Even well established performers (such as Stevie Wonder, Bob Dylan, Joni Mitchell and Ray Charles) have had to self-produce or underwrite new projects that “break the mold” of their previous work. Musicians under contract with record companies and/or management agencies may often have strict definitions of the nature, content and delivery of their product during the contract period.

Additionally, the contract might also allow for the controlling party (rarely the artist) to have final approval or refusal over any proposed new material, performance venues, frequency and method of performances, changes of personnel, press and media interviews, sponsorships or endorsements from other businesses, not-for-profit benefit appearances, as well as any another other factors which might influence or alter the public perceptions of the artist(s) and the possible effects on the potential revenues to be gained by the controlling party.

All in all, the industry wants to have a profitable artist that they can expect to stay a marketable commodity at the highest level of earnings for as long a period of time as possible. Spontaneous creativity on the part of the artist is a threat to the stability of the profits from the point of view of the industry, and it is not nurtured or encouraged.