THIS IS FOR YOU…
This posting is for both artists and music managers. As a newbie to this industry, the last 10
months have been enlightening in regards to the music business and those who
navigate this industry as a career choice. This year, I will complete my
Master’s in Entertainment Business. As
such, D Leigh Talent will be born. As
you know per my earlier posts, I plan to become a music manager, responsible
for acquiring talent and seeking opportunities for the clients I represent. So
I thought it might be helpful to better understand the roles of both parties.
FOR MUSICIANS
I read a recent blog related to this subject titled “Get a Music Manager, Part 1.” This article had some good insight as to what
a band needs to have before approaching a music manager. A music manager
looking for artists will want to know that the client is serious and
dedicated. This can be evidenced by some
up-front activities such as an established website, social media presence, a
good bio and recordings of your music. It is also helpful to have information
regarding your fan base and references from venues owners. This adds to your credibility as a
musician. Finally, it helps to understand
how to best work with your
manager. Communication is one
of the most important aspects of having a music manager. It does you no good to keep secrets from them
or try to work around them. Ultimately,
they are in your employ to help you get to the next level…your success is their
success!
FOR MUSIC MANAGERS
The best advice for those aspiring to be music managers is
simple, know what you’re getting into!
At times it can be a thankless job, and some liken it to being a parent. Plan to spend time scouting venues,
developing marketing strategies, attending gigs, managing conflict,
booking gigs and overseeing finances…among other things. You should be instrumental in gaining
presence for the artists you sign. Do your research to better understand the
differences between music managers, music agents, booking agents and
promoters. There are also differences
related to your responsibilities with signed
and unsigned artists. For all
scenarios, you should absolutely require a signed contract and determine the commission
you will receive, which is typically 15-20%.
Finally, another key area is to build the team of professionals that
will support your artists. This includes
lawyers, accountants, distributors, etc.
A good sports analogy would be to consider these business partners as
the “front office” employees and the artist or band as the team. You are in the middle as the coach. You will be the liaison for these business
partners and will speak on behalf of the artists. Therefore, pick your team
wisely. Your credibility is on the line.
I am very close to putting the final touches on my business
plan for D Leigh Talent. I hope you find
this information and the references helpful as either a musician or a music
manager. I’ll continue to provide
updates, so check back often.
Take Care,
D Leigh
References:
Goetz, R. (April 18, 2013) Musician Coaching.com. Get a
music manager: Part 1. Retrieved May 28,
2013 from http://musiciancoaching.com/music-business/get-a-music-manager-1/#.UaUcYJW3bdk
McDonald, H. (2013). MusiciansAbout.com. How to work with your manager. Retrieved on May 26, 2013 from http://musicians.about.com/od/beingamusician/ht/workwithmanager.htm
McDonald, H. (2013). MusiciansAbout.com. Artist manager – What is it? Retrieved on May 28, 2013 from http://musicians.about.com/od/otherindustrycareers/p/artistmanager.htm
