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


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Mike D: Our manager's crazy - he always smokes dust
MCAHe's got his own room at the back of the bus
Ad Rock: Tour around the world - you rock around the clock
Mike DPlane to hotel - girls on the jock
MCAWe're trashing hotels like it's going out of style
Ad RockGetting 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

Click to start the list

  • Michael Silverstein

    “…Wizard. Warlock….” spot on

  • Eb7#9/Charlie Button

    this is extremely informative

  • darbaculture

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