Artist Managers Must Understand Their Role Is Now Business Development

[Editors Note: UPDATE Be sure to read our recent Artist Management Interview Series from July of 2015. We chatted with Mark McLewee of Red Light Management, Adina Friedman of Atom Factory, Paul Steele of Good Time Inc., and Vanessa Magos of New Torch. These folks are working hard for their artists everyday and shed light on what goes into the artist/manager relationship!]

By George Howard

Like everything else in the music business, the role of the artist manager is changing. In the good old days (you know, a year or so ago), artist managers largely concerned themselves with helping the artists with whom they worked get record deals, and then – post deal – acting as a liaison between the label and the band.

This is, of course, a radical oversimplification, and certainly neither getting an artist a deal or working with a label is an easy job. However, this was, for at least the majority of artist managers, their role.

Today, for the vast majority of managers, their principal role is different. No longer should they be concerning themselves with getting their artists signed. Rather, they should concern themselves with developing and unlocking value for their bands; i.e. business development.

If, as I think you should, you view your band as something for which you must develop brand equity, it’s no longer about leveraging that brand equity into a record deal. Rather, it’s about leveraging the brand equity to create direct revenue streams, as well as strategic partnerships where you, again, create visibility (thus increasing brand equity) and revenue.

All those hours spent mailing things out to A&R people at labels, taking meetings with A&R people at labels, and, generally, thinking about A&R people at labels, and all those hours fighting with those at the label over marketing budgets, and everything else, now must be hours spent doing – for lack of a better phrase – “business development.”

This, again, brings us to the problem that has plagued the industry for far too long: most managers are completely unprepared to do business development. Most have no proper business training, and, through no fault of their own, will flail around in a market that punishes those without the requisite skills. Thus, most will fail. Some, on the other hand, will take the time to learn business fundamentals, and will change the paradigm.

Certainly, as stated above, there are a lot of generalities in this here post; many great artist managers have long thought of their role in terms of business development (I’m thinking specifically of people like REM’s Bertis Downs, Kristin Hersh’s Billy O’Connell, Phish’s John Paluska, Dirty Dozen’s Marc Allan, Whitesmith’s Emily White, and Dead Confederate’s Dawson Morris – certainly, there are many others; leave me a list in the comments). I do think, though, that most haven’t thought in these terms, and I fear that too many are still thinking in terms that revolve around getting their band signed – sort of the anti business development.

So…go on get educated, innovate, and start building something.


George Howard is the former president of Rykodisc. He currently advises numerous entertainment and non-entertainment firms and individuals. Additionally, he is the Executive Editor of Artists House Music and is a Professor and Executive in Residence in the college of Business Administration at Loyola, New Orleans. He is most easily found on Twitter at:

  • I couldn’t have said it better. This is and will be my philosophy when it comes to managing our artists. Thanks for confirming my beliefs!

  • This is great! I’m self managed and I’ve been thinking this way. I’m happy to get a sort of “confirmation” from this post!

  • Right on point! Now if only people who were buissness owners wanted to be music managers…

  • LB

    Thank you for this article I have been preaching this philosophy to many artist in my state.

  • This is spot on! Very well said, and I hope that a few artists and their ‘managers’ will take this as a wake up call 🙂
    Lee Jarvis.

  • Also: You really do not need a manager. Thank you.

  • Great article. Unfortunately a lot of new artists don’t understand this change and still insist that their managers chase label deals instead working with management to develop their own businesses. In those instances usually management ends up pandering to what the artists thinks is best and when a deal doesn’t material the artists jumps ship. Or the manager spends time developing the artist who then deserts management once their popularity attracts “record company people”.

    • So true! As a consultant who works with managers to help build trusted and mutually respected relationships with their artists, I have to say it’s so important to connect with the artist on a personal level and make sure they are clear in seeing the path you have laid out for them. They have to understand you goal is to develop them and that a label signing should never be the main goal. Artists have proven already you don’t NEED a label to gain fans and make money. Regarding getting dumped once an artist is signed, that really needs to be addressed early on with the artist. Will the 2 grow together or is this relationship a stop along a larger journey. A manager has to be honest with his/herself – is the artist better off switching once they’ve reached a new level? If they are, then the manager did it once, they can do it again and keep developing talent and make that their niche.

  • New Artist

    I’m confused by the whole shift of the music industry in general! I just had this conversation with my manager and I’m not sure if I just expect too much from him or if he’s still reeling off 2-3 years ago? I think this article should give the new ‘job description’ for managers. Specifically outlining the new roles of a manager. Cause I’m not sure how to rate my new manager…HELP!!
    New Artist who thought… just needed to create a masterpiece cd and they’d ‘Come’

  • Debra Collins

    I say forget the labels. Manage your selfs as a band and go after investors/sponsors, put together a marketing package/budget, just like the race car drivers do it in NASCAR, and pay a publicist/PR to get the word out for all your work. When you do your next CD Release get a publicist on board to help brand your band. Then find a great internet distribution company and feed the audience your music, teasers/samples, get them interested to buy more!! Plus get a list of all the hungry internet TV and radio companies to help guide you in getting greater fans outside your walls/region…..get airplayed global with your music. Set up your own paypal, etc… to distibute your music. Book Festivals and sell a ton of merchandise and keep 100% of your profits. In addition, don’t put up your entire song to give away your music on the internet for free put up samples of your music, a teaser…get the audience to want more and buy more of your product!! Also make sure they know how to reach you….plug the crap out of your links, myspace, reverbnation, facebook, u-tube, etc…. We are the Wild West now let’s move product like we just landed in the FREE World! Brand yourselfs!!! Debra Collins,

  • AC

    You’re absolutely right. I am an entertainment consultant who proposed a reality tv show idea to an artist signed to EMI, his manager, and his publicist. This artist is pretty relevant in his genre of music and has various songs that’s reached Billboard. I asked the artist’s manager why hadn’t he considered a reality show to build more equity in his client. He said he did consider it; however, he didn’t want to bring the idea to a network because he didn’t want to appear desperate. It appears the business development side is lacking in today’s managers; no question. They seemed to be focused more on fan-retention. Today’s managers wait to receive proposals and phone calls versus understanding the need to initiate fresh product intergration ideas and exercising great pitching skills.

    • agreed 100%. I am still “underground” as far as management, but I occasionally get mad at how managers with well established artists don’t own the world. All the opportunities waiting for them, not just music wise, but even technology wise!!!

    • Kimberly Warnock

      NOAH MAZE is a singer song writer he first came out with rap videos he paid for out of his own pocket, created the ideas for the video some of them are still on YouTube. He know found is best place and that is singing he has over a hundred songs for himself and for sell. He has Sleepless Streets on SoundCloud she’s so Trill ….yo girl…drugs Bandana written for drugs clothing line, meaning do…right…u…gain… success…any many more …you can catch him on Vevo…song titled Love AFFAIR…another video he directed and put ads out for the actors in it etc…he truly has so much Talent he needs a team behind him. Please let me know who can help thank you Kimberly.

  • Kaveeka

    Love what you said!

  • So now the question is, not how to get a record deal, but rather how to get a band manager? It’s not like there’s a school for band managing…

  • GPman

    Oh crap! I was wondering why nobody was here on the 13th floor at Capital Records!! I’ve waited here since 1991, I musta fell asleep!

  • For the last 7 years all my band Seven Days Story have dreamed about was a record deal. Scoring 3:e in the biggest unsigned competition in sweden would surley get us signed, but we have realised now that’s not how it works. Blod, sweat and making your band into your own buissnes. thanks, Debra collins; that was an eye opener. Keep on fighting. from the unsigned basters

  • abiodun tumbi

    this is a good is a good innovation for artist with this post i have read this changing my mind set i believe this will change things for me

  • Changes! we love ’em. Now here a generic job description of a business development executive(source:
    The ‘business development’ job title can mean various things. Some organizations refer to sales and account management jobs as ‘business development’, in which case refer to the account manager job description below. The business development job description – and especially the extent of strategic and authority responsibility – depends on whom the role reports to, and the scale of and complexity of the ‘business’ (markets, products/services, territory, etc) to be developed. This is an example of typical responsibilities of a senior business development role, or business development director:
    1. Market and technology research
    2. Formulation of strategy
    3. Distribution channel analysis and development
    4. New product development planning and management
    5. Technology transfer, licensing, partnerships assessment and development
    6. Marketing and advertising and promotion planning
    7. Sales organisation planning and development
    8. Import/export development
    9. Business planning
    10. Launch and implementation
    11. If the business development job has direct-reporting staff then the above would tend to be managed via others, and the role would include people-management, recruitment, motivation, training and development staffing responsibilities
    12. Appropriate Administration, budgeting, monitoring, reporting, communication and liaison.
    13. Health and safety adherence
    14. Self-development and continuing personal development
    15. (If formal director) Execute the responsibilities of a company director according to lawful and ethical standards, as referenced in … (whatever director policy and standards document you might use).

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  • Eric

    Hi All – just remember not to knock yourself dead doing what everyone else is doing in this new digital age that we are trying to define so much… business development means developing opportunities a little bit differently (or sometimes a lot) and looking beyond the cookie cutter options (even if they are seemingly “new”). Nice post.

  • Thanks for the kind words, Michael.

  • Fantastic, David.

  • there are business owners/business people who want to manage/get in the music business.
    the issue here tends to be trying to gauge if the value and expectations of all parties align, which isn’t easy when you mesh any business and artistic endeavor.
    that’s our challenge moving forward in many ways.

  • you’re welcome. glad it makes sense.

  • Thanks Lee.

  • not sure i agree. some artists can do it all, but at a certain point something (the business or the art) suffers because – no matter how good you are at both – there’s just not enough time.
    while i do feel that artists don’t need labels in the traditional sense, they do need a team at a certain point.
    that said, i agree with you to the extent that often artists feel they need a manager before they actually do.

  • so important for artists and managers to make sure their values and expectations align.

  • try to make sure that the values and expectations between yourself and your manager align.

  • certainly the goal is to make direct connections with your constituency, in which you attract and retain fans, and these fans help to attract more.

  • fan retention (and attraction) is a very big part of business dev.

  • there are, however, schools for management theory (not music business management, per se, but things like org behavior, leadership, entrepreneurship, etc.). business schools and mba programs get dissed a lot these days, and while i understand this to a degree, i think asking someone to come in and provide expert business/managerial advice without proper training is like asking someone to perform surgery who has never been to med school.
    one of the main reasons the music business is in the state it’s in is because people thought they didn’t need the training, and could just sort of “feel” there way through it – no.

  • excellent.

  • thanks for posting this.

  • well said.

  • The key to business development is somewhat like most successful businesses have achieved, i.e. like Microsoft. Make everyone an evangelist and use their ability to the companies advantage, even offer STOCK OPTIONS if you must!
    In other words, if they are great at marketing..give them that job with an incentive; if they are a socialite..reward them for their contacts, leading to an increasing fanbase etc. If they just want to be that bitch bassist, then give them an incentive to be their BEST! Who doesn’t want to be a billionaire like Bill Gates? Widen out, you don’t have to have an MBA my friends!

    • i totally agree with this. I am a young manager, and I’ve had success at finding unconventional ways of marketing my artists. Even getting them on the radio and an interview on Fox 45 morning news in Baltimore … all this was FREE !! no money spent at all. I think my asset is the fact that i understand how to manipulate technology, such as SEO, web marketing and the like, while also understanding the business of music. Most of all … AMBITION & DRIVE

      • Sha Slater

        Hi Lovemore I am new to this artist management game but definitely feel like those skills I have mastered in corporate america can help me. Do you have any good reads, advice, or sites that may also help me follow your lead as well? Any information woudl help..

      • Marshall Law

        whats ur email

    • Olive branch

      wow you’ve given me a motivation boost

  • yeah, but where msft has falled down is in the innovation category, and that’s maybe the most important part of business dev, imho.

  • Could not have said it better, its a new wave of marketing and at times its hard to make the “dinosours” recording labels understand the “new way” of doing business… We just have to keep on working…

  • uh, that would be “fallen down,” not “falled down.” embarrassing typo.

  • why are you bothering trying to make the labels understand.
    you’re mention of the word, “dinosaur” makes me think of the brilliant Hugh MacLeod’s cartoon, in which he states:
    “YNever try to sell a meteor to a dinosaur. it wastes your time, and annoys the dinosaur.”:

  • “that said, i agree with you to the extent that often artists feel they need a manager before they actually do.”
    This is something that I run into everyday. Artists with no fan base, no demos or any other assets that would get attention sending an email in hopes. Sometimes it is just the music that might get someone interested but most of the time it’s when you don’t need a manager and an artist is doing way to much you’re more likely to find people interested in what your doing. Managers are making a % of an artists career. If you have nothing that means it’s going to take longer of an investment from the managers time before there is a return.
    Also to save time artists shouldn’t send out emails saying that they’re a singer, band or producer without including links to all your details (websites, music, accomplishments thus far, photos, videos). It takes time just to listen if these are included but most managers or companies will not take the time to look these up and won’t end up responding at all.
    Dale Adams
    Architek One

  • Amen George! truly the path the indurstry is taking is a marketing/business savy trail. many times a label can enslave us. as a matter of fact, I´m thinking that there should exist an online website that will teach, from the greatest independent band managers and even music entreprenuers, strategies and how-tos to get the band these folks are representing to succeed without having to get in debt with a label for lack of sales or worst…get dumped by a label.

  • Oluwaseyi Abiri

    Good article have learned more about artist management cos is the business am into here in Nigeria.Showbuster Entertainment Inc.Nigeria.

    • Marshall Law

      whats ur email

  • Great article…
    all new and some older artist need that info….
    I run into various artist who refuse to accept the change in the music industry…
    Thank you

  • There are actually some really solid Music Business programs out there! McNally Smith in the Twin Cities, Berklee in Boston, and Columbia in Chicago…I believe McNally has an MBA program coming online in the next couple years!
    Great points, and so true, in an industry where roles are essentially consolidating it’s more important than ever that the manager (who is the liaison between the artist and the ever-growing branches of distribution, publishing, administration, marketing, radio promotion, publicity, web strategy, etc….) understands each of these areas well enough to communicate effectively and properly represent their client.
    While general business training is better than nothing, there are some very specific elements to artist management, and thus I think it makes a lot of sense that Music Business education be a part of ones criteria for management. Particularly when the industry continues to evolve so quickly, ongoing ed, and having core business knowledge really can give you a leg up. Because, as much as things change the principles remain at least similar, if not constant.

    • Felinity120

      Don’t forget Full Sail in Winter Park, FL with Music Busines and Entertainment Business degrees, as well as an MBA in Ent.

  • advisor

    technology gives all of us the power to do things which historically have been done by record companies. most executives can’t write and perform, but they loved music and used to get excited plotting artist campaigns. some artists are wired to think about building their own career with the kind of thoughtful and deliberate framework crafted by the label guys (of past), but most artists fare much better at writing and performing than they do at “self-management” (i.e., those annoying business aspects).
    In the past, Managers typically earned a 20% commission for getting a record deal and managing relationships with the label, pub, and agent. In many cases, the commission got pushed down to 15%. Many good managers were forced to look for better paying work because there just weren’t enough money-making artists to feed the kids.
    How about this? For the likes of the managers mentioned in your post, the commission should be at least 30%. No shit! We give publishers 35% for “procured syncs,” why not give similar percentages to to the people who dedicate themselves (as adjunct or alter-ego for an artist) to help figure it out, make it happen, and build a sustainable career. We should encourage and reward the best and brightest to make a career in “band management.” The tools are many, and they’re complicated (even with aggregators and service companies), but the work (previously dispersed among many) is definitely shifting away from the big companies, into our hands.
    Especially for artists who stay primarily focused on their music, or who largely depend on their managers to handle day-to-day affairs, think about the skill and motivation you’re missing out on if you aren’t willing to significantly reward those people who share in the heavy lifting of the new music industry order.

    • Irish Yellowbone

      Amen brother.

  • agree completely.

  • there are some great music business programs out there; I’ve been involved/am involved with a number of them.

  • have you checked out Artists House (

  • certainly reasonable to re-examine commission structures as we re-examine every other aspect of the business.


  • Big Hitz

    where would you suggest a new manager such as myself to go to get the properly educated on how to manage an artist in today’s industry

    • Start reading Ari’s Take, Renman MB, Hypebot, Digital Music News, and other industry leading blogs to stay up with the business and for innovate and creative ideas for band development:

    • Benjamin McGrand

      well here is where I disagree with 95% of all “managers” or “business consultants” in the music business.

      I don’t think it’s a problem of “education” but of ethics.

      let me ask you a question:
      would you rather work your ass off to keep your artist growing to reach his dreams or sit on your ass collecting royalties while the “labels” do the business for you?

      This is the major dilemma artist managers are facing: there is a point where you just want to settle, but the artist needs to keep growing or at least maintain their growth rate to distinctify themselves in the market.

      See I have no where near as much experience as “The Rockstar Advocate” below but I have a stronger ethical standpoint then 95% of people and I say this to help you make the best decisions for yourself and the artists you want to work with.

      If this makes you feel like quitting, then this business isn’t for you.

      Peace (:

      Any more questions? Feel free to email me @

  • This article was a lot of confirmation for me. Amen!

  • Thank you George! This is so true!

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  • Good stuff George, I totally agree – the role of the manager has changed enormously and those wishing to really provide what artists need, should focus more on how to best market the artist and find business opportunities for them.

  • But what about artists who deosnt have the funds to put out their shit????? The reason why artists wanna get signed is because they dont have enough capital to start with>>>

    • Anonymous

      that is the million dollar question

      do you need capital in order to succeed

      the major labels spent hundreds of millions of dollars marketing and promoting but failed 98% of the time
      the real trick is creating art that causes reaction – with that, you are able to reach people via social networking without much (if any budget)

      • Mora Maluf

        Hey Jeff, met you @ Line 6’s what’s next musicians conference in London last year. Please Check out my music!, And thank you for all the useful information, as always!

    • You need to find investors. Get out there and ask folks for money. Try Kickstarter.

    • Olive branch


  • Irish Yellowbone

    George Howard there you go again with your brilliance. I’m a wannabe artist manager and while I am listening to one of your recorded interview-video’s on artist house music I stumble upon this blog and it’s written by you! Thank you sooo much for all of your insight and please continue.

  • John

    Well..all Adele did was sing a great song..and the world came to her..
    It is always and has always been a matter of writing or finding The Killer Song
    and audiences will want to see you, buy you, be you, etc…
    a great album is a bunch of great songs..believe’s the song that
    manages the singer…you can market the hell out of things..if you don’t
    have the song, nothing will happen……..and from nothing comes nothing.

    • Ellehcim

      if you think all adele did was sing a great song… you’ve got MUCH to learn. The songs NEED to be exceptional, no doubt but there’s a heck of a lot more to it than that. How do you explain incredible songs that no one (besides an artist’s immediate circle) has heard?

  • Yes, you are correct. Ultimately its money that matters and not just the work or the number of factors we show that we have done. Still there are many who feel that they are just working on their profile, but its ultimately doing something better that we should target for.

  • cara daily

    this is exactly what I do- creative development.

  • I have been saying this for several years now, and continue to say it to anyone who will listen. It is great to see someone articulate it so well. Thanks!

  • Ted Kay

    great article. I have been actively looking into management for an established hip hop producer/artist out of the Bahamas. He will be coming stateside in 1st quarter 2012. Anyone interested in speaking to me, I can be reached at
    Thank you

  • tellbobbi

    I agree with you George, as I am a UCLA Music Management graduate from 1988. Where does one get the current education today?

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  • Chop

    This was a great motivator for me. Sometimes I feel like throwing in them towel. Right now I’m them manager, editor, producer, musician, and them artist. So thanks for them motivation!!!

  • Praverb

    Great post right here. Managers definitely need to understand the business beyond signing a contract. Managers should look for ways for their artist to monetize. Sponsorships, endorsements, royalties, publishing, radio play, etc are beneficial for artists. Managers can capitalize on these revenue streams by building their knowledge base.

    These sentences resonated with me: “No longer should they (managers) be concerning themselves with getting their artists signed. Rather, they should concern themselves with developing and unlocking value for their bands; i.e. business development.”

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  • PeterKenneth24

    Wonderful post to read! I enjoyed it thoroughly..

  • belindaang

    I was originally in branding and marketing with a forte in social media, with business and account management experience for about 10 years and my switch to the music industry has definitely been interesting. Mid-career changers like us are definitely game-changers as we try to bridge the existing gaps.

    My artiste, Joi Chua, had managed 93 chart-toppers, more than 100 top 3s and 500 top 10s across China with our EP, PERSPECTIVES under a zero marketing budget, but made possible with strategic partnerships.

    • Guest

      My artiste, Joi Chua, had managed 93 chart-toppers, more than 100 top 3s and 500 top 10s across China with our EP, PERSPECTIVES under a zero marketing budget, but made possible with strategic partnerships.

  • Load Jones

    Hello my name is Garry artist name K-R-E am seeking for someone that can manage my career I have my own recording studio professional studio i am from Jamaica and I do rnb and reggae soul music the fact that the singing type music is more marketable. I need some one that have connection to work with I have 2 full albums that I already produce they are mix and mastered but I just need to get the products out there its really hard to get out when you have no connection I have ben trying to connect with you people for a wile now I got your email from a artist that’s well known and I would really want the energy towards my music I have ben doing this for 7 years now and am well rounded am already known some places in the world I have fans base on my self promotion but all I would need now is a management that can help me with some mas promotion I can send you a sample of the songs and when you here the talent from at lease one of my album that not yet release you let me know your input. Contact . or call 1876 447 3427 or bbm 261DE55B

  • Ryan

    This was a great article! I am looking to begin managing my freind who possesses solid lyricism and work ethic. I never thought about chasing labels, and am glad I shouldn’t be. I naturally thought I should be building an image or as you stated “brand equity” to achieve the success I want to see for this artist. Brilliant news!

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  • Mr pedro

    How can I lean more about management

  • Mr pedro

    Tell the book to read that talks about management

  • Billy Larkin Jr

    I have had several managers play me like a fiddle. Thus halting my career several times over the past 7yrs.

  • Agbor Zion

    I am a young Hip Hop Artist from Africa, Cameroon. i rap and sing. Music to me is like a wife and i am working so hard to grab any opportunity that will come my way. I wish to know the basics of an Artist. like what An artist requires to be on the top…Like Manager, Producers, and so on. I apologize if this site is for managers only but i had to do what i just did. i need help and many answers as possible from who so matter what. thanks

    • The Camp

      you dont want to wait for an opportunity to come your way. You have to go out there and find it. Most importantly, its always a good idea to attend music shows and or events. That way, you surround yourself around artists, producers, and business personnel. Be Social!

  • Aidan Scott

    I am just beginning in the management world. I have 3 EDM Djs i’m managing at this time and im learning as I go on how to do all this. any tips or webites or even books I can read that will point me in the right direction?

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  • Kim Williams

    This is what this guy Jazzy From Jazzy Management has been preaching for years but it is crazy that a lot of artists are right in his company and don’t take heed to the educational information he gives I think most managers are intimidated by this man he’s very well groomed, very well educated and his diction is very on point so I could see why a lot of fake managers are intimidated by him but he has been giving good business information for years and every opportunity I get I watched his YouTube videos and I take notes he’s a big part of my success and he doesn’t even know it.. We are very grateful for your knowledge that you give so freely Mr Jazzy from Jazzy Management One Love. Any up and coming artist or manager please get to know this individual google him he has a heart of gold in this land off unappreciative individuals.

  • Mykel Pollock

    Thank you George Howard for writing this article!
    Understanding this concept is essential if artist managers want to continue to
    be artist managers. If you are an artist manager, the first thing you should do
    is to read a book I am currently reading titled “Artist Management for the
    Music Business.” Chapter 7 is a great chapter to read because it shows you the
    artist as a business. It talks about understanding target markets and how to
    define them. It talks about branding and the image of your artist. It goes over
    the artist’s support team, which includes the booking agent, attorney,
    publicist, and business advisors. And after all this, it tackles one of the
    most important elements artist managers need to understand; the internet. This
    is only one chapter this amazing book. This book also talks about the artist
    management contract, income from live performance, songwriting, and recording.
    It also helps you create an artist career plan.

    Another thing I would like to share from what I learned from
    this book is that you have to know who you are as a manager. The first thing
    you have to know is to know who you are artistically. This mean that you have
    to know when an artist has their style defined. If you ask an artist to
    describe their music, and they hesitate, then you know that they are not ready
    to perform or record. But if you ask an artist to describe their music, and
    they speak with confident and their answer makes sense, then you know that
    artist is ready. Other things that all artist managers should know, especially
    new artist managers are your two main goals. One is to get experience as much
    as you can and the second is to build a network. With these two goals in mind,
    nothing will stop you as an artist manager.

    • meworld

      The book: artist management for the music business, is written by who?

      • Master Anderson

        Written by Paul Allen. I’m reading it right now. It is a must have and great starting point.

  • somecana

    Hello and good day please,I’m so so happy to come across this webpage and your ambitious great Studio pls,I’m an artist best known in Bamenda,I love Music with all my heart and was born with it from child hood.doing great in the field.and i can do it exactly like late 2 Pac pls if you will like to test me for production then please let me know via my email address as i have some old local video at youtube with the links maybe u will like to take a look pls.

    Pls that was just local start and i can do more and more now.

    Thanks and waiting pls
    if u can help me.

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  • This is a really pertinent topic and I’m glad it’s been raised. However,
    the “forget the label” reasoning assumes that the artist is on the
    same page with the business development focused manager or, if they
    aren’t, that the manager knows best. The artist may
    well be in agreement but, even if they are, how many actually put enough
    thought and
    research into the whole label issue before arriving at that position?

    It doesn’t make sense to me why a manager, or an emerging artist for
    that matter, would reject the whole label thing as an article of faith.
    This is a hugely important career decision that has all sorts of
    ramifications and has to be made by an artist when they are up to the
    task. Not all are, and in my book a responsible manager would refrain
    from pushing his client too hard too soon to adopt his philosophy around
    labels or, conversely, from
    deferring unduly to the artist who may be naive in the matter. That’s my
    two cents on the subject. (More cents on this and other industry issues for artists on my blogsite

  • Rather, they should concern themselves with developing and unlocking value for their bands; i.e. business development. – Great point! Plus the face that developing their artists can lead to being signed by a label. Few, if any, labels offer development deals these days; they want a finished package.

  • Alona Martin

    Great article. As a consultant who works with managers to help build trusted and
    mutually respected relationships with their artists, I have to say it’s
    so important to connect with the artist on a personal level and make
    sure they are clear in seeing the path you have laid out for them.

    Top Entrepreneur

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  • Artist Republic CG

    This article is still very relevant today which is why we exist. In your own words “most managers are completely unprepared to do business development. Most have no proper business training, and, through no fault of their own, will flail around in a market that punishes those without the requisite skills. Thus, most will fail. Some, on the other hand, will take the time to learn business fundamentals, and will change the paradigm.”

    This impacts the bottom line for all involved in the commerce of the music business.

  • mercie grace

    This is a very true and sad reality, since many of them relax more than they should work. They need to understand that the people getting into the world of art looks upon them and in that case they fail to be role models and the others behind them still fail to be effective. When you have decided that you need to work with professional personal experience essay writers, you have the best helper in us.
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  • Gary Stanionis

    This is great, thank you! I’ve also recently (2yrs) started a small business helping my friends with representation and I DO NOT want to fail…… Ive come into a small snag and it seems so silly but how would you suggest wording a request that you travel with your clients……

  • Sandra Parker

    Thanks for this post. Very informative. By the way, here’s some tips in investing Business or in Arts.

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  • Neiman Samuel

    Great Article!

    Chosing a manager is a huge part of an artist’s career development. When selecting a manager, keep these things in mind.
    1. Make sure your career is at a point when you actually need a manager
    2. Chose a manager that brings something to the table (capital, business experience, connections, etc)
    3. Make sure you and your managers visions align for your career.

    Co-Founder of LaunchDon.con “#1 resource for the music industry”

    Instagram : @NeimanSamuel1
    Twitter : @NeimanSamuel1