|
This page: Payment; Getting a manager interested; Do I really need a manager?; Criteria; What to know
Managers essentially work for free until they can create financial opportunity and exposure.
"You want me to pay you what?!"
Commission: Anywhere from 5% to 20%, with the norm being 15%.
This is how the manager is able to afford to work for you and still pay the phone bill and eat out once in a while. In the early days, it can be tough: The client doesn't have income, which is why he or she wants a manager. The manager essentially works for free until he or she can create financial opportunity and exposure.
At this stage, it's important for all parties to be realistic. Beginning manager Chris Moon [Josh Rouse] still works a second job -- and so does his client. "I've talked to several people who made big money on big deals," he says. "They still have to work on the side because of the initial investment of getting to that point. Unless the artist gets a signing bonus you can commission, all the money from a record deal goes toward making a record. You can only commission what is actually income, not expenses. That's why it's good to get a publishing deal and get some money up front for you and your client. Either way, you have to have someone administer your publishing or you're never going to take all your money in -- that's a given. So you either sell your publishing or you hold onto it and get an administration deal. In the leverage for that money, you give up ownership for 'x' amount of years."
How many years? "That depends," Moon says. "Do you want to wait to earn the money, or do you want somebody to pay up front? Other than that, income comes only from merchandise and live performance -- and that's where your management efforts should be focused after the deals are done."
As Billions points out, "For every one of those deals, there's 30 other tasks that have absolutely no income related directly to them. For me, the reward is in the relationship itself. Of course there's satisfaction in having something become a success from a fiscal standpoint, but there's a lot of little victories, and lots of little to medium frustrations. You miss out on the fun of managing if you don't see the process as worth it."
Sometimes artists forget how they got to be successful. To them, their first manager transforms into something like an old guitar they want to trade for a shiny new red one. In both sides of this scenario, the artist has forgotten how their old association helped them get to where they are, and that history -- especially the trust and communication built into a manager/client relationship -- is priceless.
This is not to say that you should never change management or fire your manager. If you feel your needs are not being met, or that your interests or money are no longer protected, or if you plain don't like each other anymore, you should part ways. But associating humble beginnings with the "small time" can put you in the hands of someone who wasn't there when you were broke, unknown, and losing faith. Even if things are on the upswing with your next manager, the minute things look shaky, you could find yourself deserted by someone whose allegiance to you began after all the toughest work was done.
'I don't have a problem picking up an artist with no deal; I have a problem picking up an artist without experience.' -- Janet Billig
How do I get a manager interested in me?
If you have no record deal or solid interest (a negligible term in the flaky netherworld of A&R), and depending on how far you are in your career, you may not be able to attract a higher-level manager unless you really blow him or her away. Even so, there's a lot you can -- and should -- do to make your band appealing to a good manager, regardless of your label status.
"I tend to not pick up really small artists that haven't accomplished a certain number of goals by themselves," says Janet Billig. "It's really important that an artist go through the process of recording an album, generating press, building a buzz, and booking and promoting shows. I don't have a problem picking up an artist with no deal; I have a problem picking up and working with an artist without experience."
Steve Hutton's approach adds some gut instinct to the mix. "I get in trouble and have problems if I have to convince myself to manage a band and don't feel it immediately. I look for a good rock band with great songs, with relatively attractive people who are of a certain age, have a similar vibe, and look like a part of the same team. You don't want a bass player that looks like he's in Korn and a guitar player that looks like he's in Backstreet Boys -- that won't work. And this cliché will always be true -- it's all about the songs."
'If you can't get your brother-in-law's indie label to get back to you about the three demos CDs you sent them, you just might need someone with contacts.' -- P. W. Long
Do I really need a manager?
I asked P. W. Long to come up with a definitive checklist that you can use to answer this question for yourself. P. W. is a professional musician with a few releases, drummers, and tours of the U.S. and Europe under his belt. He is also one of my clients. That means that he was not forced to write this -- but if he gets anything wrong, well, he'll know what he's in for. Here's what he had to say:
Your band is finally getting some label interest. You're wondering if it's time to get help navigating those perilous waters. Most certainly, if you do end up on a major label you'll need someone to protect your integrity from the A&R person who wants your techno-metal-hop outfit to fill a support slot for Ani DiFranco's tour and a radio department clamoring for you to do a Hooter's grand opening. Maybe, on the other hand, you can't even get your brother-in-law's indie label to get back to you about the three demos CDs you sent them. If so, your career just might need a kick-start; someone with contacts.
You Need A Manager If …
1. You have a major label deal. If you somehow swung your record deal without a manager, the label will either recommend or demand that you get one -- now.
2. You have more success with indie-label releases, gig earnings, and merchandise proceeds than you can keep track of efficiently.
3. Your band's income and popularity are stagnating, and you need to get your music into the hands of people who can generate income for your band (record labels, music publishers, film music supervisors, etc.).
Manager Criteria
1. Make sure your manager will be readily accessible and have the necessary time to devote to your project. If your selection pool is limited to friends and acquaintances, realize that your friendship will likely become strained if not entirely jeopardized.
2. Find someone whose reputation and methods will not compromise your band's image. A good manager is aggressive and firm, but also careful not to embitter a lot of people.
3. Make sure he/she is an ardent fan of your music. Your manager's enthusiasm and confidence about your future should be infectious.
What to Know Going In
1. The band and manager should agree on what to expect from each other. Define "manager." Does it include booking gigs, mailing posters, sending press materials, etc.?
2. Sign an agreement that's fair to everyone. This should prevent misunderstandings when -- after a term of failed efforts -- the manager says, "You owe me $5,000.00." You say, "Not according to this contract we don't."
3. Pay the manager the agreed percentage for his or her efforts whenever you can. This keeps everyone interested in staying actively involved.
4. Demand performance from your management. At the same time you must show the same commitment you expect from them: Do what you say you're going to do.
In all cases, use common sense. Trust the instincts of the band-member with the best judgment of character. If you don't have a solid list of management candidates, ask friends in other successful bands for guidance. If those efforts turn up nothing, Pollstar's quarterly "Agencies" issue offers an exhaustive list of management and booking agencies. Good luck.
|
