Navigating the Music Industry in 2013: A Guide to Being an Effective Manager

Mike D: Our manager's crazy - he always smokes dust

MCA: He's got his own room at the back of the bus

Ad Rock: Tour around the world - you rock around the clock

Mike D: Plane to hotel - girls on the jock

MCA: We're trashing hotels like it's going out of style

Ad Rock: Getting paid along the way cause it's worth your while

–The Beastie Boys, "No Sleep Til' Brooklyn"

The volatile state of the music industry has been well-documented and much-discussed. Some prognosticators keep calling out doom and gloom, others see tremendous (if still unpredictable and undetermined) potential. Undoubtedly and inexorably, the industry many grew up idolizing, demonizing, trying to break into, or aiming desperately to avoid is being transformed by forces of technology and economy that give a damn about the value of art or the fact that the album is (for now, at least) a dying beast.

More often than not, labels lie at the center of this discussion, the most obviously affected by the rushing tides and those trying hardest and quite publicly to stem the sea change. Industry titans Sony, Universal, and Warner still maintain tremendous power and influence (primarily through the final fortress of radio), but the cornerstone of their revenue has eroded, creating opportunity in chaos. Lost in the conversation are some of the modern music industry's most important players (aside from those actually making the music): Managers.

As the label stranglehold on supply chain and promotion loosens with the unceasing bloom of digital tools, managers have become increasingly crucial  in the development of artists and the generation of revenue–most importantly without the necessary guidance and financial backing of a label. While the primary functions of managers remain largely unchanged from decades past, new problems mean new opportunities and novel methods of crafting sustainable careers. Ultimately, a great manager still needs to be paired with great clients, but particularly savvy managers can make the difference between a flash in the pan and a path to longevity–the quick cash-ins vs. the decade spanning businesses.

To get a sense of what a makes a successful manager in today's ever-unpredictable climate, we spoke with a number of managers working with rising and established acts about their roles, routines, and philosophies about the business.

Abdullah Ahmad - Co-manager, Alexander Spit & Nylo / Marketing/A&R, Atlantic Records

Amir Abbassy (Blame the Label) - Manager, Freeway, Young Moe, The Narcicyst / Director, Marketing & Promotions Man Bites Dog Records

Brock Korsan - Manager, DJ Dahi, Cardo, THC, Sid Roams / Marketing/A&R, Atlantic Records

Charlie Christie - Manager, Sango

Erika Kelly - Co-manager, Alexander Spit & Nylo

Ilirjana Alushaj - Manager, Blood Diamonds & Alison Valentine / Co-manager, Stefan Janoski / Editor-in-Chief, The Pop Manifesto

J-Mo - Co-manager, Alex Wiley & Kembe X

Kirk Harding - Manager, The Neighbourhood, Little Daylight, RAJ

Pat Corcoran - Manager, Chance the Rapper

Script - Co-manager, Alex Wiley & Kembe X

Amir: "From a strategic and on-going standpoint, my primary function is to create as many new opportunities for the artists I work with as frequently as possible. My day-to-day functions can range anywhere from independently booking shows, sourcing beats, managing social media content, collaborating with lifestyle brands, creating and selling merchandise.

I also work side by side with some artists to help them shape a new understanding of where they are and where they are going. Nowadays I serve as a publicist for my artists, this was not a responsibility that most managers had ten years ago. Also, On-line/social media strategy was in its infancy 10 years ago and has now become a critical responsibility for a successful manager to possess."

Script: "We handle pretty much anything our artist needs. I started a management company with one of my best friends, J-Mo. We do everything from booking shows, studio sessions, features, setting up videos, and even an A&R type role of finding producers and beats that fit the vision of our artists. There's no set blueprint or rules of what you should or shouldn't handle or do. It also has a lot to do with the relationship between artist and manager."

"You just need to know it all. Managers need to be a publicist, label manager, day-to-day, and camp counselor."

–Ilirjana Alushaj

Kirk: "We work closely with new acts to set the tone, aesthetic and sound for the act before they even sign, so that there is no mistake as to who the artist is from jump. You can't rely on a label to cover all of this in this day and age. They are in the business of taking artist from 500 - 1,000, but we have to get them to 500 first, which is the hardest part of breaking a new act.

Mergers and a shrinking economy in the music industry have all but destroyed the art of artist development. It has become a managerial role to develop the artist to attract the attention of labels, publishers et al. It is then the managers role to ensure that the artist continues to thrive within the label system while they focus on some of the big picture goals. I call it the high/low approach. Let me and my team focus on a continuation of the bands touring, content and overall aesthetic at a blog and publicity level while they focus on radio, big TV & publicity related opportunities. It's definitely a different world in that respect."

It’s a balance between making miracles happen, and making sure my clients get what they deserve.

–Abdullah Ahmad

Brock: "A manager's role typically is to generate income and opportunity for his client(s). Bottom line. I think a lot of people have the managerial role completely mistaken for a tour manager or a handler."

Ilirjana: "I mean you just need to know it all. A manager needs to be a publicist, label manager, day-to-day, and camp counsellor. Build a long and insanely successful career for the artist. Be on call 24/7 and get everyone on the list."

Abdullah: "It’s a balance between making miracles happen, and making sure my clients get what they deserve.  I’m like a wizard or a warlock, depending on the day.  But in all seriousness, it’s a balance between making sure what needs to happen, actually happens, making sure your clients are protected and happy, and developing strategies and businesses to make sure artists can be comfortable creating art."

Brock: "As managers in the new model, you are constantly in the mix trying to conjure up new revenue streams and opportunites. In this day and age, advances are smaller, records sell less and generally it means less money to go around for everyone. However, with increased touring, endorsements and sponsorship dollars being thrown around in the social media/viral content era, relationships outside of music have become increasingly important for generating money within music and entertainment, in general.

I guess what's changed most drastically is the ability to communicate and make things happen virtually, without being face to face all the time. I don't have to necessarily walk a record into the studio or physically send out a beat cd. Shit, the producer doesn't even have to be in the same country as the artist for a record to be made. things happen faster and more remotely."

Managers have to build with the artists to help them develop and find a sound and then the labels come calling to take it to the next level and provide some bigger resources or money. It doesn't feel like labels really have any focus on artist development anymore, at least where rap and hip-hop are concerned.

–Script

Ilirjana: "I had the advantage of being a musician, running my own record label and working a bunch in music and fashion, so it felt easier than perhaps most people would find it. Developing a new artist is a lot of time and work. As most people know the majority of artists don't get signed immediately and even if they do they don't necessarily get some big budget with a team that does everything. So you need to be real and learn it all."

Abdullah: "It depends on the label situation, but even if you’re with a great label partner who has a great promo/A&R/marketing staff,  the onus is still on you as a manager to make sure things are getting done.  You should never wait on your record label, they are reactive systems by nature."

Script: "I think everything is now on the artists and managers. Labels still run the radio and have the ability to put your music into the average person's living room that wouldn't hear it otherwise, or the people who don't interact closely with music on the internet. That takes a pretty big budget marketing wise, but outside of that it's all about the artist and management team.

It feels like labels look for artists and managers to build a name first on their own. Managers have to build with the artists to help them develop and find a sound and then the labels come calling to take it to the next level and provide some bigger resources or money. It doesn't feel like labels really have any focus on artist development anymore, at least where rap and hip-hop are concerned."

I don't want to belittle the role of labels, because they are definitely involved while the album is in cycle and a good label will always present a manager with ideas as to how we could improve on what the act is doing in some areas.

–Kirk Harding

Kirk: "Labels used to have the power, but they gave that up when they started reducing their staff and focusing less on artist development. They are no longer present in the early stages of the developmental process. For established acts, we are working with the artist between albums when they are off cycle to strategize how to once again set the tone and plan for when they re-enter the fray.

Having said that, I don't want to belittle the role of labels, because they are definitely involved while the album is in cycle and a good label will always present a manager with ideas as to how we could improve on what the act is doing in some areas. But that is certainly a different role as compared previous eras."

J-Mo: "All of the artists I’ve managed have happened organically. I was in Chicago clothing store “Leaders” and somebody was playing Spenzo’s music on their laptop. After listening to the music and giving the kid a card, Spenzo & I were on the phone 2 days later. I also met Kembe X at Pitchfork fest 2 years ago. One week later Kembe introduced Script & I to Alex Wiley in Hyde Park. When things happen organically there’s less pressure to prove who you are or what your motives are. The major focus is the music and growing as a team."

Ilirjana: "Generally I have been approached or it is something or someone I discovered and really fell in love with. I don't really seek anyone out because that feels like it is forcing something. It should be natural as it is all about inter-personal relationships."

Brock: "I never actually did the whole Ari Gold shit when it comes to finding clients. To be honest, most of my clients have been referred to me by lawyers, A&R's, friends, and other producers. I like to show and prove first, so we really build an solid foundation based on the work, creativity and most importantly, trust. I think with an artist, they demand a lot of personal attention and you have to be around them everyday, constantly. With producers, we can work more remotely, which is actually beneficial because we can be in two different places at the same time."

"I don't manage Chance because I am a super manager who knows it all. I work with him because from the second I met him I saw something special and, no matter what, I'd do anything to help him succeed. Even if it means being the most unconventional dude in the game."

–Pat Corcoran

Kirk: "I manage both producers and artists and I find it to be beneficial for all. I should point out that most of my artists are producers as well. Ghost Loft, Jesse from the Neighbourhood and the Little Daylight team are all excellent producers. We have a very tight roster and everyone respects what each other brings to the table. Twice As Nice helped me to develop Jesse (from the Neighbourhood) as a writer early on. Justyn Pilbrow produced both The Neighbourhood's EP & album, he also mixes Ghost Loft tracks and has also worked with RAJ and Daniel Merriweather. All of them are open to remixing each others work when it calls for it."

Pat: "I don't manage Chance because I am a super manager who knows it all. I work with him because from the second I met him I saw something special and, no matter what, I'd do anything to help him succeed. Even if it means being the most unconventional dude in the game."

Script: "You have to watch what you say at all times because even though it doesn't seem like it the whole world can see what you're saying. That goes for artist and manager. You might say something to somebody and they don't respond but they see it. That can be in a negative but also positive manner, but I just stress that people are definitely watching and you really don't know who. Shout out to the twitter creeps."

Whenever private thoughts become public it really only can go one of two ways and usually it goes south. As managers, we now have to really monitor what is said by our clients on social media, because it can ruin business.

 –Brock Korsan

J-Mo: "Social Media changes the entire game at this point. Twitter gives me the ability to set a campaign and directly measure the results of the campaign by the growth & response in Twitter followers."

Brock: "I think social media is great for access and promotion and it has been a great asset for someone like myself. But you have have to draw a very fine line, because it can be very misleading and intrusive at times. For a manager, it can also be a very dangerous thing as well. Whenever private thoughts become public it really only can go one of two ways and usually it goes south.

As managers, we now have to really monitor what is said by our clients on social media, because it can ruin business. I've seen it countless times. People reading too deeply into vague tweets, people saying things out of frustration in the heat of the moment that get spread across the globe like wildfire. It's like a fucking huge ass megaphone for your thoughts."

Charlie: "Everything has turned digital, so as a manager, you have to always look out for what's coming up, what blog is hot at the time of release etc and adapt. If you also think about the power of one tweet, it can ruin your career, which is scary powerful, but also help boost you if it's coming from a big artist plugging your work."

Kirk: "[Social media] enables us to develop acts and bring attention to our clients without the burden of having to get them on the radio. Both Little Daylight and The Neighbourhood are the product of the blogosphere. The deals we got for those acts were bigger deals than acts who were already receiving airplay on radio at the time. That speaks to the power of the online space. As they say, the internet is the great equalizer if used correctly."

Amir: "Social media moves very fast and there is an expectation to release content often but I don't think a manager should shift their focus if they already have a plan of attack they should stay on that path. Use social media, don't let it use you."

Kirk: "I think of the manager's role as that of a hub for their artists and that all members of the artists team should connect to the artist via the manager. So with that said, it's very important to start with the right booking agent, road manager, lawyer, online publicist, business manager etc. Additionally, I like to take things a step further and also find video production partners and graphic designers for each act so that they can have a consistent look and feel to their campaigns.

If those team members are in place early, then everything should run smoothly from the jump. I do think that all artists and producers require a custom made team depending on the strengths of the professionals that you place around them. For example, a hip hop act will likely have a different agent and attorney than a rock based act."

Brock: "I'm a very hands on manager, I don't like to outsource much. My intern hates me, because I have nothing for him to do. I just have a very specific way of doing things and we have our system, and for now it works. But, if you don't have a strong database of people within the industry that make shit happen, you aren't going to be able to navigate your client's career to where you are trying to be. It's all about relationships...relationships and reciprocation. The quicker you learn that, the better off you'll be."

Erika: "As far as building a support system, it really depends on the individual or group - their existing infrastructure, aspirations and what stage of their career they're in. Some artists are particularly self-sufficient and have a hands on, DIY approach to all aspects of their career, whereas others are extremely talented in a specific area and opt to build a more substantial team around them to manage the other moving parts.

These days, most artists have to release new content at an increasingly frequent rate in order to stay relevant. Having a team in place to assist with the administrative, legal, promotion, visuals and additional creative helps streamline the overall process."

It's all about relationships...relationships and reciprocation. The quicker you learn that, the better off you'll be.

–Brock Korsan

J-Mo: "To make sure the day to day operations run smoothly I have one in house PR person, one assistant and several street team reps."

Amir: "For me an ideal team consists of a great engineer, A&R, talented graphic designer, photographer/videographer, lawyer, social media marketer, DJ, and a road manager. That's the baseline in my opinion for a fully functioning management team/indie label. Not every management company has that luxury so you can consult on a need basis but if those roles mentioned above are done well you will have a successful operation."

Kirk: "It's probably 60-70% creative. But I view things like assembling timelines and creating roll-out strategies for my acts as being creative because we create unique plans for each act that we roll out. Ditto with setting up touring, we try to create unique opportunities for our acts in the live space. I try to find something creative for my acts in the most mundane of tasks."

Brock: "For me, it's 100% administrative and 100% creative. I'm an A&R as well, so I'm always thinking of ideas and going through beats with people in mind. It usually takes me about 1-2 hours to create each beat folder I send out, because I like to hand pick what I think are the perfect beats for each artist."

Ilirjana: "Half-half. I work with super talented and creative people who are really into ensuring their work is balanced and that is how I want it too."

I try to find something creative for my acts in the most mundane of tasks.

–Kirk Harding

Amir: "For me it's an even 50/50 split and I try my best to ensure we keep the administrative side organized, but being creative is just as important. I think the sweet spot is to stay consistent with both the creative and administrative."

Abdullah: "It varies with the client, once things are going and your clients have additional resources such as an attorney, a publisher, etc you really just start supervising the admin work and making sure it’s getting taken care of.  In the early stages though I’d say it’s about 50/50.  The sweet spot is knowing that my alternative to this is probably the stockroom of the CVS store in Ashburn, VA."

J-Mo: "The majority of my work is administrative at this point. If I don’t plan it then execute directly afterwards, things won’t get done in a timely manner. I’m getting more hands on with video pre production, scouting locations & treatment ideas. I’m able to think outside of the box and build on top of my artist's ideas. I assisted heavily with Alex Wiley’s 'K-Swiss' video."

Kirk: "I feel very strongly that managers should be background players. The artists are the stars and all of my efforts go into making them look great. People that I deal with directly know the role that I play in everything and that is enough recognition for me."

Amir: "I definitely think managers should play the background. I don't see anything wrong with a manager getting love from a fan especially if the artist is exposing his/her manager through their social media, but a manager is more effective when they focus on promoting their artist rather than themselves. The worst drug known to man (fame) is an artist's battle, we should be focused on having them not get addicted to it."

If you want to be a star you should learn how to sing, rap, dance, or shove hot dogs down your throat at an alarmingly fast rate.

–Abdullah Ahmad

Script:  "Personally, I think a manager should always play the background unless what they're doing is to benefit the artist or team that they represent. That's another one that's like do what you do though. I'm gonna do what I do and I'm not trying to be a star I just need to be respected for what I do. I think my top 3 people I look to in the entertainment world are Top Dawg, Al Haymon, and Worldwide Wes. You can do a Google search on any of them and you won't get many results, but they're all the best at what they do to me and have relatively low profiles, but they also have the respect of all the names you see in the lights."

Abdullah: "One of my biggest pet peeves is managers who are more interested in the actual industry than they are in developing careers for artists. If you’re in this to take selfies at meetings at XYZ major label you lose. If you want to be a star you should learn how to sing, rap, dance, or shove hot dogs down your throat at an alarmingly fast rate.  Also I hear UCLA offers Ableton classes.  Also may be worth checking out, if you want to be a star."

On the other hand...

Brock: "I truly feel it depends on the personality of the clients you represent. You kinda have to be able to adapt and morph in and out of situations, like be the yin to their yang and vice versa. If you have a really outgoing client, you might want to play the back a little more in order to better serve the needs of your client. If he is a more reserved type of artist, then you might have to be a little bit more vocal and outgoing in order to procure placements and deals, etc."

Charlie: "Becoming a star in their own right can be good, the fans want to know everything about an artist. So them connecting with the manager can work well for the fans, depending on different artists. Scooter Braun is huge in the Bieber fan world. However when managers try hard for themselves to be stars...that's a different matter."

J-Mo: "I don’t think managers should be primarily background players. They should have a healthy balance of the artist’s situation. A manager's credibility will be shown with the action steps & growth of their artist."

Ilirjana: "Haha, who knows. Each to their own. Personally I live my life and work for who I want to work for and if people are interested cool, if not it effects me in no way."

Script: "Top Dawg Entertainment... Top Dawg, Dave Free, Punch, Moosa, the whole team over there. They're a label but they also handle every aspect of what their artists do and handle it very well. I think John Monopoly is dope as well and the whole Hustle Period, my homie Happy. They built something big with Kanye that I saw growing up and you couldn't miss the King Louie campaign in Chicago over last few years."

J-Mo: "Kevin Liles & John Monopoly. These guys are innovators. They don’t take no for an answer. They’ve taken countless careers to the top by being results driven & creative."

When you have a huge company, clients become a digit, nothing more than a social security number attached to P&L sheet. We are dealing with fucking ART here. I believe you have to have a certain passion for the art in order to intelligibly create the commerce around it.

–Brock Korsan

Ilirjana: "I have a lot of friends who manage and they are all great to learn from but to give names I think these people have great management faces: Kevin Kusatsu, Simon White, Tim Smith, Dana Meyerson and Scooter Braun."

Amir: "Pat Corcoran who manages Chance The Rapper really caught my attention with his execution of Acid Rap. I was impressed with the production, artwork, promotion, and reception of that project. Ohla, Bodega Bamz's manager, is another manager that I have a lot of respect for and is someone who I believe really understands branding which is a term that has been thrown around so loosely these days. Ohla has helped create a strong movement with Tan Boys and is definitely someone I'm taking notes from."

Brock: "I think people like [Christian] Clancy, [Johnny] Shipes, Dave/Moosa/Punch at TDE, Archie Davis, Hip Hop Since 1978, Chace Infinite, Mike Salman, Made You Famous (Danny Dominguez & Erica Greyson), are all great examples of people who have managed to really push the creative boundary of the management role. They really care about the shit they do, I always find that makes a difference. When you have a huge company, clients become a digit, nothing more than a social security number attached to P&L sheet. We are dealing with fucking ART here. I believe you have to have a certain passion for the art in order to intelligibly create the commerce around it. But hey, what the fuck do I know."

Kirk: "I really appreciate managers who have an overall aesthetic to their client base. It's easy to take a scattered approach and to sign up a bunch of folks from different areas of the business. But I like to foster an environment where there is a loose sound, sensibility, and feel to the roster. With that said, Erik Eger has done an excellent job in pulling together a great roster of producers and writers who all inhabit a similar space. Jonathan Daniel at Crush is also someone that I have a great amount of respect for. He is very good at identifying hits from left-field and bringing them to the forefront.

Abdullah: "Erika Kelly, Yung Groupon Blaha, Jeff Vaughn, Mike Caren, Quentin Cuff, Anthony Saleh, Shiv Pandya, Ben “LAMBO” Lambert, Brock Korsan, Rob Kowlaski, Matt Colon, Amir Abassy, Beef Jones, and Seth Zaplin. I can’t reveal their secrets but all of these wonderful people have great attitudes and mindsets and know what it takes to build successful careers. If you ever are so lucky and have the opportunity, please treat them to very expensive dinners and pick their brains. Invite me too."

Script: "I think every situation needs good energy, punctuality, and good people."

J-Mo: "Everything’s a grind. If it comes easy we don’t want it. Producers have to grind just like artists. There’s highs and lows to both sides. One thing’s for sure, they both work hand in hand. Every successful artist has had a talented producer on their team that understands his role in creating a specific sound."

Pat: "To me, it's not about IQ anymore. It's about PQ. Your Passion Quotient. The more you care and believe in your work, the better. We all have the Internet and can get any type of info that you'd need to manage or need to act like a manager. But what's not taught or can't be learned is how far your willing to go for your artist. And for me & Chance, we are brothers, we are best friends, and I'd do anything to make sure that I can put him in a position to succeed."

We have all the tools at our fingertips to develop our acts ourselves.

–Kirk Harding

Amir: "A manager can have a background in many things, but there are three major components I think are necessary: strategy, organization and social skills. You have to be able to envision a plan for your artist, for the year ahead and the years to come. You have to be able to organize your time and theirs, organize your content and presence and think long term. I can't stress how important it is for that manager to be a people's person. If you are a turn off socially, your artist will suffer. Don't be that drunken dude at the venue. Stay Sharp. "

Ilirjana: "Not everything works for everyone even if the money is there and you also need to take in account personal taste and beliefs. I work with people whose art is very important to them so we are always looking at ways to keep a balance of creating what you are proud to put your name on, with making money. Sometimes it is easy, sometimes it is not. You just have to be more open and involved and think of things beyond just monetary value. Creativity is very important for sustainability which I feel is kinda a newer thing in music. As is social media, you need to understand the ways of the internet."

A manager can have a background in many things, but there are three major components I think are necessary: strategy, organization and social skills.

–Amir Abbassy

Kirk: "10 years ago we did not have the opportunities that exist via the internet. We now have the ability to handle our own publicity (blogs and social media), merch sales (topspin) and music distribution (Tunecore). We have all the tools at our fingertips to develop our acts ourselves. I also don't believe that a manager needs an office space in this day and age. Technology now allows us to work from anywhere without the burden of a major overhead. Radio is the only factor that major and major-indie labels have the power to unlock. Tour support is also a major factor in signing to a label. However, I believe that will all change eventually."

Brock: "A managers job is not just to roll weed up on the tour bus and carry the backpack...he might have to that from time to time, but thats not what it's all about."

Be less lazy, be more organized, and don't be scared.

–Abdullah Ahmad