Industry Talks: Dorothee Meyer

“From major labels to an independent label: Dorothee Meyer (Doorway Music) on the power of personal attention in the modern music industry”

© Connie Chow

In the latest episode of Industry Talks, we sit down with Dorothee Meyer, founder of Doorway Music. She spent years working as a marketing and brand manager at major labels, including Universal (Deutsche Grammophon, Decca, Philips) and Sony (Sony Classical, Masterworks, Okeh, Portraits, and Flying Buddha). There, she contributed to the careers of icons such as Janine Jansen, Lang Lang, Lionel Richie, Tori Amos, Ilse DeLange, Yo-Yo Ma, and many others.
In a time when the music industry faces turbulence from constant changes and challenges, Dorothee decided over three years ago to start her own label: Doorway Music. The label focuses on classical and instrumental music, establishing itself as a unique boutique label in an ever-evolving industry. We spoke to Dorothee about her motivations, her views on the music industry, and the role and opportunities she envisions for her label in 2025.

From her new office on the Herengracht in Amsterdam, we connect digitally, and after a brief introduction, the conversation quickly gains momentum.

“I noticed from browsing your LinkedIn profile that during your time at major labels, you mainly worked with classical artists. Has classical music always been your passion?”

Dorothee says: “It actually started when I was four years old. I was determined to learn the violin. But I couldn’t get beyond ‘ieuw ieuw’ when trying to explain to my parents what I meant.”

“Had you seen someone playing it somewhere?” I ask.

“Apparently I heard violin music at kindergarten. From that moment on, I was hooked and begged for months for a violin. It was hard to find someone willing to teach a four-year-old, so it took some time to find a suitable teacher.”

“And when your parents found one, did it work out?”

“Not really. The teacher wasn’t particularly suited for teaching children and sent me home at the age of five, saying I’d never make it.” Laughing, she adds, “I was very crushed, but the violin stayed at home, and I kept playing in secret. My parents saw that too and found me a teacher who was great with kids. I ended up taking lessons there for years with great pleasure.”

“So, there’s a hidden musician in you?”

“Well, there was a moment in high school when I seriously considered pursuing a career out of it. But I was also thankful when my violin teacher gave me a reality check about the romantic idea of a career in music versus the hard realities of the industry. Around the same time, I attended my first stadium concert, and it opened up new doors for me. I became increasingly interested in a behind-the-scenes career.”

“I thought it was magical to see how a stadium was transformed into a concert location, where everyone was united and worked together to achieve an end result.”

Dorothee talks about her first internship at MOJO Concerts; about North Sea Jazz and Drum & Rhythm Festival. Through her internship in the production department, she got a good insight into how things work behind the scenes.
“It sounds like you initially wanted to take a very different path than what you’re doing now.”

“That’s true. At the time, I didn’t know much about the ‘recorded’ side of the music industry. But through my internship, I met someone from Universal Music at the North Sea Jazz Festival who mentioned a vacancy. Once I started, I quickly discovered how much I enjoyed this side of the music industry. Contributing to careers through marketing and PR caught my interest, which aligned well with my degree in communication sciences.”

Curious about the environment she entered, I ask: “You joined the industry at a time of crisis, just after the impact of illegal downloads and as Spotify was emerging. What was that like?”

“Yes, you’re absolutely right. The golden days were over, and there wasn’t yet a solid alternative to combat illegal downloads. It was a tough period; working hard with a focus on finding small successes.”

“How would you describe those small successes?”

“Well, they were mostly found in individual projects, where we worked to maximize an artist’s career by reaching the right audience in the right way.”

“So in short, building popularity to capture a piece of the market?”

“Yes, exactly. That’s one advantage of a major label: it’s all international. You work with many people from different countries on an artist’s career. We also explored catalog exploitation, bundling music into compilation or collection albums.”

Dorothee adds: “We were also early adopters of playlists during my time at Sony. While we didn’t expect much from them in the short term, we saw their potential for the future.”

“It wasn’t so much a plan to start a label, but a coincidence and a dream to start my own business.”

“After eleven years, you decided to quit and start your own label. Was that a deliberate decision?”

“It was a mix of circumstances. On one hand, I’d been fantasizing about starting a business for some time. On the other hand, decisions were being made at my former label that didn’t really align with the direction I envisioned for my future career.”

“Had you ever considered starting a label before?”

“Funny enough, no. But I wanted to create something bigger than myself. The idea came suddenly, and I thought, ‘This is what I want to do.’”

In an era where artists can do much on their own, I ask: “What is a label’s added value today?”

Thoughtfully, she says: “First and foremost, personal attention. I like to get involved early in the process to help an artist develop their story and define their unique identity in this crowded field, both as an artist and as a human being. As a sounding board and guide of the positioning story, I can also leverage my network. I truly believe in this personal approach to help artists succeed.”

She continues: “Promotion and brand building take a lot of time—something not everyone is skilled at, but which is where my expertise lies.”

“That sounds a bit like management, though.”

“It’s not. I don’t do management. But for artists just starting out, it’s great to have someone to brainstorm with—someone who can think about the right booking agents, how a live show should look, and so on. It’s about building long-term, sustainable relationships.”

“What would you say to artists hesitant about signing with a label?”

“Artists releasing music independently are often lone wolves in the industry, handling everything on their own. With Doorway Music, I aim to establish a seal of quality—much like you do with Ambitus. When we release music, audiences, streaming platforms, and media know it’s been carefully curated. A label provides more leverage than an artist working solo. Moreover, I’ve built a playlist network with tens of thousands of followers on Spotify and Apple Music providing significant initial outreach for new releases, which I see as a significant advantage for the artists.”

“Okay, and suppose someone approaches you. What do you look for?”

“For me, it’s essential that the artists I sign are not solely focused on streams but are also willing and able to perform live and to build an allround career as an artist. Beyond that, I focus on quality, good musicianship, and individuality. Additionally, I look for a certain assurance that you’re entering into a long-term relationship with someone.”

“And what if someone hasn’t released anything yet?”

“I think it’s a combination. On the one hand, if I’m releasing core classical music, I pay close attention to the mastery of the instrument and the quality of the performance. On the other hand, with the new wave of music, I look for something that speaks to me—something I believe in, a particular sound, or something that moves me. In any case, there are many roads that lead to Rome.”

Curious about her perspective on the future of neo-classical and instrumental music, I ask: “Is this a trend or a lasting phenomenon?”

“That’s hard to say. For instance, piano music initially seemed like a trend but has now become a permanent fixture in playlists. I think the genre is evolving, with more and more crossovers between acoustic and electronic music happening, and audiences are embracing that.”

“I have no ambition to become a major label. Personal attention, flexibility, and fostering long-term sustainable relationships are my priorities.”

To conclude, I ask about her future plans. “Will Doorway Music become a major label in a few years?”

“No, I don’t think I want to become a major label. The personal aspect is too important to me. Growth has its advantages, but there’s a limit to the scalability I’d want to reach. I prefer to maintain flexibility.”

She continues: “Since everything is constantly changing, I think it’s essential to periodically take a step back, asses the business, and look ahead. I currently have a foundation to grow upon, but I consciously choose to build sustainable, focusing on a roster of artists I can work with for the long term.”

With her fresh perspective, Dorothee is bridging gaps in the music industry with her label, Doorway Music. While the industry evolves around her, she remains focused on what truly matters: a personal approach, quality, and a strong, sustainable future for both her artists and her label. Doorway Music not only embodies her experience and passion but also offers a new perspective on what a boutique label can represent in 2025 and beyond.

Listen to Doorway Music

For more information visit www.doorwaymusic.com or check out Instagram.