Chris Manak, better known by his stage name Peanut Butter Wolf, is marking three decades at the helm of Stones Throw, the independent Los Angeles record label he founded in 1996. Over its 30-year history, Stones Throw has evolved from a niche hip-hop imprint into a diverse label encompassing funk, rock, and rap, gaining a reputation for fostering influential artists and enduring shifts in the music industry.

Manak, who recently joined the DJ roster at public radio station KCRW, spoke ahead of the label’s 30th anniversary festival scheduled for October 16-18 in Highland Park, Los Angeles. The event will feature a mixture of the label’s current acts, including Automatic, Los Retros, and Sudan Archives, alongside early collaborators such as Rasco, Planet Asia, Architect, and Wildchild. Several of these veteran performers have not played live in some time.

Reflecting on the label’s longevity, Manak acknowledged that while the original goal was not to sustain the label for decades, his early passion for music and a high school term paper envisioning a record label foretold its future. He noted the label’s influence on major contemporary musicians like Ye and Tyler, the Creator, and highlighted the raw, intimate sound present on early releases such as Quasimoto’s 2001 album “The Unseen” as emblematic of Stones Throw’s philosophy.

Manak also addressed the fluctuating commercial fortunes of hip-hop, which has moved back and forth between mainstream dominance and more marginal status. He compares the current landscape to the genre’s early days when it was often dismissed by mainstream critics and the industry alike. Despite operating primarily outside the top 40 or Grammy circuits, Stones Throw earned its first Grammy last year for a progressive R&B album by NxWorries, a project featuring Anderson .Paak.

Commenting on the challenges facing independent labels, Manak cited the rise of streaming and the surge in music production—including AI-generated content—as complicating artists’ ability to stand out. He pointed to the scarcity of small venues and the high costs of touring as additional hurdles for musicians in sustaining careers. Still, Stones Throw continues to release vinyl editions of nearly every record, maintaining a commitment to the physical format amidst the digital shift.

Outside the label, Manak operates two Highland Park bars, Gold Line and Palomino, which emphasize high-fidelity listening and curated music experiences. These venues have contributed to reshaping local nightlife by offering spaces focused on attentive music appreciation rather than typical nightlife distractions.

Manak expressed concern about the financial sustainability of musicians in Los Angeles, noting that many talented artists supplement their incomes with non-musical jobs or constant DJ gigs. He compared the U.S. to countries like Austria, Canada, and the Netherlands, where government grants help support artists, and expressed hope for increased advocacy and support for the local music scene.

Looking ahead, Manak described his role as both a curator and DJ as enabling him to adapt in an ever-changing industry. He emphasized that his goal with Stones Throw remains helping artists reach a point where music can be their full-time profession, even in a market that often makes such careers challenging. The upcoming festival serves both as a celebration of the label’s past and a showcase for its evolving future.