How long have you worked in Management?

5 years.

Who do you manage now?

BODEGA, Child of Prague, HONESTY, The Orielles, Matt Peel (Producer) and Sergio Maschetzko (Producer).

Where did you find your first client and what inspired you to take them on?

My first client as an independent manager was BODEGA. We’d worked together in the past on the live booking side and had a strong relationship and trust in each other, which provided a solid foundation for the next steps. As people and professionals they’re just a joy to work with. We can be open and debate together and that moves us forwards in whatever we are working on.

What does a good/bad day at work look like for you?

A good work day would be speaking to some of my favourite people who work in music too, not about anything in particular, just being able to check in and say hello. So probably hanging out at a good festival like Green Man.

Bad work day would be realising it’s 4pm and I’ve not moved since 9am from my laptop.

What has been the highlight of your management career to date?

Too many but getting to go to Jim Fallon in NYC when I worked on the management team for Dry Cleaning was pretty amazing. First time in New York and loved it.

What do you think are the big challenges for a manager in 2025?

I’d say the 20% of net commission model. The net is getting smaller and smaller as costs rise. The level of work and expectation however doesn’t change. If you don’t have some kind of financial security, you’re working multiple jobs so you can fund working your management job. I used to work 7 days a week between music jobs and cafes just so I could work in music full time one day. That’s not admirable, it’s stupid and shouldn’t be a thing.

Another would be the insane amount of platforms our artists are expected to be across, and therefore you’re expected to be across. Within those platforms, you then have further branches to post to. I feel it can dilute the core of the art itself and think that this way of working, (while there’s multiple opportunities for data and analytics) takes time away from the creative planning space that managers and their artists thrive in.

Management isn’t always about ensuring you’ve posted to XYZ and got the right sizes for the multiple social medias. It’s also about finding time to discuss the work your acts have created, so you can understand the spaces (in real life and online) it’ll flourish in. For smaller managers without a team, that’s harder to balance time wise. The more platforms and online features that are being introduced, competing between them for audience data, the worse it becomes.

Why would you recommend the MMF?

Managing as a job can be a little lonely. Plugging away behind your laptop by yourself isn’t good for anyone, so having a support network is really vital.

What have you gained from the Accelerator Programme?

Just started! But so far the support and wisdom has been incredibly valuable.

What music are you currently listening to?

Hurray For The Riff Raff – Buffalo
U R HERE (Hinako’s Version) – HONESTY
CMAT – Running / Planning
Callinsick – Heart Attack Police