My Block Records, the independent label founded by producer Warryn Campbell and associated with gospel singer Erica Campbell, has sued former distributor SRG/ILS Group over royalty accounting tied to more than 113 million streams.
The breach-of-contract lawsuit was filed September 17th in the U.S. District Court for the Southern District of New York. My Block alleges that SRG never provided the label with a single royalty statement during a distribution relationship covering three albums released between 2022 and 2023.
Those records were Lena Byrd Miles’ Brand New, The Walls Group’s Four Walls and Erica Campbell’s I Love You. My Block claims the three projects collectively generated more than 113 million streams between 2022 and 2024 and more than $1 million in sales.
The label is seeking damages exceeding $1 million, plus interest and legal costs, and has demanded a jury trial. The federal docket confirms that My Block filed the case September 17th as a contract dispute.
SRG disputes My Block’s account. The distributor says it made repeated efforts to work with the label over accounting, payments and the transition of master recordings after the relationship ended. No court has ruled on either side’s position.
Behind the dispute is an issue listeners rarely see. A stream can be counted publicly within seconds, but determining how the money generated by millions of those streams moves through a distributor and reaches an independent label depends on contracts, accounting systems and royalty statements that operate largely out of view.
Three Albums Sit at the Center
My Block and SRG entered a licensing agreement in October 2021 covering distribution of the label’s master recordings, according to the complaint reviewed by Music Business Worldwide.
The relationship ultimately covered three significant gospel releases.
Lena Byrd Miles released Brand New in 2022, including “WOW (Walk on Water),” which reached No. 1 on Billboard’s Gospel Airplay chart. The Walls Group followed with Four Walls in 2023.
Erica Campbell’s I Love You also arrived in 2023. Its “Feel Alright (Blessed)” reached No. 1 on Gospel Airplay, while Campbell and Warryn Campbell received Grammy nominations connected with music from the album.
My Block alleges that those projects accumulated more than 113 million streams from 2022 through 2024. The complaint characterizes their combined sales as exceeding $1 million, although the individual minimum figures identified in the filing add up to roughly $740,000, MBW notes.
The filing describes those album-specific amounts as minimum figures and refers to additional releases, so the numbers are not necessarily measuring the same total. The actual revenue attributable to the catalog is one of the accounting questions underlying the lawsuit.
My Block Says No Statements Ever Arrived
The most striking allegation is not simply that My Block believes it was underpaid.
The label claims SRG never supplied a royalty statement at all.
For I Love You, the complaint specifically alleges that no royalty statements were provided following the album’s release. My Block makes the broader claim that SRG “never provided Block a royalty statement” during the companies’ relationship.
Digital Music News highlights the same allegation across Brand New, Four Walls and I Love You, along with the label’s claim that the three albums generated more than 113 million streams.
Royalty statements allow a rightsholder to see how revenue was accounted for under an agreement, including applicable deductions, royalty calculations and amounts payable. Without them, an independent label can have difficulty comparing what its recordings generated with what its distributor says it owes.
My Block alleges that the absence of those statements harmed its business. Whether SRG breached its contractual reporting obligations remains an allegation for the litigation to resolve.
113 Million Streams Do Not Equal One Payout
The stream count makes the dispute easy to grasp, but it should not be converted into a royalty estimate by multiplying 113 million plays by a supposed universal per-stream rate.
Streaming does not work that way.
Revenue varies by service, market, subscription type, advertising and contractual terms. Money paid to a distributor or label is also not necessarily the amount ultimately payable to an artist.
Here, the dispute concerns the financial relationship between an independent record label and its distributor. The relevant questions include what revenue SRG received under the agreement, which deductions or expenses were permitted and what accounting and payments My Block was entitled to receive.
The complaint provides the unusually tangible figure of 113 million streams, but the lawsuit is fundamentally about what happened after those plays occurred.
That distinction matters in a streaming economy where public consumption data can create an appearance of transparency. Listeners can watch play counts rise while having no visibility into the contracts and accounting behind them.
Marketing Costs Add Another Accounting Dispute
Royalty statements are not the only contractual issue My Block raises.
The complaint also alleges that SRG failed to spend agreed marketing amounts on the label’s releases and did not provide receipts or other documentation showing how certain marketing money was used. My Block further claims SRG incurred expenses connected with its releases without obtaining required approval.
Distribution agreements can extend beyond delivering music to Spotify, Apple Music and other platforms. Depending on the contract, a distributor may also provide marketing, promotion, financing, accounting or other label services.
Documentation becomes especially important when expenses affect the amount ultimately payable to a label. The rightsholder needs to know what revenue arrived, which costs were charged against it and whether those charges were authorized by the agreement.
My Block’s lawsuit therefore challenges both sides of the accounting: money allegedly generated by the releases and money allegedly spent around them.
The Distribution Deal Ended Before the Lawsuit
My Block and SRG were no longer active distribution partners when the lawsuit was filed.
The complaint says the companies terminated their agreements in December 2023, although SRG retained distribution rights over My Block releases through March 1st, 2024.
My Block argues that ending the relationship did not eliminate SRG’s obligation to account for revenue and continue paying royalties owed under the agreement. The label alleges that statements still did not arrive during the wind-down period.
SRG presents a different account.
In a statement cited by MBW, the company said it had made repeated efforts to engage My Block and its representatives about the orderly transition of masters, accounting and payments after the distribution relationship ended.
SRG also said it maintained a comprehensive record of those communications and expects that documentation to provide additional context to the allegations.
The company has not admitted that it failed to account properly or owes the damages My Block seeks.
Independent Labels Depend on the Accounting Chain
The dispute exposes a less visible part of what music distribution means in the streaming era.
A distributor can deliver recordings and metadata to streaming platforms and digital retailers, collect revenue and account back to a label. That gives an independent company global reach without requiring it to build direct infrastructure for every digital service, but it also makes the distributor’s reporting a critical part of the financial chain.
Streaming dashboards and public play counts can show consumption. They do not replace the contractual accounting that tells a label how revenue moved through its distribution agreement.
That distinction becomes particularly significant for a catalog where the complaint alleges nine-figure streaming volume across several releases rather than a small number of plays from a developing act.
The genre itself has also been expanding digitally. Industry data cited in MBW’s reporting indicates that Christian and gospel music generated roughly 30 billion U.S. streams in 2025 while increasing its share of the market.
As that audience grows, the systems handling independent gospel releases, streaming revenue and royalty accounting become more financially consequential.
SRG Faces Another Royalty Dispute
The My Block case is not the only royalty lawsuit involving SRG in 2026.
R&B singer Kenny Lattimore and his label sued the distributor in February over accounting connected with his 2021 album Here to Stay. Lattimore alleged that he received only one royalty payment of roughly $4,400 and claimed more than $100,000 remained owed.
SRG has denied wrongdoing in that litigation and is contesting the claims. The two lawsuits involve different agreements and allegations, so Lattimore’s case does not establish that My Block’s allegations are true.
What the separate disputes share is the same largely invisible part of the recorded-music business: accounting after music has already been distributed and consumed.
For My Block, those obligations now sit at the center of a federal breach-of-contract case.
More than 113 million streams make the lawsuit sound like a story about scale. The more revealing question is much less visible: what accounting should have followed those streams, what money actually moved through the distribution agreement and what documentation My Block was contractually entitled to receive.
Listeners can see when a song has been played millions of times.
For independent labels and artists, knowing what those plays earned still depends on what happens after the counter moves.