How long have you worked in Management?

5 years.

Who do you manage now?

ERNIE, Frankie Archer, The Safest Place.

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

My first experience in artist management was working with OD Management (Sam Fender, Ben Howard), which gave me an invaluable insight into the industry through the opportunity to work with international recording artists who I deeply admire. I learnt so much from Owain Davies and will forever be grateful for him taking a punt on me!

With a background in live and a passion for supporting new talent in the North East, I turned to artist development with the hope of helping put the region on the map and nurturing a network outside of London. My first client (ERNIE) I discovered organically through the local scene – I came across some demos that he was working on for a new project and instantly fell in love with his songwriting. From that moment I went with my gut and approached him to start working together because I believed there was a huge amount of potential and ultimately wanted his music to be heard.

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

A good day is feeling on top of everything, and being able to put plans into action. When plans start to materialise, it can be really rewarding. I also love the palpable energy of a gig and seeing the organic response from an audience when artists are playing live.

A bad day I suppose is feeling overwhelmed, or that something is out of your control. It’s the nature of the beast and the only way to tackle it is to not take things personally and try to solve any problem that arises step by step.

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

There’s a number of highlights (which include gigs at the heart) but I often get asked this question and my go-to answer is: having ERNIE support Sam Fender at St James’ Park in Newcastle. Two worlds colliding! It was a gig of epic proportions and a huge source of regional pride. We launched the first single to coincide, and the whole day went so smoothly despite the inevitable nerves. It shows the importance of artists using their position and power to elevate other artists.

What do you think are the big challenges for a manager in 2024?

The ever-evolving landscape and the unpredictable nature of the industry, as ever! Artists (and thus managers) are having to bear a lot more weight these days across the board, as the role of a record label is changing. There’s a lot of work to be done overall in terms of equality, diversity, fair opportunity, pay and remuneration which is affecting the way in which artists progress their careers from the ground up. The cost of touring and everything that comes with it is currently affecting artists at all stages in their careers but it’s particularly hard to break through the glass ceiling if you’re not able to make money from music at a grassroots level. I think another real challenge for a manager is maintaining quality over quantity and being super selective in choosing who to work with, in order to not spread yourself too thin. A healthy work/life balance is my top priority heading into 2025.

Why would you recommend the MMF?

The MMF has supported me through my transition to working as an independent manager. I’ve gained independence, confidence and an awesome network of likeminded people who are passionate about music and improving the industry for artists and their teams.

What music are you currently listening to?

Dora Jar, Mary in the Junkyard, Fontaines DC.