Is it that guy you met at a gig who gave you a computer printed business card, or is it that person you scheduled a meeting with who drove up in a 1980 Ford fiesta vehicle, or is it your child hold friend who still lives with his parents, or maybe it’s your over-the-hill uncle who is still trying to live his music industry dreams through your musical talents. Do our musicians know that, a manager is the most important person in their music career?
A good manager will have you have stand tall and be counted in the industry, while an inexperienced manager will have you make decisions that will eventually bring an artist down.
The success of an artist is hinged first on his or her talent and then who ever manage affairs on his or her behalf. We’ve witnessed the level Bola Ray took Tic-tac when he managed him sometime ago, Tinny KOD was there for all to see and Tinny post KOD speaks for it self. Castro and D.J. Amess combination is the key to Castro’s success the man works hard to make that his artist gets the right recognition.
A manager should be sharp and have a businessman and salesman attitude. They should be looking at your music as a product, and be confident you’re capable of generating big money in this business. He or she should bend over backwards to make sure you’re getting the show, selling CDs, and getting media coverage. Most of the managers we see around are only interested in what they will get from the artist don’t really care whether the album is doing well, whether exposure is on point and the general welfare of the artist is not his problem its all about the 10%.
So how do you find or know if you have a success potential manager? Well let’s break out the checklist. Because image and perception is everything, here are a few things you might want to consider before selecting a manager:
1. Are they well or somewhat connected in the music business?
2. Do they have previous experience managing artist?
3. How well do they know the music business?
4. Does he or she have a knack for business?
5. What is their current occupation?
1. Being well connected in the music business makes things happen a lot faster. Whether it knows someone that can connect you with a hot producer, or someone who can get your music in the hands of key music executives, or hooking up with a promoter that can get you a gig at a major or semi-major event or concert (sometimes these gigs are opening for major artist).
2. If a person doesn’t have previous management experience, that doesn’t mean they can’t make things work for you. If all the other elements are in place, he or she could have success potential. On the other hand, are you willing to be their first artist?
3. It is important for both the artists and the manger to know the music business. Learning about copyrights, points, advances, publishing deals, can help with negotiations and build trust.
4. A manager must have at least administration-level business skills. Corresponding with music industry professionals by letters, e-mails, or by phone is vital. An artist’s reputation could be ruined if their manager appears to be unprofessional.
5. If a person has a 9 to 5, it is very difficult to manage someone’s career. Although a lot of networking is done at nightclubs and on the weekends, following up on your connections is done during regular business hours.
One must have a special relationship with one’s employer to be an effective manager and to follow up on networking contacts.
6. If you and your manager were introduced to a music executive, wouldn’t you want to feel confident that your manager would sell you properly?
If they’re uncertain with words and appear to be nervous, that could easily become a 15 second conversation. A manager must be able to sell, period! Whether they’re trying to promote your CD to a radio music director, a venue manager, an A&R, an attorney, or whatever the situation may be, selling is one of the most important elements for a manager.
So let’s get to the million dollar question, what is the Role of a Manager? While the management role may vary from artist to artist, here are the basic duties of a manager. A good manger will make sure you have a team in place to cover all your needs. A publicist for media and publicity campaigns, a booking agent to help with booking gigs, a web master to generate and maintain your website, groupies to support you at gigs, an attorney to help with all legal matters, a publishing company to publish your music, and a business manager to assist you with finances (your manager should only assist you with finding an attorney and business manager, it isn’t wise to have the same legal consultant as your manager, and obtaining your own business manager may be wise as well).
Other duties include: Deciding which A&R to target and what record label would be a good fit, coordinating studio and rehearsal time, overseeing the work of the publicist, attorney, agents, web master, and business manager, helping with song selection and art work for your album, and basically acting as the liaison between the artist and the outside world. While these are the basic duties of a manager, some managers may take on more responsibility and others will play a lesser role.
It all depends on the needs of the artist. Therefore, the artist and the manager need to reach a firm and clear understanding as to their mutual objectives and respective expectations.
So, after you and your manager decide on exactly what his or her duties will consist of, how much are they to be compensated?
Well, a personal manager should expect a percent commission or compensation package, in our situation a cut of 10% percent of the artist’s earning per show. The manager’s expectations as well as the artist’s fair disposition should not be left to undocumented handshakes. It is most unwise for the artist to rely on a good-faith handshake as the enduring framework for a personal management agreement.
The relationship between an artist and a manager is so critical that the terms must not rest on flimsy gestures of friendship or “I got ya back” promises.
Note that good and cordial relations turn sour over time, especially when new hands and faces emerge on the stage of stardom. Simple but reliable steps like this will make both artist and manager effective. The question still remains that our artists are they manageable? Or the managers are not up to task.
How come in recent times, our artists have resorted to high volumes of alcohol intake and the smoking of “Weed”. Its so pathetic seeing Bandana threatening to beat KOD at the Trade fair because his time was up and should leave the stage you just realize that the guy was just too high.
Who told Kofi Nti that you can over overtake another vehicle even when you can’t see beyond 50 meters in a foggy condition is only a drunk mind that can harbor such thoughts. Our artists are just not taking good care of themselves they need to wise up. To Oguns of 2Tuff sorry God knows!
