Artist Management For The Music Business – Managers are known to play an important role in the development of an artist’s career, but what exactly do they do?
As an entertainment attorney, it’s amazing what I see from the music business side. I feel like I’m already having a hard time shocking myself with all the craziness that has come across my desk. We’ve all heard the horror stories about labels abusing bands. What surprises me is how often I consult with groups about bad management experiences, but I hardly ever hear about it publicly. Entertainers think it’s a semi-parasitic relationship where they get used to make a profit, but they get career benefits from the label’s support. The surprising difference when a manager does something wrong is that he has to be on your team, so the entertainer almost never sees it. A blow hurts the most when it comes from someone you trust.
Artist Management For The Music Business
There is a fundamental lack of roles and responsibilities for managers – even executive managers today. I would say that very few are well versed in the legal relationship that is created between them and their dancers, not by contract, but by fiduciary duty laws throughout the country. If the term fiduciary duty is new to you and you currently manage or manage, start googling for more details, but read on. continue I want to be clear. There are many good managers who know what they are doing and work ethically and legally. Simply put, there are enough bad apples that people need to fully understand what is required of them or risk harm.
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What does a manager do? This is a basic question that is often answered incorrectly. A manager is similar to a CEO (Chief Executive Officer) or COO (Chief Operating Officer) of a corporation. An artist hires a manager to run his business, just as Coca Cola hires executives to run their business. Thanks to their position, the manager often has unlimited access to the group’s funds and can make legally binding decisions on them. Due to the nature of the extreme trust required, the law states that such positions have heightened duties and responsibilities. For example, they cannot harm anyone, they cannot personally benefit from the relationship except for agreed compensation, they cannot put their own interests above the group, and they always have a duty of loyalty.
For example, I recently consulted with a very successful band whose manager was trying to start a side business with them and remained their manager. The manager and the group will receive equal shares in the separate company they have created. what’s the big deal Well, how does a manager look out for the best interests of his group when his interests now compete with theirs as a partner? Who was looking for the band now? Who would be loyal to the manager in this situation? There are many conflicts and unfortunately such situations.
In another example, I was working with a group that left their management company. The manager filed a claim for damages and changed the band’s Tunecore password without permission and withdrew what he believed was being charged to the band’s account. In the end the bill returned without the money, but it’s hard to imagine a court anywhere that wouldn’t call it illegal. This is conversion (theft) at the very least, and no doubt breaks almost every legal duty he has to the band. His management company was under a lot of responsibility. It would be enough for a business lawyer to go after them.
It is a very big leap of faith for an artist to believe that the stranger he employs is a good and reliable person who is also qualified to do the job. So what does an artist do to make a manager competent or worthy of their trust these days? Probably not much. I’m usually told, “The manager works for this big agency, so we thought they must be good.” It is hard to imagine that the board of Coca Cola would use such logic to hire such an important person without making sure that he is reliable or competent.
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When you’re in the process of hiring someone, there’s no one-size-fits-all list that tells you what makes a great manager. It is often a combination of experience, their education (formal or on the job) and often just the art of being a great manager. Often, entertainers are lucky enough to have a manager interested in them, so they feel it’s a hardship. This attitude is dangerous. Bad deals are bad deals, no matter who’s offering them. The key is to take the time to understand who you are working with and what makes them qualified for the job. Determining whether they are trustworthy can be the difference between a long career or a troubled one.
Resume: Request a written summary to view. Hiring someone who wants full access to your life and at least 15% of everything you do should be professional enough to get that. Look for authentic work experience. A business education is a big plus.
Maturity: It is very important to note that age does not define maturity. I know and work with a number of twenty year olds who are older than forty. As an artist, you want to make sure your manager is mature enough to control his emotions and focus on the business. Your manager is often your first point of contact for the rest of the world and for you. You don’t want childishness and stupidity in the face of your work.
Background Check: I always recommend this and no one does. I can’t imagine working with someone who has access to all the deep recesses of my business without making sure they have a clean slate. People don’t do it because they think the manager will be upset. I say if they are offended you should reconsider. This is a position of high trust. You need to make sure it is in a good position. That’s why lawyers and accountants are as involved in the management game as they are in sports. The government agency that regulates them often carries out very strict checks before issuing a license. They should keep that clean record. Any mistake on their part and they risk losing that licence. If you don’t do a background check, have your manager sign and swear to a document that he has never been charged, arrested or convicted of fraud, dishonesty or dishonesty.
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Roster: Look at who they managed and, perhaps more importantly, look at who they managed. Ask for the manager’s alumni contact details so you can contact them and get a direct account of their performance. Anyone who doesn’t give you a full list and contact information is hiding something. There will always be relationships that go sour, so you won’t find one manager that will please everyone, but you will see patterns. Be fair in this assessment. One bad review isn’t enough to get you fired, but a couple should raise an eyebrow.
Education/Experience: Education comes in many forms. So it is not wise to judge someone by how they got theirs. The main thing is what they know now. If someone is getting a formal education, this is a great start. The note initially said. Search for business courses. These are great building blocks. If someone does not have a formal education, then the chronology and depth of their music business experience is critical. For example, a tour manager is a great move because he handles the day-to-day business at street level. A good tour manager is well versed in contracts, personal interactions, marketing, and the “it factor” of getting things done.
Now I will offer a warning, there are many people who “drive” who are just starting out. This is a double-edged sword. If they’re smart, motivated, and have the ability to admit they don’t know everything, then you’re on the right foot. If they don’t have all of the above traits, you’ll want to cross them before they mature a bit. They can do more harm than good.
Personality: This is subjective. On the one hand, you want someone who is friendly and can guide you through the ups and downs of your career. On the other hand, you want someone powerful enough to represent your interests to third parties. It’s hard to find someone who can do both well. It depends on you
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