Adam Gross, head of Ineffable Records, has been at the forefront of some of the most significant changes in the reggae music industry, particularly with the rise of streaming and its impact on the charts. In an exclusive conversation with World Music Views, Gross reflected on the current landscape, offering insight into the Billboard chart’s seeming stagnation, the challenges facing reggae artists, and the benefits of independent labels in an increasingly corporate music environment.
The current state of the Billboard reggae charts has raised questions among music industry observers. With certain albums like Bob Marley’s Legend, Shaggy’s Best of Shaggy: The Boombastic Collection, and UB40’s Greatest Hits becoming mainstays, many wonder why newer releases have such difficulty breaking through. Gross explains that the chart methodology changed in 2021, altering the way albums are counted and ultimately rewarding long-term streaming success over short-term sales spikes. “Prior to 2021, streaming equivalencies—meaning 1,500 streams equaled one album sale—didn’t count toward the chart,” Gross noted. “It was based strictly on sales—both digital and physical purchases.”
The shift to including streaming equivalencies meant that even older reggae albums and compilations now had the potential to chart, a change that had a significant impact on the reggae genre. “Now, the most-streamed songs in legendary artists’ catalogs are fueling the success of their compilation albums,” he added. Albums like Marley’s Legend and Shaggy’s Boombastic Collection continue to ride the wave of their iconic hits, as streams of these songs contribute to their chart success. For artists looking to break into the charts, the system has made it much harder, as it rewards catalog albums with long-term streaming performance over the buzz generated by a new release.
While this new charting system has made it more difficult for new albums to break through, Gross pointed to Stick Figure who as an example of how independent acts can thrive. The band’s albums Set In Stone (2015), World on Fire (2019) and Wisdom (2022) continue to be fixtures in the top 10, not because of a massive radio hit, but due to the band’s strong streaming presence and a dedicated fanbase that generates an exceptionally high number of streams per listener. “It’s less about what’s newly released and more about what’s consistently being played,” Gross explains, noting how Stick Figure’s fanbase helps push their albums into a stable spot on the charts.
The conversation also turned to the subject of major labels and why so many reggae artists find themselves dropped after only one or two albums. Shenseea is the latest Jamaican artist to be out of a label deal (Interscope), and following Koffee’s disconnection from RCA Records, Gross clarified that the issue is often more nuanced than the media might portray. “Some artists fulfill their commitments or are able to get out of deals due to differences in direction,” he says. “How it works is: an A&R signs you, and they are responsible for you as an artist. Once that person is no longer with the company, you don’t have an advocate in the building anymore.” This, he explains, can result in albums being shelved and artists struggling to get attention for their work. Gross also pointed out the “spray and pray” approach of major labels, which invest in a wide range of artists and hope that one in ten will become a massive success.
Independent labels like Ineffable take a different approach Gross professed and encourage artists to cater to the core fanbase of reggae and Caribbean music. “To successfully market a reggae release, you have to push towards the core fans and culture first,” he said. “Almost every Caribbean release that has crossed over has done so by first becoming as big as possible within the core.” The problem with major labels, according to Gross, is that they often focus on creating a hit for the broader market, neglecting the cultural groundwork necessary to build a strong base within the genre itself. Rihanna’s Pon De Replay is a prime example of this—her success was rooted in the authenticity of the song’s Caribbean elements, which helped her build credibility with the core audience before crossing over.
When asked about whether artists need a massive hit to succeed today, Gross was clear: they don’t. “No, they need high-quality music that they market to their audience and nurture new fans into superfans,” he said. By consistently improving and maintaining a cohesive sound, artists can grow a loyal following and build a sustainable career. “It’s all about developing community these days,” he added. While a hit song may still provide a boost, Gross stressed that it’s the ability to connect with fans and create a lasting community that ultimately determines an artist’s success.
Reggae music, Gross acknowledged, does not always sell at the same pace as other genres. But he is quick to counter that perspective. “Per capita, there aren’t many countries that export and sell more music than Jamaica. You can count them on one hand,” he said. Rather than focusing on industry metrics, he emphasized the importance of creating sustainable business models for artists. “There are artists who stream 100 times more than others and yet earn less money per year. If we focus on getting people to have sustainable businesses for themselves, the numbers will follow.”
The conversation turned to touring, where Gross highlighted the growing demand for artists like Buju Banton and Vybz Kartel, who are both seeing strong returns on the U.S. and global touring circuit without a radio hit. “There is a really special moment happening right now with Buju and Vybz back on the touring circuit. Those are superstars. The demand has been built up for so many years,” Gross said, acknowledging that the live music circuit remains a key revenue stream for reggae artists.
The future of reggae music Gross says is where artists are empowered to retain ownership over their music and build long-term careers without relying on major labels. “We’d like to democratize audience growth mechanisms, remove the middleman, and help artists bring in income from their recorded music,” he said. “The goal is for every artist to have a long-term plan focused on growing their audience and creating a sustainable business—not just praying that something blows up once and changes everything.”
As for how much royalties Ineffable paid out since streaming era began? He says, “We pay out millions of dollars a year in royalties to artists.”
