In the 2010s, when we graduated from journalism school, one fundamental rule was drilled into us: transparency. Every sponsored article, every advertorial had to be clearly labeled. This principle is even codified in French law—specifically the 2016 “Loi Sapin II,” which mandates that any content financed by a third party must be explicitly disclosed. The aim? To maintain transparency in public decision-making and the broader economic landscape.
Yet, in the electronic music industry, these principles seem to have been conveniently forgotten. Freedom reigns supreme on the dancefloor, but in the professional sphere, things have become much murkier—almost unethical.
From Rumors to Reality: The Collapse of Journalistic Ethics
Once upon a time, whispers circulated: “You can pay to be on this magazine’s cover,” “You can invite and pay journalists for a review.” I was skeptical. I understood that music journalism wasn’t a goldmine and that covering expenses for journalists was common practice. But a club, festival, or DJ paying to have a say over the final content? That, for me, crossed the line.
Today, things have escalated to the point where it’s an open secret. Friends in the industry—promoters, DJs, labels, festival organizers—have shared rate cards from some of the biggest electronic music publications. The findings? Everything is for sale: covers, interviews, reports, social media posts, artist spotlights. And most of the time, there’s no indication that the content is paid for.
A Market-Driven Press, a Deceived Audience
On our end, we haven’t been flooded with these kinds of offers. But whenever we’ve accepted paid content, we’ve fought to ensure it’s properly labeled. A quick shoutout to Wylliam, with whom I’ve debated this ethical dilemma many times. Because, ultimately, this is about integrity. Of course, paid content doesn’t always mean low-quality journalism, but readers deserve to know what they’re consuming. Unfortunately, this level of transparency is rare elsewhere. A PR agency recently sent us an email with the following bleak statement: “90% of good press is paid for, and no one reads the smaller media outlets.” That one stung.
So, what does the future hold for journalists? When Instagram pages can simply copy-paste press releases, get paid for it, and operate with unpaid volunteers working for guestlist spots and “exposure”?
What Future for Independent Music Journalism?
Let’s be clear: quality content still exists. According to a 2023 report from the Centre National de la Musique (CNM), music journalism in France is struggling, with ad revenue and readership in steady decline. Some media outlets are standing their ground, refusing to compromise their integrity. But for how much longer? Their business model is shaky, and against a tide of questionable platforms monopolizing visibility, their survival is uncertain.
And you, artists, labels, promoters—how do you feel about this situation? How do you see the practice of paying for coverage and effectively buying your way into the spotlight?
Freedom has always been a core value in electronic music. But at what cost, when it disappears in favor of a fully monetized information system?I