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Talent manager
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A talent manager, also known as an artist manager, is an individual or company who guides the professional career of artists in the entertainment industry. The responsibility of the talent manager is to oversee the day-to-day business affairs of an artist; advise and counsel talent concerning professional matters, long-term plans and personal decisions which may affect their career.
The roles and responsibilities of a talent manager vary slightly from industry to industry, as do the commissions to which the manager is entitled.
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Encyclopedia
A talent manager, also known as an artist manager, is an individual or company who guides the professional career of artists in the entertainment industry. The responsibility of the talent manager is to oversee the day-to-day business affairs of an artist; advise and counsel talent concerning professional matters, long-term plans and personal decisions which may affect their career.
The roles and responsibilities of a talent manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. For example, a music manager’s duties differ from those managers who advise actors, writers, or directors. A manager can also help artists find an agent, or help them decide when to leave their current agent and identify who to select as a new agent. Talent agents have the authority to make deals for their clients while managers usually can only informally establish connections with producers and studios, but do not have the ability to negotiate contracts.
Music managers
A music manager (or band manager) handles many career issues for bands and singers and, on occasion, even DJs. A music manager is hired by a musician or band to help with determining decisions related to career moves, bookings, promotions, business deals, recording contracts, etc. The role of music managers is extensive and may include similar duties to that of a press agent, promoter, booking agent, business manager (who are usually certified public accountants), tour managers, and sometimes even a personal assistant. Responsibilities of a business manager are often divided among many who manage various aspects of a musical career. With an unsigned act, music managers have to assume multiple roles: booking agent, graphic designer, publicist, promoter, and accountant.. As an artist's career develops, responsibilities grow. A music manager becomes important to managing the many different pieces that make up a career in music. The manager can assist singers, songwriters, and instrumentalists in molding a career, finding music producers, and developing relationships with record companies, publishers, agents, and the music-loving public. The duties of an active music manager will focus on a developing a reputation for the musician(s) and building a fan base, which may include mastering and launching a demo CD, developing and releasing press kits, planning promotional activities, and booking shows. A music manager will gain access to a recording studio, photographers, and promotions. He or she will see that CD labels, posters, and promotional materials appropriately represent the band or artist, and that press kits are released in a timely manner to appropriate media. Launching a CD with complementary venues and dates is also a music manager’s responsibility.
Starting Off
Early on in an artist's career, the different facets of management and marketing fall upon either the band itself or, if they have one, their manager. Because the band or artist is relatively unknown initially, promotion, booking, and touring are minimal. A new music manager begins by establishing a clear understanding of what the artist(s) want. This can be accomplished through either a written or verbal contract. A music manager's first task is usually focused around a CD launch.
Compensation
Striking a tentative compensation agreement that can be renegotiated after three or four months is recommended, and the rate of pay is generally based on commissions of 20 percent of the net or 10 percent of the gross or more of performance and commercial incomes, as stated in contracts. This amount obviously depends on the level of development the band or artist is at and the experience, networks and resources of the manager (The less developed the artist and more experienced the manager, the higher the commission). The artist or band should never agree to circumstances that can not be terminated or negotiated within a short period of time.
Gigs
It is important for a band to have experience performing in front of crowds. Birthday parties, free shows (like basement shows), and talent shows are good sources of experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If an artist wants a gig in a bar or nightclub venue, the manager expects several conditions. The following is a list of some questions frequently asked by bar owners/managers (in no particular order):
- What genre of music is the artist affiliated with?
- How many people are expected to attend the event?
- Is a door cover required?
- Can a door person be provided?
- Will the band sell their demo cd's?
These are some of the main questions. In most cases a demo CD will be requested. This can be any type of recording, featuring any number of songs (preferably the artist's better songs). The primary objective for the bar owner is to fill their floor on any given night. To do this, the band should be as professional and as practised as possible as to keep the bar patrons and more importantly, the bar owner, interested. This will have a positive effect on their ability to get booked for another show in the future. Another critical factor is maximizing audience attendance by promoting and advertising. Although most bars and other entertainment venues prefer managers bring a good number of attendees to their shows, this is not mandatory to do so every time. In very rare situations for small bands, an entertainment venue could charge the band a fee for a certain number of people 'not' showing up to the show. This is a number of people guaranteed to be present and would have been agreed upon between the owner and band before the show. If those people do not come, the band pays. This fee is to cover bar expenses and loss of money invested in setting up the show for the headlining band, and is usually implemented in larger, more well-known venues.
Photography
Managers usually secure the services of a professional photographer while the artist is recording. Different 8x10 pictures of the artist can be used for websites, CD labels/jackets, posters, and the press kit. Cost for high quality rolls of film and their processing could be upwards of $200 for 150 pictures (labour not included). Photographers are not expected to cover material cost. It is important that the manager obtains an agreement upfront confirming ownership of the copyrights after the shot, in addition to high resolution digital images on CD (with a copyright release these photos can be printed at any major retailer). Managers are also advised to have photographs taken before CD designs or artwork goes into production.
CD Launch Venue
Once a production date is established the manager can begin searching for venues. CD launches are much more attractive to bar owners because they nearly guarantee an audience. Consequently, CD launch venues are relatively easy to land. Managers usually try booking a location where the crowd will feel comfortable. The venue’s size should not exceed the projected crowd. If the place is too large, the artist may look unimportant. A small venue can be a preferential, as long as the stage can accommodate the band's gear.
Musician’s Press Kit
Once a CD launch date is established it is customary for the manager to prepare a press kit (also known as a media kit). The press kit is a professional package of materials used to contact record label executives, radio stations, newspapers and A&R reps as a way of generating interest in the artist and their music. Additionally, many managers prefer using an electronic press kit (EPK), which is the same as a conventional press kit, except it is downloadable as an electronic file instead of a hard copy form which must be mailed. By this stage in the artist's career their manager should possess an adequate grasp of their level of talent. Expense is not important in the press kit, but flash is. It should catch the eye and interest of those to whom it is directed. A press kit normally consists of the following:
- Pamphlet with artist(s) biography, career highlights and promotional photos.
- Quotes and/ or press clippings on the artist including Band Show Reviews and CD Demo Reviews that the press can easily edit and submit into their publication. A good quote from a reputable source adds credibility and lets the reader know the artist has already been reviewed and their material is worth listening to.
- Gig sheet containing recent, current, and future gigs. The gig sheet shows the artist is growing in popularity with the community.
- A Demo CD featuring the artist’s latest music release. A minimum of three songs is recommended. In some cases the entire CD is sent so the publication or radio station can review the entire CD.
- Complimentary tickets to the CD launch event (if there is one).
- Contact Information.
Well known music managers
- Don Arden (Black Sabbath, Electric Light Orchestra, The Small Faces)
- Jill Carrington (Pet Shop Boys)
- René Angélil (Céline Dion)
- Brian Epstein (The Beatles)
- Simon Fuller (most commonly Spice Girls)
- Peter Grant (Led Zeppelin, The Yardbirds, Bad Company)
- John Hughes (The Corrs)
- Jimmy Iovine (Interscope Records)
- Peter Jenner (many, including Marc Bolan, Billy Bragg, The Clash, Ian Dury,Pink Floyd)
- Jon Landau (Bruce Springsteen)
- Nigel Martin-Smith (Take That)
- Paul McGuinness (U2)
- Malcolm McLaren (Sex Pistols)
- Steve O'Rourke (Pink Floyd)
- Andrew Loog Oldham (The Rolling Stones)
- Sharon Osbourne (Ozzy Osbourne, The Smashing Pumpkins)
- Lou Pearlman (Backstreet Boys, 'N Sync)
- Larry Rudolph (Britney Spears)
- Rod Smallwood (Iron Maiden)
- Russel Simmons (L.L. Cool J, Beastie Boys, Run-D.M.C.)
- Tom Parker (Elvis Presley)
- Louis Walsh (Boyzone, Westlife, Girls Aloud)
- Tom Watkins (Bros, Pet Shop Boys, East 17)
- Robert Reynolds (The Killers)
- Todd Culberhouse The Jacksons, Candi Staton
Key Industry Players
Some of the leading artist management companies include: Undertow Music, Gremlin UK, Triskele, Big Life Management, ATC Management, Shalet worldwide, and London-based Wise Buddah. United Talent Agency is another leader among the entertainment industry's talent and literary agencies. Founded in 1898, the William Morris Agency (WMA) is also included among the largest and most diversified talent and literary agencies in the world.
Other Industry Leaders
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