Secretly Group

Secretly Group
Name	Secretly Group
Founded	1999
Founder	Chris Swanson (music executive), Eric W. Clark, Ben Swanson
Country	United States
Location	Bloomington, Indiana; Brooklyn, New York
Genres	Indie rock, indie pop, folk, experimental, electronic

Secretly Group is an American independent music company comprising several labels and service divisions that operate across A&R, marketing, distribution, and publishing. The organization grew from Midwest roots into an internationally recognized collective that has worked with artists associated with Sundance Film Festival, South by Southwest, Coachella Valley Music and Arts Festival, and European tours. It functions within the independent sector alongside peers such as Matador Records, XL Recordings, Domino Recording Company, and 4AD.

History

Secretly Group's origins intersect with the late-1990s and early-2000s independent scene that involved entities like Merge Records, Sub Pop, Rough Trade Records, and Fat Possum Records. Early activity paralleled developments at Pitchfork Music Festival shows and partnerships with distributors similar to The Orchard (company) and Nettwerk Music Group. Expansion reflected trends around vinyl resurgences championed by Record Store Day and artist-centric approaches seen at Anti- Records and Jagjaguwar. Its narrative includes engagements with festivals such as Glastonbury Festival, Primavera Sound, Roskilde Festival, and networks with agencies like WME (agency) and ICM Partners for touring. Cross-border licensing deals involved conversations reminiscent of those between Sony Music Entertainment divisions and independents such as Secretly Group's contemporaries.

Founding and Leadership

Founders Chris Swanson (music executive), Ben Swanson, and Eric W. Clark established the operation in Bloomington, Indiana, amid scenes connected to Indiana University Bloomington and touring circuits with bands appearing at ATP (All Tomorrow's Parties). Leadership decisions have been compared to executive moves at Rhino Entertainment, Concord Music Group, and Beggars Group. Over time, board-level collaborations echoed structures seen at companies such as Live Nation Entertainment and Sony/ATV Music Publishing, while maintaining artist relations similar to Secretly Group's independent peers.

Labels and Imprints

The Group's structure includes multiple labels and imprints that operate similarly to how Sub Pop, Domino Recording Company, Matador Records, and XL Recordings manage catalogs. Its portfolio has been discussed in the context of multi-label collectives like Beggars Group and Red Eye Records. Imprint strategy has mirrored approaches used by Merge Records and Rough Trade Records for curatorial A&R, and has engaged in collaborations recalling co-releases between 4AD and Mute Records.

Roster and Notable Artists

Artists associated with the organization have shared stages with acts from labels like Matador Records, Sub Pop, Domino Recording Company, XL Recordings, and 4AD at venues including Radio City Music Hall, Madison Square Garden, Royal Albert Hall, and The Ryman Auditorium. Notable touring partners and collaborators for roster artists have included performers who appeared at Coachella Valley Music and Arts Festival, Glastonbury Festival, Primavera Sound, and SXSW alongside peers from Secretly Group's scene. The roster has intersected with musicians represented by WME (agency), CAA (agency), and managers from firms like Q Prime.

Business Model and Distribution

The Group's business model uses vertical integration and partnerships analogous to those between The Orchard (company), Believe Digital, AWAL, and Ingrooves Music Group for distribution and digital services. Physical distribution decisions have paralleled strategies implemented by Cargo Records (UK), Southern Records, and Border Music Group. Publishing and licensing activities resemble deals often negotiated with entities like Kobalt Music Group and Warner Chappell Music for synchronization in film and television placements at events such as Sundance Film Festival and series produced by networks like HBO and Netflix. The company's approach to direct-to-consumer sales reflects practices used by Bandcamp, Discogs, and artist stores at Live Nation ticketing platforms.

Critical Reception and Influence

Critical reception of the Group's releases has been featured in outlets comparable to Pitchfork (website), Rolling Stone, NME, The Guardian (1961–present), The New York Times, and The Washington Post. The influence of its catalog is often cited in discussions alongside seminal indie labels such as Matador Records, Sub Pop, Domino Recording Company, and 4AD, and within academic analysis at institutions like New York University and University of Oxford. The Group's artists have been part of conversations at panels hosted by SXSW, CMJ Music Marathon, and MIDEM, reflecting its role in shaping indie programming at venues like Brooklyn Steel and Barbican Centre.

Awards and Recognitions

Releases from the Group's labels have received nominations and awards in contexts similar to the Grammy Awards, Mercury Prize, Brit Awards, and Polaris Music Prize. Industry accolades have also paralleled honors given at ceremonies like the A2IM Libera Awards and recognition from publications such as Billboard (magazine), Pitchfork (website), and NME. Its executives and artists have been profiled in lists produced by Forbes, Time (magazine), and The Guardian (1961–present) for contributions to independent music culture.

Category:American record labels Category:Independent record labels