„What a year, huh?“ – „Captain, it’s January.“
Anyone who thought that things could only get better after 2025 had a rude awakening on 1 January and beyond. An incomprehensible tragedy in Crans-Montana, murders of protesting civilians from the USA to Iran. A world that feels like it is teetering on the brink of disaster. And basically, we can consider ourselves incredibly lucky for all the problems that aren’t a matter of life and death.
Nevertheless, dark clouds are gathering over the Swiss music industry. Specifically, the Halving Referendum, which would have fatal consequences far beyond the industry if accepted. I already warned about this in 2024:
Janosch Troehler
Last December, I had dinner with some journalist friends. Naturally, the initiative was a topic of conversation, and most were optimistic. I was rather pessimistic. And sure enough, the first Tamedia/Leewas poll shows that support stands at 50% (margin of error: 1.4 percentage points). Even though there is still time, it could be a close call. It seems illusory that there will be a resounding no (71.6%) as there was with the No Billag initiative in 2018.
It was not until 26 January that the Swiss cultural scene officially launched its resistance, with the music industry specifically using the slogan „Wo die Musik spielt“. Various organisations, including SUISA, SONART, and IFPI Switzerland, are joining forces to mobilise voters against the initiative. That’s good, and better late than never.
But so far, the biggest beneficiaries of the SRG platforms in the pop music scene have remained silent. Where are the figureheads of the local music scene in this fight? Where are Lo & Leduc, Stefanie Heinzmann, Nemo, Hecht and Dodo, who owe much of their careers to the SRG? I very much hope the music will start playing there as well—especially given the fact that even "national heroes" such as skier Marco Odermatt, who certainly has many fans in the conservative camp, are opposing the initiative.
Headlines
SRF refuses to play AI-generated Papaoutai – Afro Soul despite chart position
As Tages-Anzeiger reported, Swiss broadcaster SRF refuses to play the AI-generated track Papaoutai – Afro Soul in its rotation as it would violate internal guidelines. At the time of writing, the song ranks 8th in Switzerland’s charts and has achieved similar rankings internationally. GfK Entertainment, responsible for the Swiss charts, stated that an AI regulation will be introduced in the future. Currently, the charts simply reflect streams and sales without any sort of curation or restrictions.
SRF’s decision is certainly the right call; not only for ethical but also political reasons. With the critical Halving Referendum on the doorstep, they need to count on the creative industry to back them up. Meanwhile, private radio stations are shamelessly experimenting with AI-generated songs, as we reported last year.
Competition Commission of Switzerland (WEKO) fines Ticketcorner and Hallenstadion
WEKO announced fines for Ticketcorner AG (CHF 50,000) and Hallenstadion (CHF 65’000) after the federal court uncovered in 2020 that a contract between the two companies violated cartel law.
At the end of 2008, Hallenstadion and Ticketcorner AG agreed that the Hallenstadion would only be rented to event organisers if at least 50% of tickets were sold through Ticketcorner. This hindered competition from other ticketing providers, who found it more difficult to sell tickets for events at the Hallenstadion, writes WEKO in its statement. Since WEKO found that Hallenstadion and Ticketcorner had dominant market positions between 2009 and 2011, both companies were fined. The decision may be appealed to the Federal Administrative Court.
One indie label continues, another one says goodbye
After announcing a reflective break last September, queer-feminist label Forcefield Records continues in 2026 with newfound dedication. The collective is now looking for talent (see job offers below).
Meanwhile, Ikarus Records announced on December 31, 2025, that they’re closing up shop. „With pride, we look back on more than 20 years of label history and an impressive catalogue that helped shape the Swiss independent music scene, especially in the 2000s but also throughout the 2010s. […] Major success never materialised—nor was it ever explicitly sought. A larger audience would have been nice, but it never opened to us. Ikrec were ‚indie as fuck‘—right until the very end,“ they state on their website. The label featured releases by artists such as Lord Kesseli and the Drums, Naked in English Class, or Elie Zoé.