When Paul Baxter founded the multi-award winning Delphian label back in 2000, surely not even the Delphi Oracle herself could have prophesised the 21st-century changes that lay ahead for the recording industry. Yet, keeping ahead has been constant in how Baxter and his team have maintained Delphian as an extraordinary leader in its field.

With 35 releases over 2023, including the just-out Piatti Quartet playing Mark-Anthony Turnage, GAIA Duo’s crossover classical/folk/jazz, and Alex Paxton’s Happy Music For Orchestra, the mix is rich and varied. Add in a sweep of the boards of Scottish ensembles and soloists over the years (Mr McFall’s Chamber and Jamie MacDougall’s Mexican chamber music collaboration is out this month) and it’s clear how much Delphian plays a vital role for performers, composers and audiences internationally. 

Not too shabby for what originated as a late-90s, needs-must student fundraising initiative, selling recordings of Scots songs made using a CD burner. That timing was, however, critical. ‘Because of when we started the label, we were on a front foot for all the changes,’ says Baxter. ‘I was sending MP3 files instead of masters, PDFs and using ADSL internet connections, all in their early days.’

Embracing the new also meant financial success. ‘Our operating costs from day one were a fraction of the traditional ways of producing recordings, which meant that we could flourish.’ Twenty-odd years later and even Delphian’s beautifully made CDs are no longer piled high in boxes at Delphi Towers. ‘We’re increasingly doing short-run manufacture,’ explains Baxter. ‘Choral and early music still sell as CDs, but otherwise we do short runs.’ Flexibility runs through the business, although artistically Delphian generally steers clear of the mainstream. ‘We’ve always had a reputation for being a bit quirky, avoiding core repertoire unless it’s something really special.’ 

Spotting the up-and-coming also scores high reputationally. ‘Guitarist Sean Shibe and The Hermes Experiment started with us and now have major careers,’ says Baxter. ‘They are an example of how we foster young talent and form relationships with artists.’ Others with whom Delphian works closely are St Mary’s Cathedral Choir, Hebrides Ensemble, Oxford’s Merton College, pianist Iain Burnside and baritone Roderick Williams. 

Motivations for making recordings can be anything from leaving a legacy (‘Brindley Sherratt is at the height of his operatic career, yet until now has never made a solo recording’) to raising profile for emerging artists through PR, media and streaming. ‘The whole model of the last 15 years is entirely changed because of streaming,’ says Baxter. ‘Labels don’t generally commission and artists now choose to fundraise to pay for their own recordings.’ While there’s pressure to grow bigger rather than deeper, he says, ‘we’re not convinced. We think we’re just right.’ 

Visit the official Delphian site.