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Artist Management for
the Music Business
Artist Management for
the Music Business

Paul Allen
Focal Press is an imprint of Elsevier
30 Corporate Drive, Suite 400, Burlington, MA 01803, USA
The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK

# 2011 Paul Allen. Published by Elsevier Inc. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or any information storage and retrieval system, without
permission in writing from the publisher. Details on how to seek permission, further information about
the Publisher’s permissions policies and our arrangements with organizations such as the Copyright
Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/
permissions.

This book and the individual contributions contained in it are protected under copyright by the
Publisher (other than as may be noted herein).

Notices
Knowledge and best practice in this field are constantly changing. As new research and experience
broaden our understanding, changes in research methods, professional practices, or medical treatment
may become necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and
using any information, methods, compounds, or experiments described herein. In using such information
or methods they should be mindful of their own safety and the safety of others, including parties for
whom they have a professional responsibility.

To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume
any liability for any injury and/or damage to persons or property as a matter of products liability,
negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas
contained in the material herein.

Library of Congress Cataloging-in-Publication Data

Application submitted

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A catalogue record for this book is available from the British Library.

ISBN: 978-0-240-81501-5

For information on all Focal Press publications

visit our website at www.elsevierdirect.com

11 12 13 14 5 4 3 2 1
Printed in the United States of America
Acknowledgments
I extend my personal and deepest thanks to industry professionals and colleagues
who helped guide my work on this book. This group of special people includes
Cosette Collier, Mike Milom, John Beiter, Tom Baldrica, David Ross, Hal
M. Newman, Amy Macy, Chris Palmer, Paul Fischer, Chad Campbell, Trudy
Lartz, Jeff Walker, Troy Festervand, Geoff Hull, Tom Hutchison, Richard Barnet,
Jon Romero, Jeff Leeds, Lee Logan, Bill Mayne, Larry Pareigis, Mike Dungan,
Charlie Monk, Joni Foraker, Tandy Rice, Denise Nichols, Clarence Spalding,
Jim Beavers, Dan Franz, Nathan Brenner, Catharine Steers, David Corlew, Mike
Alleyne, Melissa Wald, Shelia Biddy, John Dougan, David Bowers, Matthew
O’Brien, and career managers in the music business who have been so generous with
their time and insight – plus the countless others I have encountered during my career
who have allowed me to learn by being involved in their careers, especially Cindy.

xiii
Introduction
This book is intended to be the definitive guide to the student of management of
artists in the music business, as well as to those seeking to become professional art-
ist managers. Some of the tools developed for this book are found nowhere else,
and active artist managers will find them to be helpful planning and organization
tools. The companion website for this book, http://www.artistmanagementonline.
com, is a continuing resource for both the artist manager and artists, and includes
a directory of artist management firms, advice, and links to help the manager be
a more effective manager in the music business.
Information from this book has been drawn from the experiences of many who
work or have worked as artist managers, as well as from the author’s career
managing people, assets, companies, organizations, projects, performers, and
performances. My wish is that the words that follow will be your guide; my dream
is that they will be an inspiration.

xv
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 CHAPTER

Professional artist
management and its
principles
1

CONSIDERING ARTIST MANAGEMENT AS A PROFESSION

Whatever your title—manager, personal manager, artist manager, brand manager,
or representative—managing artists in the music business means that you are
becoming a part of every facet of someone else’s life. There is virtually no aspect
of the professional and personal corners of an artist’s life that a manager doesn’t
encounter on a regular basis. Helping direct the career success of an artist requires
significant involvement in their life. A manager who is new to the profession will
find it to be immensely time-consuming and slow to deliver rewards, yet energiz-
ing with its fast pace and regular challenges.
The music business swirls in its own continuous change, and the result has been
the shrinking influence of large record labels in the careers of artists. Instead of
being an adjunct to the work of the label on behalf of the artist, managers now find
themselves at the hub of the artist’s career, providing many of the services for-
merly handled by labels, and they wield considerable control over the success of
music careers. Labels are now selling less music, and in response, continuing to

Artist Management for the Music Business Second Edition.

© 2011 Paul Allen. Published by Elsevier Inc. All rights reserved.
1
2 CHAPTER 1 Professional artist management and its principles

cut overhead in an attempt to remain in business. Labels have traditionally

cornered the distribution of music, but online sales have significantly reduced the
need for a distribution system designed to deliver pallets of boxed physical product
to warehouses. As traditional labels see their roles diminishing, the opportunities for
managers of recording artists have never had a brighter future—today, many man-
agement companies provide most of the services of a record label and may eventu-
ally replace the label by recording and marketing music on behalf of their artists.
Clearly, a career in artist management requires a continuing—almost daily—educa-
tion by paying attention to what is happening in the music business and other indus-
tries and events that affect it, and what that means to the artists they manage.
Artists in the music business are sometimes managed by attorneys. But there is
a reason why professional managers are the best choice for artists to manage their
careers. One of the top entertainment attorneys in the country once told over lunch
that attorneys are not necessarily the best choices to provide career management to
artists, primarily because of their conservative nature as practicing professionals.
Lawyers are disposed to advise their clients on ways to conduct business without
creating conflict. Today’s artist manager, in order to stand as the strongest advo-
cate possible for an artist in a highly competitive industry, must be able to push
that advocacy to the limit—without overstepping the boundary of business ethics.
Attorneys have become effective managers, but doing so generally requires that
they step away from practicing law.

Be creative, informed, and connected

Today’s artist managers must be willing to encourage their artists to take calculated
risks and to support their clients when they do. This doesn’t mean they take
chances with an artist’s career. Rather, they involve the artist in promotional ideas
that get the artists outside of their comfort zone and open up opportunities to help
them reach their goals.
While you’re managing someone else’s career, you also must manage your
own. That means you must keep up to date on the entire music business. Certainly
technology and changes in the legal environment of the music business create new
directions and challenges for artists, but they also provide opportunities. As a man-
ager, you must be aware of trends and how they affect artists on your management
roster. That means regularly reading publications like Billboard and Pollstar,
attending industry conventions, and subscribing to online industry headline ser-
vices like those provided by Billboard.biz and AllAccess.com.
Veteran artist manager Ken Kragen titled a book he cowrote Life Is a Contact
Sport; in it, he discusses the importance of developing and servicing a personal
network of contacts. Being able to get that telephone call returned is among the
most important assets an artist manager has. Without the connections—either
direct or indirect—it is difficult to get business done on behalf of the artist. For
the aspiring artist manager, yesterday wasn’t too soon to begin building that
network.
 Considering artist management as a profession 3

Understand people and business

Developing meaningful interpersonal relationships can be challenging, but it is
more important to the artist manager than any other skill or talent. The work of
an artist in the music business is a web of negotiated deals that requires the man-
ager to have patience, an understanding of human nature, great communication
skills, and a solid reputation of dependability. Each of these traits requires cultiva-
tion, but each will also become the foundation of a successful career in
management.
Aside from the music, business is the other constant in the career of an artist
manager. As surely as music connects with an individual’s passion, it doesn’t
become commercial until it’s good for business. And to conduct business on behalf
of the artist, the artist manager must develop an understanding of team building,
marketing, budgeting, and sales as they apply to the income streams available to
the artist.
There are frequent references in this book to a 360 deal, also known as a mul-
tiple rights recording contract. This term means that a company/label is entitled to
a percentage of some or all of the income streams of an artist in the music business.
It is most often applied to recording contracts that give labels part of the nontradi-
tional earnings of new artists that they sign, such as part of their merchandise or
ticket sales in addition to profits from marketing their recorded music. As you read
this book, you will see that the artist manager in today’s music business is actually
in the best position to direct, profit from, and control 360 of the artist’s career.
Let’s begin with a look at the business and science of management. For the
reader who is relatively new to management science, this chapter is the starting
point. It puts the balance of this artist management book into the context of the
basic principles of management. As you will see in the chapters that follow, man-
aging an artist in the music industry uses science, business, and a good measure of
creativity to achieve success for clients. This is especially true of the music busi-
ness because of its nature as an industry that offers high rewards for the relatively
few who become successful—where success is often measured by affluence.
As we consider principles of management, it is important to understand that the
goals of artist management are different from those of other areas of the music
business. Record companies are in the business of marketing and selling recorded
music and related products. Traditional radio companies are in the business of
building audiences to lease to advertisers, who in turn purchase spot advertising
from the radio station that airs within the programming. Concert promoters present
a live entertainment experience. Artist managers are in the business of developing
long-term careers for their artists, which includes touring, merchandising, sponsor-
ships, licensing, recording, songwriting, and the full exploitation of all of their
talents. Some artist management companies combine all of these functions for
the artist under one umbrella.
As we look at management principles, it is important to understand that the
work of an artist manager in the music business is somewhat different from other
4 CHAPTER 1 Professional artist management and its principles

kinds of managers. The traditional relationship a manager has with an employer is

one that has a reporting hierarchy, and by definition is very structured and “corpo-
rate” in nature. For example, a copy writer reports to a creative services manager,
who reports to the director of marketing, who reports to the VP of sales, who
reports to the president; an artist manager reports to only the artist. Traditional
managers use resources of owners to ultimately sell goods or provide services
for a profit, and in many ways, that is what the artist manager does.
Much of the work of an artist manager is product development, sales and
promotion, planning, and managing the work of the team around the artist. The
relationship between the artist (employer) and the manager (employee) is consider-
ably closer than that of typical managers in business, and is much more like a part-
nership. The level of trust and the strength of the relationship between the two are
often compared to those found in successful marriages. That kind of association of
a manager with an employer is rarely found in the business world. However, there
are times when an artist manager takes on most of the traditional roles of manage-
ment as he or she oversees the management of the artist as a brand, with the artist
being a creator of art and entertainment experiences.

FUNCTIONS OF MANAGEMENT
Nearly every text, research paper, and discussion on the topic of management
embraces four classic functions: planning, organizing, directing, and controlling.
These functions all apply to the work of the artist manager in the music business.

Planning
The difference between success and failure in any endeavor can often be tied to
planning. Luck by itself can sometimes deliver success, but coupling it with a
well-designed plan can put the manager in a position to take advantage of oppor-
tunities when they present themselves. It is very satisfying when opportunity opens
a door to implement an active plan to take advantage of it. For example, young
Josh Groban was asked by award-winning producer David Foster to replace an ail-
ing Andrea Bocelli in the 1999 Grammy television rehearsals with Celine Dion.
His performance at the rehearsal was powerful enough to help launch his multiplat-
inum recording career as an artist. Groban’s planning and preparation for a career
as an artist put him in a position to benefit from the lucky timing of Foster’s tele-
phone call. Eight years later, he had the top-selling album in the world, and by
2011 the career sales of his recorded music approached a quarter-billion dollars.
When a leader or manager identifies worthy goals, he or she often collaborates
with stakeholders to develop a set of logical steps to achieve them. Those steps, or
plans, become the framework for successfully meeting goals. Dr. Carter McNamara
puts it very well when he says, “Planning is identifying where you want to go, why
you want to go there, how you will get there, what you need in order to get there,
 Functions of management 5

and how you will know if you’re there or not” (2006). It is easy to see why
planning is often viewed as a road map that helps define the route to success.
A career plan results from collaboration between the manager and the artist, which
provides direction and milestones to reach goals. This book frequently addresses
career planning essentials.

Organizing
Organizing the manager’s work is closely tied to the planning function. Organizing
is assembling the necessary resources to carry out a plan and to put those resources
into a logical order. It also involves defining the responsibilities of the artist’s
team, and managing everyone’s time for efficiency—especially the artist’s. The
manager allocates the amount of time necessary to follow each step of a plan to
get the intended results.
The manager of any enterprise also seeks funding or financing necessary to pay
for the plan. The grandest example—long before the great recession—is Chrysler
Chairman Lee Iacocca’s successful pursuit of hundreds of millions of dollars in loans
from the U.S. government in the late 1970s to save his ailing company from bank-
ruptcy. For the artist manager, financing and funding the plan for a new artist’s career
could include a combination of an accelerated touring schedule, finding sponsors,
relying on assistance from fans who offer financial help, asking friends and family,
and helping the artist secure loans. Managers also recruit and employ labor and
expertise to put the plan into operation and to see it through to its success.
The manager of an artist in the music business forecasts the need for members
of the artist’s team, and plans for the time when their services will become an
expense to the operating budget for the artist. The manager also draws any other
necessary resources together, creates a logical structure for the organization of
those resources, develops a career plan, and executes it. An artist looks to the man-
ager to take the chaos of a prospective career and organize it into the prospect for
success.

Leading and directing

Managers provide a leadership function for the artist and their team by ensuring
that the talents and energy of the team are directed toward the career success of
the artist. The work of a manager in directing activities is to take the resources
needed to reach goals and use them efficiently to achieve success. For example,
an artist manager often hires a company or an employee to oversee the successful
application of new media strategies to the promotional plan for the artist’s career.
(Promotion and marketing are elements of the overall career plan.) This means the
manager coordinates the energies of the professional team members working
toward the artist’s career goals, monitors income and the expenditure of funds,
and plans and manages time. And all of this work requires that the artist manager
keeps everyone directed toward achieving the career plan objectives.
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6 CHAPTER 1 Professional artist management and its principles

An artist manager sets up a team of support for the artist. Some are on the
active payroll and others are used to support the plan on an as-needed basis. The
term “team” as applied to the group of professionals who support the artist is
indeed a group with a common goal: a successful career for the artist. However,
it is rare that the team as a group will assemble for a meeting about the artist.
Instead, the artist manager provides each with continuous communication about
the activities of the artist, and draws expertise or assistance from each member
of the artist’s support team as their help is needed. And members of the team
communicate with each other as necessary. For example, the artist’s booking agent
forwards budgets and offers from promoters to the artist’s manager, business
manager, and perhaps accountant, and then waits for feedback from each.

Controlling
Any manager who has created a plan follows its implementation by controlling all
of the resources required to achieve the goals of the plan. When the resources
(time, people, equipment, financing) have been assembled and the plan is under-
way, the manager monitors how effectively the plan is being carried out and makes
any necessary adjustments in order to be efficient with the use of resources and to
be effective in advancing the plan.
The business of managing an artist in the competitive world of the music business
means developing strategic plans in an effort to control as much of the artist’s devel-
oping career as possible.The manager must be realistic in what he or she feels able to
control, but it also means that he or she must be flexible enough in encounters with
reality to adjust to the circumstances. For example, a manager should anticipate that
a new and promising artist will not be able to give a powerful performance at each
audition, and should be prepared to put the most positive “spin” on the result.

ARTIST MANAGEMENT SKILLS AND PERSONAL TRAITS

The management skills discussed in this section are an indication of the breadth of the
practical understanding of people and the music business required by an artist man-
ager. For the prospective artist manager, these skills constitute a guide to learning;
for the active manager, they are an affirmation of the truly special talents of manage-
ment professionals who guide the careers of artists in the music business.

Understanding human nature

Managing an artist’s career requires interaction with people of all personality types
and under many pleasant—and some unpleasant—circumstances. Studying why
people react as they do to events in their lives is the best way for the prospective
artist manager to learn. Among the most challenging can be those times when it
is necessary to manage around the ego of another. The music business is one in
 Artist management skills and personal traits 7

which egos thrive, with many trying to be “somebody” or trying to assert that they
already are somebody, and often these very people can be the gatekeepers to the
next step in the artist’s career. Carefully playing into the ego in this circumstance
is an effective way of using human nature to the manager’s advantage. Before
playing into a gatekeeper’s ego though, the manager will need to know enough
about the individual and his or her ego drivers. That is, knowing the particular
human will let you know his or her human nature. For example, if the manager
is trying to recruit the services of a top publicist who is reluctant to take on an
additional client, that conversation must include references to a specific artist pro-
motional campaign in which the publicist was a key component in another artist’s
success. Explain that you want nothing less for your client. The manager should
also acknowledge any awards or special recognition the publicist has received
resulting from their recent work. An understanding that personal achievement is
important to professionals gives the manager an opportunity to service the gate-
keeper’s ego and open a conversation.

Leadership
Leadership is an important skill, or trait, of an artist manager at the beginning of an
artist’s career or at the beginning of the relationship. The influence of an artist
manager on the early planning and development of an artist’s career is what helps
the artist to develop a focus and an organized purpose. At this point, we are merely
acknowledging the importance of leadership skills to help direct an artist’s career,
but we take a deeper look into both leadership and coaching and how they apply to
a career in management in Chapter 13.

Coaching
Coaching skills for the artist manager are closely related to those of leadership.
Leadership seeks to guide the broader, long-term goals of the artist’s career, but
coaching involves short-term work toward an outcome that improves the artistry
of the artist. For example, the manager-coach helps the artist improve a compe-
tency such as being able to develop more animation in his or her stage presence.
Acquiring the skills of a coach requires that the artist manager study others who
coach (regardless of the sport or profession), and draw from observed styles and
techniques. Certainly, most managers will be unable to coach an artist in all of
the creative and technical areas necessary, so it is important that the manager
has a good network of specialists who might include vocal coaches, physical trai-
ners, stage direction coaches, interview coaches, and more.

Networking
If an artist manager in the music business cannot get a call returned, he or she is
ineffective, so building a network of contacts and relationships early in a career
is extremely important. To build a network, a manager must be willing to become
8 CHAPTER 1 Professional artist management and its principles

involved in both the business and social sides of the music industry. A starting
point for a new manager is to become a junior associate with an existing firm
where a personal network of contacts can be developed. Drawing from the net-
working resources of an established management company is a convenient way
to become recognized as a manager and build a reputation.
Industry events—such as conventions, awards shows, conferences, and semi-
nars—are good places to meet key players who may be helpful in the careers of
both the manager and their artists. Examples would include the annual College
Music Journal (CMJ) conference for U.S. college radio stations, the Billboard
Hip Hop conference in Atlanta, the Pollstar convention, the Country Radio Semi-
nar held each year in Nashville, and events presented by the UK’s MusicTank.
When participating in events like these, it is important to set personal objectives
to optimize the time and money spent invested to attend, because there are numer-
ous social and showcase distractions that can take important time away from
intended business purposes. For example, set a goal of becoming introduced to
ten key people, and then set up a luncheon meeting with at least two of them to
get to know them better and to draw them closer into a personal network of profes-
sional contacts. Be creative and aggressive in building a business network because
the relationships you develop are key to your personal career success and to the
success of your clients.

Social
Closely related to networking are social skills. For artist managers, being social
means having a congenial and approachable style that gives the appearance of
being comfortable in many quasisocial and business settings. Appearing comfort-
able in a social setting—whether the manager is or isn’t actually comfortable—
gives an outward look of confidence. Managers should know how to engage others
in conversations appropriate for the situation, how to begin and end those conver-
sations, and how to make them productive. For example, a time-tested conversa-
tion opener is, “How are things with you?” which lets you know what is
important at the moment to the other people and lets them talk about one of their
favorite subjects—themselves. Another social skill is knowing the appropriate
attire for different types of business meetings and events. Not every artist manager
enjoys social settings, but being a part of them and looking the part are require-
ments of the job.
Being aware of political circumstances among companies and personalities
within the music business is important for the artist manager to keep in mind.
In this circumstance, “political” does not refer to a party or candidate affiliation;
it has to do with the negative and positive business relationships between people
in the music industry, and how they affect the ability of the artist manager to con-
duct business on behalf of his or her clients. Understanding business alliances
between individuals and companies can help the manager save time by avoiding
unproductive pursuits and focusing on those with a likely positive outcome. For
 Artist management skills and personal traits 9

example, the manager may not want to hire a publicist for one of his or her clients
who was fired for cause from a prospective record company. It might make good
business sense, but the politics of the situation could make the development of a
record deal with that company difficult.

Communication
Having good communication skills means the manager knows how to continuously
connect with others, choosing between the written letter, email, tweets, instant and
text messaging, telephone, fax, social networks, and every wireless device that will
ever be invented. The manager will be interacting with all parts of the music busi-
ness and must be prepared to use the communication tools that are favored by that
sector of the industry. For example, many radio promotion people who work for
record labels depend on wireless devices to continuously communicate with the
label and radio stations. Managers must also be advisors to their artists on which
forms of communication they should use, and when and with whom they should
use them.
Each form of communication has its own protocol when used in the business
setting, and the artist manager should be sensitive about when and how to use each.
Former Sony music executive Jack Lameier, for example, championed a voice mail
courtesy that urges callers to office phones to leave their telephone number twice
to prevent having to play a long message more than once to retrieve the number.
Wireless phones display telephone numbers, but many office systems do not.
If you don’t know which kind of device you are calling, leave your name and
phone number twice. Email is another communication tool that sometimes takes
on the loosely written style of a text message, but it is important to understand that
email has become a semiformal medium of business communication that doesn’t
require smiley faces. As author of this book, I receive frequent emails from aspir-
ing artists, and it is easy to tell from their email style which ones are prepared for
the business of music and which are not.

Other skills
Artist managers spend much of their time planning and organizing on behalf of
their artists. Later chapters in this book describe in great detail the ways these skills
are applied to the manager’s work.
The best managers also work creatively. The hugely competitive nature of the
music business requires that the managers must push their own creative skills to
their limits in order to advocate on behalf of their clients. Simply doing what every
other manager does is not enough to gain recognition for an artist’s talents and
potential. An example of using creativity on behalf of artists is a bold idea by
Big Machine Records CEO Scott Borchetta. Early in his career, his idea to attract
attention for one of the artists he was promoting at an industry convention was to
hire an entire high school band to march into Nashville’s Wild Horse Saloon.
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