Looking For Management? A Sound Guide for Musicians

LOOKING FOR MANAGEMENT?

A SOUND GUIDE FOR MUSICIANS

Some bands have it.

Some are looking for it.

Others claim to be doing it for themselves.

But what exactly does "management" involve and why is it so important to you?

This guide explains what managers actually do, and offers some advice on when to start looking for a manager and how to go about finding the right one.

WHAT DO MANAGERS DO AND WHAT MAKES A GOOD MANAGER?

Management of a band, particularly in its early stages, can involve doing whatever is required to help the band progress in its career. There is rarely a clear job description or a guidebook to follow. In general terms, the manager's role is to help the band achieve its objectives - objectives which may be unclear at the outset, and will change over time, but which may at different times include: getting a gig, recording a demo, signing a record deal, releasing an album, and so on. Along the way, the manager may be called upon to act in a number or roles: negotiator, facilitator (i.e. helping the band get things done), adviser, investor and even 'parent'.

A good manager is likely to possess at least some, and probably all, of the following:

Money: until you get your first recording or publishing deal, your outgoings are likely to far exceed your income. A manager must have, and be prepared to spend, enough money to support and promote the band effectively for what may prove to be a considerable period of time.

Contacts: they say, "it's not what you know, it's who you know". Nowhere is this more true than in the music business. It helps if your manager is well connected to begin with.

Social skills: one of the manager's main jobs will be continually making more contacts throughout the industry and developing relationships with people who can help you progress. This takes confidence, good communication skills and the ability to 'network'.

Time: your manager must be prepared to be on call round the clock. The music business is not a 9 to 5 existence and flexibility in one's lifestyle and work schedule is essential.

Business skills: managing a band can require a whole range of different business skills, including people management, marketing, administration, finance and so on. An understanding of the music industry is also important.

Enthusiasm: your manager should also be your biggest fan. No manager will give the required commitment unless he or she loves your music and firmly believes that you have what it takes to be successful. An enthusiastic and positive outlook will often be needed to raise motivation, when you are stuck in a broken-down tour van at 4am.

SELF-MANAGEMENT:THE DIY APPROACH

You may assume that you have to get a manager. This is not necessarily the case. Before you rush out and sign to the first camel-coated, cigar-smoking fat cat you can find, consider managing yourselves.

When you are starting out, self-management may be the best option. It can be hard to attract a manager, when you've got no money coming in, no gigs and no interest from record companies. At the same time, the lack of complex financial and legal matters to take care of means you are more likely to be able to handle your own affairs for the time being.

Divide up duties between you: one band member could be responsible for getting gigs, another for marketing (e.g. printing fliers and posters), another for contacting record companies etc.

Self-management isn't for everyone. You have to be able to conceive of yourself as a business and be able to regard your music making as a revenue-generating activity. Many artists are unable or unwilling to do this and need to employ a manager, so that they can concentrate solely on creative matters. Some would argue that creativity and business simply do not mix; and that the music will suffer if the band tries to handle its own business affairs. If this is how you feel, then perhaps self-management isn't for you. But there are many very successful artists who take a keen interest in their business affairs and possess shrewd business brains, so don't assume that as a musician, you can't also be a manager.

It probably is a good idea to keep the creative side and the business side separate. When you are writing, rehearsing or recording, forget about business and just focus on the music. Similarly, make sure you set aside some time for organising gigs, contacting record labels and the press, planning your promotional campaign and so on. If you manage your time well and share the burden between you, you may find it only takes a couple of hours a week to handle all the business, leaving the rest of the time free to concentrate on making music.

WHEN TO GET A MANAGER AND HOW TO GO ABOUT IT?

This will depend on your individual situation, but you may find the time has come to get some help...

• When you are spending more time taking care of business than you are making music.
• When you feel 'out of your depth' and at risk of being exploited (e.g. if you start to get offers from record companies).
• When you've tried, or at least considered, self-management but feel you lack the necessary business skills to promote the band effectively.

Bands often choose a friend or a family member as their first manager. This is obviously one of the easiest ways of finding a manager when you are starting out, but it is rarely the best in the long run. A manager must be able to 'add value' to the act: he or she must do or provide things that the act can't do or provide for itself (such as those qualities or resources listed earlier in this guide). You may find someone from your family or your social circle who is keen to help out and whom you know, like and trust. This does not mean that they will be a good manager. Unless they can actually add value to your band, they are unlikely to take you very far. It is not uncommon for a successful band to 'outgrow' its manager: the mate who took on the job when you were doing your first gigs and recording demos may no longer be suitable when you are making multi-platinum albums and performing at football stadia. Bear this in mind, as you may risk ruining a good friendship if you have to ditch your mate somewhere along the line for a manager with more muscle.

Signing a deal with a big shot manager can be very tempting if you get the opportunity, but you need to be aware that this may not be good for you. Because of his perceived power and influence, you may also be persuaded to settle for a lousy deal giving him too much artistic control or excessive commission. You need to be careful in your decision making here, because they could appear to be your only vehicle to success.

In choosing a manager, you should seek a "power balance". In other words: your manager should need you as much as you need them. Aim to get a manager that is "hungry", but who shows signs of being able to get you at least one step further up the ladder.

WHERE TO LOOK...

There may be someone you already know who fits the bill, but think carefully before asking your best friend to manage you. If you don't know of anyone suitable, try and get suggestions or recommendations from other musicians or people you know who work in the music sector. Someone might know of an up and coming local manager who is looking for a promising act to take on. Another approach is to target managers who already manage, or have in the past managed, bands similar to yours. The annual Music Week Directory lists thousands of acts, from quite obscure bands up to international superstars, and tells you who manages them. It also gives contact details for hundreds of managers and management companies. If you don't have access to a directory like this, then look in the music press, on the Internet, or on the backs of albums for information on who manages certain bands. Put together a package including your demo, band biography, photos and a covering letter (see our guide, "Looking for a Record Deal?" for more on this). If you are targeting a management company rather than an individual, try and find out the name of the most appropriate person in the company to send it to. Better still, make appointments and go and visit them.

Famous managers - or managers of very successful bands - are highly sought after and you are unlikely to get their interest if you haven't already made some progress. If you are at the stage of being offered record deals then managers will be keen to sign you, as you are on the verge of actually generating some substantial income (of which your manager would get a percentage in commission). Alternatively, you may be better off looking for someone who shows potential and already possesses the necessary skills and resources, but is also hungry for success and willing to work hard for you. For instance, this might be the young assistant of an established manager or a junior employee in a management company, who is eager to prove themself. Remember: your manager should want you as much as you need them. Above all, they should love your music and want to manage you. Arguably, a bright inexperienced manager who would kill for you is far more valuable than one who has a string of hit acts to his name but never seems to do anything for you.

WHAT'S THE BIG DEAL?

All management agreements are different and should be because they need to be tailored to suit the persons involved. However, most agreements will pay a manager between 15 and 20% of what is earned (commission). Some offer more and some offer less. What you need to be aware of is 'gross' and 'net'. It is better for the artist to sign a net agreement because this means the manager gets paid after any deductions. Otherwise the manager can (legally) take their cut and you will have to pay for everything with whatever is left.

MANAGEMENT CONTRACTS

You may think you've found the right manager, but you won't know for sure until you've actually worked together for a while. You may find that there are personality clashes, or that the manager is able to do less for you than you initially believed. For this reason, you should avoid signing a contract immediately, which can be difficult (and expensive) to get out of if things don't work out. A trial period (also known as a "probation period") is usually a good idea.

There doesn't have to be a contract at all. Some artist-management relationships survive perfectly well on just a 'handshake' (such as Oasis and their management team, for example). Most managers will tell you that trust, respect and a good working relationship is far more important than any contract; and, without these, the contract isn't worth the paper it's printed on. If a manager refuses to do anything until you've signed a contract, and won't agree to a probation period, then it may be a sign that there is a lack of trust and commitment on his or her part.

Even with mutual trust and respect, a contract can be a good idea once both parties have become confident that there is a future in the relationship. It is in the manager's interest to get some protection in the form of a contract, so that the band doesn't ditch him as soon as they get a record deal. Among other things the contract will set out the length ('term') of the relationship, details of commission payable to the manager, and the obligations of the band and the manager to each other. You should always get independent legal advice before signing anything like this. Don't worry that your manager might see this as a sign that you don't trust him. He may actually insist that you get legal advice: otherwise, you might try to get out of the contract later on by saying that you didn't know what you were agreeing to when you signed it. A judge will often rule in favour of the artist in such situations, so it is in your manager's interests that you get the contract checked out by a lawyer and that there is a clause in the contract clearly saying that you did so.

Once you and your manager have agreed the terms of the contract and both signed it, you may never need to see it again. If you find that it is constantly being brought out and referred to, this may be a sign that the relationship between you and your manager isn't working and you should seriously consider going your separate ways. The contract is there to protect both parties from being mistreated and to clarify what is expected of each of you. It should not (and in most cases cannot) be used to force someone to act against his or her will.

Further reading

Barrow, Tony and Newby, Julian. (1995). Inside the Music Business, chapter 4. London: Blueprint.

Passman, Donald. (1998). All you need to know about the Music Business. (UK revised edition). London: Penguin.

Cappriccieo M. Scates (2004) 10 Steps to Successfully Managing Recording Artists: A Guide to Effective Artist Management.

www.iUniverse.com

Further information

Music Week Directory - Music Week is the trade publication for the UK Music Industry. Each year it publishes a directory listing thousands of useful contacts in every area of the business. It's free to subscribers, so your local library may have a copy. It costs £55 and can be ordered online: www.musicweek.com/ T: 01858 438816.

Showcase International Music Book - This is a phone directory for the music industry, listing thousands of record, publishing and other companies. You may find that your library has a copy or you can buy it for £50 from: www.showcase-music.com/ email: orders@showcase-music.com T: 020 8977 7711.

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