Finding A Manager
Success as a performing songwriter or band is very often a lot more than about just writing that elusive hit song. Breaking into a market where hundreds of songs written and recorded each year requires a whole lot more effort then coming up with that killer opening line or catchy chorus. A myriad of other factors will undoubtedly come into play in achieving national and international recognition, not least a lot of luck. But isn't said that you make your own luck in this world, well this is especially true in the fickle world that calls it the "music industry". Raw talent alone on the part of a performer will never be enough to achievelongevity in this industry and one only has to look around at some of the Irish acts that have lasted the pace to see that it is also as much about getting the right team of people around your to help achieve a successful career in music. Whether that be business management, financial advisors, legal eagles or recording specialist all can play a major part in helping you make it to the next stage.
It is essential for any bands success that they build up a good professional team around them. This team usually consists of the following - :
1. A personal manager.
2. A music business lawyer.
3. A music business accountant.
4. A tour manager.
5. An agent.
The most important member of this team and the member that should be first employed is the personal manager. They will help you in the day-to-day running of your career and will also help you to employ the rest of your team. The primary functions of a manager are as follows - :
Early stages.
1. To book gigs and rehearsal space for the band.
2. To send demos to record and publishing companies and make follow-up phone calls.
3. To keep abreast of events such as IMRO Showcases, In The City Unsigned, CMJ Music Marathon, Popkomm, MIDEM and SXSW and make sure that the band are entered for any such suitable events or tours.
4. To lend an objective ear to the recording process.
5. To write a biography of the band and keep it updated regularly.
6. To organise professional photographs for the demo and promotional purposes.
7. To promote the band in national and local press and radio.
8. To create and maintain a press kit from any press coverage received.
Later Stages.
1. To handle all negotiations on the bands' behalf with record and publishing companies.
2. To negotiate all business deals on the bands' behalf, e.g. merchandising deals, film soundtrack deals, fees for concert performance.
3. To hire all professionals associated with the band, e.g. lawyer and accountant.
4. To liase with the agent regarding tour schedules.
5. To make sure that the record company is promoting any releases in conjunction with the tour schedule and that all releases are being treated as a priority.
6. To have comprehensive knowledge of the bands' legal and financial commitments and to provide sound business advice relating to these issues.
7. In short, to fight the bands' corner against the outside world.
As can be seen from the above list of duties, a good manager is integral to the success of any band. It is therefore important to make sure that a manager is brought on board as soon as possible.
There are several ways of finding a manager and these are listed below.
1. Approaching an Established Manager.
It is possible to approach managers who already represent artists working in a similar musical genre or who are approaching their career in a manner that you think would be suitable for your band. Management addresses can be obtained from the Hot Press Yearbook or the artists record company which is usually listed on the inlay card of a CD.
2. Advertising.
It is possible to advertise for a manager. This can be done through industry magazines such as Hot Press. Alternatively, you could put up ads in rehearsal studios, recording studios and other obvious contact points.
3. Approaching a friend.
Sometimes an enthusiastic friend could be recruited to fulfill the management role. It is important to ensure that this friend has some knowledge of the music industry as ignorance could lead to disaster. Even the most well-intentioned person could end up tying you into a contract which is of no benefit and ultimately damages your chances of success. It is also important to ensure that the friendship remains completely separate from any management/band conflicts!
4. Management Showcase.
A showcase gig could be set up to recruit a manager. It is important to fax all potential managers before the gig and follow this up with a phone call to ensure attendance. The band should do a short set (preferably head-lining the bill) and copies of a press pack and demo tape should be made available at the door to any managers who turn up.
5. Management Courses.
There are several music management courses available at colleges around the country, e.g. Ballyfermot Senior College in Dublin. It might be possible to recruit from the graduates or current students of these courses as they hold an interest in the area and would have relevant education.
Sometimes it may not be possible to bring a manager on board as early as you would like and a member of the band may fulfill that role in the interim. If this is the case, the band member should try and gain a basic knowledge of the industry. An excellent book to read in order to gain this knowledge is "Everything you need to know about the music business" by Donald S. Passman, an American lawyer (Published by Simon and Schuster available at Hodges Figgis, Waterstones or Books Upstairs in Dublin or available by order in most bookshops). It is advisable to continue looking for a manager as the band member may find the two roles very difficult to balance. Keith Donald (ex-manager and band member of Moving Hearts) put it quite succinctly - "It's very difficult to play a good solo and count the heads in the audience at the same time."
Management Contract.
When you have found a manager with whom you are happy, one of the first items of business would be to draw up a management contract. This contract is between the band and the manager and details various different issues.
i. Term.
This is the length of time for which the manager will be involved with the band. It can be goal based, e.g. a record deal within a certain time frame, or it can be solely time based, e.g. 3 years.
ii. Percentage.
The manager will want to negotiate a salary. This is usually 15% - 20% of gross receipts with certain exceptions such as performance royalties. Many managers will work for nothing at the early stages of a bands' career as they are aware that it will pay off should the band become successful.
iii. Areas of management.
This determines whether the manager will manage you in all areas of your career. For example, if your music career takes off and as a result you are asked to act in a film, it is important to determine if the manager has sufficient experience to manage you in this area or if this responsibility should be handed over to someone with more experience in this field.
iv. Territories.
This dictates the geographical territories the manager will manage you in. For example, it is important to ascertain if the manager has in-depth knowledge of the American music industry or if you should be managed by an American manager in this territory.
v. Key Man Clause.
If you have a contract with a management company, a key man clause is an important clause to insert into your management contract. You may have a relationship with a particular manager within the company and if this person leaves this means that you could end up being managed by someone else within the company with whom you have no prior relationship. If you have a key man clause within your contract it means that it is possible to terminate your contract with the management company once your "key man" leaves.
These are just five example clauses within a management contract. Each contract varies from artist to artist. It is of vital importance that all parties to the contract receive independent legal advice so that all parties are sure that their interests have been taken care of in an adequate manner.
It is also important that a member of the band be nominated to liase with the management. The manager has intimate knowledge of the bands accounts, contracts and obligations and it is important for a member of the band to be up to date with this information, should the manager decide to leave.
While the author has taken all reasonable steps to ensure that the information contained in this document is accurate, such information is not guaranteed. The author and the organisation will not be held responsible for individual decisions taken as a result of information contained in this document which is intended for general information purposes.
