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The publisher usually comes in later. But signing to a publisher is usually a watershed moment for electronic artists. What does an artist manager do? In essence, their primary duty is this — to create opportunities. To facilitate the artist to excel artistically, in some cases even streamlining their personal lives. To connect them to the right people. To create a state of order from which creative work is easily done.

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A good manager has a plan for an artist and will do everything in his power to make that a reality. It also entails making countless of sales calls and pitches, negotiating contracts and relentlessly pursuing opportunities — even when the odds are slim. Managers need to truly believe in their artists. To endlessly sell and receive NO for an answer most of the time — and to get right back up and keep on selling. To be critical to the outside world — filtering out the nonsense and telling people how it is. With tact. Artist-manager relationships become very personal over time. The best managers are involved artistically, helping curate and develop the musical content and branding.

These things concern creative ideas, which are very personal in nature. I can be critical about certain things to my artists, because they respect my opinions on those matters. Managers that start working with an artist in the early stages of their career are often business-oriented friends or want-to-be industry professionals, that take on the job because of a belief in the music.

In the early stages the manager is often also the booking agent. These are the individual managers.


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In the higher tiers, managers work for agencies and sometimes for record labels. They tend to have bigger networks and more resources, but are more selective about the artists they work with. As a rule of thumb, you should assume that the higher up the chain you go, the more people will preselect for artists that are already making waves independently.

Also, managers at big agencies tend to have more artists on their roster, resulting in less time spent on each individual act. For the really rich musicians, management can be split up into music management and business management. The prior is all that we have just discussed, whereas business management takes a more financial spin. These managers concern themselves with asset and capital management, do investments for their clients, find tax and administrative loopholes.

There is something to be said for both the stand-alone managers as for the agencies. My experience has taught me to never work with people where the artist is not among their top priorities.

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Be watchful of the people that sign artists like notches, to hedge their risk in the hope that one of them will break through. This is a procedure that sometimes extends to the honeymoon period of more serious artist — manager relationships. This is the trial period before an actual contract commences. Most managers will take this cut off gross revenue, meaning all revenues without any deduction of costs. The term for these agreements range from years, the latter being most common. I view management as a long-term investment so will always try to sign artists for a three-year term.

Managers also hedge against the risk of creating success for an artist and then being abandoned, by so-called Sunset clauses. These entitle the manager to a certain percentage commission, diminishing per year, for a period after the agreement with an act ends.

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Established artists have more clout in new contract negotiations, as the managers have contributed less to their development. And in those cases the manager also stands to gain esteem by working with the act.

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This entails securing and arranging performances, negotiating deals, arranging proper technical set-ups for shows, and in many cases also securing hospitality hotels, dinners , logistics travel, flights and promotional efforts. They receive requests for performances and pitch the artists. This leads to offers which they negotiate on until a deal is closed. Good agents make sure that contracts are signed long before the actual show and collect deposits read: payments beforehand.

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Agents represent artists for specific regions. This is done as it is unreasonable to expect that an agent in one market read location will have the same network and clout as in another. Traditionally, Asia was combined with ANZ but with the growth of dance music in Asia in the last several years Asia, and even China, has now grown to the point where booking agencies have popped up that specialize within each territory. Even in Europe, some markets are vastly different.

It all depends on what set up you feel most comfortable with. Big acts often have one head-agent, who coordinates all the sub-agents in the different territories.


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Together, we coordinate with our sub-agents in Australia and North America on all booking strategy and confirming individual shows. This is done in accordance with the head agent. The agents, in turn, have to fill in these periods with shows.