MANAGING EXPECTATIONS - AN EXPLORATION INTO THE CHANGING ROLE AND VALUE OF THE MUSIC MANAGER - Music Managers Forum
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MANAGING MMF MANAGING EXPECTATIONS P1 EXPECTATIONS AN EXPLORATION INTO THE CHANGING ROLE AND VALUE OF THE MUSIC MANAGER
MMF MANAGING EXPECTATIONS P2 MMF MANAGING EXPECTATIONS P3
INTRODUCTION
Back then, the initial focus was on making deals It’s an incredibly exciting time, there is always
‘THE PAST,’ GOES THE FAMOUS QUOTE, ‘IS and building a portfolio of businesses around more to learn, and it feels at times like an
A FOREIGN COUNTRY: THEY DO THINGS an artist. The industry revolved around physical entirely new industry is being forged.
DIFFERENTLY THERE.’ CERTAINLY, WHEN I distribution, and rights were mostly signed away
For that reason, I am hugely passionate about
in return for upfront advances. Believe it or not,
FIRST STARTED IN MUSIC MANAGEMENT, my role as Chair of the MMF, and how our
it was a more adversarial era.
THE DAY-TO-DAY REMIT WOULD BE organisation is driving so much positive change
BUT AT THE TURN OF THIS CENTURY, THINGS and helping network and educate - whether
UNRECOGNISABLE TO THE ROLE I
that’s encouraging knowledge sharing through
PERFORM NOW. STARTED TO CHANGE. THE SAME DIGITAL
our Dissecting The Digital Dollar publications
FORCES DISRUPTING THE RECORDED AND LIVE
and training courses, building new partnerships
MUSIC SECTORS, WERE PUSHING ARTISTS AND through our Associate Programme, or adopting
SONGWRITERS TO THE FOREFRONT OF OUR a leadership role through our policy work in the
BUSINESS. UK and Europe.
These changes have been in the main positive. Fundamentally, rather than operating in
The manager is in an utterly unique position isolation, the MMF provides managers with
in that they oversee their client’s business and a living, breathing community. We are part of
wellbeing, and must comprehend all facets of something bigger. And only by working together
their creative and commercial life: from touring will we address the challenges presented in this
and ticketing, to music publishing, recording report.
contracts and streaming, brand deals, A&R and Paul Craig is Chair of the MMF and manages Biffy
marketing. Clyro at Nostromo Management.
As this report “Managing Expectations” so He has worked with acts including INXS, Kaiser
brilliantly highlights, we are taking up an Chiefs, Birdy, Bullet For My Valentine, Junior Senior,
ever-increasing portfolio of work as the industry Franz Ferdinand and Kevin Rowland. Paul was co-
becomes more open and also more complex. founder of SuperVision Management and formerly
In reaction to that, management businesses are SVP Artist Partnerships at Warner Music UK and
evolving and taking alternate paths as well as GM Atlantic Records UK.
demanding more equitable treatment for those
they represent. We’re increasingly investors too.
INTRODUCITON
And as we’re putting more in, it’s no surprise
that management deals are changing to
reflect this.
PAUL CRAIG
CHAIR, MMF
MMF MANAGING EXPECTATIONS P4 MMF MANAGING EXPECTATIONS P5
EXECUTIVE
SUMMARY
To properly understand their value, MMF own micro-businesses, it is the manager - as This is one of the reasons the MMF partnered
DESPITE SOME OF THE OUTDATED ‘SVENGALI’ commissioned Music Ally earlier this year to custodian of that business - who must master with YouTube Music to develop our own
STEREOTYPES PERPETRATED BY HOLLYWOOD, work with us on a survey of our membership all trades, with expertise across live, recorded, professional grants and training initiative,
BRITISH MANAGERS ARE ENTREPRENEURS AS and conduct in-depth interviews of leading publishing, marketing, promotion and a host the Accelerator Programme, to support
WELL AS DEAL-MAKERS, INVESTING IN THE managers to understand the reality of both the of other areas. They are also incredibly hard entrepreneurs at a ‘tipping point’ of going full
DEVELOPMENT OF ARTISTS, SONGWRITERS rewards and the challenges of being a music working - 40% work more than 40 hours a week time into management and developing properly
AND PRODUCERS AND BUILDING STRATEGIES manager today. on music management and 23% over 49 hours sustainable lifetime careers.
per week.
TO HELP GROW THEIR CAREERS. As our extensive research shows, the make up Going forward, I firmly believe this kind
of our sector is impressively diverse. This is no Unlike other parts of the business, managers do of initiative deserves expansion. The
longer a male-dominated profession, and there not operate in a silo. They are required to knit recommendations of this report call for
is a huge contrast in the range of experience and these bewildering divergent commercial strands improved access to finance and training,
working practices, with a significant percentage together, and build multiple partnerships - often encouragement to diversify skills, and greater
of younger managers juggling second or third on a global scale. support for mental health provision. But this is
jobs. 26% of respondents to our survey work only part one of “Managing Expectations” - the
AND THEY’RE INVESTORS TOO. 74% OF THOSE WE
full-time or part-time in another part of the intention of this report is to open a conversation
music business so there is no « us vs them » . SURVEYED HAVE PUT THEIR OWN MONEY - AND and gather more evidence to actually change the
Managers also have a vast range of experience. OFTEN SUBSTANTIAL SUMS - INTO THE CAREERS OF mindset around the value that managers bring
43% have been managing 1-5 years whilst 44% THEIR CURRENT CLIENTS. YET 40% HAVE RECEIVED to artists and the industry.
have been managing for over 5 years. NO OUTSIDE INVESTMENT, AND ONLY A SELECT FEW All will be vital for the future health of the
They also represent music-makers in the HAVE TAPPED INTO INDUSTRY FUNDING SCHEMES UK music. It’s time to put the cliches to bed.
broadest sense. Whilst 73% manage featured SUCH AS PRS FOUNDATION’S FANTASTIC The age of the Svengali is over, and rather
artists, 42% represent songwriters, 33% than supervillains it’s time to recognise the
MOMENTUM MUSIC FUND.
represent producers and 17% represent DJs. superheroes.
Most manage 1 or 2 clients. However, 14% Paradoxically, against this fast-moving
juggle 4 to 9 clients, often at different stages of background of complexity and diversification,
career development. the way in which most managers get paid
has remained stubbornly rigid, with the vast
Also clear is the expanding list of responsibilities
majority reliant on commission-based earnings
that managers are expected to shoulder - hence
- and typically of 20%. This is increasingly
the title of this report. While streaming and
INTRODUCITON
unsustainable, and with so many upcoming
social media have positively recalibrated the
managers not making any money at all, we
wider music industry, empowering artists
run the risk of losing many of these talented
and songwriters to build and develop their
professionals altogether.
ANNABELLA COLDRICK
CHIEF EXECUTIVE,
MUSIC MANAGERS FORUM
OCTOBER 2019
MMF MANAGING EXPECTATIONS P6 MMF MANAGING EXPECTATIONS P7
SURVEY AND REPORT
METHODOLOGY
Thank you to the 183 managers who WHO ARE MUSIC MANAGERS? WHO DO THEY REPRESENT?
THIS REPORT HAS BEEN INFORMED BY TWO responded to this survey and gave a wide
METHODS. A SURVEY WAS DEVELOPED IN range of perspectives. Also thanks to the 14
PARTNERSHIP WITH MUSICALLY WHICH MMF
DISTRIBUTED TO ITS MEMBERSHIP AND THE
representatives of management companies
who were interviewed at length for this report.
42%
identified as female
WIDER MUSIC INDUSTRY VIA PARTNERS, Interviews were conducted by Eamonn Forde,
TRADE BODIES AND SOCIAL NETWORKS. THIS and were based on a set of questions which 73%
focused on deal and commercial structures, Artists
WAS FOLLOWED BY A SERIES OF IN-DEPTH
INTERVIEWS WITH LEADING MANAGERS
skills, varying income streams and the evolving
relationship with the recorded music sector
20%
PLUS SOME ADDITIONAL Q&AS WITH are non-white
brought about by streaming.
MEMBERS OF THE WIDER INDUSTRY ON THEIR
It is noted that these interviews placed less Most are based in London or
PERSPECTIVES OF MODERN MANAGEMENT
emphasis on live music and music publishing, the South of England - with
ROLES. significant pockets in Scotland
but we plan to follow this report with an in-
depth exploration of challenges for managers and the North of England.
with these income streams. The interviewees
were also mainly, but not exclusively artist
managers, or those with a cross-section 42%
of clients include artists, songwriters and Songwriters
producers. We will follow this up with more Most manage 1 or 2
research into the challenges and business clients...However
models of those who manage songwriters and
producers exclusively.
For this piece of research we focused on
14%
manage 5-9
managers own businesses and did not interview
their clients (music makers: such as artists,
composers, producers, musicians). Our aim is to
They have a vast range of experience:
33%
use the findings of this research to start these Producers
discussions.
INTRODUCITON
The full findings of the survey can be found
here: themmf.net/managingexpectations
43%
1-5 years managing
Music Ally is a knowledge and skills company
for the global music business that has been
17%
publishing information and providing marketing
strategy, training and running events for over 15 44% DJs
years. It has offices in London, Shanghai, Tokyo 5+ years managing
and Medellin.
MMF MANAGING EXPECTATIONS P8 MMF MANAGING EXPECTATIONS P9
DEVELOPING ACTS
This report is based on the findings of an He adds that managers have to assemble “a INVESTING IN EARLY DEVELOPMENT
THE MUSIC INDUSTRY HAS CHANGED extensive survey, and includes interviews with small team of believers” around an act, with
ENORMOUSLY THIS CENTURY AND SO HAS THE managers of all sizes - from sole traders to management companies diversifying what
ROLE AND PURPOSE OF THE MUSIC MANAGER.
EACH MANAGER AND MANAGEMENT COMPANY
MAY TAKE A VERY DIFFERENT APPROACH, BUT
large established companies. We have included
voices from experienced managers as well as
the digital generation, bringing with them fresh
new perspectives on what it is to be an artist
they do and developing expertise in-house
out of necessity in order to better build artist
businesses.
74%
THEY ARE ALL ULTIMATELY DOING THE SAME For Tim Clark of ie:music, the manager has HAVE INVESTED THEIR OWN MONEY INTO
manager today. CAREERS OF THEIR CURRENT CLIENTS
THING: BUILDING CAREERS AND BUSINESSES two distinct roles at this early stage – to “help
FOR THEIR ARTISTS. Since they are often the first believers in an act, protect the artist” and to “go out and sell the
managers have always been the ones to get the vision that artist has” to the audience and their Have invested
“YOU’RE BUILDING A BUSINESS FOR THE ball rolling and build a portfolio of businesses future business partners. £1k-£5k 30%
ARTIST; YOU’RE A BUSINESS DEVELOPER, around an artist. In 2019, however, the manager
However, before addressing these wider roles, Have invested
RIGHT? THAT’S WHAT YOU ARE. SO YOU’RE typically has to roll that ball a lot further and for
NOT ACTUALLY A MANAGER; YOU’RE A a lot longer than they did in the past.
we will focus on a more fundamental issue: £5k-£10k 21%
investment.
BUSINESS DEVELOPER.” In a digitally-driven culture, labels expect artists Have invested
ELLIE GILES, STEP MUSIC MANAGEMENT to be “developed” to a certain stage and have
While artists now have a vast number of choices
£10k-£15k 15%
in how they take music to market, how their
genuine momentum behind them before a deal
careers are sustained and paid for is becoming
is offered. The duty of the manager, therefore,
an increasingly complex area - and a challenge at
is to start fostering and (frequently) investing
the heart of this report.
in their client. This is partly out of financial and
structural necessity, but with the result that INVESTING IN EARLY DEVELOPMENT 40%
DEVELOPING ACTS AND BUDGETS
greater autonomy is being placed in the hands As highlighted by the survey findings, a Have received no outside investment
of artists and managers before any other players significant percentage of music managers have for their artist
i.e. publishers, agents, labels or brands get invested their own money - and frequently
involved. substantial sums - into the careers of their
current clients.
Managers today have to be, in the words of
Brian Message of ATC, “multi-faceted, multi-
talented rainmakers”.
Though sometimes born of necessity, there
is increasingly sound commercial sense in a
35%
Have used personal savings
manager providing this kind of early stage
“THEY ARE PEOPLE WHO CAN GET STUFF DONE,”
HE SAYS. “THE GREAT BEAUTY AND THE GREAT
funding. € FEW HAVE TAPPED INTO
For instance, by developing an act through
CURSE OF MANAGEMENT IS THAT YOU’RE ACROSS their own investment, a manager can broaden £ INDUSTRY FUNDING
- ACE, PRSF or Help
ABSOLUTELY EVERYTHING.” their commercial options and demand greater
Musicians. A small
leverage when negotiating future partnerships.
number are currently
on the Accelerator
Programme
MMF MANAGING EXPECTATIONS P10 MMF MANAGING EXPECTATIONS P11
“FOR NEW ACTS, IT’S NOT ALWAYS THE BEST IDEA
TO GO RUSHING INTO A MAJOR LABEL DEAL; IT
CAN BE BETTER TO DEVELOP AT A GRASSROOTS
As highlighted by Niamh Byrne, many managers
will actively seek to delay involvement of a
record label - developing an act under their own
steam, potentially working with a label services
“
TODAY’S MANAGERS SHOULD HAVE A GOOD,
UP-TO-DATE WORKING KNOWLEDGE OF EVERY
ELEMENT OF THE MUSIC BUSINESS. THIS IS
“
MANAGERS DO MORE TODAY THAN THEY HAVE
EVER DONE. THEY ARE MULTI-TASKERS WHO
NEED TO HAVE A RANGE OF SKILLS BROADER
LEVEL TO GAIN MOMENTUM,” SAYS NIAMH BYRNE ESPECIALLY IMPORTANT IN THE MODERN THAN VIRTUALLY ANYONE ELSE IN THE MUSIC
company, and ensuring the strongest possible
OF ELEVEN MGMT. “THERE IS THE RISK THAT negotiating position. However such a grassroots ERA DUE TO ADVANCES IN TECHNOLOGY AND BUSINESS. THE GOOD ONES EARN EVERY
GOING INTO A MAJOR LABEL SYSTEM TOO EARLY, strategy still requires funding.
THE WAY IN WHICH MUSIC IS RECORDED PENNY OF THEIR COMMISSION.
IT COULD END UP DOING THE OPPOSITE AND NOT
“WE DON’T HAVE THE RESOURCES OF THE MAJOR AND CONSUMED. MANAGERS MUST BE
NECESSARILY HELPING.” ALISTAIR NORBURY, PRESIDENT,
LABELS, SO WE HAVE TO BE CAREFUL,” SAYS EXPERTS IN A&R BUT ALSO COMMERCIALLY REPERTOIRE & MARKETING, BMG UK
However, the upsides of financial independence TIM CLARK OF IE:MUSIC OF THIS APPROACH,
need to be counterbalanced by the additional
ASTUTE. THEY NEED TO GRASP THE LEGAL
HIGHLIGHTING THAT MORE DIY APPROACH CAN PUT
workload this can entail. While a certain amount AND RIGHTS FRAMEWORKS THAT EXIST IN
of development can be achieved online for
THE ACT IN A STRONGER POSITION WHEN TALKING
MUSIC – AND THEY NEED TO KNOW HOW TO
a relatively low financial outlay, the drain on TO LABELS AND MEANS THEY ARE NOT PRESENTED
PROMOTE AND PR THE ARTISTS THEY ARE
managers’ time and resources can be significant. WITH WHAT HE CALLS “REALLY ONEROUS, IF NOT TO
RESPONSIBLE FOR. AT THE EARLY STAGES OF
For Robert Swerdlow at Starwood Management, SAY, HEINOUS, CONTRACTS”.
top of the checklist when developing a new
AN ARTIST’S CAREER, THE MANAGER IS OFTEN
“I believe that is money well spent,” he says.
act is building a fanbase via social media - and THE ONE-PERSON TEAM BEHIND THEM UNTIL
In the past, Clark has approached outside
particularly on a regional level. “Make sure that ADDITIONAL SUPPORT CAN BE AFFORDED;
financiers to invest in a new act, taking a direct
you’re punching at weight, if not above weight,
stake in any IP created under their agreement AND EVEN THEN THE MANAGER HAS TO BRING
DEVELOPING ACTS AND BUDGETS
in your region – wherever you are,” he says. “You
– typically for a five-year period. He also THAT TEAM TOGETHER AND KEEP IT WORKING,
have to geo-target and show value in a [regional]
notes the importance of various bursaries and
pocket.” HELPING TO MAINTAIN THE ARTIST’S VISION
funding schemes such as the MMF Accelerator
This critical stage of stealth development is programme, PRS Foundation, PPL, BPI, and WHILE RUNNING A VIABLE BUSINESS.
often something outsiders never see. Colin public funding grants as a way of unlocking PETER LEATHEM, CHIEF EXECUTIVE OFFICER, PPL
Schaverien of Prolifica Management explains development stage capital, offering the
how it was done for one of the biggest acts on example of Irish duo Saint Sister who received
his company’s roster. government funding to help underwrite touring
“With Two Door Cinema Club, we did a huge costs.
amount of under-the-radar work in terms of Alternatively, ie:music have agreed investment
driving the band through social channels, live deals with artists in return for a share of any
and international – really getting foundations resulting IP. “We did that with two Sia albums,
and platforms in place before we went which revert back to her next year when she
anywhere near traditional mainstream media like owns them outright,” says Clark. “We just had a
Radio 1,” he says. “It was very much: how do we stake in them for 10 years.”
do this independently?”
MMF MANAGING EXPECTATIONS P12 MMF MANAGING EXPECTATIONS P13
However, for those managers bankrolling A MANAGER IN THE PAST, BUT THAT IS CHANGING.
acts themselves, there can be limitations. For “NOW IF YOU’RE A MANAGER, YOU BETTER HAVE ▶ MMF ACTIONS managers costs into account and recognising
instance, further investment may be limited to their contribution and financial position, some
EITHER GOOD EARS OR SOMEBODY WITHIN YOUR
smaller increments and dependent upon the ACCESS TO FINANCE are providing salaries and draw down funds
COMPANY THAT HAS GOT REALLY, REALLY GOOD as part of the deal. This is a trend the MMF
artist becoming more successful - ie streaming MMF has placed an increasing focus on
more, or playing larger venues - before EARS,” HE ARGUES. “THERE’S A LOT OF A&R TO raising awareness around different sources would like to see increase to enable particularly
additional funds becomes available to put back DO NOW.” of access to finance, not just grant funding. younger or newer managers to survive.
into their business. Matthew Thornhill at Young Turks Management We have called for more funding for artists To help emerging management businesses
ARTISTICALLY LED MANAGEMENT expands on this theme with the example of international projects in light of Brexit, whether become more sustainable, the MMF
While the workload for managers at this Mercury-winning artist Sampha, whose career through Music Export Grant Scheme [MEGS] partnered with YouTube Music to develop
developmental stage has never been greater, was built via a series of deft collaborations, or other mechanisms. We also championed a the groundbreaking Accelerator Programme
alongside this is the fact that artists themselves co-writes, and featured vocals - most notably specific adjustment to the PRS Foundation’s for Music Managers. With additional funding
are increasingly more savvy about the business. with SBTRKT. Young Turks actively encouraged Momentum Music Fund, allowing managers from Arts Council England, Creative Scotland
From the moment an artist starts posting music this kind of cross-pollination, leading to to be remunerated for their time spent on and the Scottish Music Industry Association,
to, say, Soundcloud or Facebook, they are in collaborations with major acts like Frank Ocean, project management. We need to do more to Accelerator has already supported 24
effect developing their own “brand”. Kanye West, Solange and Alicia Keys. “We’ve help ensure our community is not just aware managers with grants and professional training.
introduced Sampha to the wider public through of but also able to access these funding The programme will return in 2020, and we
“A LOT OF KNOWLEDGE HAS BEEN GAINED IN THE collaborations,” says Thornhill. opportunities. are actively working with MMFs from other
INDUSTRY,” SAYS KILO JALLOH OF 2K MANAGEMENT. Additionally, managers must also be equipped territories to build a pan-European mentoring
Such rapid expansion of both creative and
“A LOT OF PEOPLE ARE LEARNING, AND A LOT OF commercial responsibilities is redefining artist with the negotiation skills and knowledge they programme, create new networks and grow
PEOPLE ARE BEING TAUGHT TO OWN THEIR MUSIC, management today. need when entering into new business deals. international businesses.
DEVELOPING ACTS AND BUDGETS
AND TO NOT SIGN DEALS AND TO NOT GIVE THE Increasingly, record companies are taking
As the early investors in acts – and having to
LABEL THIS OR GIVE THE LABEL THAT.” commit to that investment stage for longer than
Rather than the manager leading from the front they did in the past – managers clearly have
and telling the act how to navigate the business, greater fiscal control, and this carries through
there is frequently a culture of collaboration. to when they start to deal with labels and label
The net effect of this is that managers are service companies.
increasingly working in lockstep with acts. But management alone can usually only take
Even so, what a manager has to do and know an act so far, especially if that act has global
about has grown exponentially in the past 20 ambitions. Knowing when and how to approach
years. labels and label service companies to build the
portfolio around an artist that offers the backing
KWAME KWATEN OF FEROCIOUS TALENT SUGGESTS and expertise remains imperative. The centre of
THAT A&R WAS NEVER A PREREQUISITE TO BEING gravity might be changing slowly, but plugging
into a bigger operation can still be important.
MMF MANAGING EXPECTATIONS P14 MMF MANAGING EXPECTATIONS P15
RELATIONSHIPS
WITH LABELS
By nature they are 360-degree businesses. traditional (or archaic!) deal structures whereby
ARTISTS ARE UNIQUE, IN THAT THEY Additionally, they are often in a state of an upfront advance is traded for lifetime
CREATE A PORTFOLIO OF BUSINESSES fluctuation - an emerging artist will probably ownership of their client recordings.
THAT INCREASINGLY INCORPORATE AND build up an online following, and therefore
With labels getting involved later in the launch
INTERCONNECT ALL ASPECTS OF THE MUSIC accumulate streaming royalties, before they
arc of an act, so the deals they offer are in
ECOSYSTEM. AUDIENCE ENGAGEMENT WITH derive much income from live music. However,
some cases, starting to reflect the reality that
further down the line, there may come a tipping
ONE VERTICAL (FOR INSTANCE, RECORDED some of their risk and expenditure has been
point where ticket sales become the focal point
MUSIC) WILL OFTEN STIMULATE GROWTH AND mitigated. This is potentially good for the
of their business.
REVENUE IN ANOTHER (FOR INSTANCE, TICKET labels (they should be making a more de-risked
SALES). Indeed, according to our survey, live revenue investment) while giving the artist leverage to
represents the most significant revenue stream negotiate shorter-term licensing agreements or
for performing artist businesses. What many development deals that initially focus on singles
commentators and media have historically rather than albums.
defined as “the music industry” when they were
“THE TRUTH OF THE MATTER IS THAT, APART FROM
actually referring to “the record industry” now
accounts, in revenue terms at least, for a smaller THE MONEY, ONE REALLY DOESN’T NEED A LABEL,”
part. IS CLARK’S BLUNT ASSESSMENT. HE OFFERS UP
However, it remains a significant part. And PASSENGER AS AN EXAMPLE, NOTING HOW THE
recorded music is still a launchpad for acts to ARTIST’S EARLIEST ALBUMS WERE DISTRIBUTED BY
build their audience in the live arena. TUNECORE AND THE BULK OF HIS MARKETING WAS
As the global recorded business contracted DONE IN-HOUSE AT IE:MUSIC. “OF COURSE, HE HAD
between 2000 and 2014, most labels scaled A GREAT LIVE FOLLOWING,” ADDS CLARK. “YOU CAN
RELATIONSHIPS WITH LABELS
back signing budgets. The majors consolidated BUILD A GREAT DEAL ON THAT.”
and went from five to three in this period,
arguably becoming more risk-averse as a It would be easy to set up a managers-versus-
consequence. labels dichotomy, where the former constantly
bashes the latter over unfair deals but that, of
The onus therefore started to fall on managers course, does not give the complete picture.
to take up some – if not all – of that slack. Out Many managers we interviewed appreciated
of necessity, many managers assumed many where and when labels can propel their acts to
of the specialist roles previously performed by the next stage, and provide additional services
labels – notably marketing but, particularly for and value; but equally, they understand the
the larger management firms, newer areas such landscape has changed and so too must the
as data analysis and DSP relations. deals being offered. Clark reiterates this
In reaction to these developments, there has importance and that as a company they “have
been a drive from managers to seek more and have had great relationships with the majors
equitable contract terms - and push back against based on fair deals and transparency”MMF MANAGING EXPECTATIONS P16 MMF MANAGING EXPECTATIONS P17
LABEL VS LABEL SERVICES act’s career is still a success, this can put them “BUT THE UPSIDE IS THAT IF IT SELLS WELL THEN ARGUING THAT THIS, AS A MANAGER, IS DIFFICULT
The requirement for global investment, or in a better position to secure more favourable YOU HAVE A BETTER CHANCE OF BEING ABLE TO TO JUSTIFY SOMETIMES.
access to global marketing and distribution rates elsewhere.
RECOUP MORE QUICKLY, MORE SO THAN DOING IT “THERE’S A NEW DAWN,” HE PROPOSES, “AND
structures are just some of the areas where a
“IT IS ONLY IF THE LABELS ARE REALLY OFFERING ON A MAJOR LABEL”.
manager might seek the support of a label. THAT NEW DAWN IS ABOUT ARTISTIC AND
However, these days, artists have choices. SOMETHING OF GREAT VALUE THAT IT BECOMES OWNERSHIP OF MASTERS CREATIVE CONTROL.”
WORTHWHILE TO GO BACK INTO THAT SYSTEM.” Ownership of the recording or “masters” is
Niamh Byrne says that a traditional label route Others also recognise this trend.
Niamh gives the example of The Good The Bad historically a bone of contention between
might be an option for high level funding to
managers and labels. This issue is now at the Ellie Giles says that streaming and the long
get a really creative campaign off the ground. & The Queen whose most recent album, 2018’s
core of most recorded negotiations - with the tail of digital are making it increasingly difficult
“However,” she adds, “if a campaign can be Merrie Land, was the first release on Studio 13,
artist increasingly demanding either outright for independent labels to insist on master
funded through brands or other means, then the a label set up by Eleven Mgmt. In this instance,
control or reversion after a certain period. ownership in perpetuity, something she feels
label services route could be better.” Studio 13 was able to plug into ADA/Warner
has been exacerbated by squeezed promotion
on a label services level rather than formally This has been accentuated by the rise of the
The declining relevance of the “traditional” and marketing budgets.
releasing the album on Parlophone (historically label services model, which typically leaves the
label system is especially true for acts who have
home for Damon Albarn’s various projects, artist as the “rights owner”. “I think there’s going to be a change because
already achieved a high level of commercial
including Blur and Gorillaz). now, if you’ve got something for perpetuity, the
breakthrough and who may be out of contract. For Colin Schaverien, coming from a successful
streaming levels [mean] you can make money
Going the label services route will typically label services deal into a more traditional label
“I’M NOT SAYING THAT THE MAJOR LABEL IS DEAD forever on that,” she says.
result in the act of receiving the lion’s share of deal puts the issue of “ownership” into the
BUT IT’S GREAT FOR ARTISTS TO HAVE THE CHOICE, revenue (the inverse of the label system), but spotlight. In theory, the label services deal The long tail of streaming means albums are
TO BE IN A POSITION WHERE THEY CAN CHOOSE leaving them to front their own marketing costs. can help establish an act, they get their rights always available and can keep earning and, as
WHAT KIND OF PARTNERSHIP THEY WANT TO HAVE back after a short period, and then progress to such, her thesis is that the period of ownership
“YOU’RE IN CONTROL OF YOUR OWN BUDGET
a record label with greater bargaining power. (i.e. for life of copyright) cannot be what it
DEPENDING ON WHAT PROJECT IT IS,” SAYS NIAMH. AND YOUR OWN STRATEGY,” SAYS NIAHM OF THE (Equally, of course, there are many instances was. The labels perspective is they are making
RELATIONSHIPS WITH LABELS
From a personal perspective, she says she would BENEFITS OF THIS APPROACH. “YOU’RE SPENDING of artists sustaining a career within the label upfront risky investments so need to own rights
not discount major label deals, but there are MONEY BASED AGAINST WHAT YOU THINK YOU services model.) over the longterm to recoup their investment.
always important issues to consider for an act
MIGHT DO.” This issue of master ownership is where Rob
whose contract is up for renewal. “THE TERMS THAT YOU CAN THEN NEGOTIATE WITH
The downside? Marketing and promotion funds Swerdlow feels a label services deal increasingly
“For an established act, you’ve spent the best A MAJOR ARE SO MUCH BETTER THAN GOING IN
and expertise might be limited, and this could has the upper hand over a standard label deal.
part of 20 years being in a major label system, AND SIGNING WHAT MAJORS LIKE YOU TO DO – But it is, he believes, something that should give
result in a campaign’s ambitions becoming more
which means major label costs,” she says. If the WHICH IS FOR THE LIFE OF COPYRIGHT,” HE SAYS, labels food for thought and for them to focus
risk averse.
efforts on what they can do best.MMF MANAGING EXPECTATIONS P18 MMF MANAGING EXPECTATIONS P19
“WHAT’S PUTTING THE MAJORS UNDER PRESSURE
TO CONSIDER REVERTING MASTERS BACK OR
LICENSING RECORDS IS BECAUSE THEY CAN’T
few years ago. “Artists are now getting 50/50
and they’re not signing away their live income,”
he says. “There are not a lot of 360 deals like
before.”
“
“MANAGERS ARE INCREASINGLY TAKING
CHARGE OF THE ARTIST DEVELOPMENT
PROCESS WHICH IS AT THE CORE OF THE
“
“FROM OUR SIDE, THE STARTING POINT IS
TRYING TO UNDERSTAND A MANAGER’S CORE
COMPETENCIES, AS EVERY SINGLE MANAGER
COMPETE WITH AWAL,” HE SAYS. “AND AWAL ARE BUSINESS. MANAGERS ARE BEING INNOVATIVE IS DIFFERENT, WITH DIFFERENT SKILL SETS
CONTINUING TO TRY TO LEARN TO COMPETE AT ACCEPTING MANAGEMENT’S LIMITATIONS
However, while it is romantic to assume that all IN THEIR SOCIAL MEDIA STRATEGIES, WHICH AND CORE STRENGTHS. ONCE WE KNOW THAT
WHAT THEY ARE NOT GOOD AT AND WHICH MAJOR
artists have been empowered to “break free” GOES HAND IN HAND WITH THE CREATIVE BASE LEVEL WE CAN START BUILDING A TEAM
RECORD LABELS ARE GOOD AT – LEVERAGE AND of traditional conventions, many managers DEVELOPMENT PROCESS. BUILDING THE AROUND THEM; WE TEND TO BACK OFF AREAS
CREATIVITY.” are keen to assert that there are limitations to
BRAND, POSITIONING AND [CREATING THE] THAT THEY ARE STRONG AND SUPPLEMENT
Rob also suggests that label services deals may unfettered independence.
sometimes lack what he terms the “seasoned
STORY OF THEIR ARTIST. ALSO IN THEIR AREAS WHERE THEY NEED HELP.”
Adam Tudhope of Everybody’s is firmly of the
creatives” of a well-established label who can belief that a management company should BUSINESS MODEL, [THEY ARE] INCREASINGLY IAN DUTT, THE ORCHARD
work on multiple successful campaigns from top understand and accept that it cannot be good at SEEKING A BUSINESS PARTNERSHIP WITH
to bottom. “A well-drilled machine, pulling in the everything. As such, working with a label system THEIR ARTISTS RATHER THAN AN AGENCY/
same direction, can really elevate a campaign”, should be construed as a sign of strength rather
he adds. SERVICE PROVIDER POSITION.”
than a weakness.
For certain genres, commercial independence “IF YOU ASPIRE TO BREAK BIG AND IF YOU ASPIRE
PAUL HITCHMAN, PRESIDENT, AWAL
has become something of a badge of pride. Kilo
TO BREAK BEYOND YOUR HOME COUNTRY, THEN
Jalloh says this has long been the case for UK
urban acts, and that an independent path is YOU’RE GOING TO NEED HELP,” HE SAYS.
already paying dividends. While Adam accepts that a manager and artist
“I feel that our scene specifically, the urban can go a long way on their own, they cannot go
RELATIONSHIPS WITH LABELS
scene, is building and a lot of labels are seeing the whole distance. That means management
that it can actually generate some money,” he teams need to understand their strengths and
says. “Whereas a couple of years ago, there weaknesses, and where they require outside
wasn’t a lot of interest in our scene because it expertise. “Pure marketing and sales are not
wasn’t proven.” things that we do,” he says. “So we need
someone to help us to do that.”
As more and more acts from genres like RnB,
hip hop and grim scene prove their commercial Despite the international success of Mumford
worth - with Stormzy, Skepta, Dave and Jorja & Sons, he explains, and despite extensive
Smith being prime examples – labels are offering experience with touring and selling records
very different deals to what they did even a globally, it would be impossible to have full and
intimate understanding of every market.MMF MANAGING EXPECTATIONS P20 MMF MANAGING EXPECTATIONS P21
MANAGEMENT AS THE LABEL to dramatically rethink what it is they can offer
Another option, as highlighted by Eleven acts and the terms under which they do deals. ▶ MMF ACTIONS
Management’s Studio 13, is for the management As the label system is up for review and whole
company to operate their own label. This is also new opportunities are up for grabs, a new Working with music consultancy CMU Insights, area of our website. We also work directly
the case for All On Red, where founder Jamie type of hybrid management company – where the MMF has pioneered the Dissecting the with several streaming services on their
Oborne also runs the label Dirty Hit. the case labels are built in from the off, bolted on as Digital Dollar project which, over 5 years and analytics platforms for managers helping make
with All On Red/Dirty Hit. they develop or spring up out of necessity – is a series of publications, has helped managers sure these provide the information managers
Jamie describes Dirty Hit as “a reaction to” coming to the fore. Eleven with Studio 13, All better understand the economics of streaming, and artists need to inform their businesses.
royalty deals, and that the label is “about artist On Red with Dirty Hit and Young Turks as both as well as raising important issues around The MMF also relaunched their managers’
partnerships”, with a preference for profit splits a management company and a label that plugs contractual transparency and the value of training programme last year to include
rather than standard royalty-based contracts. directly into the XL Recordings/Beggars Group data - including bespoke ‘Fan Data’ and Digital all aspects of the various business models
On principle, he adds, the label also takes no system, are all good examples. Deals guides. discussed above and will be expanding it to
ancillary rights. “I don’t believe an artist should What needs to be handled carefully here are the Through our public policy work, the MMF have include more business management, financial
pay for a label’s inability to create a business lines of delineation and how the management also campaigned for greater transparency and company structure topics as well as HR
out of that label’s chosen field of expertise,” he arm and the label arm can operate both over deal information and more equitable deal and leadership skills.
explains. independently and collectively. terms - there is clearly more to do in this space
Dirty Hit’s deals, meanwhile, are designed as directly with industry and with implementing
Matt Thornhill stresses that Young Turks has
global partnerships - albeit, in order to scale the legislation. We have pushed for more equitable
worked hard to avoid any conflict of interests.
business, the label does have licensing deals in deal terms as well as building a streaming
place with different majors. “ALL THE DEALS WE DO ACROSS PUBLISHING, calculator to help assess the impact of different
RECORDS AND MANAGEMENT ARE ENTIRELY label or distribution deals on digital income
“I DIDN’T WANT MY PRIDE TO GET IN THE WAY OF over time which is available on the members
INDEPENDENT OF EACH OTHER,” HE SAYS. “WE
AN ARTIST’S SUCCESS,” SAYS JAMIE, “AND I DIDN’T
NEVER SIGN AN ARTIST TO MANAGEMENT AND
HAVE THE CASH FLOW NEEDED TO PROPERLY TAKE
RECORDS AT THE SAME TIME. WE’VE BUILT A
THE ACT TO THE OBVIOUS PLACE IT NEEDED TO BE.
BRILLIANT LABEL TEAM, A BRILLIANT PUBLISHING
BUT AS WE MOVE FORWARD, I THINK THE FUTURE
TEAM AND A BRILLIANT MANAGEMENT TEAM. EACH
FOR DIRTY HIT IS ONE OF INDEPENDENCE.”
OF THEM IS A GREAT OPTION FOR OUR ARTISTS, BUT
As it stands, labels remain an alluring option for
REGARDLESS OF THIS, THE DECISION IS ALWAYS
artists requiring serious investment; but what
has changed are the terms under which those THEIRS TO MAKE RATHER THAN INSISTING THAT WE
deals can be struck. This means labels are having SIGN PUBLISHING ALONG WITH RECORDS.’”MMF MANAGING EXPECTATIONS P22 MMF MANAGING EXPECTATIONS P23
SKILLS &
Q: WHAT TASKS DO MUSIC MANAGERS DO?
A: EVERYTHING!
EXPERTISE
AS ALREADY NOTED, BY DESIGN OR DEFAULT, Our survey indicates 74% of managers
are taking responsibility for their own
85%
take responsibility
76%
take responsibility
THE ROLE OF THE MANAGER HAS GREATLY for social media
professional development with 33% having for label & release
EXPANDED, AND THEY ARE INCREASINGLY services
spent over £1000 on music specific training management
EXPECTED TO BE INVESTORS, A&RS AND events and conferences. When it comes
MARKETERS. to formal education, 54% have achieved
These extra responsibilities have been added a Bachelor’s degrees, with a further 18%
to their workflow by stealth, but there is educated to Masters level. However 73%
also an organisational commitment by some report not having had any formal music
management companies to add new specialist
roles within their set-ups to resource, or else
outsource these roles entirely.
management or music business education.
This is likely to change with an increasing
range and growing sector which is why
the MMF is continuously reviewing our
65%
take responsibility
education programme and partnering our for PR & promotion
Music Biz courses with our Education
Associates to inform the content and bring in
current managers to talk about their careers.
MUSIC MANAGEMENT SKILLS IN TERMS OF HOW IMPORTANT THEY ARE TO FUTURE SUCCESS OF BUSINESS 57%
take responsibility
75% Managing vulnerability, health/
wellbeing of the artist
51% Music publishing
23%
take responsibility
for tour
management
for legal services
Live events and tour management A&R co-ordination and creative
64% 49% development
SKILLS & EXPERTISE
63% Marketing
43% Public relations and promotions
48% 70%
take responsibility
take responsibility for branding &
Legal & contractual negotiation skills Label and product management
61% 42% for book keeping / creative asset
accountancy development
Accounting and financial planning International and export knowledge
53% 38%MMF MANAGING EXPECTATIONS P24 MMF MANAGING EXPECTATIONS P25
NEW ROLES AND RESPONSIBILITIES “If we want to put spend behind something, “WE JUST DON’T HAVE ENOUGH REVENUE we’re lacking something, we are able to work
From interviews for this report, it appears or if we want to create content for something, GENERATED AND COMING IN [TO DO THAT] – AND alongside the XL/Beggars team to plug the gap.”
that digital marketing is where the majority we can do that in a couple of hours now,” he
I’M TALKING LUXURY REVENUE, WHERE THE Perhaps unique to the types of acts they works
of managers see the most immediate need to says, bypassing the old system of working
ECOSYSTEM DEPENDS ON IT,” HE SAYS. “SO WE BUY with, Matt says that Young Turks have recruited
focus resources by recruiting dedicated staff with external partners, where decisions would
a Curator / Producer with art world experience
members. Especially if it allows them greater go through multiple approval processes and THAT IN AND WE HIRE SPECIALISTS, INDEPENDENT
and who previously worked at London’s
control over creative decision-making, such as potential opportunities were missed. MARKETEERS AND OTHER SERVICES – AND VERY
Serpentine Gallery. He cites the examples of
where marketing budgets are spent. Budget is also a recurring issue for managers, MUCH ENJOY HAVING THAT.” Jamie xx working on the score for the Tree Of
“WE ARE AGGRESSIVELY EXPANDING OUR DIGITAL with many suggesting they would dearly like to This is all built on the understanding, he adds, Codes ballet at the Manchester International
have dedicated roles in-house but cannot, for that Starwood is a service-based business. Festival in 2015 as a sign of the types of areas
TEAM, WE’RE EXPANDING OUR MARKETING
now, justify the overheads. the acts on their roster are expanding into.
TEAM, WE’RE PUTTING MORE RESOURCES INTO “So at any point in time, if the artist nose dives
At Eleven Mgmt, Niamh Byrne explains that and you’re carrying a large overhead, that is How this expansion and diversification is
CREATIVE MARKETING AND CREATIVE PROMOTION
the company is structured with three distinct just not sharp business for us,” he explains. “If funded is still somewhat in flux. Some are
VIA MARKETING SPECIALISTS AND DIGITAL
departments around a central management we need the departments to help support the now revising how a traditional commission
SPECIALISTS,” SAYS JAMIE OBORNE. “THAT IS core: branding, digital and label services. demand for our job in hand, we buy it in. We’re structure applies and are investing internally in
THE BIG AREA FOR ME. WE LOVE MARKETING, SO like that and immediately go shopping for it.” staff or consultants in order to offer optional
“WE DRAFT PEOPLE IN WHEN WE GET REALLY
IT DOESN’T EVEN SEEM LIKE A PARTICULARLY services – and frequently for a fee outside of
BUSY,” NIAMH EXPLAINS. “EVERY MANAGER HAS THE IMPORTANCE OF DIGITAL MARKETING
REVOLUTIONARY THING TO BE DOING. IT SEEMS their management commission. This “service
A number of management companies will also
THE NEED TO SCALE UP AND DOWN ACCORDING on top” model is seen by many as the only
LIKE A BASIC REQUIREMENT OF A MODERN MUSIC be employing staff who are fluent in social
TO NEED.” viable response to the growing demands on
COMPANY.” media marketing (many managers we spoke
management and is discussed in more detail
DIVISIONS AND DEPARTMENTS to said these kinds of skills are expected as
Such an expansion of duties is, for many below.
For some management companies, while the a given among new recruits), while others,
managers, a relatively recent phenomenon as One manager talked about the complexities
duties of individual managers have evolved, such as Young Turks, say they appoint third-
they move to become full-service operations. and admin involved if one of their acts also
this is not yet reflected in the organisational party experts to run the social channels of
At Prolifica, says Colin Schaverien, their structure at the company - with the result that some of their bigger artists simply because operates a label, and having to deal with PPL/
nine-strong team has developed in-house there is an ongoing evolution towards creating of the workload involved. “We’re a mid-sized PRS registrations, barcodes, metadata and other
SKILLS & EXPERTISE
expertise over the past 18 months across a clear departments and responsibilities. management company,’’ says Matt Thornhill. fundamentals.
range of business areas meaning that, with the “but are keen to carefully consider our growth. “It interests me enough that I want it to be
“Starwood has got senior partners and it has got
exception of distribution, they can cover most Our long-term goal is to offer as many services dealt with properly – but it doesn’t interest
young managers,” says Robert Swerdlow. “It’s
eventualities. in-house as we can, but until that point we are me enough that I want to hire people to do it,”
got a system and structure works. It’s boutique
“We’ve brought digital marketing, social media, and it’s small.” working with some great partners.” says Adam Tudhope of the expanding range of
asset content creation, marketing and product He does, however, say that the way the label specialisms that other management companies
While Starwood do not currently have
management in-house,” he says. “They’ve all side of the management company connects are hiring around.
departments for touring or digital strategies,
been new hires, which essentially just allows us into a bigger label structure puts them in an
both are areas where they would consider hiring
to incubate artists.” incredibly fortunate position. “If we find that
in the future.MMF MANAGING EXPECTATIONS P26 MMF MANAGING EXPECTATIONS P27
“I DON’T WANT TO HAVE MY OWN MARKETING BRAND: MANAGERS now because we’ve had a great track record of “Everyone should bear some responsibility for
PEOPLE OR RADIO DEPARTMENT IN AMERICA,” HE Working with brands has become part and working with third parties to produce videos. artist mental health, but it’s definitely a headline
parcel of the modern music business, and priority for artist managers,” he says.
SAYS. “THAT’S WHAT THE RECORD LABELS ARE THE ARTIST IS NOT DIRECTLY SEEING THAT MONEY,
it makes sense for managers to have direct Tim Clark says that the personal experiences of
LITERALLY FOR. THE BIT THAT WE HAVE DOWN IS BUT IT ENABLES THEM TO MAKE A PIECE OF ART
involvement with them. David Enthoven, the late co-founder of ie:music,
HELPING THE ARTIST TO CREATIVELY DEVELOP, THAT THEY MIGHT NOT OTHERWISE HAVE BEEN
ATC is one of a number of management greatly shaped the company’s approach to these
OVERSEEING THE MUSIC-MAKING PART OF THINGS ABLE TO AFFORD AND IT HAS A KNOCK-ON EFFECT
companies with a dedicated brand department. issues and its sensitivities when staff or artists
AND RUNNING THEIR BUSINESSES GLOBALLY. “For younger acts like Frank Carter, we’ve done IN THEIR ROYALTY STATEMENT.” are struggling.
THAT’S WHAT WE DO REALLY WELL.” a lot of brand partnership deals,” says Brian There is still, however, some frustration that “WE HAVE ALWAYS BEEN VERY GOOD AT MAKING
Instead, Adam is looking to recruit what he Message. “For the younger generation, it’s much brands are less willing to get involved when
more acceptable.” SURE THAT IF ANYBODY THAT WORKS FOR US
describes as a Head Of Audience. This would be artists are in a development stage.
someone in-house, focussed solely on audience
HAS A PROBLEM THAT WE BELIEVE COULD BE
Brands have also been absolutely critical to an “I’d love for brands to reach out to us and just be
retention and growth, across live as well as act like Gorillaz, helping to underwrite projects TREATED WITH THERAPY, THAT WE REFER THEM
willing to offer us something and go, ‘OK, cool,
recorded. “That’s really an important point at that would otherwise have been prohibitively we’re a fan of what you do. We want you guys
TO GET THAT; OR WE ENCOURAGE THEM TO USE
which to communicate,” he says. “I’ve learned a expensive - and resulting in Eleven hiring a to collaborate with us, here’s what you can offer THERAPISTS,” HE SAYS. “WE HAVE AN OUTSIDE HR
lot about [ticketing] through Mumford & Sons. specialist branding consultant. you,’” says Kilo. “Because then we know the AGENCY WHICH IS ALWAYS AVAILABLE FOR OUR
Ultimately, choosing to hire or outsource, or to “There was no way you would have been able demand is there. It’s like they want to work with STAFF. WHENEVER AND WHEREVER OUR STAFF
extend a management company’s expertise, has to realise a Gorillaz campaign if it wasn’t for the you more than you reaching out to them.” NEEDS HELP, I HOPE THAT WE’RE ALWAYS ABLE TO
to be viewed as a down payment on the future. brand partnerships that we did to bring that to MENTAL HEALTH AND DUTY OF CARE GIVE IT TO THEM.”
It is also about capitalising on the changing life,” says Niamh. “We used it initially to develop A key part of a manager’s role is to safeguard
power within the industry, and ensuring that content and set the project up, and it worked Jamie Oborne describes mental health as “a
their artists, and many are pushing back against
managers are at least keeping up with the curve wonderfully. It’s sometimes necessary to bring wider music industry problem” and talked
the ‘always-on’ culture of social media and
or, preferably, ahead of it. money in to fund creative ambition.” candidly about the impact of someone close to
round-the-clock promotion.
the company taking their own life, calling it “a
“I FEEL LIKE WE WANT TO BUILD SOMETHING THAT Sponsorship and DJ slots constitute a stable On a wider level, the conversation around real wake up for myself and my team”.
WHERE, WHEN AN ARTIST COMES IN, WE CAN part of the business for Young Turks’ roster and mental health and wellbeing is now far more
help to bankroll or lower the costs for other As such, he wanted to put a structure in place
prominent. In 2017, the MMF published its
SKILLS & EXPERTISE
OFFER THEM ABSOLUTELY EVERYTHING,” SAYS KILO “where we can actually properly look after
artist-related expenditure. Managers Guide to Mental Health, (working
JALLOH. “I WANT US TO BECOME A MANAGEMENT artists”. One of his staff members suggested a
“We do brand sponsorships, but we like closely with Music Support and with financial
COMPANY THAT IS AS STRONG AS A LABEL, BUT couple of the team were trained in this area so
to approach them as project-specific backing from Help Musicians), and many
IS NOT NECESSARILY A LABEL. HAVING SOMEONE they could offer practical expertise.
collaborations,” Matt reveals. “We’ll partner management companies are taking proactive
THAT CAN BE A HEAD OF BRANDING, HEAD OF PR, with someone, but rather than focusing on measures. “It’s a shame that, as humans, we’re only really
OR HEAD OF SYNC MEANS CAN OFFER YOU MORE endorsements or marketing, we’ll work on a forced to address these things when tragedy
At Young Turks, the office manager is also the
video or event together. It’s another route to happens,” he reflects. “But one thing I really took
THAN JUST MANAGEMENT IN-HOUSE.” company’s mental health first aider. For Matt
increasing recording revenue. We tend to see from this situation was that we all need to look
Thornhill, it is important to have someone with
fewer recoupable video costs on statements after each other a bit better.”
this specialist knowledge and training in-house.MMF MANAGING EXPECTATIONS P28 MMF MANAGING EXPECTATIONS P29
Ensuring that acts (and managers) can switch should be doing three weeks and then doing really, really intense, and sometimes you have what’s going on, give them some insights and
off and take a break away from work was front one week off.” to work weekends. But I try not to give that wisdom into what you might have experienced
and centre for everyone we spoke to. In one to my clients. The TM [tour manager] is there before and what might help them. Possibly
This week off, he explains, allows the artist
instance, a management company said it was to look after them when on tour. Of course, if engage with their family a little bit, and say,
to recalibrate both mentally and physically,
looking to phase out WhatsApp message groups something hugely important happens, I would ‘This is something you should do.’ If it’s not
resulting in better performances from artists
as they find them incessant and inescapable. drop everything. It’s about understanding what overstepping the mark. And then, and this is
who are not buckling under pressure.
is important.” the important and hard bit, that’s your job done.
At Starwood, Rob says that one of the
“It can be quite tough from a commercial point Ultimately, when someone has been shown
biggest things the industry can do to take the Adam Tudhope agrees that managers need to
of view, but what it gives you is some peace of another way, it’s not really your responsibility
pressure off artists is to have their social media accept their limits.
mind and also longevity,” he argues. “It’s better.” to keep trying to take care of them if they don’t
outsourced.
“I personally feel that the manager or the want to take care of themselves.”
For Step Management’s Ellie Giles, it is
“We have partners who are our social media management company’s responsibility is to
important to give the artist some semblance
managers and strategists to help the artists and put your arms around the person,” he says, HE ADDS, “OF COURSE, AS MANAGERS, WE SHOULD
of control.“I’m not scared of boundaries,” she
take the slavery of it off them,” he says. “Which “give them an opportunity to talk about BE CAREFUL TO HELP ARTISTS TO MAKE DECISIONS
says. “I understand when you’re in cycle and it’s
I believe helps with bandwidth for creativity and FOR THEMSELVES THAT PRIORITISE WELLNESS
bandwidth for mental health.” OVER BUSINESS WHERE APPROPRIATE. I WOULD
“ “
ONE MANAGER SAYS THAT, FOR THEIR PRODUCER ALSO ADD THAT, AS MANAGERS, WE NEED SUPPORT
CLIENTS, THEY HAVE ALWAYS PLACED STRICT TOO. REGULAR THERAPY FOR THE LAST FEW YEARS
RULES ON WORKING HOURS INTO THE CONTRACTS MANAGERS ALREADY HAVE TO KEEP UP WE ARE FORTUNATE TO WORK WITH A HAS BECOME AN ESSENTIAL PART OF MY LIFE.”
THEY SIGN. IN-DEMAND PRODUCERS MAY HAVE SERIES OF IMPRESSIVE MANAGERS WHO THE NEXT WAVE OF SKILLS - DATA ANALYSIS
WITH ALL PARTS OF THE MUSIC INDUSTRY.
A SIGNIFICANT BACKLOG OF WORK BUT, EVEN SO, UNDERSTAND AND THRIVE IN THE FACE OF Probably all managers have a wish portfolio of
THEY SHOULD KEEP ON DOING WHAT THEY
CONTRACTS WILL BE STRUCTURED IN A WAY THAT roles that, budget permitting, they would like
ARE BEST AT – FINDING, NURTURING AND PROBABLY TWO BIGGEST CHALLENGES WE
ENSURES THEY HAVE HOLIDAYS BUILT IN AND THAT to add to their companies - and these wish lists
SUPPORTING THE BEST MUSICAL TALENT FACE, THE “ALWAYS-ON” NATURE OF TODAY’S are likely a strong gauge of what management
THEY DO NOT WORK AT WEEKENDS.
OUT THERE. BUT THIS NEEDS TO BE DONE SOCIAL MEDIA WORLD WHICH REQUIRES companies will look like in the next few years.
This is also being added to the live business,
WITH A GLOBAL PERSPECTIVE. IT CAN BE STAMINA AND CONTINUING ATTENTION TO For Prolifica’s Colin Schaverien, that list is
where breaks are added into the touring
SKILLS & EXPERTISE
DETAIL, AND THE REQUIREMENT TO TAKE relatively short. “Digital marketing for selling
schedule . EASY TO FIXATE ON YOUR LOCAL MARKET,
concert tickets and selling music,” he says.
“Touring is incredibly taxing on the body and the BUT MUSICAL SUCCESS CAN HAPPEN A GLOBAL PERSPECTIVE FROM DAY ONE.
“Simple as that.”
mind,” says Colin Schaverien. “What we’re trying ANYWHERE. MANAGERS NEED TO THINK AN INTERNET WORLD IS BY DEFINITION A
However, data management might appear a
to do as a company is go, ‘Right. How long do WORLDWIDE WEB.
GLOBALLY.” particularly pressing area to invest, given its
we think this band are comfortable on the road?’
ALISTAIR NORBURY, PRESIDENT, importance across streaming, live and social
The economies of scale of touring make it much PETER LEATHEM, CHIEF EXECUTIVE OFFICER, PPL
media, most managers say that having a data
easier to keep a band on the road for five or six REPERTOIRE & MARKETING, BMG UK
team is, for now, a luxury they cannot afford.
weeks. That’s where you look to make margin
Instead they rely on DSP tools (like Spotify
and profits. We’re saying as a company that we
for Artists or Apple Music For Artists), labelYou can also read
