Making a Scene Presents

Making a Scene Presents - The American Music Fairness Act Could Finally Make Radio Pay — But Indie Artists May End Up Paying a Different Price

Terrestrial radio is no longer the artist-breaking machine it once was. That is exactly why this bill matters, and exactly why indie artists should be watching it closely.

The Tower That Once Ruled the Music Business Is Not What It Used to Be

For decades, radio was the closest thing the music business had to a national ignition switch. One spin in the right market could move records, change tour offers, wake up labels, and turn a local act into a real conversation. That old story still has power because it used to be true. But in 2026, terrestrial radio is no longer the center of gravity for discovery the way it once was. Edison Research reported that in Q4 2025, radio still held 61% of all ad-supported audio listening time in the U.S., which means it remains a huge medium. But that same broad strength now lives beside a very different discovery landscape, one shaped by streaming, social media, YouTube, and recommendation engines instead of one dominant gatekeeper.

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Making a Scene Presents an Interview with Stacy Mitchhart

Stacy Mitchhart’s musical journey began in Cincinnati, Ohio, in a house where jazz guitar masters like Wes Montgomery and Johnny Smith were always spinning on the stereo. With that kind of soundtrack in the air, it was only natural that he gravitated toward the guitar. But it wasn’t just the notes that grabbed him early—it was the performance. As a kid, he saw Little Richard on television and couldn’t look away. Little Richard’s style, confidence, and larger-than-life showmanship opened Stacy’s eyes to a powerful idea: music isn’t only something you play—it’s something you deliver. That lesson became a lifelong part of Mitchhart’s identity, and today he’s known for a brand of showmanship that keeps audiences coming back night after night.

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Making a Scene Presents - Ticketmaster LiveNation Court Decision -When the Gatekeeper Finally Got Dragged Into Court

In May 2024, the U.S. Department of Justice walked into federal court and said out loud what fans, working artists, indie promoters, and venue operators had been saying for years: the live music business was not just frustrating, it was structurally broken. The government sued Live Nation and its ticketing arm Ticketmaster, alongside 30 state and district attorneys general, and asked for structural relief. That was not some polite regulatory slap. It was the government saying the company’s grip on live music had become so deep that fans were paying more, artists were getting fewer real opportunities, smaller promoters were getting squeezed, and venues were being pushed into fewer real choices. The DOJ said the goal was to restore competition, lower prices, and “open venue doors for working musicians and other performance artists.”

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Making a Scene Presents Gerry Casey's Interview with Keith Forde of Linkwells

Linkwells are a four-piece indie-rock band from the scenic town of Malvern, quickly gaining attention for a sound that puts melody and classic songwriting front and center. Their music combines the anthemic lift of Britpop with a sharper modern indie edge, creating songs that feel built for singalongs without losing their bite. It’s a style that has earned comparisons to The Stone Roses, Oasis, The Verve, and Stereophonics—big hooks, driving guitars, and choruses that land with real purpose.

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Making a Scene Presents an Interview with The Gated Community

The Gated Community is a Minneapolis-based country and bluegrass band with a mission and a pulse. Formed in 2006 by South Asian-American Yale graduate, political activist, and University of Minnesota music theory professor Sumanth Gopinath, the band has been described as “Americana to fight fascism” (Adobe & Teardrops)—a line that captures both their sound and their purpose. They blend folk, bluegrass, and country traditions with a raw rock edge, pairing tight harmonies and roots instrumentation with lyrics that confront the world as it is, not as we wish it were.

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