Co-General Manager & Head of Digital, Yep Roc Records
In August of 2020, Mariah Czap was promoted to Co-General Manager and Head of Digital at Yep Roc Records, becoming the label’s first female General Manager in its almost 25-year history. She first joined the Yep Roc team as an intern in 2012 and officially started on staff as a Project Manager eight years ago. For the last four years, Mariah acted as Digital Marketing Manager, developing strategies that impact streaming and digital sales on a worldwide basis for the Yep Roc Music Group. Mariah has directed worldwide marketing campaigns for Watchhouse (formerly known as Mandolin Orange), Robyn Hitchcock, Born Ruffians, Tift Merritt and Blitzen Trapper, among others.
In addition to her work at Yep Roc, Mariah has co-produced the Midnight Jam at MerleFest since 2014 in partnership with The Bluegrass Situation. She’s also directed onsite festival content for Red Wing Roots Festival and IBMA.
In her current role as Co-General Manager, Mariah is dedicated to creating an environment with the rest of the Yep Roc team that encourages diversity, inclusiveness, empathy and most of all a focus on creativity and support for the artists and the music the label has the privilege of introducing to the world. She serves as an active member of Redeye’s Diversity and Intersectionality Committee, whose mission is to establish a diverse workforce that supports all traditionally disenfranchised groups and provide educational and training resources to current employees.
Mariah currently serves on the A2IM Board of Directors.
She is a graduate of Elon University with a B.A. in Media Arts & Entertainment. She currently resides in Durham, NC.
The Evolution of the Indie Label – What Does the Future Hold?
10/13/21, 5:00 PM
How have indies evolved to compete in today’s music environment? From adapting to a streaming-dominated market, the migration of physical to chiefly vinyl, navigating D2C and other revenue streams, and the changed working environment and lack of artist touring during the pandemic, today’s indies are operating markedly different businesses than only a half-decade ago.
What are the advantages to artists to work with indies? Has the economics of a frothy new artist signing climate affected indies? How do indies compete and continue to offer a different value proposition from majors, service companies or distributors?
We’ll also look at what the pandemic has taught us unique to our business that we can utilize in future years; competing in a DSP-dominated streaming business; the roles of press and radio for indie labels and their artists; and the roles of digital and conventional distributors.