The problem is that the incomes of the majority are dwindling away, and pop music tends to be marketed squarely at average joes, the first people hit in a recession. So, if you are an artist and want to get paid, then you need be progressive, get involved in your community, and take steps to ensure that wages start rising again. Once that happens, I think this problem will sort itself out.
Of course in our free market economy, which is crass to the core, there are no guarantees that labels are even interested in the type of dedicated professional that you present yourself as. Labels are just as happy taking someone with no talent, targeting them at demographic niche, and making tons of money that way. They do it in sports too, if you listen to announcers talk, you would think miracles are being done every 30 seconds. In music, they market musicians as being uber-musicians, at the top of their field. This tactic, of taking otherwise ordinary people, and promoting them to a status slightly below that of your favorite deity, is a transparent attempt to explain why so many millions need to be exchanging hands in order for the concert, show, or game to happen. This severely disincentives the creation of good music, since one can be good but no match for the cynical marketing teams that are owned by the labels. Being good doesn't mean you'll make it.
The industry seeks to constrain choice for artists and consumers, acting as a barrier to music, artist, and fans, while at the same time, keeping them as exploitable as possible. The focus is less on the value of the work, and more about whether or not it will sell (and as a result, be maximally exploitable)., As a result, even talented artists tend to add in a bit of "flair", everything from non-stop vibrato of 80's metal guitar, to walking baselines, to changing accents. While charming at first, it has the (desired, at least for music industry) effect of giving music a short shelf life, which is another goal of music industry. Short shelf-life further constrains our choices by rendering large parts of popular music unlistenable after a decade or two.. Maybe that first year they sounded great, but now you can't get over their annoying accent, or that little signature riff that they use, or their marketing stunts, etc. This shortened shelf-life effectively destroys popular culture. It turns the art of music into something closer to the fashion industry. It also creates many market segments/genres, lowering the bar for talent in many segments.
My two step solution:
1. Make sure your fans are getting paid a fair wage and that they actually have money to spend. If their boss made an extra $50K from their labor while at the same time cutting their employee's pay, then this type of issues should be fixed. You won't have many customers if they are all broke, and I think this issue is causing problems across the board.
If this seems like an impossible task, there is an alternative. You could always turn the idea on it's head and simply acommodate your art to the needs of those that have a lot of money. Corporations love jingle writers, so you could make money that way. You could move your target demographic to one that is more upscale. One upscale market is christian rock. You could talk about how much it means to you. It would basically take selling out to the next level, but would probably work. You may think I'm joking, but much like workers in other parts of the economy, artists are being forced to compromise their values and beliefs.
2. Once you finish with that, then getting an indie label off the ground should be much easier. Either way, you'll win, but our current economic downturn is slowing down the inevitable, which is that eventually artists will produce and distribute their own music, and outsource any PR work to separate agencies, as needed. That's where I see it going.