ARTIST MANAGEMENT

ARTIST MANAGER

Who is a manager? and why does an artist need one?

The manager is probably the only person apart from the artist who knows what is going on with every aspect of the artist's career. although I hate to use this analogy (as I have a spider phobia!) the manager is a bit like the spider in the middle of the web who keeps things together while the artist is out doin' what he's doin'. the manager has one limb feeling out for each of the different strands, the record label, the publisher, the agent, the tour manager, the merchandiser, the website/fanclub etc. testing the strength, feeling the vibes, mending the breaks, ready to catch the big opportunity for the artist. ready to move and ever vigilant. recommended reading for managers and artists alike is "this business of artist management" by franscogna & hetherington.

An Artist/talent manager, also known as a personal manager, is one who guides the career of artists in the entertainment business. The responsibility of the talent manager is to oversee the day to day business affairs of an artist; to advise and counsel talent about professional matters and personal decisions which may affect their career. The roles and responsibilities of a manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. Music managers duties differ from those who advise actors, writers, directors, etc.

your act is ready and you've gained enough experience on local circuits to move onto the next step. Before you look for an Artist or Personal Manager we strongly advise you to become your own manager and gain experience of the tasks required before entrusting your business affairs to ANYONE, reputable or not it is essential that you ALWAYS check contracts thoroughly before signing, keep track of your own accounts and don't be afraid to seek advice or get a second opinion, after all.....it's YOUR career.

So what does a Manager do? Managers are responsible for developing and advancing the artists career, liasing with record companies, agents, promoters, lawyers and accountants leaving the artist free to create, perform and record. In theory a good manager should organise the business aspects of your career and a good one will be part honest joe & part shark.........(no offence intended!!). The artist needs someone who will be efficient, trustworthy, honest and keep them totally informed, whilst at the same time cutting through the huge swathe of hopefuls to get you noticed and then negotiating the most favourable contracts!

Music managers can manage Bands, singers and DJs. The role of a music manager is extensive, often tasks are divided among personal managers, business managers, tour managers, agents, bookers, and promoters.

Artist & Personal Managers
Good managers are a great advantage and a bad one could ruin your career so choosing the right person is a major step with many of the most successful artists working with their managers for many years.

PROFESSIONAL MANAGERS
Make their living solely from artist management and often have one or more clients already working professionally or signed to a major record company. With widespread industry contacts, the ability to generate interest from A&R personnel and an excellent track record they are able to command respect from publishing and record companies.

MANAGEMENT COMPANIES
Comprising groups of managers working together these are often retained by artists with the Personal Manager working with the artist on a day to day basis. In this case the Manager is paid a share of the companies commission. The advantages of being managed by a company with a roster of clients include the opportunity to work with other managed artists and the knowledge that they will have industry respect and bargaining power. If approached by one of their staff make sure you negotiate an escape route from being managed by the company if your 'key man' decides to leave or is fired.

AMATEUR MANAGERS
This could be an enthusiast whose ambition is to become a professional manager or a Mate who knows the band and wants to help out. You have to be realistic when allowing an amateur to manage you, they are unlikely to have any contacts, lack an understanding of the music business or have as much time to devote to your needs as a professional manager, however, if they are willing and determined to learn then the partnership can be beneficial to both parties.

There are many types of people who profess to be managers, some who have formerly managed one or more successful artists but no longer have clients, or those who are on the periphary of the music business and think they are capable of managing an artist or band. Deal with caution and ensure that you are being represented by someone who is realistic, credible and honest.


Starting off:
Early on in an artist's career, the different facets of management and marketing falls upon either the band itself or, if they have one, the manager. Because the band or artist is relatively unknown, promotion, booking, and touring are minimal. When starting off, a new music manager should establish a clear understanding of what the artist(s) want. This can be done through a written or verbal contract. A music managers' first task should be focused around a CD launch.


Compensation
Rates should be clearly stated initially. A good manager should understand the artist's perspective. A new manager has no experience or clout. In a band of six members, each member might receive less than the manager (who normally gets 15-20%). A tentative agreement, which can be renegotiated at a later date is often best. Managers who insist on a number that the band does not agree with can expect to be let go at the first convenient opportunity.


Gigs
It is important for a band to have experience in front of crowds. Fundraisers and talent shows are good experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If the artist wants a gig in a pub or bar, expect there to be conditions. The following is a list of questions asked by bar owners/managers (in order of importance).
What kind of music?
How many people can you bring?
That's all. In some cases they may ask for a demo (a recording of four of the artists' best songs). The main objective for the bar owner is to fill their floor on any given night. They don't care if you're terrible they just want to see numbers. Under 75 people is generally frowned upon and will result in a minimum fee. A minimum fee could be upwards of $100. Some bar owners will waive or reduce their $100, $200, or $300 charge if the artist can pull in a significant number of people (predetermined during negotiations-usually a handshake).


Photography
While the artist is recording, a photographer should be searched. Pictures of the artist can be used for websites, CD labels/jackets, posters, and press kit. Cost for high quality rolls of film and their processing could be upwards of $200 for 150 pictures (labour not included). Finding a photographer friend is helpful but don't expect him or her to cover material cost. Have the photographs taken before your CD designs or artwork go into production.


CD launch venue
Once a production date is given you can safely go out searching venues. CD launches are more attractive to bar owners because it nearly guarantees an audience. Consequently CD launch venues are relatively easy to land. Try to book a place where the crowd will feel good walking into and out of. Presentation is everything. The crowd should be talking about the artist on arrival; not the crappy conditions of the neighbourhood or bar. The size of the venue should be relative to your means. If the place is too big, the artist will look unimportant. A small place can be a good thing. Just make sure the stage can fit the band's gear.


Press Kit
Once a CD launch date is established a press kit should be prepared. The press kit is used to contact the press to promote the band. By this stage in the artist's career they should have a good grasp of their level of talent . A press kit consists of:

Pamphlet with artist(s) biography, career highlights and pictures.
A written article about the artist that the press can easily edit and submit in their paper (less work for them).
A demo CD (in some cases the entire CD should be sent so the magazine/newspaper/radio station can review the entire CD.
Two tickets to the CD launch (if there is one)
It is important for the press kit to be flashy and attractive. It does not have to be expensive.


CONTACTING MANAGERS

HOW NOT TO DO IT!

"hi steve my name is bill im a hip-hop artist real good at it to..im in the newyork area and um...i have studio experience and writin skills...im also a song writer for like pop, and r&b..and im in real desperate need of a manager so if you or anyone you know is interested in dealin with someone like me email me and let me know...its xxxxxxx@hotmail.com...i really do need a manager thank you for your time..."

as a manager this would turn me off straight away. you have to put yourself in the managers shoes and think that they receive hundreds of demos, letters and emails every day. what will they really want to know and what will make you look different? there are a few key points in here, but it's all run together and hard to read.

key points here:
hip hop artist
based in new york
studio experience
writes own material
looking for a manager (obviously!)

HOW TO DO IT!

bill actually sounds quite promising but what he left off is the things he has achieved with his music. for example, has he played live anywhere? to how many people. which studio has he worked in and with who? has he released any records and if so, how many did he sell and how? does he have a fanbase and if so, how many people are in it? how does he keep in touch with them? does he have a website where steve could check him out or should steve come back to the ArtistManager.com site to see bill's picture and hear his music?
you get only one chance at a good manager and you have to give him all the information he needs to decide if he wants to contact you. Here's an example of a message sent by an artist to a manager recently.
How not to do it. "seeking management. visit my website for my bio and music samples...etc.. If you're into it, drop me an email with your comments and info and then we can go from there.." why should any busy and successful manager take the time to visit anyone's website on the strength of this message? no idea of the kind of music played, the achievements to date (record sales, live performances, press mentions, fan club numbers) or why the artist thinks that the manager would be interested in his band in particular.

you have GOT to put yourself in the manager's head and think for a moment! what would YOU want to know if you were a manager?