WHAT IT REALLY MEANS TO BE AN ARTIST MANAGER:
1. Experience in the Music industry in your region matters a lot.
2.You must have skills required to succeed in the music business a Cv or something tangible you can be judged by before the job. Before you demand X amount from an Artist.
3.Managers should learn how to develop talent. To refine performance. To create a spectacle. To produce a show. And to sell tickets to high quality entertainment events. Those are things that can be taught (Akue ameenda shule at-least a Degree of something). And in tomorrow’s world, where CDs no longer exist and the only reason to buy a download is out of sympathy for an artist, tickets to shows and souvenirs are all that will sustain us. If a manager doesn’t know how to produce an event that is worth paying for, they don’t know the first thing about the business they’re supposed to be “managing.”
4.Be bigger than the sum of your parts: Even the best manager in the world would be worthless if it weren’t for the team of people and companies that surround them. The most important thing a manager can do is hire the right people to play their parts. This is a basic list of the professionals a manager needs to be able to wrangle:
- Booking Agent – Everybody knows this but most artists will hire anyone that promises to book shows. An agent that believes in you will put Mulla in your pocket. An agent that doesn’t know what they’re doing will waste your time and give you 100 excuses for why the shows aren’t coming in. A great agent has connections and calls in favors for their most important clients. A manager that doesn’t have access to serious agents isn’t a serious manager.
- Promoter – A promoter should know what an audience wants, what they’ll pay and how to advertise and evangelize an event. This can be an individual or a major corporation, but they should be just as excited about your events as you are.
- Road Manager – This person is your protector, your babysitter, your travel agent, your assistant, your best friend, worst enemy and often times, your driver. Trust me when I say that you don’t want just “any” road manager. They should be 5x more responsible than you are on 1/5th the sleep.
- Publicist – Be careful with this one. Many publicists think that their job is to write press releases and send out mass mail to journalists that get 400 requests a day and don’t give a rip about your new album or local event. A great publicist, above all, knows people. They get ink. They get blog features. They work with you to develop a market-by-market strategy. If yours doesn’t do ALL of those things, you’ve got an expensive spammer on your hands.
- Business Manager – The money miser. This person handles everything from taxes to pay roll to long term investments. They are your financial advisor and very best friend. This is the scariest position for a manager to hire, because they have direct contact with the artist and can tell them if a manager is acting irresponsibly – either in terms of what they’re being paid or what they’re turning down. Never trust a manager’s “best friend” to be your business manager. It’s a highly skilled occupation and is best managed by a firm
- Attorney – Where would the world be without lawyers? Ya can’t live with ‘em, and you certainly can’t protect and/or defend yourself without them. Yours should have gray hair. They should understand intellectual property. They should be respected. And your manager should know several and give you the choice of who to work with.
- New Media Manager – If you’re really lucky, your manager will be an HTML 5 wizard, a social media guru and have drinks with Steve Jobs every Thursday night. What’s more likely however, is that your manager knows who to call when it’s time to build an effective web strategy. There are several reputable companies out there to choose from if you need one, but your manager should have a 100% solid grasp on the importance of digital media in today’s music industry.
- Record label-Yes, they still matter. If any of the above-listed professionals are going to get paid, you need to be famous. You’re only going to get famous if zillions of dollars are spent marketing you to the masses. Record labels are the only investors stupid enough to risk millions of dollars on 20-somethings with no clue about how the business works and zero interest in anything but hot chicks and guitar licks. It’s quite a model. There are 101 ways to get a deal, but the more people your manager knows, the easier it is to get a serious shot at a contract. No one knows EVERYONE, but a manager that can assemble a solid team will know someone that knows everyone. And everyone is everything.
Anyone can make music but very few can make it their living. And that’s what makes those who do so special.If you are a developing artist, you need to be your own manager until someone fits the description above. You need to build, book and promote your own shows. Dont trust this clowns masquerading as managers hapa Kenya they are just con-artists.