment.
Thanks to the Brits for acknowledging me as Producer of the Year. I feel very humbled and grateful to be the first black producer to win in this category since 1977. Big up all the Black British producers before I & I and killing it right now everywhere, so inspiring!!
Love to Nathan & my Forever Living Originals team for supporting me in every way.
Love to Mummy, DD Cleo & Little Man
Love to God.”
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