3 The Artist: Preparing to Be Managed
Early in the career of an artist there will be a moment when they feel it is time to step-up the pace of meeting their goals, going for the “big-time.” Some will try to continue to manage themselves, thinking that the 15% commission many managers earn can be saved just by investing a little more time into the business-part of being an artist. For the artist who seeks regional recognition and who records for their own independent label, it is certainly possible to earn a modest income touring and selling their music and merchandise without a manager, though one could be helpful. However, for the artist who seeks national or international recognition, it is essential that they have a manager advocating for them and promoting the growth of their career.
Being commercial is not selling out
Among the first things an incoming-earning artist must genuinely accept is that they have chosen a career in the music business. It is not a career showcasing the art of music—they already have that part of it figured out. They have elected to become part of the music business, and holding themselves out as commercial artists in the music business becomes an acknowledgment that songwriting, performing, and recording are going to be done with the objective of earning money. Many young artists struggle with the idea of becoming commercial until they discover that band members do not want to rehearse without the promise of earnings. Likewise, managers are not interested in working with an artist unless there is the likelihood that they can earn money from a music group or individual that has a commitment to a career in the music business. Some young performers feel that becoming commercial is “ selling out” their artistry for the sake of money. They resist what they perceive the big label marketing machines will do to their music, because they fear they will be pressured into changing artistically into something they are not. However, most labels seek artists who are genuine and unique in their own ways, and who have potential for commercial appeal. Labels will sign an artist because of who they are artistically and because they feel there is a commercial market for their music, and most want to preserve the uniqueness of the artist that makes them special.
Equity Records president Mike Kraski, acknowledges, however, that some record labels attempt to “sand off rough edges” of new artists they sign. In these cases they may go too far by guiding an artist in a direction creating “something that is not true to the artist” for the sake of creating something more commercial. (Havighurst, 2007) The artist should rely on the strength of their manager to insist that the label not homogenize their unique sound.
Know who you are artistically
As consumers, we want a commercial product quickly defined in terms that we understand. It is the same in the music business. Artists will be asked by key gatekeepers what kind of music they perform. An artist must be prepared to describe what they do musically in one sentence with very few words. And often, an artist’s style of music is defined by which radio format would use the artist’s music in their programming. When a manager, label, or publisher hears an artist describe their music as, “contemporary acoustic alternative blues with hints of jam band influences but not as heavy as Hendrix,” it suggests that the artist is still trying to determine their place in the commercial marketplace and it may be too early to consider them for a management, recording, or publishing contract. On the other hand, when an artist says “my music is alternative rock using catchy lyrics with a killer live show that appeals especially to younger audiences,” it shows that the artist has defined their music, they understand audience types, and they know that appealing to a younger listener is attractive to record labels. In other words, they understand that the label is seeking a business opportunity through the artist, and the artist is ready to deliver it.
Get experience
Nothing polishes a performer and builds character as live performance does. Performing regularly in smaller clubs in front of friends, family, and fans can help an artist develop a show in a relatively safe environment. They can take chances by trying new ideas and music to see what works and what should be cut from the show. Artists can try out new songs they’ve written or experiment with new material they want to include in their show. The only warning is that friends and family can be very supportive and accommodating when they give feedback on performances, and may be inclined to tell the artist what they think the artist wants to hear rather than what they should hear in order to improve their performance.
Live performing coupled with demo recording and songwriting can season an artist and build confidence. Showing an air of confidence without being cocky is a strength managers seek in artists they sign, and that kind of self-assurance can only be developed by getting as much experience on stage, in the studio, and in the writer’s room as possible.
Experience selling tickets and recorded music can be a strong selling point to both prospective managers and eventually to record companies. An artist who consistently sells out small venues and sells 6,000 CDs per year at those performances will always get a conversation with a manager seeking talent to manage.
Build a network
A network in these terms is a web of supporters with whom an artist regularly communicates about their music. An artist’s fan base is at the heart of the network. The artist sends regular emails to fans to announce new music or new performance dates and locations. They also communicate through their e-teams or street teams promoting themselves and their music, and they keep their postings to social networking sites current. This continuous communication about the artist keeps fans coming back to their website, and keeps up the interest in the artist.
Another important part of the network for an artist is to get to know those who offer to support their career and offer to be sponsors when the time comes to push their career to the next level. It might be said in terms like, “If there is ever anything I can do for you, let me know.” That is the cue for the artist to get contact information about the individual, and from that point on they should be included as guests at local performances and receive all communications about the activities of the artist. These are the most important fans an artist can develop, because the launch of a career always requires money, and “angels” like these can be key to a manager finding funds to develop the artist during those early months of the big commercial push. As a point of reference, other sources of financial support for new artists are savings, family, loans, and sponsorships.
Be professional
When an artist makes the decision to advance their career, it is also a decision to adopt the demeanor of an industry professional from that point forward. That does not mean the artist cannot have fun creating music, but it means that every public performance and industry meeting requires the artist to be completely prepared to make the best possible first impression. Assume that the lucky break is in the audience every time there is a performance, and be prepared to deliver the best show possible.
Being professional on the Internet is also important. Amateur sites of artists that are found on the Internet social networking websites are a reflection of how mature the artist has become as a part of the music business, and it becomes a statement about their professionalism. Potential career supporters will use an Internet social networking site as a reference point about the artist, and the site should look as professional as the artist can afford. That means they should seek advice from those who design websites for the music business and then invest a little money to be sure that their very public image on the Internet is one that says they are “somebody.” And this is also the time to set up a basic but functional artist website using the artist’s name and the dot-com domain name as the way to learn about the artist. A domain name is merely the location of a website on the Internet, and they can be purchased inexpensively from a number of sources such as Yahoo and GoDaddy.com.
Using new media also requires the touch of a professional. In an age of sloppy instant messaging, flippant text messages, and careless email drafts, it is important to assume every message an artist sends will be received by a professional who is expecting the artist to share that same level of professionalism. The use of convenient communication methods does not mean the message writer should not respect the ways these tools are used by business people. Always use good grammar, accurate spelling, and appropriate punctuation when using electronic communication.
Be prepared for management
An artist manager will make a number of evaluations about an artist before they decide to offer management. Certainly the music and preparedness of the artist will be part of those early assessments, but there will be a time when the manager has a conversation with the artist that explores those things that will help make the final determination whether a management deal is practical. In 1997, Frascogna and Hetherington noted 17 questions that an artist could expect from a potential manager and most of the questions are still relevant today. As you read these questions, keep in mind that an artist manager is trying to determine what the pros and cons are in a decision to manage or not to manage, and that the answers coupled with the SWOT analysis found in Chapter 12 will contribute to that final decision.
1. What legal entity is the artist doing business as: sole proprietor, partnership, Limited Liability Company, corporation, or joint venture? An ownership entity must be established, especially where the artist is a duo or group.
2. Are there any existing management, booking, recording, publishing, or corporate endorsement or sponsorship agreements in effect? If so, what are the terms of these agreements, and what is the status of the artist with regard to the parties to those contracts? If there were previous agreements that are allegedly inoperative, are there proper releases evidencing this?
3. What are the artist’s professional assets?
4. Is the artist a member of the applicable union, such as the AFM or AFTRA?
5. What is the artist’s personal and business debt structure?
6. Does the artist own a registered service mark on his or her name? And what about other legal safeguards relative to the Right of Publicity, Unfair Competition, and other applicable doctrines designed to protect one’s name, likeness, and identity?
7. What is the artist’s earning history over the previous five years, broken down into amount and source?
8. Does the artist keep proper financial records?
9. Does the artist have good banking relations?
10. Has the artist filed proper federal and state income tax returns for the last five years?
11. Does the artist have proper insurance coverage?
12. What is the artist’s reputation and current image?
13. Does the artist write his or her own material? If so, is he or she a member of a performing rights society? Who controls and administers the artist’s copyrighted music compositions?
14. Does the artist have any affiliate companies (such as publishing or production concerns)?
15. What is the artist’s past recording experience and track record?
16. What has been the artist’s exposure and experience as a live performer?
17. What current industry trends might influence the artist’s career?
(Frascogna, Hetherington, 42–43.)
It is clear from these questions and concerns from a prospective artist manager that the artist must be prepared to demonstrate that they are ready for the music business. This book is designed to give the artist insight into the artist manager’s role in their career and what they should expect from the manager as they prepare to implement a career plan in partnership with the artist.
References
Frascogna, Xavier M., H. Lee Hetherington, 1997, This Business of Artist Management, Watson-Guptill Publications, NY.
Havighurst, Craig, “All Things Considered: Nashville Band Leaves Label and Thrives,” National Public Radio, February 7, 2007.