How long have you worked in Management?

7 years.

Who do you manage now?

Divorce, Big Warm Bed & pencil.

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

I found my first proper client whilst promoting gigs with my partner Julia in Leeds, we went to watch the band bdrmm play a show at The Brudenell Social Club, when they supported the band Cattle, they were so good already & I quickly decided that I needed to be involved with the band in more than just a promoter role & I learnt the ropes from there. I also knew my skills were better suited behind the scenes within the industry & that no one needs to hear my awful Wonderwall guitar playing!

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

A good day is when everything runs smoothly & I manage to keep on top of all my work load or I get to be at a gig with one of my bands & everything feels like it was worthwhile. A bad day is when something happens out of the blue & I need to drop everything to accommodate the situation & it puts me on the back foot with the rest of my work load, I would also say that having a bad day with mental health is also a blow, it doesn’t help with the already fragile existence of a manager’s life.

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

I would say my biggest highlight to date was signing Divorce to Gravity Records (& generally all we’ve achieved together in the last few years), there are still so many things to achieve with Divorce & Big Warm Bed / pencil, but I’m proud of everything we’ve achieved so far.

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

Financial instability, mental health issues & the weight of pressure we put ourselves under to succeed with all our artists / bands

What have you gained from the Accelerator Programme so far?

The support network that I’ve been able to be part of has been the biggest thing I’ve gained from the programme, obviously the learning side of things has also been a great eye opener, but yeah the community / support network that has been created between all the managers is the thing I’ve taken the most from, sometimes being a manager feels very solitary / lonely, I don’t feel that as often anymore.

Why would you recommend the MMF?

The MMF has been a game changer for me & gave me a community to feel part of. If you’re a manager & not a member I would highly recommend getting signed up.

What music are you currently listening to?

I’m currently listening to a lot of exciting unreleased material right now, but stuff that’s out now, I’m listening to a lot of No Windows, the live album Istanbul 2011 by Mercury Rev & a lot of Velvet Underground.

How long have you worked in Management?

Around 10 years.

Who do you manage now?

JoanovArc.

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

I was working with a musician that had no management or industry experience, so I used my knowledge and contact base to help him record his first single and get gigs.

What does a day at work look like for you?

I split my time between helping the band, my record business and working as Artist Liaison for a festival.

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

Helping a band achieve all of their stated goals within 2 years.

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

Understanding the changing market place, brand awareness and development, creating a supply and demand model that works for your artists.

Why would you recommend the MMF?

More than anything, they are ethical which is a major plus. They are here to help, but as with anything you will get out of it what you put into it!

What music are you currently listening to?

Magnum, Chantel McGregor, Kelowna, Druidess, various Melodic and Folk Metal bands.

How long have you worked in Management?

8 years as a legitimate company and 2-3 years prior.

Who do you manage now?

I manage a roster of around 30 artists at any given time – www.reaction-management.com

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

I was working as a promoter in Glasgow and booked a band called Altered Sky to play the Garage in Glasgow as support to a touring English band. They really impressed me, I suggested they should find a manager and they challenged me to do the job. It all took off from there.

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

A good day is when emails are answered, whether that be for PR or radio plugging, live bookings, chasing payments, if any of these lead to positive things for an artist then it’s a great day. The polar opposite is a bad day, lack of response, ghosting, poor feedback from bands on a tour that I have been involved with, or the worst case scenarios (and I’ve had a few) is when an artist gets attention for all the wrong reasons!

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

Building the roster to where it is now after managing just 1 band around 10 years ago, bringing that number to about 15 and losing half of them when COVID hit, and now in a position where I have to knock back artists to join as I simply don’t have enough time or additional managers.

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

For me the number one problem with this whole industry is communication…or lack of it from grassroots right up!

Why would you recommend the MMF?

Although I’ve not had much time to check out the courses provided etc, I know they can be beneficial and reading other managers testimonials proves that!

What music are you currently listening to?

Every day brings a different mood, but I’m currently listening to a Spotify playlist of 80’s & 90’s Rock and Metal.

How long have you worked in Management?

3 Years

Who do you manage now?

Leif Coffield

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

I met Leif at a 23rd Precinct networking night in Glasgow in 2018. When I first met him, he was like a coiled spring, bursting with enthusiasm for his passions: making music and telling somewhat funny jokes.

In 2020, he asked me to help him with his social media and marketing for his first-ever release. Then, in 2021, I began fully managing him while completing my dissertation at university.

What really inspired me to take him on was our shared vision of what we want to achieve. We are both invested in each other’s development and want to see one another shine. We truly are each other’s “right-hand man/woman.” Plus, there’s the added bonus that he makes certified pop bangers.

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

A bad day is when you receive multiple rejections in one day, although I like to think that means that I am one step closer to the next ‘success’. 

A good day at work is a day that Leif is playing a show. Despite the nerves, and lots of baby oil (it has become a bit of a pre-show ritual), it always reminds me why I do what I do. I absolutely love the euphoric energy Leif brings to the stage. 

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

It’s hard to pick a specific highlight, but getting connected with The Cat’s Mother network over the past 12 months has been pivotal in my development as a manager. It’s an amazing support network of women in the music industry who are dedicated to helping others, and I am endlessly grateful for the mentorship they have provided me.

More recently, getting Leif connected with AWAL and their incredibly supportive team has been fantastic. Additionally, securing five festival bookings for 2024 without a booking agent has been a major milestone—summer is looking fun!

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

In 2024, managers face a multitude of challenges that require adaptability and continuous learning. One of the primary issues is the rising costs associated with producing, promoting, and performing music. This financial pressure is particularly pronounced in the grassroots music scene, where budgets are often limited, and resources are stretched thin.

Additionally, the digital space is becoming increasingly crowded, making it difficult to stand out. As managers we need to constantly learn and diversify strategies to effectively utilise digital tools and platforms. This need for continuous adaptation can be daunting, especially when combined with the day-to-day demands of managing artists and projects.

Many of these challenges stem from knowledge gaps. Without up-to-date information and strategies, it’s easy to fall behind. Which is why I think having access to resources and having an approachable and supportive network is so crucial. 

Why would you recommend the MMF?

I would recommend the MMF because it has provided me with invaluable access to knowledge, helped me expand my network, and increased my visibility in the music industry in a short amount of time. I truly believe I couldn’t have achieved this without the resources and support provided by the MMF.

What music are you currently listening to?

Tyler ICU, Pa Salieu, Lola Young, Uncle Waffles, Zino, Tommy Richman and Chappell Roan

How long have you worked in Management?

I’ve been working as an artist vision partner (manager) for about four years. Started in Chicago with two artists, then expanded the roster when moving to London.

Who do you manage now?

Currently I work with Michael Sebastian, rallycap / Michael Andrew, Paulina, Lukr, & YAZ.

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

While in Chicago, I attended a Sofar show and was blown away by one of the artists. He was in town from Nebraska (central part of the US), and we had a great time chatting throughout the show. He was in town for a handful of days after this show, which we spent some time discussing his project and next plans. That organically grew over a few months after getting on over the weekend. I felt he needed someone on his team to help craft the next album and try some new strategies. The engagement between us was very open and respectful. We saw some small local success early on, which solidified the positive relationship between us.

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

A good day results in my energy levels skyrocketing because of building on relationships, positive results, and great conversations. I enter everyday with a positive mindset, which usually results in very good, productive days. My goal is to find wins in the little things to use those as inspiration for growth. Everyday is a day of learning and developing, no matter the experience.

An actual bad day is very rare in my world, as I try to look at everything as a learning and growth moment. But a truly bad day is when something I work on for a while doesn’t work out, and I have to be the one to break the news to the artist / team.

Always aiming to look holistically with the days into weeks into months. Good and bad days are always balanced, just depends on the action after those days.

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

Setting up my company in London (the UK). After moving from the US, it was a big jump to now having a UK-based company with clients based in the UK, US & Australia. It had been a very positive and supportive experience, something I am most proud of.

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

There is one challenge I feel sticks out the most for a manager in 2024 and it’s something I’m very passionate about bringing attention to. That is personal coaching and development. This impacts each personal business directly and can make longing impact in company culture. Investing personally in entrepreneurial coaching allows to stay ahead of the curve and working on skills which need more attention for growth.

The topic of personal development is something I work on each week so I can grow as a leader for my team and my clients. As a leader I am providing a service to all my stakeholders, which is always evolving. To grow and make larger impacts, managers should focus within and consistently invest in themselves, so they can continue to serve their stakeholders better.

Why would you recommend the MMF?

I would recommend this community because it provides a sense of understanding on what it means to be a manager. It is lonely to be an artist manager, so having a community of others who go through similar experiences always helps. I would recommend any young new manager to join and get involved to build their network.

What music are you currently listening to?

Currently I am listening to Kingfishr, Henry Grace, Emsea, and Lyncs, to name a few.

How long have you worked in Management?

12 years.

Who do you manage now?

TĀLĀ, Lil Yamaha, Stone Cold Hustle.

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

The first job I had in management was as an intern where I worked with Tricky. Within 5 months I was brought on as his full time manager so I didn’t really ‘find’ him but I totally bonded with him and it was a fantastic as well as challenging relationship.

The first act I ‘discovered’ myself was Eloise Keeble. I met her when I went to speak at my old school and she gave me this rough demo. Her vocals were so incredibly powerful I had to work with her. Her voice was just so massive. I could instantly imagine her playing huge venues. Every time I saw her perform live it brought me to tears.

I’ve never been stuck on a specific genre so I can never pinpoint what it is about an artist. You just get excited. It’s a feeling.

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

A good day for me at the moment looks like taking half an hour to have breakfast and do some scripting (I’m fully into manifesting). Then I will lead a team call for ellevate. We’re planning an evening mini-conference for early stage artists and industry professionals at the moment so all hands on deck there. Then I will head into TĀLĀ’s studio for a listening session or some meetings. We’re gearing up to release music after a bit of a hiatus which is very exciting. She also has an alias called Lil Yamaha and we have two albums from her coming this year.

TĀLĀ and I have a new lunch spot called Honey and Co near her studio so we’ll do a bit of that.

Then I’ll do some consultancy calls in the afternoon with ellevate clients. I love meeting with new artists and learning what they’re struggling with. Getting that insight and then figuring out strategy to unlock those blockers is really satisfying. Then it will be a bit of creative admin, like drafting newsletters and working with social media managers on content scheduling.

In the evening I’m often hosting online ellevate sessions which involves me interviewing some of the most incredible music industry professionals who I hugely admire. Next month we have MMF Accelerator alumnus Chris Chadwick joining us and I’m really looking forward to it.

I recently started working with a new band called Stone Cold Hustle. They are based in Bristol so I am heading down there every other week and those days are super fun because the road feels so wide open for them right now.

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

The highlight of my management career is the 10 year relationship I’ve had with TĀLĀ. We have had extreme highs and extreme lows and purposefully created a sustainable business for her. We’ve recorded around the world from Cairo to Istanbul, South Korea, Indonesia and the US and I’m so fortunate to have an artist who is a complete partner in everything we do. It’s a really special relationship.

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

Oooof where to start!?

The first is the lack of resources to develop early stage talent. The labels that would have taken a risk and invested in an early stage act 10 years ago aren’t really doing that any more so now managers are taking on a lot more of that risk, building that business from scratch. I believe independence is incredibly powerful but that requires financial and time investment from the manager.

The other thing is that because of the accessibility of releasing music via streaming and UGC platforms the market is flooded with artists and music at an unprecedented scale. Early stage artists can lack the patience required to build the sustainable brand and audience required to accelerate.

Then when you pile on the legal implications of AI, the closing of live venues and stagnating royalties, reduced institution funding it’s all a bit sticky. This is what has prompted me to build artist management platform, ellevate. We’re looking at how we can provide artist management services to artists in a more flexible, fractional way. So instead of artist managers having to invest everything they have into one act, we can fractionally develop more acts, putting them on a path to a sustainable business.

What did you gain from the Accelerator Programme?

I was one of the lucky managers to join the Accelerator in 2019 which was so incredibly powerful, especially with building my network of other managers. Having other manager friends to share resources, contacts and advice with is incredibly important when this job can be pretty isolated. I built life long friendships with managers there.

It also taught me the importance in building my business for myself, not just the business of my artists. Artists may come and go and I need a secure business that will last and ride the wave of anything that might happen. Having that time and focus really allowed me to do that.

Why would you recommend the MMF?

When I decided to give up a career in law to work in music I didn’t have a clue what that really meant. I signed up for any course and conference I could afford at the time and the first thing I did was an MMF course. I found the notes last week when I was having a clear out. It made me feel like I wasn’t bluffing so hard.

Today I love being part of the MMF extended family. The advocacy is so powerful when we all have such full plates as managers already, so having an organisation that is doing that on our behalf is invaluable.

What music are you currently listening to?

I have a ‘girly-pops’ playlist that I keep adding to. Girls are just killing pop right now. The playlist has Amanda Reifer (She was formally in a band called Cover Drive and her new stuff seems really evolved), BINA., this new rapper called Tills, Soluna (my friend in Portugal manages her), Jae Stephens finally put out more music, Genia and Alemeda. Oh and Sabrina Carpenter and Charli xcx are on there because everything they do is such a bop.

How long have you worked in Management?

17 years.

Who do you manage now?

Valtos, HEISK, Evie Waddell.

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

My first client was Unicorn Kid, I found him on Myspace and he was based in Edinburgh and I was in Glasgow. I like to find music that sounds like nothing else and look for ways to bring it to the mainstream. He was 15 years old and making chiptune music in his bedroom. I was working as a promoter for DF Concerts at the time and thought I could book him a couple of shows and develop the live side of things. I still work by the same principles 17 years later, it can often be a bit of a challenge selling music to people they didn’t know existed or they needed in their ears.

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

Receiving more emails than you send – good and bad! This can be brilliant if they bring in new opportunities and terrible if they give you more work than you have time to complete. I still get a buzz from getting an email that is a small or a big win – it makes you feel like you really achieved something that day.

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

My highlights usually come during live shows. Seeing your artists getting a massive room of people going. Whether that was Unicorn Kid getting thousands of young people jumping at Shepherds Bush Empire or Valtos selling out SWG3 Galvanizers and having the whole show filmed by the BBC. Being in a room of people getting so much joy out of something you worked on is an incredible feeling.

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

Spinning so many plates. You have to be able to do everything until you bring in a team to work with you. I’m the manager and agent for all my acts and often dealing with all releases, promo, marketing and more – this is even more so in a niche genre.

Why would you recommend the MMF?

They are one of the best trade bodies in the music industry. They provide so much guidance and support alongside a super strong and helpful community.

What music are you currently listening to?

Valtos – A’ Chuthag ft. Julie Fowlis.

How long have you worked in Management?

4 years.

Who do you manage now?

Sorry (co-mgmt), Trout, Junior Brother, Memory of Speke, Basht, Bottle Rockets.

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

I was their tour manager for 7 years before being asked to join their mgmt team. Extensive touring had created very special bonds, friendships and working relationships as well as a true love of the music and its development over time. The opportunity to have more of a role in how their music got out into the world and to continue working with a wonderful group of people was one I welcomed with open arms and excitement!

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

A good day is a music release day and seeing the fruition of everybody’s work and talent being set free into the world. Without meaning to be too much of a contrarian I wouldn’t say I have many ‘bad’ days, however I have many challenging ones… Lost passports and distributor release errors spring to mind!

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

My first highlight was negotiating a very artist friendly publishing deal without the backing of a company and without much direct experience. I must also mention joining Only Helix. Having worked by myself for 2 years at the start of my mgmt career it was amazing to be welcomed into such a unique, friendly and progressive working environment.

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

For me, many of the challenges are the same as they’ve ever been but in a very different looking context. Without expressing too much naivety and an acknowledgment that there are indeed lots of new challenges, I think that the key challenge remains believing in the work you are doing and the music and the musicians that your are drawn to. It’s about persuading people to deviate from the norm, to take a risk on something new and progressive and to keep shifting the narrative away from conformity and simulation.

Why would you recommend the MMF?

I think it’s important to be part of a community. There are different ways of interacting with the MMF community and it’s various different conversations and knowledge bases. For me it offers a regular round up of key issues affecting the music industry from a managers perspective, it engages me with policy conversations and it often opens my eyes to new funding opportunities and other helpful support available to managers.

What music are you currently listening to?

My highest play count is private soundcloud links to demos of my artists – I am really drawn to demos. Outside of that my favourite recent releases have been Big Thief, Fontaines DC and in the last week I’ve been diving back into Sampha’s album Lahai and Wolf Alice’s Blue Weekend.

How long have you worked in Management?

I first started managing musicians in 2019, while working at independent record label Tru Thoughts. Working as their campaign manager, I found that I slipped easily into the role of filling the gap between artist and projects.

Who do you manage now?

In the UK I manage Lancaster-based jazz/folk singer, songwriter and musician Bryony Jarman-Pinto and neo-soul singer songwriter and jazz/electronic producer Steven Bamidele based in London. Both are signed to Brighton-based label Tru Thoughts. I also manage producer, composer, arranger and multi-instrumentalist Sly5thAve, famed for his orchestral jazz renditions of hip hop classics and his work with the likes of Dr Dre, Questlove and Prince. Based in New York, I work with singer-songwriter Miranda Joan who has recently released her album ‘Overstimulated’ and is currently on tour with The Killers providing backing vocals.

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

I met Sly5thAve, Steven and Bryony all while working at Tru Thoughts, but Miranda Joan was the first artist I met organically and was inspired to work with independently. We were put in touch by the wonderful bassist/producer CARRTOONS who I had met in Brighton a month before and who was co-producing Miranda’s album in summer 2022. She had mentioned to him that she wanted a teammate, ideally a woman, to help her navigate being an independent musician. She emailed me with a link to her ode to Dwayne “The Rock” Johnson (I Love You, Dwayne), I was blown away by her voice and we had a call where she told me she was in her “f*** it era” and was determined to do whatever was necessary to get her music heard. I loved her sound, her energy and her commitment and we went from there. Two years later, we are still a two woman team and growing/accomplishing new things together constantly.

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

A good work day looks like a completed to-do list and a clear inbox.
A bad work day looks like begging for extra hours in a day/days in a week.

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

When I decided I was going to leave Tru Thoughts and become a manager full time, Sly5thAve and I discussed me managing him at Ronnie Scott’s Jazz Club, where he was performing with Ghost Note. We made a pact that he would return to Ronnie Scott’s and sell out the venue with a sold out show. Less than 18 months later, we achieved this as part of his ‘Liberation’ tour. That was a huge moment for me as a manager, and him as an artist.

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

Touring is a huge challenge, both financially and logistically, especially as none of my artists have booking agents so that falls under my responsibilities. Also, as many artists will confirm, the pressure for artists to be across everything (socials, releasing music, playing live, registering everything, collaborating, featuring, remixing, sync etc) is a challenge for managers too. The conflict of having a duty of care to your artists, while wanting to encourage them to do as much as possible to increase the opportunities open to them, is a tricky balance to find.

Why would you recommend the MMF?

Being a manager can sometimes feel lonely, but the MMF immediately gives you a community of people who understand what you do and what’s required of you day to day. I also find the regular newsletters so helpful as they summarise all the things you feel like you NEED to know and all the events/conferences you should be going to.

What have you gained from the Accelerator Programme so far?

A month in to the accelerator programme and I can already say I’ve gained a close network of managers and a HUGE amount of knowledge that I didn’t have before. I would absolutely encourage all managers who qualify to apply for the programme.

What music are you currently listening to?

Recently, I’ve had CARRTOONS – Spaceships, Hinds – Boom Boom Back, Julia Zivic – I Will Hold You Up To The Light and Charli XCX – 360 on repeat. I’ve also really been enjoying the new St Vincent and Yaya Bey albums. Away from management, I also freelance as a radio plugger and host two radio shows on 1BTN and Totally Wired Radio, so I’m always on the lookout for new artists to check out.

How long have you worked in Management?

Since 2016.

Who do you manage now?

Baltra, Ciel, Coffintexts, Guava & SHADED.

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

I found them when looking for music, they were an incredible producer and I was really bought into their quirkiness.

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

A good day is feeling like I am on top of my work and bringing in opportunities for my clients as well as maximising what we have for them. A bad day is feeling like situations have not gone to plan or opportunities have been lost.

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

Releasing the debut LPs for two of my acts, enabling their first live shows and having them achieve their artist visions for the releases.

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

The aspect of marketing artists with social media algorithms on a downward spiral and the impact of Radio, Streaming playlists and press being not what they were.

Why would you recommend the MMF?

Highly recommend! Management can feel like you’re on an island and the MMF have made me feel part of a community.

What music are you currently listening to?

FaltyDL’s new album, it’s amazing!

How long have you worked in Management?

25 years.

Who do you manage now?

Two rosters of clients – This Much Talent / Twisted Talent.

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

I was made redundant from a management company and took Nellee Hooper / Craig Armstrong / Jim Abbiss with me.

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

Every day is a good day meets a bad day.

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

Managing Jim Abbiss from the very start of his career to now, with highlights such as albums with Arctic Monkeys, Kasabian, Tom Walker etc.. Music supervising the soundtrack and score for Romeo and Juliet, developing successful producers and artists from the start of their careers.

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

Severe lack of funding for developing artists.

Why would you recommend the MMF?

The MMF is an active community of like minded individuals who nurture, support and educate each other and work towards improving the rights of artists, producers and their managers. This is much needed in a business that cares very little about that support. There is also a lot of strength in numbers so important that managers stick together.

What music are you currently listening to?

Gia Ford.

How long have you worked in Management?

Since 1993 UMC has had the honour of representing some of the most prominent figures in the Jungle / D&B scene, including many of its original innovators. Our roster continues to celebrate these pioneers while also embracing and nurturing new talent across various music genres.

Who do you manage now?

We perform management duties for a large section of our current Agency roster, and fully manage 6 artists.

D&B MC’s
Illmatika – Ragga Twins – Killa Kela – Indigo Reign (Lady MC) – Moose – Y-Zer – MCMC – MC Iffy – MC Enamie – MC Det – Voice MC

D&B, Jungle, Breaks & House DJ’s
Ray Keith – Krome & Time – Mampi Swift – Standard Procedure – Danny Wheeler – Kenny Ken – DJ Ron – DJ Rap – Jumpin Jack Frost – V Dubz – Nicky Blackmarket – Marcus Visionary – DJ Millz – Ray Keith – Donovan Bad Boy – Juvie – Dope Ammo – DJ Archie – Krucial – RTC (Ragga Twins Crew) – K Coleman – Lara Fraser – GTA (V Dubz, Iffy & Enamie)

Live Artists
Jaki Graham – The British Collective – Shola Ama – Donovan Blackwood – Eban Brown – East17 – London Garage Orchestra – Robbie Craig – Gemma Fox – 2Badda – Don E – KingFlame Soundsystem

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

UMC’s first client was actually my partner at the time, so no real inspiration required. It was just a natural progression as I was managing his independent label at the time. I am always inspired by talented women. Many have a fire that is always inspiring.

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

A good day is getting to the bottom of a very long to do list! Securing something special for one of my artists, or seeing a project reach conclusion with the planned results or better. A bad day is usually having too many fires to fight.

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

Successfully booking and managing a tour across the US and Canada featuring 8 artists, along with securing a performance slot at the prestigious Coachella festival for one amazing artist, undoubtedly rank as significant accomplishments. These milestones, among numerous others are significant highlights.

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

In the current landscape, managers face many formidable challenges. Adapting to evolving legislation and navigating the complexities of touring in a post-COVID world have emerged as particularly complex tasks for our team at UMC. Ensuring the well-being of our artists during these times has taken precedence, becoming our foremost concern amidst these challenges.

Furthermore, the continuous need to generate and maintain digital content for our artists, both for daily engagement and specific projects, poses a significant challenge. This encompasses not only the scarcity of time but also the necessity for innovative and compelling content that distinguishes our artists.

Why would you recommend the MMF?

The MMF has been an invaluable resource for UMC, providing up to date information, exceptional resources, and beneficial partnerships. Additionally, the training opportunities offered are immensely beneficial, catering to both seasoned and emerging managers, enhancing their capabilities and industry knowledge.

What music are you currently listening to?

Lots of Neo Soul and Afrobeat at the moment. There really are some incredible artists at the moment.

How long have you worked in Management?

5 years.

Who do you manage now?

Thomas Irwin, ROZZZQWEEN, Max Ryan, Luxe, James Carn.

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

It was a friend, I have always loved music and am passionate about seeing talent succeed.

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

A good day is when I can deliver positive news to an artist, like signing a track or getting a gig at a venue we want them to perform in. A bad day, well, there can quite often be more of these. I’d say the ones that stick out are when we’ve been working really hard on something and the other party has dragged it out, only for it to all fall through, it happens way too much and can be very demoralising.

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

I think every year is getting better and better, I think it’s so important to enjoy the journey, and recognise and celebrate milestones. The highlights to date have been seeing each artist perform at some impressive events, there’s nothing quite like seeing music performed live, what a feeling.

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

Keeping abreast of trends and technologies, and being aware of the artists and industries needs. For me, being a manager is a partnership.

Why would you recommend the MMF?

It is a collaborative, knowledgeable and accessible community.

What music are you currently listening to?

When I get the time, ha, it can be a techno, afro house, chill, trance, singer-songwriter or indie rock playlist. I have eclectic taste.

How long have you worked in Management?

10 years.

Who do you manage now?

Mr Macee, El Sam, Abz winter, Claire Angel.

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

I’ve had several roles within the entertainment/music industry, one of those roles is a promoter. Being a promoter I built up relationships with artists through booking them for shows. There are a few things that draw me towards working with artists. These are good communication, trust, honesty, respect, the willingness to work hard as an individual and as part of a team to reach their goals and of course I need to love their music, so I’d say seeing these traits in my first artist is what inspired me to work with them.

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

No day is the same as a manager, which is one of the things I love the most, however let me look at a few scenarios. A typical paperwork day, that’s simple, a good day is getting through the big list of tasks I have to do on a daily basis. Video shoot days, everything going to plan, gig day weather, that be in the UK or outside of the UK. Everything running smoothly, travel arrangements, accommodation, no equipment issues, sound is great and timings run to as close to the days schedule as possible.

Bad day – spending a whole day back and forth on email, chasing clients or promoters, waiting for responses. Video shoots and gig days, most of the time you are relying on other people so if one person lets you down, things can go very wrong, plans have to be changed just like that, which can have a bad effect on the whole day and the mood of everyone involved.

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

Honestly over the years there have been a few, the main highlight for me as a manager is witnessing the artists I work with set goals and actually achieve them. Especially when I know how hard we have worked to get to that point. To name a few recent ones I’d say.

Seeing Mr Macee venture into acting, getting some great roles/opportunities, I’m excited to see what’s next in this area for him.

Seeing El Sam own the stage and smash his performance on the main stage at Birmingham Pride.

Claire Angel being the only female independent reggae artist from the UK to feature on an album created by well known Jamaican producer King Jammy, also featuring some of Jamaica’s reggae icons such as Sean Paul and Shaggy. Also seeing her headline her first European reggae festival.

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

Protecting your artists’ mental health while trying to break them in an industry that is forever changing and putting more and more pressures on artists and their teams. There is so much more that managers are having to learn and take on. We have to wear so many hats and have multiple skills. It’s great to have a wide skill set, but I know some of the roles I have to take on I wish I could pass on.

Why would you recommend the MMF?

Being a part of the MMF, you gain support from like-minded individuals, networking opportunities. There are opportunities to gain and keep your knowledge up to date, via the educational elements they offer, additionally they provide you with useful resources you will need as a manager.

What did you gain from the Accelerator Programme?

I’ve gained so much, first of all I’d say a lot of priceless knowledge and clarification. The workshops/bespoke industry talks and advice really opened my eyes and my mind.

I’ve gained a supportive manager’s community, and built friendships that I would not have had if it weren’t for the programme.

Also due to the financial support I was able to really focus on my business, which enabled me to have an unforgettable year of new experiences and growth.

It’s definitely been an experience that has created lifelong memories that I am grateful for.

What music are you currently listening to?

It’s definitely very varied, I definitely listen to my own artists on repeat, however If anyone looked at my liked list on Spotify they would think, what the hell. I naturally hear a song and like it. I’ll list some of the artists I’m currently listening to so you get a better picture:

Tyla, Raye, Aqyila Anne Marie, Rudimental, Zoe Wees, Cat Burns, Iniko, Lee Vasi, Teejay, Dexta Daps, Tems, Billie Eilish, Iwaata, Kranium, Popcaan, SZA, Sarz, Fireboy DML.

How long have you worked in Management?

13 years.

Who do you manage now?

Flowdan, Neffa-T.

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

At the age of 21 (in 2007) I set up a booking agency named Acute Promotions, representing DJs and MCs in Drum & Bass and later, Dubstep. In 2011 a friend, DJ Hatcha asked if I would represent MC Flowdan. I was a huge fan (and still am) of his work, as, aside from his huge influence in Grime, he was also responsible for one of the biggest tracks in Dubstep, Skeng. So after a meeting with him I jumped at the chance of working with him.

After a few months of Agency representation, Flowdan asked me to be his Manager, and help craft his career in underground music. Whilst I didn’t have any management experience, I did have an unbound passion for helping people, developing careers alongside a thirst for knowledge.

It was then that I joined MMF. The resources and connections I gained helped my journey immensely.

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

For me, defining a day as good or bad hinges largely on perspective. Each day brings its own set of challenges, ranging from the straightforward to the tricky. But what truly makes a day fulfilling is when I tap into that creative mindset. It’s about finding the silver lining, even in the most daunting situations. So, a good day is when I’m able to navigate those challenges with creativity and resilience, turning obstacles into opportunities.

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

It’s hard to pick just one highlight from my management career. One unforgettable moment was when Flowdan clinched a Grammy this year – a monumental achievement, marking him as the first British MC to achieve such a feat. It was groundbreaking and a true testament to his talent and hard work.

But you know, there’s another highlight that never fails to leave me in awe: seeing the artists I work with thrive onstage. It’s electric, watching them command crowds, and even more so as those crowds grow in size over time. That consistent sense of growth and connection between artist and audience is something truly special.

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

Navigating the landscape of artist management in 2024 comes with its fair share of challenges. One significant hurdle is keeping up with the ever-evolving digital landscape and leveraging it effectively to promote and support our artists. With the constant emergence of new platforms and trends, staying ahead of the curve is essential to ensure our artists’ visibility and success.

Another challenge is balancing the demands of the industry with the well-being of our artists. In an era of relentless schedules and pressures, maintaining their mental and physical health is paramount. Finding that delicate equilibrium between pushing boundaries and preserving their artistic integrity is a constant juggle.

Additionally, the music industry itself is undergoing rapid transformation, with shifts in distribution models, revenue streams, and audience preferences. As artist managers, staying adaptable and agile in response to these changes is crucial to ensuring our artists’ longevity and relevance in the industry.

Ultimately, the key challenge lies in providing comprehensive support and guidance to our artists amidst a dynamic and fast-paced environment, all while championing their artistic vision and helping them navigate the complexities of the industry with grace and resilience.

Why would you recommend the MMF?

The resources, support and networking opportunities in MMF are unquantifiable. I have learned, and still do learn, so much from interacting with others on similar journeys to me, a particular highlight was attending the Managers Retreat last year in 2023. Just to be in the same space, sharing stories, ideas and struggles with a great bunch of people who just ‘get it’ was profoundly helpful. I find the role of a manager can sometimes be quite isolated, so to be able to connect with others who understand the role is priceless.

What music are you currently listening to?

I listen to all sorts. Regularly press play on an ambient playlist on spotify, or seek specialist radio sets on Rinse FM or NTS Radio. At this exact moment I’m listening to the CASISDEAD Radio playlist which has put me onto some artists such as Hilts – loving the track ‘Swings’ right now.

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

I was working with a PR company at the time and he was one of their clients. It seemed like a natural progression in my career to get into artist management based on the skillset and contacts I had. I saw it as a new challenge and something that I could add a lot of value to.

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

A good day is when everything is going to plan. A bad day is when you’re being let down and are having to get stuck in when you should be elsewhere.

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

In the past we’ve worked with clients who had chart success, multimillions of streams/views, toured over the world and played at some of the biggest festivals. At this stage in my career the biggest highlight for me would be taking our current acts we’ve developed to profitability and having their dreams become reality.

What did you gain from the Accelerator Programme?

In an industry where you’ll find yourself keeping your cards close to your chest the Accelerator Programme is something refreshing to be part of. I built a number of relationships that I otherwise wouldn’t have, as well as getting an insight into how over 20 managers at different points in their career manage their companies and clients.

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

The job of an artist manager is becoming a lot harder there’s a lot of things that we’re having to do that labels would have done not so long ago. I think marketing an artist is another challenge as the platforms and ways of doing things is ever changing.

Why would you recommend the MMF?

The MMF brings together a group of like minded individuals who are able to be OPENN about all aspects of their business in a safe and confidential space. You’ll meet and have access to people/resources that you may have not had in the past as well as getting an insight into areas of the industry that you may not be so clued up on.

What music are you currently listening to?

Potter Payper, Masego, Fredo Bang, Skrapz.

How long have you worked in Management?

4 years.

Who do you manage now?

Alex Culross, Louis Millne, Calvin Logue, Toriah.

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

They came to me. I decided to take them on because I was excited by their brand, their music, their talent and them as a person!

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

Good day = everything running smoothly, lots of yes’s, lots of responses (unusual in this game) and happy artists…I feel like the saying ‘happy wife happy life’ applies very much to happy artists happy life too! Haha. Bad day = hard to come by when you love what you do but a bad day would consist of artists being let down, a plan falling through or a snarky email!

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

Hard to pin point the exact one as there are so many lovely highlights along the way and so many ‘pinch me’ moments. But I guess the standout ones will be when you find yourself in full circle moments: headlining shows you used to attend yourself in days gone by, finding yourself sat at tables and rubbing shoulders/gaining respect from people you once looked up to, that sort of thing!

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

I would say breaking new artists in an ever changing industry that seems to be moving faster and faster as the years go by.

Why would you recommend the MMF?

The MMF provides us managers with a support, a network and guidance to build your career and help take you to the next stages. I was lucky enough to secure a place on the accelerator programme which changed my life! I will be forever grateful

What did you gain from the Accelerator Programme?

A community like no other! Financial support that meant I could work my business full time. Guidance. Companionship. Workshops. Life long memories!

What music are you currently listening to?

Bad Omens, Bring Me The Horizon, Chris Stussy, Tate McRae, Luuk Van Dijk.

I like to keep it varied haha!

How long have you worked in Management?

I stepped back into artist management in 2019, so this particular tour of duty has been 5 years. Back in the early 90’s I managed producers and engineers as a side hustle whilst working at Sony and Polygram and loved it, but other opportunities presented themselves, so I took a sabbatical from the music industry and ended up in TV for 10 years… So in total around 8 years managing music based talent. I think I’ve got at least another 10 years still to go (for good behaviour..).

Who do you manage now?

I manage Lizzie Esau and Steve Grainger. The best thing about managing both these incredible people is that I didn’t even intend to go back into management! But when you connect with such raging talent it sort of stops you in your tracks.

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

In 2019 I sold my 3 businesses and planned a 6 month break to rebuild my brain… The only plan during this time was to paint some second hand furniture and potter in my garden (after 10 intense years of being at the helm, I was fantasising about odd things like jet washing my patio… Sad as it sounds it was extremely therapeutic, would recommend..

Then the phone rang, it was a dear old friend whose daughter was writing song demos and he was hoping some of my old industry contacts might still be valid. I laughed and said I hadn’t even thought about the music business in years, but agreed to listen to some music. The songs were early demos but they piqued my interest and that was the beginning of managing Lizzie.

Some months later Covid struck and we realised that there was no way Lizzie could connect in person with anyone to produce her music… I began guest lecturing with Nottingham Trent University on their Music Production Degree and got a copy of the year 3 students end of year showreel. One song jumped out at me as being cool, original and brilliantly put together – Daft Punk meets Justice. I immediately reached out to find out who the composer/producer was. That was Steve Grainger. I connected Lizzie and Steve virtually and they have been making some absolutely mind-blowingly good music ever since.

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

Ha! A good day is when you feel something sticks.. It could be a call from a radio producer telling you they have just found their new favourite original artist (your act) or that you’ve just been offered a fab synchronisation deal for a major Amazon Prime series… A bad day is when you feel you’re wading through treacle and nobody returns your messages and you get a little deflated… But that passes quickly. I’m like a junkie, waiting for my next hit of success – that might be a great review or a radio play or just a message from one of the team saying how much they appreciate what we are managing to achieve together.

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

Over the years I have been lucky enough to work with some incredible artists, see some beautiful music being created and then released into the world. Being part of the journey for artists like Jamiroquai, All Saints, E17 and Pearl Jam whilst working for major labels was a huge privilege. As a manager however I suppose it’s the little things that you don’t even know at the time are going to be big things… Back in the mid 90’s, I began to manage a young studio engineer called Adrian Bushby, he was just beginning to look for freelance work and I got him his first ever freelance gigs. One gig was with a young girl band who were already being fought over by the major labels. The band ended up becoming The Spice Girls and Adrian went on to engineer and mix some of the most iconic artists of the past 20 years including Placebo, New Order, Foo Fighters and Muse. So I guess the moral of this story is that being the seed germinator for something – even when you don’t realise it at the time is a highlight for me.

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

Oh Godddd! Where do I start. OK how about the fact that we are not investing anywhere near enough into new music, OR new music venues. That our streaming infrastructure is a non starter for around 95% of all music makers. We need to carefully consider how we can make the industry more equitable for new artists who don’t have deep pockets, otherwise we are going to lose so so much, and we won’t even know about it. How can we charge £180 for a Taylor Swift ticket yet we are losing dozens of smaller gig venues to bankruptcy and dilapidation.

Why would you recommend the MMF?

Being a manager can be a lonely business. You’re not the artist and you’re not the label or the publisher or the distributor with a team of bods in the room. A lot of the time you are generating the leads and driving the project forward from your laptop in a room by yourself. That’s OK and I love being the playmaker and the facilitator of ideas and projects. But having the MMF is like having a team that is there just for you and your best interests. I love the socials and sometimes berate myself for not doing more of them (#New Years resolution 2024). When the email lands in my inbox, I make a point of stopping and checking out what’s going on in the world of managers – it’s good to know there are things out there for me to plug into.

What music are you currently listening to?

Lizzie has a new single out on 3rd April and it’s probably the most epic thing she has ever put out. I can’t stop listening to that atm – I really could not imagine working with artists that don’t make me want to shout out loud with excitement when I get new music land in my inbox. Both Steve and Lizzie achieve this regularly so I’m feeling pretty blessed.

Steve has been working on some really promising new artists including a band from the North East called The Ilfords and a London based artist who goes by the name Seun. As part of my job, I probably listen to around 4-5 hours of new music a week… Presently I’m playing Air Moon Safari a lot as I’m going to see them play at The Coliseum this weekend and that album is 25 years old this year… Cannot quite believe it.

How long have you worked in Management?

18 months.

Who do you manage now?

Berry Galazka.

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

I was introduced through a friend of a friend, I was getting my first experience in the music industry. I worked as her assistant for the best part of a year before asking if she wanted me to manage her and see what we could achieve together. Her creativity, passion, unique approach to music. She’s already such a well developed artist and I’d be crazy not to be part of her journey! She’s one of those artists that when she breaks through people will be like ‘where did she come from??’

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

Good day: everything is running smoothly, great relationship building, networking, pitching new ideas. Bad day: tech fails, travel gets delayed! I’ve never really had a bad day doing what I love.

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

Travelling to ESNS 2024 with Berry and watching her perform at the European Festival Awards.

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

Keeping in mind the long term, developing strong foundations for the artist to feel supported. Breaking new artists is always a challenge, industry changing so rapidly.

Why would you recommend the MMF?

The MMF provides managers with a framework, resources and support to build your career and take you to the next stages. It’s been massively helpful to me for events, online seminars, books, and connecting with other managers for peer support.

What music are you currently listening to?

Berry Galazka (of course), amazing UK R&B artists such as Shaé Universe, Bellah and Mnelia and an amazing artist and rapper from Hull named Chiedu Oraka.

How long have you worked in Management?

I’ve only ever exclusively worked in management. I did 12 years at Riverman Management, working closely day to day with Placebo and Wild Beasts. I had no idea what a manager was when I joined at 18, but I learned a lot from Alex Weston (Placebo manager of 25+ years) and the small in house management team which included finance and Business Affairs. 5 years ago I left to set up Theory Management with co-director, Ant Crook. 17 years later, I’m still learning what management is, it evolves every day.

Who do you manage now?

Bad Sounds, KAWALA and Biig Piig – Ant and I co-manage all our acts together.

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

Bad Sounds was my first client. They sent a cold email looking for a manager, the name was intriguing enough for me to open the email, the Facebook profile pic was enough for me listen to the music and the music exciting enough to go down to Bath to a rehearsal studio to meet them. They played a set and everything about them stood out so far musically and visually from everything else at the time, proud to be outliers – values they still hold true today as we still work together over 8 years later. Their business has evolved and grown by diversifying into new areas and they’re successful songwriters and producers for other artists now too such as Nectar Wood, Arlo Parks, Rose Grey, Lady Blackbird and VC Pines.

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

A good day is a day ticking tasks off from my to do list, putting issues to bed and moving forwards, towards a target or ultimate goal. Management is the long game, strategy and planning; success is the sum of many ‘good’ days… A great day, is a day that takes me somewhere where I totally didn’t expect it to, good or bad. When something goes wrong, take it as an opportunity to learn from it. The most frustration for me comes from a lack of momentum.

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

It’s great to see the results of a plan that comes together. It takes lots of planning with long lead times, venue holds are sometimes 18 months in the future, but live shows are always a highlight for me. It’s the time you see the artist truly connect with their fans, see the whites of their eyes, existing in the same moment. When I feel the hairs on the back of my neck stand up, I know that’s a career highlight. To name a few; Wild Beasts playing their finale show at Hammersmith Apollo, Bad Sounds playing an amazing packed festival republic stage show at Reading Festival on the eve of their debut album release, KAWALA headlining Kentish Town Forum right after lockdown lifted, Biig Piig playing the penultimate main stage headline slot at All Together Now festival in her home city Cork in Ireland last year. Ultimately though, success is when an artist is at their very best creatively, and my job as a manager is creating the space, support and confidence for them to be that.

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

Nobody is an expert in everything. The same for a manager, and for an artist. The business is so wide now, so many different areas, each with their own expertise, different revenue streams, different platforms demanding our attention. You can’t expect the artist to be the best singer, the best songwriter, the best performer, the best social personality, the best content creator. Or for you to be the best negotiator, creative director, networker, strategist, social media manager, travel agent… Focus on the areas that you’re naturally interested in as you will invest more time and energy to develop, don’t force yourself to become an expert in areas that you’re not interested in. But accept input and don’t be afraid to relinquish control.

What music are you currently listening to?

There’s a French artist called Adèle Castillon who was in a band called Videoclub that I love, Pale Jay is insane, a UK band called PREP, US artist Ekkstacy, the Lil Yachty album from earlier this year is amazing, I’m a fan of Kenny Beats, Doja Cat ‘Paint The Town Red’ is one of my fav productions this year, a great flip on an old classic (and all the creative is fire), new acts I like Hot Wax, The Last Dinner Party. The best live show I saw this year was Bonobo at Forwards Festival in Bristol. But I still have my best hip hop tunes of all time playlist that never goes off repeat… gangstarr, tribe, Nas, big L…

How long have you worked in Management?

1-2 years.

Who do you manage now?

HMS Morris, Monet and Ffenest.

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

HMS Morris were my first client. I’d been a fan for years and knew the band. I saw on their socials that they were looking for a manager and having been considering becoming a manager I jumped at the opportunity.

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

A good day at work is when people respond to my emails and show interest in my clients, affirming my belief that the acts I work with are great. A bad day is when the inbox is dry, the offers are little and everybody else has terrible taste and the world is against us (LOL).

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

HMS Morris being invited to SXSW; Monet being selected as one of Forte’s Projects 2024 artists; Ffenest receiving BBC Horizons Launchpad Funding.

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

For managers in Wales, I think that low fees and limited opportunities outside of Wales is a big challenge. Being noticed in a hugely saturated industry is difficult anyway, especially if you’re working with non-English speaking artists. Turning a part-time manager position into a full time job seems quite impossible.

Why would you recommend the MMF?

It’s great to be part of a community of managers who are going through a similar experience to myself. The Wales specific group is extra special, as we have unique struggles compared to the rest of the UK. It’s nice to not feel like you’re all on your lonesome.

What music are you currently listening to?

Mellt, Fcukers, Pys Melyn, Jockstrap, Dafydd Owain, Simian Mobile Disco, Erik Tagg.

How long have you worked in Management?

6 years.

Who do you manage now?

Lil C.

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

A friend introduced me to them and suggested I manage them as we both shared a love of Dancehall music!

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

Good day – getting through all incoming booking requests/up to date on invoices.
Bad day – chasing clients or promoters/waiting for responses.

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

Working with talented artists and seeing their creative vision come to life! Lil C hosting the Red Bull stage with Spice & releasing the FKA twigs Magdelene album.

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

Creating a sustainable artist/brand that generates income to support growing a team independently and being able to do live shows/tour (if you’re not a DJ).

What did you gain from the Accelerator Programme?

I gained insight into areas of the industry I didn’t have a deep understanding of. For example – record deals, publishing deals and dealing with mental health in the music industry. And I made some great contacts that I think will be mutually beneficial during my career.

What music are you currently listening to?

Airborn Gav – Work
Kaleem Taylor – Purple & Orange
Sholz ft Smada, Deto Black & Odeal – Man Down

How long have you worked in Management?

5 years.

Who do you manage now?

ayrtn, Downtown Kayoto, Drew., GEE LEE, Jack Marlow, Jaish, Omar+

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

My first client actually came to me. My company Phantom used to be called Lockoff and we used to run events. Downtown Kayoto sent me a very well written press release for his new track about 5 years ago, I took a listen and thought, okay this guy sounds like Frank Ocean, and the rest is history. 2024 is going to be his year, the unreleased music is immense.

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

To be honest every day as a manager has good and bad moments as your dealing with so many different things in so many sectors. Of course live show days trump all though. Nothing like seeing your artist destroy a set and the crowd being under their spell. A bad day probably just looks like a shoot day in the rain but even that’s rewarding, or when people are long and inefficient to reply to emails.

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

Ooooooh that’s tough. That’s like choosing between children man, each artist has had such amazing moments. ayrtn’s sold out UK tour, the success GEE LEE’s had with his track “Coke & Rum”, Downtown Kayoto’s “Lite” music video blowing up, Drew’s debut headline show with no music released, the Phantom Paris show with GEE LEE, Jack Marlow and Omar+, and lastly the success of Jaish and Jack Marlow’s track East Side (it’s class when a track is created totally by roster artists and performs so well). Those stand out to name just a few.

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

If your artists are signed to Universal, Tiktok! No but seriously probably cutting through the noise and not stooping to fast wins. You can get a sound moving on platforms and get a song streaming as a result, and it’s easy to get caught up in that. Before you know it you’ve done no artist development and no one cares about the artist behind those sounds, because you’ve been just shooting for viral moments rather than world-building and cultivating an authentic fanbase which isn’t reliant on the elusive “algorithm”. The amount of artists I see blowing up on reels that think they’re the guy because they get loads of Insta followers overnight, but then you go on their Spotify and their streams are so weak in comparison. That’s shooting yourself in the foot and a small fraction of your audience is going to care about your future releases. It’s all about balance.

Why would you recommend the MMF?

I was taken onto the MMF’s Accelerator Programme for 2023 and it’s one of the best things that’s happened to me in music. It gave me the tools and support I needed to navigate and steer the fast growth I saw last year. Aside from that they have loads of great events and an amazing network, and are a one of a kind organisation.

What did you gain from the Accelerator Programme?

Knowledge of the nitty gritty of the management business side of things such as accountancy, law, insurance and more which I wouldn’t have come across otherwise.

Manager friends! Before, I was quite isolated as a manager, operating from my own corner of the industry and I didn’t realise how important it was to connect with other managers on both a professional and social level. It definitely opened my eyes to that.

Big up Paul and everyone else involved.

What music are you currently listening to?

Corny, but I rinse my artist’s unreleased demos. Because in my opinion they make some of the best music in the country. Aside from that to name some artists that come to mind in no particular order: Kamal, Ne-Yo (old Ne-Yo is elite), J Cole, Tems, Jorja Smith, Skepta, Meekz, hear me out but P!NK’s M!ssundaztood album bangs, Unknown T, Namani, Frank Ocean, Fimiguerrero, Overmono, Cench, Dave, Tendai and a load of dance tracks but that tends to be individual tracks rather than discographies.

How long have you worked in Management?

12 years.

Who do you manage now?

Spyres, Uninvited, Misplaced, Bobbi Arlo, Ava In The Dark

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

Spyres came to me via my good friend, producer Chris Marshall who had been nurturing them in the studio. He let me listen to the song ‘Otherside’ which they’d just finished recording and I remember thinking I’ve not heard anything like this for a very long time. It made me get really excited!

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

A good day is when everybody wants to email you and you secure great things for my artists and a day looks like the reverse of that when you’re knocking your head against a brick wall and nobody seems to be interested in anything you’ve got to say.

How long have you worked in Management?

7 years (not including the 2 covid years).

Could you share some information about the artists and creative talent currently on your roster?

Tonia, Alfie Sharp, FamilyFriend, 4NOA.

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

I found my first client Alfie Sharp through a non-profit label I was heading up through an organisation called Inspire Youth Arts. I began developing him as an artist when he was 15 years old. His voice and tenacity inspired me to begin working with him. I was drawn to his story and beautiful voice.

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

A good day for me is when I have completed all of my tasks for artist/partnerships, and the clients are happy. A bad day is artists chasing me relentlessly on tasks they can quite easily do themselves.

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

Watching Alfie Sharp perform his new single in a beautiful venue with a 60 piece orchestra. Following a few wobbly years with him considering quitting music, it was beautiful to witness.

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

I think market saturation and the lack of development deals from labels due to their gravitation to TikTok influencers.

Why would you recommend the MMF?

I believe the MMF provides a community of strong like minded managers that help bring value to your knowledge. The sharing of educational information to help develop my business has massively helped expand my business. A generous amount of Industry talks and opportunities have been crucial in developing my skillset as a manager.

What did you gain from the Accelerator Programme?

A sense of self worth that I am sitting at the right table.

What music are you currently listening to?

SAULT.

Can you tell us when Finesse Foreva was established? And who are the key members of the team?

Who would have thought that a business plan drawn up after a night of hip hop karaoke, would have been a catalyst for the creation of an ever-growing musical legacy? Finesse Foreva was founded by childhood friends SK, TK and JB (aka JB Made IT), in 2017. The dream at the time was simple.

Could you share some information about the artists and creative talent currently on your roster?

Russ Millions, Ivorian Doll, Skengdo & Am, 808 Gadget, Gotcha, JB MadeIt, Sebz Beatz

What criteria or factors do you consider when making decisions on which artists and talent to sign?

Talent is number one, but work ethic and being a self starter is very important – one thing we embody at FF is work ethic.

Looking ahead to 2024, what do you think are the biggest opportunities for music management companies?

I think the biggest opportunity is diversifying. There are many things as a manager you can diversify into – not just for your artist, but for yourself as a manager and a business owner. Managing artists gives you a lot of leverage into different arenas of industry. Take us for an example. We are now putting on one of the biggest music seminars to happen in South LDN, Croydon!

What market developments or technologies most excite you about the future?

How AI will integrate will be quite interesting. It’s already possible to assist people with making simple contracts and agreements, and cleaning up release plans. When it comes to music use and AI I think it is still a grey area, but I’m sure lawmakers will be able to navigate it.

Finesse Foreva are partnering with the MMF on the upcoming NXT GEN conference and showcase. Can you tell us a little bit more about the event, and why it’s so important?

It’s crazy to think we are now partnering with the MMF! We only heard about them in 2017 when we applied for the Accelerator fund – which we didn’t get – but through hard work and consistency over the years we have proved we are here to not only stay but to innovate and inspire the next generation! We believe that is why Paul and the rest of the team are happy to work with us on creating Music NXT Gen.

The event is dedicated to the next generation of music creators and executives trying to navigate the music industry in the easiest way possible, and there’s no better way to do that than getting the industry all under one roof sharing gems!

The day will consist of panellists with an evening show from performers at the top of their game who are from Croydon & South London.

Why would you recommend membership of the MMF to other managers?

MMF is a great entry for managers to get the right education and build the right networks with other managers and executives that take the business seriously.

What music is the team currently listening to?

We listen to everything. It’s too hard to nail it down, as most genres these days are cross blending.

For more information, check out the Finesse Foreva website here.

Can you tell us when and how This Is Music was established? And who are the key members of the This Is Music team?

This Is Music was born in 2007, its initial client base built on founder Oli Isaacs’ music law practice including seminal electronic act Simian Mobile Disco and noted producer James Ford (Arctic Monkeys, Jessie Ware, Depeche Mode, Blur).

Since then, our boutique management firm has grown to a team of 11 led by Managing Director Lisa Marxen, Oli Isaacs and Luke Williams. We’re lucky to count long standing managers Simon Gold and Sasha Edge as well as new hires Greg Wells, Xenia Evans, Alex Lemieux, James Carr and Amelia Holder.

Could you share some information about the artists and creative talent currently on your roster?

Over 15+ years This Is Music has truly honed a specialist service managing artists and producers in electronic music’s underground to cross-over space.

Our current management clients include Anish Kumar, Bicep, Cameo Blush, James Ford, Jas Shaw, Jayda G, JD. REID, MAFRO, Nala Sinephro, Roosevelt, Ross From Friends, Ruthlss, SHERELLE, Vegyn and 4am Kru.

What criteria or factors do you consider when making decisions on which artists and talents to sign?

We are highly selective but make signing decisions on fairly simple criteria. In the first place we want to make sure we are aligned with the artists on their vision for the business and their values, musical and otherwise. We’re looking for clients who really get what it is that they need to do to evolve and progress, who want to achieve success and who are exceptionally musically talented (whatever their lane).

In your opinion, what are the major challenges that music management companies are facing in 2023?

Managers’ main challenges are really the same as those that artists are facing. A big one is simply maintaining a work life balance. Probably, the biggest challenge for management companies like ours though is that it’s perhaps impossible to scale a boutique management company. The economics don’t work. So we need to make sure each project we do counts and to do that it’s an extreme amount of work often initially for little revenue at the development stage. We need to be able to provide a full range of services across a wide range of activities and this can be challenging in terms of both time and specialist skills.

What market developments or technologies most excite you about the future?

Technology moves fast. Sometimes we jump on it and sometimes we don’t. We’re glad we didn’t leap head first into the NFT world for example. We’re excited about any new tools which help us to create and engage fan communities so that we can super serve our artist’s core fan base without having to rely as heavily on social media platforms. That’s something we definitely want to be doing more of. The best market developments of late have been those that empower artists to operate independently outside of the traditional label system. It’s been great doing a lot of work with label services companies.

Can you provide any insights into the future plans or upcoming projects of This Is Music?

Next year is very much about delivering the new Bicep presents Chroma AV DJ Show and the accompanying releases. Having had such big success with their live touring after the last album we’re doing something different and super exciting in 2024 which will have a global footprint. We’re also super excited to do our first releases with Sherelle who we signed this year and to develop a number of new artists including Ruthlss, who has already attracted a lot of the right kind of attention.

What music is the team currently listening to?

The team has very wide ranging taste, whilst the beating heart of the company is electronic music the office stereo takes in everything from spiritual jazz to dub and drone. Recent favorites have been Cleo Sol’s LP Gold and Mia Koden’s Ilian Tape Mix

For more information, check out the This Is Music website here.

Can you tell us when and how NQ was established? And who are the key members of the NQ team?

Having been raised in Manchester’s rich musical culture, Michael Adex (CEO) recognised the need for more music infrastructure in the north. With a plethora of artists pouring from Manchester’s venues yet struggling to emerge nationally, Adex pulled together a small team with vision and a plan to change that. Whilst scouting local clubs and rap nights, he discovered a young, fiery Moston rapper called Aitch performing at an open mic night at Stage & Radio.  In 2017, Adex signed on to be his manager with their eyes set on breaking him to the national stage and beyond. The following year, Aitch dropped his breakthrough single ‘Straight Rhymez’, plunging him into stardom. There was no better time to start building the infrastructure that Manchester’s creative scene so desperately needed. In July 2018, Adex founded the then named ‘Northern Quarterz’, a 360 talent management and entertainment company.

Since then, NQ has grown into a significant component of the musical landscape in Manchester. Equally the team has grown with industry native and COO Louis Brown, formerly of Island Records & Metropolis, Via Culpan, Day to Day Manager of Aitch & MIST, and David O’Sullivan, NQ’s Head of A&R who make up key members of NQ’s management team.

Could you share some information about the artists and creative talent currently on your roster?

AITCH

The Moston, Manchester multi-platinum-selling rapper and now BRIT award-winning artist, Aitch cemented his status as one of the most exciting young British artists with the release of his #2 debut album, Close to Home.

Following the release of platinum-selling hit single ‘Baby’, one of the biggest-selling British records of the year, plus a string of top 10 smashes and brilliant collaborations (Ed Sheeran, Anne-Marie, Giggs, AJ Tracey, Tion Wayne), Aitch is at the very top of his game, a Forbes list 30 Under 30 recipient who has added depth and meaning to his loveable rap persona. Northern roots, global influence? Aitch defines it.

The most exhilarating debut to come out of Manchester since Definitely Maybe (released five years before Aitch was born), Close to Home brims full of cocksure swagger and confidence – the undeniable, inspirational and infectious soundtrack to the young life of a Northern star who’s already achieved so much. It’s the sound of a teenage kickboxer from a rough North Manchester estate who became a rapper, blew up, and went around the world, putting his hometown back on the global music map. Berry Gordy used to boast Motown was ‘the sound of young America’. Aitch was nurtured at NQ, a musical powerhouse on a slip road out of Manchester city centre, now undeniably the sound of young Britain. “The whole album is about growing up in Manchester, then leaving, then finally coming home after going around the world,” says Aitch. Close to Home captures a young artist at the top of his game, flexing his wings and ever-growing songwriting skills.

MIST

After a short hiatus, MIST is back — and more focused than he’s ever been. Since his “Rollin’” hit with Burna Boy in 2021, the Birmingham rapper has launched a motor show called Gassed Up on BBC Three and featured on countless tracks with everyone from Nathan Dawe to Bugzy Malone to fellow Brummie spitter Mowgs. Even so, fans have been crying out for a follow-up to his 9-track Diamond In The Dirt EP, which came out in 2018. Now ready with his long-awaited debut album, Redemption, he still feels as if he owes his fans. Redemption is a nod to the transformative time since Diamond…, his newfound faith, the mistakes he made in his younger years and his ongoing journey to becoming a better man.

The MIST who stands before us now, in 2023, is “new and improved”, he says, a MIST 2.0, if you like. “MIST is grown now. I don’t feel like I’ve ever touched on the grown side of me in my music like that. I’ve got two kids: a 12-year-old daughter and a son. Man’s a real dad! I go to parents’ evening and have to talk to teachers about stuff. I’m a family man and I want to show my growth as a person with Redemption.”

Signing with Warner soon after he dropped his 2016 EP, M I S to the T, the rapper has since had a number of Top 40 singles, as well as a Top 5 project in Diamond In The Dirt, with over 500,000,000 total streams to his name. He also has an imprint called SickMade Entertainment — which, up to now, has been a platform solely for his own music and maintaining control over his artistic direction. With Warner, however, he’s found a mutual trust and respect that he says will help him build an empire. “For me, it’s all about opening doors for people who never get the chance,” he says. “I really want to make a platform for Northerners as there’s so much talent up here. I want to make something that can showcase talent without forcing it.”

whYjay

whYjay is the multi-platinum selling record producer instrumental in some of the UK’s chart toppers. You’ve heard his production in certified Platinum bangers ‘Taste (Make It Shake)’ by Aitch, ArrDee’s ‘Flowers’, and Tion Wayne & La Roux’s ‘IFTK’ and infectious tunes like Central Cee’s ‘Doja’ (certified Gold in UK & US). He executive produced Aitch’s debut album ‘Close To Home’ which peaked at Number 2 in the UK album charts, including the top ten single ‘My G’ featuring superstar Ed Sheeran. He also bagged two Silvers from his work on DigDat’s ‘Ei8ht Mile’ and ArrDee & Aitch’s ‘War’.  His undeniable success in UK rap hasn’t stopped him from continuing to grow and expand sonically. whYjay is showcasing his talent across the UK’s most exciting pop prospects like Flo’s ‘Fly Girl’ and Caity Baser’s ‘Pretty Boys’, both charting in Top 40.

LiTek

LiTek is the multi platinum-selling record producer behind some of the UK’s biggest hits like ArrDee’s ‘Flowers’ & Tion Wayne’s ‘IFTK’ which certified Platinum and Central Cee’s ‘Doja’ which certified Gold in the UK & US. LiTek also produced the lion’s share of records on ArrDee’s debut project ‘Pier Pressure’ which is now certified Gold in the UK. LiTek scored a Silver with ‘Je M’appelle’ by West London rhymer Benzz and another two Silvers with Aitch & Arrdee’s ‘War’ and ‘My G’ from Aitch’s debut full-length album Close to Home.

Having swept the UK Rap scene, Litek demonstrates his versatility through his production of the UK’s most exciting rising pop acts. From Flo’s iconic team up with Missy Elliot on ‘Fly Girl’, to Caity Baser’s infectious ‘Pretty Boys’, both charting in Top 40, this is only just a taste of what’s to come for the young prodigy.

What criteria or factors do you consider when making decisions on which artists and talents to sign?

One is obviously the talent, it’s difficult to be discerning in just that regard! There’s so much talent coming from the North. More importantly, we would say hardwork & dedication. If there is talent and growth potential, alongside a willingness to listen and grind, then that is a winning combination to us. We are always seeking to add value — we would never sign somebody that we don’t feel like we can help grow them as an artist and grow their business. Equally, they need to be as committed about their own music as we are.

In your opinion, what are the major challenges that music management companies are facing in 2023?

One challenge is just the amount of data that exists now due to streaming and the internet. It’s great to have access to all the streaming, sales, and fan data, but as a small team working with established artists – how do you actually process and analyse all that data? It almost feels like you need a subdivision of the company dedicated to analysing and tracking trends. While it provides guidance and can evidence what works and what doesn’t, there is also the argument that you will see less bold, innovative decisions from artists and the industry simply because it doesn’t align with what the data suggests.

What market developments or technologies most excite you about the future?

Artists are becoming a lot more self-sufficient, which is great. Due to the proliferation of your Distrokid’s and Ditto’s alongside improvements in home recording tech, that’s shifted the power in the industry towards the artists in a really positive way. You can see this reflected in the record deals offered – more opportunities to licence music rather than have labels own it, profit shares, generally more favourable terms for artists. We’ve even noticed some interesting business models where companies strictly offer advances to artists based on their streaming data. Labels will still be important for artists looking to break internationally, they have a lot of resources and connections, but it’s great to see the power being put back into the hands of artists.

Can you provide any insights into the future plans or upcoming projects of NQ?

We’re excited to launch our first ever annual NQ Challenge Cup – a celebrity football tournament all in the name of funding some charities close to our hearts – NQ Legacy, Down Syndrome Association, Black Minds Matter UK, and Manchester Central Foodbank. We have a fantastic lineup of teams with Aitch, MIST, Tion Wayne, Harry Pinero, Nemzzz, and Drama Call. Keep an eye on our socials for more information about that and to see who will take home the trophy!

Other than that, we have some huge ambitions for 2024 with our artists and as a company. The key phrase being ‘expansion of the NQ empire’. We can’t say much more about that now but keep your eyes peeled!

What music is the team currently listening to?

You can check out our staff curated playlist at https://open.spotify.com/playlist/0VS4HFgq8IJGlYqaOvDDNp

For more information on NQ, visit their website here.

How long have you worked in Management?

I started working in management in 2019 after a long time freelancing in live events and journalism. I apprenticed under Lyndon Stephens at Champion Sound Music and Quiet Arch Records as a content creator – it wasn’t long before my talents (or lack therein) for that type of work were uncovered, so I quickly made the shift to artist management after a few weeks. My first task was advancing a world tour for a client – an absolute baptism by fire. But I quickly fell in love with the chaos and the hours, and four years later I’m still as in love with the industry (but a little bit more mental).

Who do you manage now?

I’m currently working with a small but strong roster – Joshua Burnside, Lemonade Shoelace and Chalk, with an eye on a few really promising and exciting talents here in Ireland. I like to keep my roster varied in style and genre, it means there is less crossover to worry about and you meet a more varied representation of the industry.

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

My first client was the pop-punk trio CHERYM from Derry. I’d been a huge fan of their debut EP and had written a review about them back when it came out. When I got a chance to work with them I was ecstatic – to date, I still love the energy and enthusiasm they bring to their love performances. There’s no difference between the recorded product to the live show, which helped as we really built their early career on our shows. I still get chills when I listen to the closing harmonies on their track “We’re Just Friends”, they’re such absolutely fantastic writers.

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

I’m not sure i can quantify the difference between the two in all honesty. One of the things I both hate and love about my work as a manager is that no two days are the same – I enjoy the constant challenge and change that this industry demands, it really keeps me on my toes, but at the same time I feel a real hyper-sensitivity to my work that I can never really turn off. So a good day in all honesty is one where I get to bed before midnight! Bad days, if I can really call them that, are more down to breakdowns in communication between myself and my partners, artists, contractors etc – but they’re usually easily resolved.
(Having said that, losing a sync deal at the finish line is something I think all managers can identify with – and it’s an absolute day ruiner every time)

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

If I had to pick one, it would be Friday, December 23rd, 2022. About 13 months beforehand I had just finished off a run of dates with Joshua, his first since the lockdown had opened up. The tour concluded with three sold-out performances in a row at the Ulster Sports Club in Belfast, which was about 750 tickets sold. And while everyone was patting each other on the back, all I could think about was “If we had new music out… we could probably get all these people together, on one night. Maybe even more people… actually, that’s probably a bit too mad.”

Cut back to Christmas 2022, and Joshua walked on stage as the headliner of the legendary Ulster Hall, to a sold-out, 900 capacity crowd. Going from 30 tickets to one of the biggest venues in Ireland in under four years. No label, no agent, just good tunes and hard work. I’d seen so many great acts play there over the years, and it felt really surreal to carve my own show into the walls.

What do you think are the big challenges for a manager in 2023?

I’m still grappling with what the consequences of AI will be for the administrative side of the music industry. Whilst I recognise the strengths and advantages of using AI as a time-saving tool, I am wary of any discourse that paints it as a saviour. Ultimately, it’s the humanity in the creative sector that makes truly great careers, moments and art, and I think removing the humans from the cockpit can cheapen and demean what our clients are trying to achieve. You can’t mimick passion, and shortcutting the essential work managers do can only have negative consequences.
I’m also fanatically thinking of workarounds for costs in all aspects of my client’s careers as we head into yet another Tory-caused recession. Everything from marketing to shifting tickets has now become as much a luxury as a necessity for both artists and fans. Walking the tightrope over the next few years will be our biggest challenge since lockdown I fear.

What music are you currently listening to?

I’m a biased man, so my listening trends are definitely shifting in an Irish direction. I’ve totally fallen in love with Lemoncello after having them on tour with us in March 2023. They write like Wet Leg but sing like Laura Marling, and are really incredible performers. I’ve also fallen in love with young acts in Ireland like Tramp and Charlie Hanlon, who both fill me with hope and remind me of just how old I am. And my most recent discoveries are Tara Lily and Jalen Ngonda, who are transforming both my morning commutes and late-night drives from routine into daily highlights

How long have you worked in Management?

Since 1992- 30 years … my first role was with Happy Mondays, Asst to Nathan McGeough, we were a two person team, it was alot! I did have an extended break from management after Coldplay from 2006 for 12 years…. Then was tempted back when I met Dan Smith in 2018.

Who do you manage now?

Bastille

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

I was in the ridiculous position of working with Coldplay as assistant to then Manager Phil Harvey, it was just the two of us and when he decided to take a break and do other things I was asked by the band to take over as manager for UK an ROW outside of USA – an incredible leap of faith by them that I’m eternally grateful for. It was a crazy 4 years, and 2 albums later I stopped working with them and Dave Holmes as co manager.

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

The good days are when you are up to date with all projects and everything has moved along a satisfying amount – The best days are with the band doing some thing that you might have worked on for a while be it a special activation or gig and see it coming to fruition. Taking the time to enjoy it and the work you did to get it there is something as a younger manager I didn’t tend to do – too busy doing in the Coldplay days to fully appreciate what it was we were doing. Now I realise those moments are to be cherished and enjoyed as much as you can when they happen. I want the memories – I have forgotten so much of the amazing things I’ve seen or been involved with over the years as I was just too busy doing to take it in but now I try and take a minute to take it all in.

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

The first time you sell out a gig or tour is particularly amazing each time. Headlining Glastonbury twice in the early 00’s with Coldplay was very special, as are playing iconic venues in USA like Radio City, Red Rocks and Hollywood Bowl. Those venues that have so much history and the band become part of that forever. Bastille playing the Pyramid stage a couple years back, and killing it, that was amazing!! Reading and Leeds last year with a ridiculous crowd, I felt so proud of the band – highlights for me seem to be around live I just realised writing this.

What do you think are the big challenges for a manager in 2022?

How to make the business side work – In this new era of higher costs from all angles the majority of managers I would say find this the biggest challenge. The breadth of what managers have to do across a campaign is more than it’s ever been and ever growing. With each record release we need to constantly adjust how we operate.

What music are you currently listening to?

I seem to jump between old and new depending on mood and time of day – I am an avid 6 music listener and on the old Depeche Mode has seeped into my social algorithms of late but my favourite new artists to follow are Ren, Palm Skin Productions, Robert, Michael Aldag, Inji.

How long have you worked in Management?

How long have you worked in Management?
6 years

Who do you manage now? 
Lucia & The Best Boys, The Ninth Wave (Last Boy/ Health & Beauty), Walt Disco and producer, BOBBIE.

Where did you find your first client and what inspired you to take them on? 
7 years ago at Glasgow’s multi-venue Festival, Stag & Dagger, I discovered a new wave of amazing bands coming through like The Lapelles, The Vegan Leather and The Ninth Wave. Coming from an artist background, belonging to Glasgow’s music scene, I loved what this younger generation of bands were doing together and decided to take on the ‘big brother’ role to The Ninth Wave. My time as an artist was up and these new kids on the block were smashing it! I shared experiences, mistakes and showed them an entry point into the wider industry. I always think to myself if my old managers hadn’t shown me a way in where would I be now – no one in my family works in the industry and I had no idea where to start. The big brother role soon grew to being the manager and now we’ve gone through three EPs, two ‘Scottish Album of the Year Award’ nominated records and I look after The Ninth Wave’s upcoming projects, Last Boy and Health & Beauty.

What’s a good/bad day at work look like for you?
A good day is being on top of everything, having slept well and listening to new material coming in from my acts. A bad day is filling in forms for foreign withholding tax, finding where tour support disappeared too or delivering bad news.

What has been the highlight of your management career to date? 
Bringing to life Walt Disco’s vision for their album Unlearing with Lucky Number was super creative, we made something special pushing far beyond the norm. Watching Walt Disco grow personally and creatively has been an honour. They work in a personable and humble way and are a gang who they look after each other respectfully. I have to cheat here though, for one more highlight. Signing Lucia’s album deal to Communion, a team who adore her and her music has been a joy. She is a force to be reckoned with and hasn’t stopped for a minute over throughout the pandemic. Over the last two years Lucia blossomed, she has written her best music to date and she and her band The Best Boys played the best shows of their lives alongside Wolf Alice on tour. The first night at The Barrowlands was a highlight which really woke me up to what she has become. She has just started recording her debut album and I feel like what is bubbling there is going to be a massive highlight for me.

What do you think are the big challenges for a manager in 2022?
Keeping your mental health and work/ life balance in order whilst staying on top of all the Brexit stuff and learning as you go. Finding the time to know everything yet still forward plan is hard at the moment.

What music are you currently listening to? 
Stevie Nicks, Richard Hell, Bronski Beat, Sebastian Tellier, The Streets, The Notorious B.I.G.

How long have you worked in Management?

8 years

Who do you manage now? 

Jords, Kadiata, Mike Brainchild, JAY1 & Savannah Dumetz

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

On my current roster it was Jords, while on tour with ILUVLIVE. I heard his song “Before We Begin” and met him that same afternoon and I was sold. An amazing guy to be around, fantastic morals and phenomenal musician.

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

A good day is when my acts are on time for meetings lol and when they send me new music. I love what i do for a living so everyday is a good day.

I don’t believe in “bad days” I look at those days as days to analyse and see what i could improve on for the following day.

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

This keeps changing as I grow & reflect but at the moment i’d say it would be the fact that my producer, Mike Brainchild has officially completed the album with one of best artists to come out of the UK.

What do you think are the big challenges for a manager in 2022?

For me it would be trying to manage all the requests that keep on coming my way. It’s been super busy but I’m extremely grateful nonetheless!

What music are you currently listening to? 

MGK – Mainstream Sellout

Knucks – Alpha Place

Kanye West – Ye

Jack Harlow – Come Home The Kids Miss You

Follow Steven on Instagram at @thelonewolfgroup

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight are Callum Read and Adam Harris of Touchdown Management!

How long have you worked in Management? 

Adam: I (officially) started managing artists 8 years ago but I had worked with various managers prior to that. Callum and I met around 10 years ago and immediately hit it off. It wasn’t until 2016 that we set up Touchdown together.

Callum: I got into management after being a tour manager from 2014 for various acts (Dream Wife, Hinds, Dr.Dog and many more). I loved having a knack for making my artists feel comfortable and take away as much stress from them as possible in order to perform at their very best. My passion to be artist friendly in my approach to many things, as well as my urge to ‘get s*** done’ was the perfect combination to Adam’s ability to hustle in the industry and we’ve been happily working together since 2016.

Who do you manage now?

Both: We manage The Snuts and a new and very exciting artist called Grace Barr. We are also developing a new act who we are hoping to launch next year.

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

Adam: I was introduced to my first client, a band called Heyrocco from Charleston SC by a producer friend. The band were all aged 18 at the time and the music they were creating was something very special, they were also great performers and incredibly charismatic.

Callum: After 2016 when we formed Touchdown, every tour I did I always left wondering if I’d meet the act I’d end up managing and that’s exactly what happened. It took a while to meet or hear any act I liked enough to give everything to, which I knew I would as a manager, but then In April 2017 I remember being absolutely blown away in a tiny pub in Leith, Edinburgh by four guys (The Snuts) who were absolutely dripping with ambition and had these amazingly powerful and sentimental anthems – later those four boys became the guys Adam and I love like family and continue to do anything for to make them a huge success.

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

Adam: A good day is delivering great results for you and your artists and team, whether that’s closing a deal, selling out venues, entering the charts in a good position or securing your Artist’s creative objectives. A bad day is pretty much the polar opposite of those elements that make up a good day. Because we work so closely with our acts, I think we feel the disappointments as much as they do when they happen and in this business you can never just switch off, there’s always something that needs your attention.

Callum: Management is so turbulent – for me, it’s hard to remember a totally bad day or a totally good day for that matter. Especially when you’ve got acts that are massively ambitious. The first thing we’ll do after something great is of course celebrate and acknowledge it, but often we quickly move onto the next thing and start preparing to focus on that. likewise if there’s some tough situations we’ve had to deal with, it’s all about resolving them, moving on and feeling satisfied with how they’ve been dealt with – sometimes that can be just as satisfying. Luckily for us we have a great team around us who are all so supportive and hard working, particularly worthy of a shout out is The Snuts’ superstar Tour Manager & Social Media Manager (Gary Williamson) who’s been so loyal and so hardworking for all these years. 

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

Adam: I’m fortunate enough to say there have been a fair few, especially with The Snuts. Seeing them develop into the formidable force they have become both live and in the studio. Whilst awards are lovely to receive, nothing beats seeing and hearing thousands of fans sing every word back to the band at a gig….especially when only 24 months prior that artist was playing to 200 fans.

Callum: Likewise to Adam, there’s nothing like seeing The Snuts and the growth of their live business over the last 3 years or so. Nothing makes me prouder than seeing them progress and I remember thinking to myself the first time they headlined a show and sold out King Tuts in 2017, ‘I wont stop working til this band are huge’ and every time we accomplish something as a team, whether it’s a sell out a show, or a charter release, I always remind myself that we’ve come so far and are going in the right direction.

What do you think are the big challenges for a manager in 2020?

Both: If you’d asked us that pre-March of this year it would have been a very different answer. The pandemic has thrown the live industry which is in many ways the life blood of the music business into the worst scenario it has ever faced. It’s devastating seeing Artists, crew and all those who contribute to making live events happen have their livelihoods taken away from them, not to mention seeing once very healthy business’ disappear through no fault of their own.  It’s blatantly clear that socially distanced events are neither financially viable or particularly enjoyable for the fans, so whilst we have absolutely no guidance from the Government about how or when a staggered return to live can take place, we have had to be incredibly creative with how best to maintain momentum, exposure (and revenue). Yes livestreams and socially distanced shows have partially filled the void but in my opinion they aren’t the future. Nothing can replace how an artist connects with their fans through live music. Coming up with new ways to connect with fans and to develop new acts in the absence of live music is without doubt a challenge of mammoth proportions but at the same time it’s the manager’s job to continuously adapt to the ever changing landscape…can’t stop won’t stop!

What music are you currently listening to?

Adam: Mood dependant…today I’ve been alternating between Holly Humberstone & Fela Kuti with a bit of Beastie Boys thrown in for good measure.

Callum: New Bright Eyes album on repeat since last week and nothing else (super fan).

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator 2021 manager, Nigel Munjoma. 

How long have you worked in management?

I’ve worked in management for about 5 years now.

Who do you manage now?

I manage Blinkie (producer/artist/songwriter), James Bluck (producer/DJ) and WhoisOrion (Rapper/songwriter)

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

My first client (Blinkie) is actually my older brother. I grew up listening to him making music for years. I always felt that he was super talented and I was inspired by his talent to help him progress his career.

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

A good day at work is when I’m in the flow and in the process of doing a project. Whether it’s doing a video shoot, on tour doing shows or executing plans and strategies that we’ve put together. Those things make it really enjoyable being a manager.

A bad day at work is maybe when things aren’t going as planned or when it feels like not much progress is getting made but there’s always an opportunity to turn it around.

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

I think my career highlight to date was when we released Blinkie’s single “What You Want” independently from our label PXL Records. It gave us the confidence in knowing that we could put out our own records successfully without the backing of a major. It has now become part of our strategy in building and developing our artists using the platform and resources that we have created at PXL Records.

What do you think are the big challenges for a manager in 2022?

I think one of the main challenges that we currently have is managing to put together a successful international tour strategy. Unfortunately, we’ve been dealing with a lot of cancellations and rescheduled shows due to the covid pandemic. Finding a way to navigate the restrictions is a big challenge as well as finding a way to still engage with audiences in other territories whilst live shows are on hold.

What music are you currently listening to?
I’ve recently been digging back into some old school hip hop. Jay Z – reasonable doubt, Biggie – ready to die. I also have my go-to running playlist which includes: Frankie Knuckles, Green Velvet and Jamie Jones.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Lu Whiting, Wild Management.

How long have you worked in management?

I have worked in music management for over 20 years. I set my own music management company up ‘Wild Management’ 7 years ago.

Who do you manage now?

Himalayas 

I co-manage Himalayas with Terri Hall (Myself and Terri met whilst working together at 19 Management with Will Young, Spice Girls and Lisa Marie Presley)

Caroline Harrison // Lissy Taylor // Guest Singer // MACY

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

My first client approached me after working together. I was his Tour Manager and my role in his career organically grew into a management position. His music, talent and work ethos won my heart.

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

Every day is a good day. How can you ever have a bad day when you work in the music industry! So many people have career’s they hate or jobs they HAVE to do to earn money. I chose to be a manager and absolutely love what I do. Yes that are days you face challenges, but I always turn a negative into a positive.

A great day is receiving new music or going to watch a show. The feeling you get as manager when you see your artist happy on the stage performing to their fans is the best.

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

My greatest highlight and achievement is setting up a music management company with a strong talent roster, whilst juggling home life and being a busy mum. I’ve realised it’s not a crime to be a working mum! It’s something I’m so proud of and after taking a short break and returning to the industry with my own management company, it was the right thing to do. I have shown my children it’s important to chase your dreams, work hard and turn them into reality. Women have an equal place in the workplace and can be successful business entrepreneurs and leaders.

What do you think are the big challenges for a manager in 2022?

There are many challenges a manager faces in the current climate and these change so quickly, especially after the devastation the Covid pandemic has had on the live industry. You need to be able to make the right decisions at the right time. With limited potential artist revenue streams, it is important to choose and plan the right options that will enable your artist to develop and grow, both creatively and financially. Finding ways to build campaigns and adapt to the constant rescheduling, whilst still engaging and reaching the artists fan base.

What music are you currently listening to?

I listen to music all day, all types of genres, the radio is always on. New music I’m listening to….

Himalayas, Caroline Harrison, Lissy Taylor, Guest Singer, MACY, The White Lakes, Neelix, Kid Kapichi, Lorde, Joy Crooks & Baby Queen.

Fleetwood Mac, Daft Punk, Massive Attack & Beastie Boys will never stop being on my playlist!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Darius Williams from Slow Dance.

How long have you worked in management?

Since 2018

Who do you manage now?

PVA, Fran Lobo, Khazali

And on our label I’m Saint Jude and Uma‘s project manager.

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

I’ve been working with PVA the longest, and it was actually Marco who I run Slow Dance Recordings with who found the band from their club nights they had started putting on. Maddy (who I currently manage the band with) was their sole day 2 day manager for the first year, then as things got busier I basically got stuck in.

But to answer the question, the parties and vibe around what they were doing felt really different and fresh especially when in the context of punk heavy windmill / south London scene at the time.

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

Great question – yes my weeks are filled with either really great or horrifically bad days, without going in to any particulars. Taking on new partners is always exciting; there’s that pre-deal buzz, delays and complications suck. On a personal level I love hearing new demos, and have never stopped finding that exciting.

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

The Grammys 2024

What do you think are the big challenges for a manager in 2021?

Ensuring long term impact for artists and releases in the current climate and culture of new new new.

What music are you currently listening to?

Sam Akpro, JoJo, Elsas, Jayla Kai

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF Accelerator manager, Demonie Wilson.

How long have you worked in management?

6 Years

Who do you manage now?

Govana // Chi Ching Ching

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

My first client was Chi Ching Ching. I was the manager for my brother’s company called “Unruly Entertainment” . He was the first artiste to be signed by the label. Instantly, I became active in his career.  We had a successful partnership throughout his agreement with Unruly Entertainment that led me to continue working with him after his contract expired.  

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

A good day for me entails getting everything done in a timely manner. However, a bad day would be concealing meetings, arriving at an appointment late and situations arise that don’t allow me to reply to emails quickly. 
What has been the highlight of your management career to date?

It’s really hard to select a specific highlight, I have worked with artistes that have got prestigious accolades, sold out concerts in different continents, collaborated with billboard artistes from other genres, nominated for the Grammy’s and have had song certified Gold.
 
What do you think are the big challenges for a manager in 2021?

The biggest challenge for me is similar to others in the music industry.  Which is Covid 19.
It has led to major financial losses, cancellations of events and traveling to other countries have become more difficult.

What music are you currently listening to?

Afrobeat! I have become a huge fan of Afrobeat since I moved to the UK.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF Accelerator manager, Steve Abbott.

How long have you worked in management?

I started managing my punk band I was a singer in around 1979, as we couldn’t find a decent manger (not much has changed there). From there, I went on to start an independent record label, Big Cat Records, which morphed into a management and record label, as the band I was working with simply couldn’t find decent managers (it was still the days of managers sucking on cigars & phrases like ‘it will be alright son, I’ll look after you’).

One of the first bands we managed was EMF, which brought the experience of a worldwide hit and #1 record in America. It also really opened our eyes to the lack of equity in the fruits of success for an artist / manager compared to ‘the music business’. My business partner Linda Obadiah had the idea to start an organisation for managers to share experience, along with the managers of Simply Red, Dire Straights, the legendary Peter Grant, we formed the MMF in Manchester at the ‘In the City’ conference in the early 1990s.

We actually resigned from the organisation when at the next annual meeting, the other members failed to let a single female or person of colour to the management committee. Now I’ve seen the MMF has drastically changed, I’ve recently rejoined.

Who do you manage now?

We currently manage acts mostly in the Jazz or Classical field, including Jules Buckley, Cassie Kinoshi (seed.), Zara McFarlane, pianist Lang Lang, legendary songwriter Guy Chambers & Cerys Matthews. We have recently taken on two very exciting young artists, Plinio Fernandes, a guitarist from Sao Paolo, Brazil & 22 year old composer from Reykjavik, Gabriel Olafs.

Previous artists we have worked with include EMF, Jeff Buckley, Mercury Rev, Pavement, Augustus Pablo, Mikey Dread, the Claytown Troupe, Carter (USM), Nicola Benedetti & I’ve just finished managing Max Richter after 7 years.

We also recently sold our Good Life Experience Festival.

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

Our first clients really came from people that were friends through hanging out. It was very much ‘friend becomes fifth member of the band/manager’.

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

All of us at Harmonic artists are workaholics, so a good days work is starting around 8am and finishing early evening & saving the sacred two hours on a Saturday afternoon without artists calling to watch the super Luton Town FC.

The bad days are being stuck on Zooms that morph into chat rooms & of course being fired, which has happened to us twice. Which brings me to the recent wisdom I heard from manager Paul Crockford, about the two inevitable experiences of a manager. Number 1 – If the artist fails the manager gets fired. Number 2 – If the artist wildly exceeds expectations, the manager gets fired (rather than be paid).

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

I think its being able to use all the acquired knowledge, both positive & negative to work the non purely business purposes & I’m very proud to be a trustee of a wonderful Black led organisation, Tomorrow’s Warriors, who have just celebrated their 30th birthday & are pretty well responsible for 99% of the great Jazz being made in this country at the moment.

In non-music spheres as a trustee of Poet in the City. Yes, lyricists are poets & yes, poets are musicians in their musical use of language.

What do you think are the big challenges for a manager in 2021?

I think the biggest challenge is earning a living. We all know the streaming model is broken & we haven’t really found a solution to live performance through Covid times, but being an optimist, I think the relationship between a manager and artist is ever becoming fairer towards both manager & artist & somehow we will survive, as managers are traditionally fighters. I think now diversity is at the front of so many conversations, I would like to appeal to everybody to really proactively fight to unleash the potential, which will be a huge benefit to our business of the people that have been previously marginalised, through heritage or gender. That’s an obvious thing to say and it sounds very corny, but it took the tragedy of George Floyd to get responses from labels, agents & organisations in the business to what had been a long standing offer to improve their connection to the huge resource of that marginalised talent into our business.

What music are you currently listening to?
I’ve just been music supervising for a Sky Cinema production, ‘A Christmas Number One’, which has great songs, however I’m over Christmas music.

So, very handily, my Spotify top artists of 2021 include Mulatu Astatke, un.procedure, Uno Helmersson, Tony Allen/Hugh Masekela, Camilla George, Jelly Cleaver & as always Stevie Wonder, Son House, Bill Evans & Donnie McClurkin.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF Accelerator manager, Feedy Frizzi.

How long have you worked in management?

About 10 years

Who do you manage now?

Max Pope and Michael Lovett aka NZCA Lines.

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

I was DJing at the Old Blue Last in 2011 and there was a band called Crushed Beaks playing a club night there. It was love at first sound.

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

A good day is when I’m doing anything creative and/or around people. A bad day is when I’m doing accounting, reading contracts or dealing with unreasonable people. You often get a bit of everything every day.

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

I don’t have one. It’s a mix of everything that makes the whole. I’ve enjoyed the ride so far!

What do you think are the big challenges for a manager in 2021?

Breaking new artists (it’s like playing the lottery).
Making a living as an independent manager (i.e. without being paid a wage).
Keeping body and mind healthy and support others around you to do the same.
Keeping your head above water when things get busy.. you are expected to do/know everything and there is a lot going on!

What music are you currently listening to?

Max Pope’s new album which we finished a couple of weeks ago. It’s a gem and I hope it’ll do well when it comes out next summer.

Manager Spotlight offers a small insight into the heads of incredible managers, and this week is the 100th spotlight! We are excited to share that one of the MMF founders, previous chair and MMF custodian Keith Harris is in the spotlight this week. 

How long have you worked in management? 

I have been working in management since 1974.

Who do you manage now?

These days I very occasionally do some management work for Stevie Wonder still.

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

My first client were a band some of whom had been school friends. I was inspired to take them on because I thought that they were really talented musicians, and I was desperate to get into the music business and back then that was a suitable entry point for someone with little or no experience, but a few music business contacts.

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

The day that I put Marvin Gaye and Diana Ross on stage with Stevie Wonder at Wembley, was one of several highlights, alongside walking ,with Stevie Wonder, Coretta Scott King, (Martin Luther King’s widow) and Gil Scott Heron, on the 1980 March in Washington in support of the Martin Luther King holiday campaign.

What do you think are the big challenges for a manager in 2021?

The big challenges for a manager in 2021 are mainly to do with trying to compete with the sheer volume of material that is being released, and trying to make sure that all revenue avenues for an artist are exploited since streaming only pays well for those artists at the top of the tree.

What music are you currently listening to?

I am currently listening to some of the Artists managed by two of my sons. Pa Salieu,  Berwyn, and Hajhaj and other than their acts Tiken Jah Fakoly, and the Americana Act Lady Nade

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Hannah Joseph.

How long have you worked in management?

I started in the industry at 19 in management but I was predominately at labels early on so my main management focus has been over the last 25 years and the last 20 of which have been mainly producer/songwriter/mixer management focused.

Who do you manage now?

Personally via my company Decibelle. I manage Grammy award winning mix engineer Wez Clarke, legendary Grime engineer MSM and songwriter/Ivor’s Chairman Crispin Hunt and I also consult for 365 artists in a management capacity. I have a couple of other business ventures including a new publishing company JV In Loco Parentis Songs and multi media reggae company KlaAsh and I consult for Westminster Uni MA too.

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

I was approached by a client from a company I had worked at previously and it provided me with the opportunity of freelance versatility and some financial security around having young children, which I am forever grateful for and gave me the confidence to later set up completely on my own.

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

A good day entails a mixture of fun, constructive meetings, lots of positivity and happy clients! Those are not every day lol.

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

Highlights have to include Grammy trips and wins with Wez Clarke but I’ve enjoyed lots of really lovely events including A&R trips abroad, many no.1 records with clients (which I will never take for granted!), plus working with numerous amazing artists and colleagues. Every day is different in music and that keeps us all engaged – it’s a great industry to work in.

What do you think are the big challenges for a manager in 2021?

Working smart to ensure you have the right balance of income (so it’s sustainable) but also having the time to be creative and entrepreneurial. You can’t just do one thing anymore in my opinion – that applies to both managers and creatives. Managers definitely tend to wear way more hats these days and definitely can’t get complacent.

What music are you currently listening to?

Always a mixture of old and new for me. Excited for the Casisdead project (that MSM has additionally produced and mixed) – it’s a real piece of art inc visually. The new single Rude Boy by Jords is great, plus a track that’s on repeat at the moment is a long term favourite that I was reminded about recently (during a reminiscing 360 meeting), Love is All I Got by Feed Me and Crystal Fighters. It’s always interspersed by my ‘go to’ reggae, house and soul classics like John Holt, Lou Rawls, Masters at Work and definitely a bit of Buju!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Lauren Roth de Wolf.

How long have you worked in management? 

Ten years… do i get a prize?

Who do you manage now?

Africa Express, Moonchild Sanelly, The Orchestra of Syrian Musicians

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

I got talked into Africa Express backstage at the Barbican over a shared tub of humous. I almost didn’t go to that show, and it’s the main reason I love being in London. You never know what’s around the next corner.

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

A good day is listening to great new music from artists I work with and knowing deep down how well it’s going do. A bad day is visas getting refused or another covid cancellation – the resilience of artists and managers during the pandemic has genuinely been inspiring, especially as performing live is so central to the mental health of musicians and industry professionals.

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

Tough one! The biggest project I’ve done with Africa Express (the train tour) – will always have a very special (and wildly stressful) place in my heart. Moonchild Sanelly fulfilling her dream of collaborating with Beyonce was pretty great too!

What do you think are the big challenges for a manager in 2021?

Boundaries!! Most of the managers I know (apart from the predominantly male, white, older owners of management companies) are doing the job of a manager, business strategist, live agent, rights management service, sync team, artistic director, accountant and record label. It’s an incredible amount of unseen, unpaid work so if it’s not appreciated it can be pretty overwhelming. It’s imperative to set realistic expectations on both sides so that when the magic happens, you can all enjoy it!

What music are you currently listening to?

The amazing ‘Month of Sundays’ project by 2 inch punch, Pink Pantheress, Gorillaz (COMPLETELY unbiased fave = “with love to an ex”), Porridge Radio – our MMF Accelerator group shares music a lot and it’s such a great way to discover new stuff. I also just found an old hard drive of music that I took on a long trip in the naughties… K’naan’s ‘Dusty foot philosopher’ (still one of the best records ever), youngblood brass band, early Akala… the memories!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Maria Torres.

How long have you worked in management? 

I have been working in music management for around 5 years, I managed bands throughout my time at University in Bristol and then obtained a role as a management assistant in London as soon as I graduated. I then started taking on my own roster of artists and became a part of Verdigris Management at the end of 2019. Due to the pandemic, I lost my job in management but decided to continue managing independently and have taken on two artists during lockdown which has been great! I am now based in the South West and manage three artists.

Who do you manage now?

I currently manage three incredible and unique artists: Sinead O’Brien (post-punk poet), Grandmas House (punk female trio) and Keaton Dekker (alt-pop artist).

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

When I was in London, I came across Sinead O’Brien’s music online as she had been supporting multiple artists on the live gig scene in London. I listened to it and straightaway I was hooked, her unique sound and incredible musicianship could be detected from the get-go. I started managing Sinead in February 2019, and it’s been a really exciting journey so far. I am also passionate about managing powerful female fronted artists, and Sinead is constantly inspiring me every day.

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

Every day is extremely different and varied in the world of management and always bound to get both good and bad days. Good days are definitely when things are busy, multiple opportunities come through, release weeks, live shows and receiving incredible demos and new music! There’s a lot to be thankful for in the world of music management and working with such amazing talents.

A bad day is when things can get overwhelming and I am working independently so I don’t have anyone to discuss situations with, that can get hard sometimes. I find taking things day by day helps and I’ve connected with lots of other independent managers on Zoom over lockdown which has been great.

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

This is a very difficult question, but I think that it always has to be at live shows and you can see the audience reacting to the artist’s music in real time. It’s been hard not having these shows over the last 18 months, however, seeing Sinead O’Brien perform two sets at Latitude Festival in July was such an incredible moment. It was the first time she performed her new music to a crowd and the response was dynamic! Really excited to see what the next live shows bring for her.

Also seeing Grandmas House perform their first ever festival was a big highlight, as I had only seen them play socially distanced gigs up until then – so seeing a crowd dance/mosh to their music and performing to a packed out tent was incredible!

What do you think are the big challenges for a manager in 2021?

There are many challenges managers face, I would say that 2021 has brought us a new way of working and adapting to situations quickly and thinking on our feet. These times are difficult but we quickly find solutions as managers, and coming out of the pandemic I think we will have learned a lot which will only work to our advantage at the end of the day.

As mentioned previously, being an Independent Manager during this year is tough due to not having the opportunity to meet up with other managers and bounce ideas off each other. However, the power of Zoom has really helped here and I am thankful to have met so many other great managers online during this time!

What music are you currently listening to?

I am listening to a lot of Dry Cleaning, I think their album is absolutely brilliant, also listening to Wet Leg, Katy J Pearson, Nation of Language and Weird Milk.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Adetokunbo “T” Oyelola.

How long have you worked in management? 

I wear many hats from artist manager to concert promoter, producing TV and radio shows and dipping my toes into the foodie world. I have worked in management for just over 10 years now and it is one of the most rewarding aspects of my career, nothing beats seeing artists self actualise.

Who do you manage now?

I currently represent Saxophonist, Broadcaster and Author YolanDa Brown, RnB and Soul artist Cherri Voncelle, Gospel artist Annastasia Baker and my newest client Musician and composer Rick Leon James.

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

My first client was actually in the comedy world. I met a guy called Eddie Kadi at Uni and he was just a ray of sunlight around the campus, so I encouraged him to become a stand up comedian. Very quickly he was performing across the university circuit and becoming quite popular. We left Uni and started booking venues to put on our own gigs, his first was at the 600 cap Mermaid Theatre in Blackfriars, it sold out very quickly. From there we grew his audience to 2000 cap venues and after many more sold out events, he became the first black british comedian to headline the O2 Arena. It was an absolute pleasure to work with him and see his profile grow since.

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

There are no bad days… every day we have life is another chance to win, so I always ensure that my team and I look at our work always from a glass half full perspective. We don’t do bad days, only good days!

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

I feel very blessed to have had many highlights over the years, from artists winning awards, to crossing borders with their music and even getting government appointments to advise on music education. My proudest moment was a few years ago when I had 2 of my clients as the “and finally” slots on the National news on 2 different TV channels on the same evening. We had Eddie Kadi on ITV News and YolanDa Brown on BBC News talking about their individual projects in music and comedy, so surreal.

What do you think are the big challenges for a manager in 2021?

Evolving with the times and embracing new technologies is definitely a big challenge as the industry continues to change, brexit and the many implications around touring and crossing borders in Europe. Finally I think the Covid pandemic will create and over saturation of new projects based on artists all recording during the lockdown, which will have a domino effect across press opportunities, booking tours, etc. Will the audience have an appetite for it all? Will there be new project fatigue? Will emerging & independent artists struggle even more to push through against artists signed to majors? All unknown… but we must be ready to react and ride whatever wave is in front if us.

What music are you currently listening to?

Kamasi Washington, Nitin Sawhney, H.E.R, Gretchen Parlato, PJ Morton, Giveon, Jazzmeia Horn.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Andy Farrow.

How long have you worked in management? 

33 years professionally

Who do you manage now?

Opeth, Devin Townsend, Paradise Lost, Katatonia, The Wildhearts, Bloodbath

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

If we are speaking of first professional client it was a thrash metal band called slammer who were local to me. I signed them in 1987 and in 1988 they were signed to Warner’s.

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

A good day is getting chart positions and selling out gigs, a bad day is dealing with the stress of managing artists, who often being creative have what psychologists called a lot of ‘free child‘ in them, so sometimes not always rational in situations.

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

Many, Opeth getting to number 1 in Germany with their sorceress album, Devin Townsend selling out the Royal Albert Hall in 4 days, Opeth selling out Red Rocks and Sydney Opera House, managing Paradise Lost for over 30 years and with their last album obsidian having their best worldwide chart positions ever, and putting The Wildhearts last album in the Uk Charts at number 8.

What do you think are the big challenges for a manager in 2021?

With Covid and now the challenges of Brexit the biggest challenge is how to alter a bands income streams model to make up for the fact that live was up to 40% of a bands income and was wiped out.

What music are you currently listening to?

I’m listening to the hope by ferocious dog that I’m releasing on my label graphite. My general music taste is varied but definitely with a punk, alternative metal slant.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Jordan Jay.

How long have you worked in Management? 

I started Karma Artists management in October of 2012 with my business partner Ross Gautreau.

Who do you manage now?

We manage writer/producers: Red Triangle Productions/ Super-Hi, Tre Jean-Marie, Jimbo Barry, Will Reeves, Jim Eliot, Cutfather, PhD, Jez Ashurst, Paul O Duffy, John Fortis.

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

Our first clients were Red Triangle Productions, Ross & I had worked with them whilst we were working in the A&R Department at Polydor Records and built a great rapport with them. When we left Polydor and started Karma Artists the next day, naturally they were our first call!

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

A good day is hearing a great song from one of our clients and if from a writer without an artists involvement knowing we will be able to place it with a big artist –  an even better day is that song becoming a big international hit! – a bad day is doing our VAT Returns and having to chase companies to pay our clients their producer fees or royalties!

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

Hard to pinpoint one in particular – but in equal measures – a former client of ours Monsieur Adi (Who we built up to be come one of the hottest remixes at the time) being asked to support Beyonce on her European Tour… Red Triangle Scoring their first top 5 hit with KSI, Yungblud and Polo G and recently Tre Jean-Marie being nominated as Producer of The Year in this years upcoming MBW Awards alongside our writers Cutfather, Peter Wallevik and Daniel Davidsen (PhD) receiving a BMI award this week for Co-writing “One Too Many” by Keith Urban and P!nk.

What do you think are the big challenges for a manager in 2021?

Covid (obviously) we had to figure out how we could keep things moving for all our clients despite all the obstacles in their ways – fortunately they have all adapted so well and we are lucky and proud of how everyones dealt with it and of course writers & producers being remunerated fairly for their work receiving the correct royalty payments – this goes without saying that progress is being made but there’s still along way to go to ensure further transparency throughout the industry.

What music are you currently listening to?

Griff – her EP shows she’s a very strong songwriter & producer – she’s the real deal and is exciting for the UK to produce another potential global artist ….Clinton Kane feels like an exciting singer songwriter and i also cant get enough of the Ckay – Love Nwantiti record!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Audrey Gray.

How long have you worked in Management? 

I have worked within artists development and management for over 15 years working over a range of roles/skills, including; booking agent, launch/event production, music marketing, music promotion, PR, workshop panelist, tour & road management and label & music business development. I also run an online A&R subscription service that mentors and project manages independent artists.

Who do you manage now?

My management services take on a variety of activities, ranging from administrative personal assistant to Jake Isaac, touring Integrity signed worship artists Noel Robinson in the Caribbean, booking live events and producing UK debut shows and tour stops for US acts. These same skills have provided opportunities to work with music and entertainment organisations, consulting, sourcing artists, develop events and plan logistics, as a MOBO, aStepFWD and Barbados Gospelfest. More recently, appointed CEO of the Gospel Music Industry Alliance (GMIA), a governing body for the Gospel Music Community in the UK and Ireland.

Artists & Business mentoring and projects  https://www.industrydeveloper.com

Artist Services, Events & Tours https://www.artistehub.net

Gospel Music Industry Alliance https://www.gmia.org.uk

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

Going waaay back, I started by vocal coaching, encouraging students to do more and ending up developing and managing them by default. The ability to hear talent at an early stage during those weekly sessions has really developed and proven to give me great insight into the artist’s development at any stage.

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

A good day looks like getting through emails and meeting a new artist online for a mentoring brainstorming career development session.

A bad day is ending up with back pain because I’ve spent far too long in front of the computer researching travel tour routes and charting project timelines.

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

Two things…developing, marketing, negotiating, and managing a music tour for an artist I met six month prior. It was highly successful for the artist’s career and it helped me develop a promotional tour template and extend my tour management experience.

Working on a large scale music production, where I was contracted to handle logistics for 50 special guests & performances and ended up managing an additional 150 persons, two days before live ! The team I had hired and the in-house production team were amazing ! An experience like this really helps you appreciate those you work with, troubleshoot and think on your feet, all of which went on to be a key asset for me.

What do you think are the big challenges for a manager in 2021?

Challenges for managers come in many forms and levels, I would say…

There is a general lack of understanding that a manager’s role is far more than a list of duties and percentages, there’s a value and influence that managers bring to the table that can not be quantified because of the artist/manager relationship. This is not always appreciated or recognised by the artists or industry, which is why organisations like the MMF are important to encouraging and networking support.

Another challenge is making sure artists and managers are on the same page when it comes to workflow, patience has to be part of the agenda, give space for life and wellbeing.

Probably the most common challenge, working within your financial means can be hard! Although these periods can push creative boundaries, I think we all experience this at one stage.

What music are you currently listening to?

My playlist shuffle could hit Kim Burrell, Lianne La Havas, Jake Issac, Bianca Rose, Peter Collins and Micki Miller, some artists I’m checking out are;

Jerub – a great example of an indie sound with soul. A voice you could listen to all day and music production is of high level!

Rae Rae – RnB artists with a bold voice that owns the genre and message she sings about.

Reblah – Rap/Grime plus Afro vibe with a strong word based message, Reblah uses his culture and the genre to deliver bangers!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Mike Watson.

How long have you worked in management? 

It will be 15 years in 2022 which is scary. Prior to management I worked as a PR for Hall or Nothing for 10 years. It was a really inspiring place to work. I got to work with lots of great managers and Terri Hall introduced me to loads of people involved in every aspect of the music business. I’d also helped set up a little indie label so I felt I’d learned enough to give MGMT a go.

Who do you manage now?

All We Are, Do Nothing, Folly Group and The Magic Gang

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

I found Cheeky Cheeky And The Nosebleeds on myspace which gives you a good idea of the year it was. I had started messaging them but knew they were still at college, as soon as they had done their A levels, I travelled to Woodbridge to meet them and that was that. Ed Sheeran’s first gig was in a battle of the bands with them, he won.

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

A good day at the moment definitely involves being at a show and seeing people connect with the music in the way they’re meant to. A bad day; visa applications.

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

Asking Robbie Shakespeare how he made Boops.

What do you think are the big challenges for a manager in 2021?

Vinyl production deadlines. Dataism.

What music are you currently listening to?

The Aboutface album on AD93, its built around field recordings made during essential travel in the first lockdown, its stunning. Lots of stuff from Manchester, Space Africa, Rat Heart and Mandy, Indiana who were amazing at Psych Fest. Steely Dan. The new St Ettiene album is great, it’s their tenth! The Virtual Dreams compilation on Music From Memory, Septet by John Carroll Kirby, Luke Unabomber’s show on Worldwide FM, Chameleon by Anthony Naples and i’m really excited about the new Helado Negro record.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Sarah Brooksbank.

How long have you worked in management? 

15 years.

Who do you manage now? 

Bat For Lashes, Fat White Family, Working Men’s Club and producer/ mixer Ross Orton.

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

I’ve managed Natasha for 8 years, she was the first artist to come with me when I made the decision to set up on my own nearly 6 years ago. She’s an absolute genius and a truly unique singular talent, plus we get on.

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

A good day is new music, it’s a privilege when something new drops into my inbox and I’m the first person to hear it, I don’t take that for granted. When the artists are happy, when things are moving – you’ve got a plan together and you’re ticking things off the list, when the record labels are onside with it all and everyone is feeling positive, getting a song across the line at playlist, a TV or good festival booking.

On a bad day, chasing people or waiting for answers, budgets that you can’t make work, visa applications, trying to justify radio edits, band arguments.

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

There are obvious ‘CV’ moments like Natasha being nominated for the Mercury and winning an Ivor, but the real highlights for me are when you throw everything at a campaign and it pays off, I enjoy the process – getting the Fat White Family album in the top 20 was brilliant, we worked really hard, similarly releasing the Working Mens Club debut album in the middle of a pandemic with no touring and no idea what was really going to happen, and then it really connecting and getting a great reaction (and chart place!) was great. They’re all lovely people with great teams too, so it’s hard work but it’s fun. Trips to places that I wouldn’t usually get to visit are nice too.

What do you think are the big challenges for a manager in 2021?

In the short term the uncertainty means double or triple the work, everyone is nervous and a bit burnt out with it all – I’m constantly redoing budgets, re scheduling plans, everything is harder and planning anything international is a headache.
In the longer term as more and more online platforms become legitimate avenues for ‘promotion’ we’re being asked to service them all with free content.

What music are you currently listening to?

Priya Ragu, Tirzah, always PJ Harvey.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Chris Bellam.

How long have you worked in management? 

I started underplay in July 2017 after leaving Beggars where I had worked since 2001, having worked with some incredible people.  But got into management bits on the side, probably around 2012, helping out friends and watching other managers whilst working at the group of labels.

Who do you manage now?

APRE, Art School Girlfriend, Circe, Lynks, Piri & Tommy Villiers, Polly Money, Porij and St Jasper.

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

I first started managing Laurel in 2015 when she left her previous management company and I was the radio plugger. I thought the tracks were amazing and we naturally progressed into working together.

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

Good day, one new person supporting one of your acts and understanding the project. Bad day, could be any number of things, usually involving ego or emotions, of myself or others ;-).

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

The freedom to sign acts I love based on their music and persona and to keep a company growing completely independently.

What do you think are the big challenges for a manager in 2021?

The same as they have always been, maintaining belief, energy and passion in your artists whilst the landscape continually changes. Its like climbing a ladder that is always changing size and material that sometimes doesn’t want to be a ladder.

What music are you currently listening to?

I constantly listen to radio and multiple playlists across Apple and Spotify and music press, there are so many great artist finds and new music to hand. The artists I work with are also great A&R sources.

New find this week: Talk Bazaar

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Steven Odufuye.

How long have you worked in Management? 

I’ve worked in management for 7 years now. I started off as a management assistant/junior manager and took on a few clients during that period but they were my practice hours! In 2018 that’s when things started to snowball.

Who do you manage now?

Jords, a talented musician from Croydon & Mike Brainchild an all-round genius of a producer.

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

I bumped into my first clients at Sarm Studio’s in West London they came with a mutual friend as we were having a listening session and I remember them being so hungry and confident. They pressed play on some of the material they’d been working on, told me their story, we connected and the rest was history. I took them on because I saw something different in them and what they were doing at the time was fresh but most of all I saw two extremely talented guys that deserved a chance.

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

No two days are ever the same. A good day would probably entail everyone (including myself) turning up to meetings on time, my roster sending me new music that I’m excited about and completing every task I’ve set out to do that day. I enjoy most days at work to be honest but if I had to choose what a not so good day would look like it would probably be if a video shoot is delayed due to a technical difficulty or people arriving so late it pushes everything back because it would have an impact on the crew and their fees.

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

The highlight for me would have to be when my clients told me that after all the work we’ve put in they were able to quit their jobs and work on music full time.

What do you think are the big challenges for a manager in 2021?

The lack of additional income due to the live circuit being cancelled because of Covid.

What music are you currently listening to?

I really enjoy bodies of work! This is what I have had on repeat;

Tory Lanez – Playboy Live
Dave – We’re All Alone In This Together
Yung Bleu – Moon Boy
Wizkid – Made In Lagos

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Melody Perry, San Remo Music.

How long have you worked in Management? 

Unofficially I’ve been doing bits of management and helping friends out since 2018 but in April 2020 I started at San Remo Music assisting across their management roster and have recently taken on my first official solo client!

I’ve also tried to keep active in the management community by founding the MMF Southampton Tribe and organising educational and social events for managers in and around Southampton.

Who do you manage now?

I’ve just taken on producer/writer Cameron Nesbitt who has produced for content creator turned artists James Marriott and Lovejoy and through San Remo I work across producer Pete Robertson, writer Miranda Cooper and mixer Josh Ager.

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

Although I was never managing them officially, my first “client” was a band I met whilst studying music management at uni called BASH! As a super eager first year I was looking to get involved in music in any way I could, they were a pretty hyped band across the music courses so I heard tons about them. Once I met them I absolutely fell in love with the band both as a project and as people and wanted to be able to help them as well as putting some of the skills I learnt from my degree to use.

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

I think a lot of different things can make a day a good day but the best way to describe it is being busy but the kind of busy that feels productive and not stressful. I also think finding new music that you or your clients are excited about, getting great feedback on a pass of a song or meeting someone new that you really click with can help make an average day into a good one! I think the opposite of any of those can definitely result in a bit of a bad day, being overworked, getting bad feedback, not listening to good music or having a less than productive meeting never feel good!

What has been the highlight of your management career to date?
Although I have dabbled in management and been assisting for a few years it really feels like my “management career” has started now I officially have my own client so I guess finding someone I’m really excited to work with and taking the step to look after him on my own is my current highlight but i’m very excited to make many more!

What do you think are the big challenges for a manager in 2021?

As a new manager I think the biggest challenge is networking. Music is such a social industry and I think people who already have large networks often forget how impactful they are to business, whether it’s helping to build respect and trust, finding projects to work across or simply gossiping about what music you’re loving at the moment.

As amazing as zoom is, it’s incredibly difficult to build genuine connections with people virtually and I think any managers that have started since the pandemic are really struggling.

What music are you currently listening to?

My music taste is honestly all over the place at the moment but right now i’m listening to a lot of hyperpop and really loving Glaive but if you ask me the same question in a week and a half it’ll probably be a totally different answer!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Matthew Clarke, KMGMT.

How long have you worked in management?
I would say officially around 5/6 years. However, I started out booking UK tours and events in Manchester at around 14/15 years old and acted manager for a lot of artists back then too… just not sure I knew it at the time!

Who do you manage now?
I manage an artist called Stand Atlantic and head up the label division @KMGMT called Adventure Cat, which is a label ran by our managers here. Our company consists of management for film composers, writers, producers, mixers and artists and the label is our opportunity to support developing acts with short, artist-friendly deals. Most of our label artists do not have management so we naturally play an involved role.

Where did you find your first client and what inspired you to take them on?
I signed a US record deal as an artist myself when I was quite young and always knew my heart was in leading and helping others. Especially nowadays, I view the music industry as a playground to be creative strategically and so I was really looking for an artist that would challenge me and force me to do things non-conventionally. When I first found Stand Atlantic, they were a local artist from Sydney, Australia who everybody seemed to have given up on. I didn’t know anything about Australia, but I fell in love with Bonnie, Jonno, Potter and Miki and had a mutual vision that inspired me to learn in the deep end.

What’s a good/bad day at work look like for you?
A good day for me is when I see an idea turn into a reality. An ambitious release getting a good review, an obscure support tour connecting with new fans, a creative TikTok going super viral are all good days for me because I love the process of seeing growth and the artist connection being fully realised. A bad day for me is probably seeing things in the music industry happening to me, my artist or my colleagues that I feel takes us a step back as an industry. Anything unethical or self-serving for me really grinds my gears.

What has been the highlight of your management career to date?
I am particularly proud of the last album cycle for Stand Atlantic. The COVID pandemic hit right between our lead single and album release which I feared would leave the rollout disjointed. I am really proud of our entire teams’ quick reactions in re-strategising the album campaign as we focused on a more intimate, personal release with the fans, knowing we could no longer promote extensively to the wider public as effectively. As a globally touring rock artist who is used to doing 200+ shows a year, I think COVID crippled most similar artists release success. The album charted on US Billboard Current Albums 100, ARIA Charts and numerous #1-#3 Rock/Metal Album Charts worldwide with 0 touring. During the cycle, the band enjoyed a #1 Most Played song on Australian National Radio, were the print front cover stars of Rock Sound Magazine in the UK and were added to over 50+ editorial playlists across DSPs (including several covers). The band recently crossed 100,000,000 streams worldwide on DSPs, with that album being the most successful so far.

What do you think are the big challenges for a manager in 2021?
I think there are fairly obvious challenges we are going to face regarding COVID and BREXIT. However, COVID has really exacerbated managers reluctance to trust data as being tangible and I see this as a really worrying issue for managers in 2021. Especially for genres that rely on touring, data has become even more difficult to relate to meaningful progress and I feel keeping managers on-board with using data as a reliable informer is going to be even more difficult than before.

What music are you listening to?
Top 3 this week: VALLEY, Frank Sinatra and The Hotelier.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Cath Hurley, mostdeffo.

How long have you worked in management? 

I’ve worked in management officially since October 2018. I’ve worked for quite a long time in the music industry before this, and it’s always something I really wanted to do, but never quite had the confidence to take on. It can feel a daunting prospect to be over every element of what is going on with an artist, but I think the gradual build up of my involvement with projects over my career has put me in a good position.

I used to do online pr in London and would often be the first team member working with an artist due to how much growth potential there was for new acts back then with blog and website coverage. I’d most often end up supporting these bands and artists further and often shaped release and sometimes live strategy. I then became a product manager, which I loved but I was always aware that I represented the label rather than the artist and I don’t think it came as a surprise to my bosses that I went into management after I left and moved to Liverpool.

I’ve been in Liverpool for 5 years now and I took a while looking at what was going on up here objectively to see what value I could add. Management felt like a really obvious choice as I got more immersed in what was going on. Management and artist development, basically. I set up mostdeffo to really be a home for acts that I worked with directly and further promising musicians who needed some support, validation and someone to just do a bit of myth-busting.

Who do you manage now?

I have a perfect trio of acts that I adore. I work with a 3-piece garage post-punk  band called Eyesore & The Jinx. We’ve enjoyed wonderful trips such as a fly-by Eurosonic and also that time we went to Russia to play a couple of festivals in and around a city called Ulyanovsk. I work a musician who can bend her head to all sorts called Natalie McCool. She’s a sick guitarist and singer songwriter who has just released a new album and is moving down to London soon to build her craft as a producer. I also work with a very special artist called Beija Flo, who burns very brightly in lots of different of ways as a performer, songwriter, poet, illustrator, photographer, actor, activist and general all-encompassing creative queen.

Alongside this I am a co-manager of a new community music venue called Future Yard in Birkenhead. When I first wrote down the ambitions of what I wanted to turn mostdeffo into (at about 4am whilst on a solo holiday back in 2017), I rather grandiosely wrote about building a supportive community of musicians who felt empowered to carve their own path through the industry. One of the ways of doing that was a plan to bring in loads of amazing people that work in wonderful ways that would be really inspiring and open a lot of eyes very wide. Future Yard is a home for that whole ambition. I oversee our industry skills training programmes (providing routes into working in live music)  along with PROPELLER, which is an artist membership that provides loads of support and knowledge to special artists. It’s mad to be able to bring that kind of infrastructure and build that community in the town I was born in. Working in management is super important to me as it ensures I retain that real life experience of navigating the industry as it constantly evolves.

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

I met Eyesore & The Jinx whilst taking part in an artist development scheme. They’d released their first single and I picked apart the activity around it, quite honestly. In their words I was “brutal”, but they were in a position to take constructive criticism super well and build from it. By chance I saw them supporting Protomartyr the same evening and could see something special in the tracks that they had at that time. They made a lot of sense to me. We met up the following week to have a proper chat and it just so happens I was in the process of making mostdeffo into a business. We started working together shortly after that and started to build a really great collaborative and trusting relationship pretty sharpish.

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

There’s always a lot going on, so even when certain things aren’t quite going the way I want them to go, there’s always something else that’s positive to keep the spirits up.

I guess a bad day is when nothing happens. Any effort that is put in doesn’t result in any responses or actions. A good day is when inspiring conversations take place, along with seeing something developing and growing and imagining future possibilities. It’s important for me to always look forward. If something great lands, then it’s thinking about how to use it as a stepping stone and moving forward. I don’t think you can ever really stay still, can you.

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

I think that’s difficult to pinpoint. The moments that spring to mind are the ones that seem like you’re punching above your weight. Eyesore had a series of US press that happened around their debut EP which felt mad. Getting a KEXP song of the day and a gorgeous feature on Stereogum having never dipped their toes over there felt like a real moment. Hearing Natalie McCool’s haunting vocals playing over an HBO/SKY advert with a harrowed looking Jude Law was a good one. Possibly pulling together a two week exhibition of Beija Flo’s artwork along with a sold out gig at the end which featured her playing three slots in different ways. She basically did both support slots of a her own headline gig. That was a great example of knowing just how far to push her creatively without it getting too overwhelming. I can’t wait to experience future highlights. There are so many moments that make this rewarding.

What do you think are the big challenges for a manager in 2021?

The obvious is the recovery from the pandemic, but I’m hugely concerned about the implications that Brexit is having on my artists. Eyesore played Eurosonic and we had more European dates in the diary than we had UK. It all felt super promising and then they all got pulled due to the pandemic and we can’t look at rescheduling them mainly because of the unfeasibility of the financial impact of Brexit. We’re just constantly looking for focuses in other areas. Right now they’re writing, writing, writing so we can record an amazing debut album. Hopefully the EU situation will be clearer by the time we look at their live strategy again, building audiences outside of the UK in order to enable a stable career. I don’t feel this is possible without a European audience for a band like that.

What music are you currently listening to?

I’m like a sponge at the moment. I’m obsessed with Self Esteem and I’m so excited for her new album. The first two singles have blown me away, she’s so special. I also love Pillow Queens, Albertine Sarges, CMAT and I’m excited to hear further stuff from Yard Act, Denise Chaila, Wet Leg and The Lounge Society, to name a few. I could go on and on and on.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Nick Faber.

How long have you worked in Management?

‘Officially’ only for a couple of years, although I’ve worked closely with artists as a producer for over twenty years, does that count?

Who do you manage now?

Eda Eren, Eva Gadd, Gold Blend and Aaron Graham

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

Chris Ansah (drum and bass producer Chords) was doing some graphic design work in an office I was working in. I noticed he had Logic open on his laptop so I asked what he was up to; he played me the track and it was Eda Eren and I was just blown away, she sounded so different to anything I’d heard, the way she mixes her Turkish heritage with modern dance music in her vocal performance, I said I wanted to work with her. We released the track on my label and the relationship grew from there.

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

A good day – as in any job – is getting a good result, in this case one that the artist benefits from, be it a radio play or a magazine feature or a playlist or a gig offer or whatever. Forward movement. I try to roll with the bad days and, although they smart at the time, I tend not to linger on them.

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

Probably the massive support both Eva Gadd and Gold Blend are getting from BBC Introducing; it’s vindicating when big media get behind artists you personally believe in because it suggests they have commercial viability, which is what artists need to grow their careers right?

What do you think are the big challenges for a manager in 2021?

Aside from the obvious (COVID and the post Brexit touring debacle) I think an artist manager’s challenges are constantly about making the right choices for their artists. There’s clearly more competition than ever before but also more opportunity. We just need to make sure we choose what’s right for our artists to enable them to maximise their chances of success, be it promo and advertising, partnerships, live, technology. There’s a lot to unravel.

What music are you currently listening to?

I had Tres Hombres and Degüello on repeat last week of course, my Discover Weekly is like an old mixtape I never made and I’m loving Dave’s new album.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Paul Kennedy.

How long have you worked in Management?

It must be 25 plus years now. I took a break, some years back, but my love for great music brought me back to an industry I love.

Who do you manage now?

Love Harder who are signed with Ultra. Laura White, Grammy Nominated Singer Songwriter. Will Simms, Award Winning Producer, Songwriter. Not So French, who just signed to Three Six Zero / Sony in the US. Grammy Award Winner Ron Fair, Producer, A&R Executive, Songwriter. Krishane, Artist, Songwriter. SP OMG, Rapper, Songwriter. Luca & Giam DJ’s Producers, Songwriters, Michael Push, DJ, Producer, Songwriter. I also publish songs from various writers via Eastside Music Publishing and we have a joint venture with Peer Music. I also have a small label and I consult from time to time to other managers and labels worldwide on various projects. My current roster can be found at www.12one.com

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

My journey into the music industry is not like most, As I came into it from a Military background as young man. My first client found me really. Doreen formerly a member of Soul 11 Soul while i was running club nights in London and a big 20K sound system in the late 80’s. We just clicked really and she said “think you would make a good manager Paul”. I did not have a clue looking back, but it worked out, and we moved on to get her a solo deal in Europe and made her debut solo single with D Influence productions who i also took on as producers for about 8 years.   

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

A good day is spent on the phone, in meetings, working on projects worldwide and most vitally raising invoices for our clients and job sheets that we use to manage the delivery of the many, many records we deliver to major & labels worldwide each year. I also love being in the studio and I have Ex Produced quite a few big records over the years. A bad day is when the people paying the bills don’t understand what level your clients are at, and you get into a long back and forth validating your stance. Budgets at the labels have fallen so much in the last 20 years. Now the income is back at pre streaming levels for the major labels so we as managers must work hard to drive those fees back up. But if honest I don’t have too many terrible days, and i always say its all gravy compared to my last and only other job. I always like to stay positive. But I guess the admin can be quite overwhelming if you don’t stay on top of it.   

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

That is a big question, I think the most fun period for me was running my management company and a small label that we started with D-influence productions then clients. We signed and developed Shola Ama and many other great acts and got them deals via our label. I had a great roster of producers, and I was Shola’s manager for her big big debut album. We won Two Brit Awards and a multiple Mobo awards and so many others worldwide. I also managed most of the producers that did the album, so that was a big project for me, and it was a lot of work but so much fun. Snow Patrol was also huge one, while i worked with Jazz Summers (RIP) and Tim, at Big Life. I was key to Ron Fair signing the band to Interscope for the US that really took it global.

What do you think are the big challenges for a manager in 2021?

We are no longer just managers, we have to multi task in many complex areas, and this industry is evolving all the time, so keeping up with all, can be a real challenge. But the MMF do a great job keeping its members up to date.   

What music are you currently listening to? 

I listen to so much music and my early days still play a huge roll. My early days was all about Soul, Reggae and Rare Grove that we played on my sound system, much of it is still on repeat play to this day. As for modern music the likes of Tory Lanes, Pop Smoke, Chris Brown & Anthony Hamilton really do it for me, while in the UK i am big fan of Mahalia, Tems, Mostack, Ramz, Not3s, & Stylo G. I love my own acts music or i would not work on it, and i spend hours and hours going over and over demo’s to pitch to gain placements. I also love the likes of Diplo, Robin M and Balck Coffee, all mixed up with R&B, Classic Hip Hop with some great vocal Dance music all makes me smile.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Ria Gordon.

How long have you worked in Management?

I have worked in music management for 3 years. 

Who do you manage now?

I manage an artist by the name of Blanco and also a producer by the name of Alexay beats, and also a couple up and coming artists. 

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

I found my first artist through my other management job as I initially got into the music industry via having a modelling agency, through that job the opportunity came up for me to manage Blanco and I couldn’t turn down  such an amazing opportunity, I knew Blanco was special.

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

A good day for me is making sure I’m on top of my to-do list, which can be challenging with the interruption of calls and real life. A bad day would consist of me falling behind or missing deadlines.

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

I have had many great highlights since managing Blanco, I would say the first was signing our first deal with a major label and also having his track shippuden received so well industry wise and being synced in GTA.

What do you think are the big challenges for a manager in 2021?

2021 has been challenging with the COVID restrictions, though restrictions seem to be lifting slowly. We are currently preparing for his first headline show in September, so I am hoping that we will be able to go ahead with this. Whilst also looking forward to performing on festivals as he is booked for Wireless, Parklife, Reading and Leeds. Due to the pandemic the live side of the music industry was hit hard and has been non-existent.

What music are you currently listening to? 

Apart from my artists I’m still listening to some of the old school stuff as in Notorious B.I.G , DMX but also I listen to the likes of LIL Durk , Koffee , Pop caan, Stylo-g, Jhus , pop smoke and mooski.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Cleo Amedume.

How long have you worked in Management?

Properly, just about 3 years now as 1/3 of creative management team MUVVA with Mpho Mckenzie and Tekiva Ledwidge. Although I have been what I like to call an opinionated observer of the industry for a lot longer than that!

Who do you manage now?

We manage a singer-songwriter called Chrissi, producer Freemonk and production duo Yarde Boys.

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

We are very passionate about development and we’re on the lookout for an artist that had all the raw materials cut above the noise and deliver great music.

Mpho also runs a live night called fireball sessions, led by the insanely talented MckNasty. Chrissi rocked up with her guitar and MckNasty gave her the opportunity to jam on stage and the rest is very likely to make history!

Chrissi’s music offers a refreshingly real perspective on love and loss and she has such an effervescent personality, we felt blessed to be able to help steer her career.

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

A good day for me consists of a banger in the inbox, one that makes you imagine the visuals, the show set up and the audience reaction to it within the first 30 seconds of listening.

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

It’s hard to think of a single moment as I am so grateful for many of the things I get to do and who I get to do them with.

Rather than a highlight, I’d like to say my most intense moment of gratitude came on set at Chrissi’s first video shoot. Helping someone to fulfil their dreams and facilitate their vision coming to life is fulfilling to me. Watching it all unfold with my partners, the creative team and her amazing A&R Rob Harrison is a moment I’m not likely to forget…. ever.

What do you think are the big challenges for a manager in 2021?

I’d say COVID has to be a huge challenge especially in regards to live. It’s so hard to plan anything with the constant changes and uncertainty.

As an ethnically diverse all female management team the remnants of the old boys clubs and or their ideals are always present, lurking around corners, trying to undermine your choices.

Another challenge is finding external partners who are willing to be part of a creatives developmental journey, with a passion for breaking talent and not just capitalising on numbers.

What music are you currently listening to?

Just got the master back for Chrissi’s first single due to be released next month… bit of a shameless plug but I have had it on repeat.

Other than that a well cultivated mixture of ratchet twerk music, Queen and everything in between.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Kemal Ibrahim.

How long have you worked in Management? 

Before I started my journey as an artist manager,  I was a talent booking agent for 7 years, until the moment came when I had to take the jump. I have been managing my own artist for 4 year now.

Who do you manage now?

I manage two very different artists, Jean-Mikhael who is a Pop, R&B singer songwriter with powerhouse vocals and has an unapologetic stage presence; And Shocka, who is a conscious hip-hop artist, who promotes self love lyrical content and is also a voice for the mental health community, advocating the messages of positivity everyday.  I feel very blessed to have them as my artists.

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

I went down to the Brit School showcase to see what was going on, with no intention of signing an act. About thirty minutes into the show, Jean-Mikhael walks on stage and starts singing. I couldn’t believe this boy’s vocal range. I found myself looking around the venue and watching the audience’s reaction. It was a moment that has never left me. After the show I found my way backstage. I had a chat with JM, scheduled a few meetings and the rest is history.

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

As an artist manager your day is very unpredictable; It can change at any time. Generally, a good day at work is when you are getting responses to all the emails you spend hours on end sending and when you can see movement and growth in your artist’s career; whilst keeping them creative and true to their authentic self. A bad day on the other hand, is when you keep knocking on doors that aren’t opening just yet.  But like they say in the theatre, ‘the one hundred and one audition can be the one that makes you.’ Which basically means I will never stop knocking on doors.

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

I was very lucky to work very closely with DMX, seeing my artist Shocka standing on the red spot on TED Talk and the moment when Jean-Mikhael signed his first deal.

What do you think are the big challenges for a manager in 2021?

I think the challenges for 2021 has been the lack of live music events, keeping connected with industry associates as things have changed drastically due job loss and/or individuals moving to begin new job roles in new places. Reconnecting and rebuilding relationships again has also been a challenge and can be a long process. The pandemic has had such a negative impact on the music industry for many of us managers, but at the same time, has left me no choice but to become more innovative with the limited resources available and keep inventing ways to keep the artists engaged.

What music are you currently listening to?

I’m currently listening, Bree Runway- hot hot, Doja Cat- Planet her (Album) Jasmin Sullivan- Haux tales (Album) and obviously my own artist.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator Manager Jamie Ibe. 

How long have you worked in Management? 

It’s been a amazing few years now managing and loving the career journey across the music industry. My job is to protect talent and present the talent in a way that people will love them. I love the guiding of careers from a early stage as the artists progress through in their journey.  It’s been exciting, I always love the analogy of music management role is similar to a football match but imagine your playing yourself.

Who do you manage now?

I am currently managing Geovarn, Kadeem Tyrell, Lottie Jade, Richy Rambo and Ben Charles. All super talented individuals across the entertainment industry in different spaces and on different individual journeys across music.

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

My first client was introduced to me by a friend, we then met and spoke music and started plotting out takeover. Speaking on the journey and how we could work together sort of helped us iron out what we n you see to do and the best way we could help each other. Always grateful for the introduction as at the time I get as looking for artists but also very much concentrating on building my company studio so it worked hand in hand.

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

A good day is being a super productive and getting as much done as possible on the go. I love those sorts of days where i eat on the go, go from A to B, on set and end the day exhausted like I did the whole day in the gym. My favourite sorts of day is one where things get done and I really enjoy the hustle running around doing everything.

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

The biggest highlight of my career so far was securing a distribution deal and getting selected for the Accelerator program both achievements have allowed me to progress. Another highlight mention which made me super happy was being selected as one of the Music Week Rising Star.

What do you think are the big challenges for a manager in 2021?

The big challenges for managers in 2021 is finding those pockets in which to excel and drive forward in a restricted music market due to the pandemic. Another challenge will be making sure you are keeping your artists motivated as always and finding new business while also retaining business in a tough climate. Sourcing opportunities and making sure a sustained income is viable at all times will continue to be challenging.

What music are you currently listening to?

I’m currently listening to RnB, Trapsoul and Rap in my car and on the go. My artist’s new track Kadeem Tyrell featuring Omar is out now. Amazing for my client to get a track with a soul legend so happy about that. Also most recently had the new lil baby and lil Durk ‘please’ track from their new project on repeat.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator Manager Josh Cohen.

How long have you worked in Management? 

I’ve half jokingly called myself a manager for maybe 5 years, but I think in the last 2-3 I’ve stopped finding it funny.

Who do you manage now?

I manage Porridge Radio, caroline, Grove and one more very exciting secret project yet to launch!

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

My management career grew out of my bedroom DIY cassette label Memorials of Distinction. Porridge Radio’s early solo recordings were on my first compilation – I’ve been friends with Dana since my late teens. I egged them on as a full band and helped record their debut album in a shed. When it became clear that other, more serious labels with real money and resources were interested, I decided to try to stay involved somehow, and I figured that meant ‘managing’ them.

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

It’s hard to tell the difference to be honest: sometimes it feels good to have a load of meetings and emails, sometimes it feels bad. I’m sure once COVID is behind us the good days will be defined by much more interesting and glamorous things, but for now it just depends which side of the bed I wake up on.

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

The very quick journey Porridge Radio took from being a beloved janky underground project, to being highly respected, Mercury-nominated artists has been amazing to witness closely. COVID destroying every plan we had, precisely during the week of Every Bad‘s release, meant it’s taken me some time to really appreciate the things that went right.

What do you think are the big challenges for a manager in 2021?

Besides the obvious COVID-related stuff, it seems maybe harder than ever to build a new artist’s real audience and real income, and that means it’s harder than ever for management to make money too.

What music are you currently listening to?

Loving the recent Spinny Nights releases from Robbie & Mona and Cix, very obsessed with Frog of Earth recently too. Also listening to Dear Laika, TaliaBle, Shlomo Carlebach, Theodor Black, Wolf Alice,  Naima Bock, Yu Su, and beautiful unreleased stuff from my roster all the time.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Kelly Okogwu.

How long have you worked in Management?

I have worked in music management for 10 years + and management for about 7 years.

Who do you manage now?

I co-manage Lost Girl on the music side and Jeremiah Emmanuel on the creative side. Lost Girl is a singer songwriter and Jeremiah Emmanuel is an entrepreneur, youth activist and author. He also runs a music and entertainment company called Just Ents which I have consulted for and still do some ad hoc work for.

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

My clients usually come about after building a relationship with them. I think it’s important to build relationships with talent before you take them on as a client and start to manage their affairs. Being a manager involves everything and you have to genuinely care about them and have their best interest at heart.

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

I think having some me time is really important for me. I never knew what me time looked like a few years ago! My wellbeing is really important to me, by nature I tend to put everyone and everything before me. I am passionate about being of service, but I’m also passionate about being holistically well (mind, body and spirit) as you can’t serve others if you haven’t served yourself first.

What has beenthehighlight of your management career to date?

Working with Artists such as Tinie Tempah and Wiz Kid has been my highlight. And working across major collaborations with people like Stormzy, Rita Ora and Calvin Harris.

What do you think arethebig challenges for a manager in 2021?

Covid. Nobody knows where the world is going.

What music are you currently listening to?

Lost Girl and Tems.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Yasmin Lajoie.

How long have you worked in Management?
I’ve worked in management nearly five years. Before that I worked in music publishing for 6 years, at EMI, Sony and Warner/Chappell.

Who do you manage now?
I manage God Colony and biLLLy and also work at Empire Artist Management, who represent James Newman and The Manor.

Where did you find your first client and what inspired you to take them on?
biLLLy was the first client I signed to my management company Slay Music. He’s such a talented producer and songwriter, but just as importantly he’s a lovely guy. We were friends for years before we started working together.

What’s a good/bad day at work look like for you?
A good day is when I’m feeling really productive: Zooms, meetings at labels, maybe lunch at Soho House, and a gig in the evening. I struggle with my mental health and bad days are common, when you feel a bit useless and nothing goes your way. I also hate chasing invoices – financial admin always makes a day worse!

What has been the highlight of your management career to date?
I’m not sure if there has been a singular highlight. Every time I hear a finished song on the radio or performed live… that’s amazing.

What do you think are the big challenges for a manager in 2021?
This year I’m trying to recover some of the income I lost during lockdown. It’s hard, especially for songwriters. I support the #BrokenRecord campaign which lobbies for more equitable remuneration for artists.

What music are you currently listening to?Griff, Rina Sawayama, Olivia Rodrigo, Arlo
Parks. I love Self Esteem’s single I Do This All The Time and I’m most excited about new Lorde album. It truly is a Hot Girl Summer!

ps I recently received an offer to study at Cambridge University and am raising money for tuition – if you would like to support please head here.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is  Neha Hindocha (Sound Collective)

How long have you worked in Management?
I have been working as a manager for 3 and a half years now. I initially started managing a development artist and then towards the end of 2018 I joined Sound Collective as a manager

Who do you manage now?
I co-manage 10 producers and songwriters with other Sound Collective managers including Royale Avenue, Nick Bradley, Anthony Trueman, Adj Buffone and Michael Angelo. I also co-manage Taneisha Jackson with Massive Management. We have over 30 clients in total on our Sound Collective roster.

Where did you find your first client and what inspired you to take them on?
The first client I signed at Sound Collective was Anthony Trueman. A young producer who had already been in some good rooms but needed to take things to the next level. I heard his demos and could hear some real potential. We gave him some initial sessions to see how he got on and there was one song he did wrote with NEVE that made me decide instantly that he needs to join the fam.

What’s a good/bad day at work look like for you?
Most days are good and insanely busy but that’s what I love about it. It’s non-stop and every day is different! We do about 10 sessions a day across our roster so at the end of the day we are always getting great music back. An especially good day is getting a cut confirmed or getting a banger back from my producer/writers’ sessions and everyone is buzzing about it. There aren’t many bad days to be honest. There will be those days where multiple sessions are cancelled for one reason or another and I am trying to reshuffle the diary at the last minute but to be honest, it’s not that bad. All in all though I can’t complain, there is fun in the madness!

What has been the highlight of your management career to date?
My highlights have definitely been securing publishing deals. We got Nick Bradley’s first deal last year with Karma Songs / Budde Music and currently we are finalising LAWRENT from Royale Avenue’s new publishing deal. All very exciting!

What do you think are the big challenges for a manager in 2021?
We represent mainly producers and songwriters and one of the things we are strongly advocating is getting our songwriters fairly remunerated. It’s very challenging for a songwriter manager to see decent income for their client unless the songs do millions of streams and get ample radio play. Last year we started to charge reasonable writer fees for songs that are cut which for the most part have been accepted by labels and artist management. We have started to see a very gradual shift in culture but overall it is a cause that still needs a lot of work and endorsement for it to become an industry standard.

What music are you currently listening to?
Whilst my producers and writers work across all genres, my personal taste in music definitely leans more towards contemporary/indie R&B and UK rap. At the moment I’m listening to a lot of Jasmine Sullivan, Tiana Major9, Odeal and Wretch 32. Also randomly, I love listening to Latin pop, Reggaeton, Bachata and Cuban salsa!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Griff Harding.

How long have you worked in Management?
I have worked in management for almost 4 years. I started my music career as a radio plugger with Listen Up and then moved into A&R with Cr2 before finding my love for managing acts which I have been doing independently since.

Who do you manage now?
I manage 3 hugely exciting talents – KALM, Fallon & LAZY JOE. All of them are focussed in the dance & pop world with their own solo projects, alongside producing/writing for others.

Where did you find your first client and what inspired you to take them on?
KALM was my first client. He had sent over a couple of demos in the inbox for the YouTube channel I run. The tracks were raw but I loved the width to his sound and we got chatting. He had that extra dimension to his production that set him apart from so many others even if it wasn’t polished yet. I was also an A&R at the time and management wasn’t directly on my radar but something I had always wanted to move into. Then after a few months of chatting about records, KALM asked if I’d want to manage him and I haven’t looked back since.

What’s a good/bad day at work look like for you?
I absolutely love my job. There’s nothing more exciting and fulfilling than enabling an artist to reach their full potential and I always feel privileged to work with the acts that I do. The excitement on release days is a buzz like no other. It is the journey from taking records at their conception to market and fans. I love it. Also, never underestimate a list. It’s always a good day when you have your ducks lined up. Bad days are few and far between. I always feel it’s important not to dwell on things that are lost but rather what can be gained.

What has been the highlight of your management career to date?
I have had many. For me, nothing quite beats hearing a record from one of your acts on the radio whether it be BBC Radio 1, Kiss FM, Capital etc. There is just something so special about that for me especially when your act gets it for the first time. Sometimes you can get wrapped up and forget that we all really are fans inside. Also, we’ve had the pleasure to work with some incredible labels. Fallon with Another Rhythm & Atlantic Records. KALM with Good Company & The Other Songs. LAZY JOE has his solo project launching in Q3 2021 and cuts with the likes of Alok, Disciples & Hayla.

What do you think are the big challenges for a manager in 2021?
The last twelve months have definitely given management a different perspective and taught us how to adapt. The lack of live performance has definitely had a big impact. Also, the lack of facetime with clients has been difficult. Nothing beats getting together to brainstorm and plot worldwide domination. There have been some positives though. Due of the lack of time on the road it has given my acts plenty of time to keep developing their sound and we are sitting on a lot of music. Our biggest challenge for the rest of the year is now executing their releases and entering them into the market at the right time with the right placement & support.

What music are you currently listening to?
I only listen to KALM, Fallon & LAZY JOE… no just kidding haha. There is so much good music around at the moment. I feel lockdown has been a real creative space. I’m absolutely loving Jess Bays, Rain Radio, THAT KIND, Sleepwalkrs, Ben Rainey, Jodie Harsh, Violet Skies, Griff (cracking name), Yaman Khadzi, Navos and many more. There’s too many to mention.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Sheila Baker.

How long have you worked in Management? 
I have been managing for several years working on releases and campaigns freelance. In 2018 I became a music manager on the books and a consultant specialising in artist development. I am now making a decent profit from opportunities I have secured for my artist.

Who do you manage now?
Multi-disciplinary artist Brother May – singer, songwriter, performer, producer, MC, label boss and co- founder of CURL recordings / CURL Collective alongside Mica Levi and Coby Sey.  Brother May has his own imprint as well as releasing up to 14 official catalogue releases with CURL recordings. He performs live solo as well as performing as a DJ set with CURL and touring internationally as a 3/5 piece band live as CURL.

Where did you find your first client and what inspired you to take them on?
I’d been managing a friend during my years in sixth form, learning the ropes whilst taking a Music Management course at the Chocolate Factory. I met my first professional client – Brother May – at an event in which he was performing. He had great stage presence and crowd control in those early days which was very impressive. He also had a very humble attitude and his self belief was admirable. He made me believe I could make music my career. We have been working together for many years since and it’s been such a blessing to help develop such a profound artistic genius.

What’s a good/bad day at work look like for you?
I love my job so everyday is a good day – I enjoy the campaigns, live performances and the wonderful people I am able to meet and work with. There are no bad days – there are just lessons to be learnt and wisdom to be gained. If I had to highlight a bad day – it would be those days that seem hardest when I’m trying to gain information to push my artist forward but it seems like certain key figures in the industry (gate keepers) are withholding key information.

What has been the highlight of your management career to date?
I have been blessed with some amazing highlights in my career – the release of Brother May’s debut album ‘Aura Type Orange’ was such a great time in my career. It has been 5 years now since the creation of the CURL Collective and I have enjoyed the whole experience. We have released project with the likes of Tirzah, Ben Vince, Kwake Bass, WU-LU, Tony Harewood and Akinola Davies to name but a few. Working within this great industry alongside friends from such amazing companies and individuals within the music and film industry such as Iconoclast and QuJunktions is a highlight. Receiving funding from the MMF Rebuild Fund and the Princes Trust has been exceptional – I’m very excited for the future.

What do you think are the big challenges for a manager in 2021?
The pandemic has changed many things especially in regards to live performances. However I am a strong believer that the music industry is recovering rapidly. Personally I have not allowed the pandemic to stop my artist’s progress forward with the release of the Aura Type Orange vinyl, we released the video for ‘Can Do It’ from the album (thank you for all the messages in regards to how this song as helped you get through these times – which is visible on YouTube comments & across my artist’s socials). We continued with the campaigns and released EP ‘Love Is In Demand’ spearheaded by formidable PR company Ten Letter PR and single ‘Bando’ which received key Spotify playlists. I am optimistic for the future as we are gearing up for the release of features my artist has been working on with Moor Mother and Kae Tempest and gearing up for our next project releases. I won’t allow anything to stop my progression, it’s important what I did yesterday – but its even more important what I’ll do today and that what truly matters.

What music are you currently listening to?
At present I am listening to Brother May’s Meeks and May EP – this is available on CURL recording bandcamp now and set for release on 4th June on all digital outlets – the EP is so great very original and fresh with wordplay and writing skills comparable to the best writers in the world. Also Om Om Om by Micachu (Blue Albi LP) ft Brother May – the song is so good and talks about real political issues we face everyday and how to overcome adversity, which is inspiring – I am also listening to other members of the Curl collective – Tirzah – Send Me, Coby Sey – River, Alpha Maid – Spy

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Amber Chen of Atlas Artists.

How long have you worked in Management? 
I’ve worked professionally in management for a year and a half now. But I’ve been managing friends bands here and there since I was 16!

Who do you manage now?
I work across Celeste, Rachel Chinouriri, newfamiliar, Kam-BU and Gabriels.

Where did you find your first client and what inspired you to take them on?
My first ever management experience was with a band I went to uni with and I was just eager to gain experience in the industry! I went on a UK tour with them and it was so hectic but gave me a whole new perspective on the live industry. I learned a lot from them even though it didn’t work out in the end. They were a really creative fun band and that’s what inspired me to take them on.

What’s a good/bad day at work look like for you?
A good day at work for me is when I’ve got all my ducks in a row for the next week and I know exactly where my artists need to be and when. But saying that the industry is very unpredictable and we can’t always plan for when things come up. Being able to adapt quickly and problem solve is something I’ve had to get really good at!

What has been the highlight of your management career to date?
I’m really lucky to have had some great moments so far but one of my career highlights has been working on the ‘Plain Jane’ video with Rachel. It was really wholesome and inspiring to be working with so many young creatives and seeing the vision come to life was really special. Celeste’s ‘Not Your Muse’ album going to number 1 is definitely another one which I feel incredibly grateful to have been a part of. During such a hard time of year too it really lifted us up.

What do you think are the big challenges for a manager in 2021?
Covid is definitely still a big challenge for managers in 2021, being able to work around all of this has been difficult. Being able to keep spirits high during a year in which we’ve lost a whole part of the music industry (live music) has been a challenge. However we have learned so much and now that we’ve gone through all of this it makes me feel like we can face any challenge that comes our way!

What music are you currently listening to? I’ve always been a big fan of Brockhampton so their new album ‘Roadrunner: New Light, New Machine’ has been on repeat for me. I’m also loving Deb Never, 070 Shake and Japanese Breakfast.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Cheyenne Walker.

How long have you worked in Management? 

I have been managing for 3 years now.

Who do you manage now?

I started managing Safiyyah in 2019 and muva of Earth in 2020.

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

I met Safiyyah in secondary school and knew she was an amazing singer, from her singing in our lunch breaks always. However it wasn’t till I was in my first year in university studying music business that we started working together. I really wanted to start managing artists but was nervous and Safiyyah felt the same about starting her music career. So we both put our trust into each other to see where things would go and so far things are going really well.

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

A good day at work for me is attending music sessions with my artists and witnessing great music getting created. A bad day at work for me is having invested time into a campaign or performance to only be canceled due to covid. However the chances of this happening again are hopefully slim.

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

Safiyyahs debut EP making it onto Jamz Supernova’s top 5 EP list and Safiyyahs most recent single Free ft Rada produced by Solaariss placing on New Music Fridays playlist. Another great highlight for me was starting working with muva of Earth, I remember shooting one day in a Oxleas Wood in the cold rainy weather with an all female team. It felt so empowering to be working through tough weather conditions and everyone still be so dedicated and resilient.

What do you think are the big challenges for a manager in 2021?

I would say the big challenges managers face in 2021 with female rosters is trying to secure festival opportunities. Wireless Festival’s line up is a great example of how male dominated the music industry is, not only for artists but also on the business side. There needs to be more opportunities for female artists.

What music are you currently listening to?

I have been loving, Bina, Nikhil Beats, Dan kye, Sio an amazing artist from Johannesburg, Hiatus Kaiyote and Bellah. Feel free to check out my curated playlists for sweet-than zine on Spotify.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator Manager Ben Price. 

How long have you worked in Management? 

I’ve been managing artists for around seven years. I was originally working as a tour manager whilst managing a few people on the side, but I’ve been in full-time management for about three years now.

Who do you manage now?

Right now I am looking after Viktoria Modesta, Lachi and Lucy May Walker – quite a varied roster so no one day is ever the same!

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

I took the route many do by originally managing a friend and developing it into a professional situation. I think just having unwavering belief in their ability was the deciding factor. From there with a bit of success it just grew into a situation where I had a few clients.

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

I’m obsessed with being on top of things so a good day is that feeling when you’ve got a grip of everything, and your artists are all busy on creative projects. A bad day is being stuck in Zoom meetings all day! I think everyone’s excited for real meetings again.

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

I actually think it’s been setting up the new business this year and seeing the reaction to establishing a company working deeply in the disability arts scene. It’s opened up so many relationships and been backed by so many key organisations. I am really grateful for the response and there is so much more to come from us this year.

What do you think are the big challenges for a manager in 2021?

I think establishing and maintaining a business model for our artists not based on live income is still the biggest challenge. We’ve all had to pivot pretty quickly and find new income streams. Whether that’s with brand partnerships or NFTs, we’ve always found a way. Also, networking and developing relationships is still a big challenge – online conferences are great, but not the same.

What music are you currently listening to?

My taste is so broad, but right now I am enjoying records by Ethan Gruska, Sorry, Eli Smart, NewDad and Shakey Graves to name a few. I like music that sits in the background nicely while I’m working. I can’t listen to the hits, I’m too easily distracted!

Any project you are working on at the moment you would like to highlight?

Yes! I am currently consulting on the Future of Disability in the Music Industry. I am publishing a report commissioned by Arts Council England in the summer, so I am calling on all music industry workers with disabilities to take my survey.

You can find it here: https://www.surveymonkey.co.uk/r/SMWPTHB

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Angela Mastronardi.

How long have you worked in Management?
On and off for nine years. Straight out of university, I landed my first job as a managerial assistant at Lateral Management, looking after Paloma Faith, Taio Cruz and John Martin. Six years later, I received a call from Steve Jervier inviting me to work with him.  He’s such a legend in the industry and it was such an honour to be asked so, of course, I jumped at the chance.

Who do you manage now? 
Banx & Ranx, Sleepwalkrs and NK.F

Where did you find your first client and what inspired you to take them on? 
I was introduced to Sleepwalkrs when he was studying at ACM, Metropolis. At the time, I hadn’t developed my management skills and contacts and couldn’t provide the service he needed. I’m so glad that after all these years, he believed in me and we’re now able to work together.

What’s a good/bad day at work look like for you? 
I rarely have bad days as I believe everything happens for a reason so if things don’t go to plan, I learn from it and strive to improve. A good day for me is sharing the same excitement and energy for a project with my clients.

What has been the highlight of your management career to date? 
Working and cutting records with artists that I’m a massive fan of (including Sia, Sean Paul, Reve and Alessia Cara).

What do you think are the big challenges for a manager in 2021? 
I am a people person so the toughest thing for me was not being able to go out and see clients in person. Other management challenges in general are live music, streaming and the pandemic freeze.

What music are you currently listening to?
I love music that I can sing along to, especially, whilst I’m working on emails or running on the treadmill. I’m currently listening to Alessia Cara, Lana Del Rey, Demi Lovato, Lady Gaga, Marina, Alex Hosking, Karol G, Kalm, Hongza and VC Pines (check out the girl power in that list!).

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Willow Dingwall-Fordyce.

How long have you worked in Management?
Believe it or not I haven’t actually been a manager for a full year yet. Working in royalties/licensing at PRS, marketing at Island Records & as an A&R at Global Records I made so many useful contacts and gained so much industry knowledge that I realised that it would be a wasted opportunity not to utilise my wealth of experience with aspiring artists.

Who do you manage now?
Evalina, Nova May & Olive. I also co-manage Taet with Michael Flakes & Conner Westney and am an A&R consultant to Rak-Su under my MGMT company The Misfits Management Club.

Where did you find your first client and what inspired you to take them on?
Whilst working as an A&R I fell down the rabbit hole of watching youtube covers to find undiscovered talent and came across Nova May’s cover of Britney Spears’s ‘Baby One More Time’ and was absolutely blown away by her gorgeous voice and striking beauty that I knew in that moment that we were destined to work together as I was instantly her biggest fan.

What’s a good/bad day at work look like for you?
I’m an optimist. There is never a bad day, only a bad mindset. A great day would be any time I get a song back from one of my acts, whether it be a demo, a feature or the final mastered radio edit. Hearing each one fills me an overwhelming sense of pride & excitement.

What has been the highlight of your management career to date?
As a former artist myself, I tend to live vicariously through my acts, so any highlight to them is a highlight to me. As we have SO much incredible music coming out this summer, if you were to ask me the same question this time next year the list of highlights would be endless. But so far this year I’ve had Nova May’s debut track signed to prominent a dance label, have organised some huge upcoming collaborations & features for Rak-Su, have seen Evalina & Taet reach monumental streaming numbers into the millions and have had Olive’s track ‘Toy’ be selected & signed by Universal to be part of their 100% her album in partnership with She Said So.

What do you think are the big challenges for a manager in 2021?
I am anxious to see how we will adapt back into live music and touring. We have become so reliant on using spotify and social media to promote new music that it will be very interesting to see if live shows are just as important & necessary now to break new acts and cultivate a fanbase.

What music are you currently listening to?
In the run up to summer it’s all about the DJ’s for me: T.Matthias, XORO, DJ SKT, Yola Recoba, Royale Avenue, Bobby Harvey, Tudor, Movada, Lazy Joe, Alexis Knox, AJ Moreno, Just Kiddin, Tom Ferry, CLIK3D & Kisch.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Georgia Strawson.

How long have you worked in Management?
I’ve worked in management for 6 years now.

Who do you manage now?
I look after IDER, and over the last year I’ve been helping out on a newer project with an artist/producer, who’s yet to be introduced 🙂

Where did you find your first client and what inspired you to take them on?
I found the IDER ladies before IDER even existed. They were both studying pop music at university. In 2013, they were performing in St Pancras with their uni band as part of a small series called Station Sessions. It just so happened I was passing through whilst they were on stage. I subsequently made contact with them, without any real agenda or idea – I just knew their talent was rare and beautiful. Long story short, we stayed in touch, they graduated and eventually in 2015 the IDER project began, as did my adventure into artist management.

What’s a good/bad day at work look like for you?
A good day is being able to actually cross several things off my to-do list. I work on my own and sometimes it’s hard to break up the day effectively, because I’m answering to myself; the fact is, if I don’t do something, then it doesn’t get done. It’s a lot, but at the same time, I’m grateful as it means I just have to pull my socks up and deal with it… which is a great way to learn. On the flip side, a bad day can also stem from the fact I work alone – it is truly, unequivocally tough. Sometimes you just need to scream, y’know?

What has been the highlight of your management career to date?
This industry is so hectic. It’s non-stop highs and lows. It might not be a traditional highlight, but pulling through the difficulties and emerging stronger and wiser – you can’t match that.

What do you think are the big challenges for a manager in 2021?
Covid-19 and Brexit aside, (and speaking as an independent manager here), I need the digital world to relax. The metaverse, AR, AI, NFTs, gaming, social media, the list goes on. It’s so much. More often than not, it proves such a headf*ck that by the time you think you’ve understood something, it’s already over and something new has emerged. I love innovation, but the speed at which things are moving is actually terrifying. At this rate they’ll be announcing shows on Mars for 2023.

..Plus, without a substantial budget, a lot of these avenues make for a pretty exclusive club.

What music are you currently listening to?
I love serpentwithfeet and his new record is unreal, he’s such a special artist. A few others would be Mustafa, shygirl, and Hope Tala.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Rimes of Just Entertainment.

How long have you worked in Management?

I’ve worked in management for nearly a year now just started during the first lockdown.

Who do you manage now?

Now I have a management company called Just Entertainment alongside the co-founder of Jeremiah Emmanuel. We have a roster that consists of the producer Hargo, aspiring artist Nino SLG, afro beat artist B-Fela and drill artist Kay2B

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

I found my first client through Instagram what inspired me to take them one was they had a really cool hook that I helped   developed into actual song which ended up getting signs of relentless records.

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

I would say a bad day in the office for me is not getting responses from emails but that’s part of the game and feeling like I haven’t done enough to improve my artists careers. A good day in the office will have to be seeing the growth of something that I’ve done.

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

Personally I would say being able to find Nino SLG and build him from the ground to where he is now which I believe is a very good position. He is also releasing an EP very soon.

What do you think are the big challenges for a manager in 2021?

I think one of the biggest challenges for manager in 2021 is Covid and not being able to make your artist experience shows because of a lot of artists that are around now have come up during lockdown so they have been born into no-shows so I think it’s about preparing them.

What music are you currently listening to?

I listen to quite a lot of up-and-coming artist so I can’t exactly see what music and I currently listen to but do you like rap caviar on Spotify playlist

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Anthony Faulkner.

How long have you worked in Management? 

I’ve worked in artist management and record label management for over the past two years. I graduated a music business course at BIMM Brighton in 2019. I really wasn’t sure on where I first wanted to be before starting out in music, that didn’t necessarily daunt me too much,  I just knew that I was going to throw myself 100% into anything I got involved in.

I used the time during uni to study and to try out a few different roles between PR, booking agencies and working in clubs but felt my personality and skillset lent itself towards artist and label management.

I now co-run an artist management company called The Wild Seeds with my esteemed colleague James Bullock who started the company in 2016, the roster includes Alexis, Derrick Carter, Guy Andrews, Max Cooper and Rob Clouth. I’m also label manager for an audio/visual and electronica label Mesh that was founded by Max Cooper in 2018.

Who do you manage now?

I represent 2 artists, Alexis and Rob Clouth. I also freelance tour manage for two bands, FUR and Egyptian Blue.

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

The first artist I started working with is Rob Clouth, I was inspired to work with Rob as his music pushes the discipline forward of what electronic musicians can achieve. Rob focuses on fusing science, music and art within his sound whilst bringing in a further staggering depth to it all with his background as a software developer by where he incorporates his own homemade plug-ins. Rob describes sound as a block of marble, one that you have to chisel and sculpt to get the outcome you want. I do see it as we both ‘took each other on’, it’s very much a team effort.

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

If I’m honest each day has been filled with them in both measures. A good day is seeing the people you work with achieve their artistic and personal goals and helping to push each other each day to do the best work you and they can, and seeing a plan come together, there’s no better rush. The team I work within are all very supportive of one and other and we constantly strive to push each other forward.

A bad day can be letting a bad decision or something not going to plan get the better of you, it can easily happen, well at least for me, I think being kind to yourself can only help that and knowing that things will and do go wrong and how you remedy it with solutions can make up for it. I think some industry attitudes can attribute to a bad day, in which I sometimes fall on the mantra of the late and great Andrew Weatherall, “Don’t let the grubby opportunists get you down”.

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

Working with the artists and people I do every day, and growing with them together. I still feel like I’m getting started and the best is hopefully yet to come.

What do you think are the big challenges for a manager in 2021?

There’s been quite a few, I really feel for everyone at the moment, it’s been difficult for everyone in so many different ways. I feel the amount of responsibility and all the different aspects the job has now has to encompass can be challenging. The main challenge is for everyone to keep motivated with such a shortage/no form of income without shows, practically impossible for most artists and teams. My door is always open if anyone feels the need to reach out and talk.

What music are you currently listening to?

I’ve been hammering all sorts at the moment, I’ve had the latest Com Truise LP on repeat, dabbled with a lot of Khruangbin, Octo Octa, Alexis, Lone, Upsammy, Anderson.pak, Shed, Orjerime, Logic 1000 and SG Lewis. (also tons of music on the Mesh label… Llyr, Reid Willis, Alex Banks, Rob Clouth, True Peak Limit, Indian Wells and Non Square).

For the 8th of March, we’re celebrating International Women’s Day with a very special ‘8 on the 8th’ Music Manager Spotlight Series. Throughout the week we will highlight some incredible managers, here’s our chat with Alex Weston of Riverman Management.

Tell us a bit about yourself!

Riverman (myself and my business partner Dave McLean) started out back in 1989 as concert promoters.  We basically promoted all the grunge bands for many years prior to and post the explosion of grunge. Nirvana, Soundgarden, Pearl Jam, Alice in Chains, Smashing Pumpkins, Rage Against The Machine….  Etc etc.

Moved into artist management in 1995 with Placebo who we still manage today. Current roster also includes Wild Beasts, Deaf Havana, Colin MacLeod, One True Pairing (Tom Fleming), Tara Lee, PEAKS and Dougie Poynter. Previously managed Bryan Ferry, Roxy Music, David Sylvian, Evaline (USA), Expatriate…

What is your greatest career success to date?

Career success?  Difficult to say but probably Managing Placebo for 25 years. Also managing the Roxy Music original reunion 51 date world tour. Producing a feature film ‘Schemers’ which was released in January this year.

What has been the most significant challenge you’ve encountered in the industry?

I think the move into a wholly digital world across all areas now. The pressure and knowledge now demanded of managers to be experts in all areas is ridiculous. New tech companies offering new marketing/promotion/streaming/creative/etc etc on a daily basis is mind numbing, time consuming and (for me) rather depressing. It’s probably highly exciting from the young managers now coming through but my passion was always about the music, devouring an album, artwork, credits…. not about technology and algorithms! The first question anyone asks now when you present a new artist is ‘what are the numbers?’ not, can I hear the music.

Who gets your Women’s Day shoutout?

The Riverman team. Dave, Angus and Ginny. We’ve been together for many many years and they’re the people I turn to and trust entirely.

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

I’ve never personally felt that I’ve been held back or undermined because I’m female and quite honesty I never really spent time contemplating the fact I was one of very few female managers. I just got on with the job and along the way I’ve made some amazing lifelong friends in the music world – both male and female. I’m a big supporter of women in every industry and will argue long and hard about women’s equality. I’m very happy to see so many more women enter the management world.  I think the changes are already happening but I’d certainly like to see more women heading up labels. Major or indie. Rebecca Allen is one of very few women who have achieved this. She’s a great example of why more women should be running these companies. She goes about her business with the right attitude and without fanfare and the need to flex muscles and throw her weight around.  Just gets on with the job. I think women are naturally more empathetic which is a great advantage in this industry, especially dealing with artists. I have actually found a fair number of artists in the last couple of years particularly keen to work with a female manager too which can only be a good sign.

Hopes for the future?

Same as above generally.

For the 8th of March, we’re celebrating International Women’s Day with a very special ‘8 on the 8th’ Music Manager Spotlight Series. Throughout the week we will highlight some incredible managers, here’s our chat with Lulu Davis of Incendia Music.

Tell us a bit about yourself!

Hi, I’m Lulu Davis and I have been running Incendia Music for what will be 10 years this year. I first dipped my toes into artist management when I started University at the age of 18 and have developed a career out of it since. I also work as a publicist and consultant and my focus genres are rock and metal. You can check out our roster at www.incendiamusic.co.uk but my current management roster is Acolyte (AU), Voyager (AU) and Earthside (US).

What is your greatest career success to date?

My greatest achievement is the fact that Incendia Music is still here today, still growing, and still moving forward in a very competitive industry. I’ve progressed as both a businesswoman and an artist manager significantly over the years and a big part of the recent developments and achievements within the company were a result of being a part of the inaugural MMF Accelerator Programme. This was hugely beneficial to me and further developed my music industry education, my network and also access to resources as a manager. There are too many experiences to identify a specific career success but having one of my management clients Voyager shortlisted for the Eurovision Australia nationals was definitely a time when one of my crazy ideas ‘almost’ came to life. Sometimes its the small victories. That in itself was a big achievement for even being acknowledged and being in those conversations. Other things include international touring and record deals, participation in international conferences representing my business, award nominations and wins, significant press coverage, being highlighted as one of Music Week’s Rising Stars; the list goes on. 2021 is set to be a successful year for the business and my roster with new partnerships that I’m yet to announce, which will certainly further cement my capabilities as an artist manager. Ostensibly I’m thrilled to be working with teams that share the same vision as me, and that in itself I consider a success.

What has been the most significant challenge you’ve encountered in the industry?

I’m frequently confronted with challenging situations in this career choice and I’m sure there are still many to come. What was a challenge to me at the beginning of my career is likely no longer a challenge now, or maybe I’m confronting the same challenges but on a higher level. These challenges have been at times personal, and they have also been business related, both of which are relevant when it comes to trying to integrate yourself in a male dominated industry. But weirdly enough this didn’t phase me, it just made me want to succeed even more. Ultimately I try to let professionalism and common sense prevail because at the end of the day I stand here with conviction and confidence in my decisions, and that I am a hard working individual who wants only the best for her artists. I think initially I struggled with people taking me seriously because I was “running a business” at the age of 19, and I consistently put myself in front of industry moguls and forward for opportunities that people way more experience than me were going for, which raised a lot of eyebrows. Some called it naive, some called it ambitious – but how was I ever going to learn unless I taught myself these lessons? I had nobody mentoring me so I just did what I felt I had to do and if that meant flying to LA to speak on a panel about the challenges of working with smaller bands then that’s what I emptied my bank account to do.  But apparently if you keep doing this over the course of 10 years people eventually build respect for you as you consistently show up and prove you’re not going anywhere, and that you’re invested in this career for the right reasons and not just for guest list (haha). There have equally been times I’ve had to walk away from a great opportunity because I felt like both my clients and I were being taken advantage of and although that is hard, it is also very empowering to be able to say no.

Who gets your Women’s Day shoutout?

There is a woman that has supported me since before I started Incendia Music and that person is Nelly Liger from The Noise Cartel. I interned at The Noise Cartel when I just started Uni and this was my first insight into PR and radio plugging. Nelly was always very encouraging and approachable and has always been very complimentary of my tenacity and my achievements over the years.  We don’t speak all of the time, but she is a constant inspiration to me and I love following her career. Not only is she incredibly bad-ass, she is a full time working mother who is constantly smashing goals and currently has a roster to die for. I could not be happier seeing her success and how she is breaking that glass ceiling as a radio plugger, and I can’t wait until there’s an opportunity for us to work directly together again hopefully in the not too distant future. 

I also want to shout out to the amazing female musicians and industry I work with on a day to day basis, you constantly motivate and inspire me and I’m very grateful to be surrounded by such strong empowering women.

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

I think over the years I’ve seen a positive (albeit very slow) progression in the way women are treated as professionals or how many women are actively involved in being a part of the industry. We’ve still got a long way to go as sexism is still very much a hot topic and rightly so, but my own professional day to day experience between now vs 2011 is that I work with many more women on a daily basis and that I am treated with more respect now than I ever was (overall anyway, there are exceptions, believe me!). I think from a management perspective it would be great if powerful or more experienced male figures were more encouraging and open to doing business with not just a woman, but also women that are potentially a lot younger than them. Giving a bit of guidance and support when women are in those earlier stages of their career, not just when they’ve slogged their guts out trying to get through the door. I’ve been reading a lot recently about why there is a disparity between women who leave a career at a certain age or stay in mid-level positions vs those who progress to senior level positions. I think one of those reasons is not being presented with enough opportunities to prove themselves or enough financial compensation for their work in comparison to their male counterparts. Maybe flexibility is also an issue, particularly if a woman wants to have a family for example. I just think an open discussion about the tribulations women currently face and what the industry can do to encourage career growth beyond a certain point would be a great place to start. 

Hopes for the future?

I hope for more inclusivity, more diversity, more equal treatment and more opportunities for women in the industry overall. I’d love to see a shift in how many women strive to be artist managers within the rock and metal world and to see more women in senior positions at labels. It’s great to see the media industry thriving with more women working in marketing, PR, journalism etc but there is still slower progress on the management front, at least from my perspective. I feel like I’ve had quite an interesting seat to observe from over the years but since I come from a mindset of optimism and hope, I can only say that I’m excited for the next 10 years and I’m cautiously confident that women will overcome many different looking adversities in the future, knowing that they have more of a support network now moreso than there ever has been. If I can even play a small role in opening a door for the future generation of aspiring female managers in rock and metal, I’d consider it an honour to do so.

For the 8th of March, we’re celebrating International Women’s Day with a very special ‘8 on the 8th’ Music Manager Spotlight Series. Throughout the week we will highlight some incredible managers, here’s our chat with Phoebe Gold.

Tell us a bit about yourself!

I’m Phoebe Gold, a 26 year old music manager from London. I’ve been working in management for about 3 years now, although I studied music at university and have been really invested in the industry for almost 6 years. I founded my own management company in 2019. My roster consists of an upcoming artist called tendai, a producer/DJ called Tommy Gold and an emerging Bay Area artist called kezia.

What is your greatest career success to date?

The answer to this is forever changing! I think, at this moment in time, it’s been getting to a place in my career that I’m now able to only work with artists whose music I really love. I listen to their music out of choice! I’ve paid my dues of working in different genres of music to learn the ropes and get a well-rounded view on the industry, but I feel like it’s a big achievement to be building something of my own with artists whose music and talent genuinely brings me joy.

What has been the most significant challenge you’ve encountered in the industry?

The music industry is definitely still a boys’ club. Women are making amazing moves to rise up the ranks, but harassment and misogyny are still rife. I was sexually assaulted by someone who worked in music when I started out in the industry, and when I eventually acknowledged it publicly, the response from women was amazing, but it was met with silence from almost all of the men who I know. The majority would prefer to turn a blind eye. 

Who gets your Women’s Day shoutout?

My lawyer, Olivia Aikins. She never makes me feel stupid for asking her hundreds of questions and supports me professionally and emotionally in everything I do. 

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

Consequences for misogynoir. Consequences for racism. Consequences for misogyny. Consequences for sexual assault. Women have historically had to learn to live with these things in this industry because they’re so common. That shouldn’t be our norm anymore. 

Hopes for the future?

More women at the top. More women managers. In my mind, it makes the most sense for artists to be managed by people who can relate to them. I’d love for there to be a new generation of young black female managers; it’s our time. 

Tell us a bit about yourself!

An Artist Manager for singer songwriter Rebecca Garton and singer, songwriter, rapper & producer Levelle London under her company SN Music Management; Shikayla Nadine is slowly beginning to make a footprint in the music industry. She began her journey into the music industry 8 years ago as an artist management assistant for the manager of American Rapper Waka Flocka Flame. After realising her passion for artist management, she went on to study Music Business and Brand Marketing at Buckinghamshire New university. Throughout her journey she has worked and collaborated on projects such as Girls I rate and Kid bop UK and also with artists such as Kojey Radical, Ruffsqwads Fuda Guy, Angel and many more. As well as artist management Shikayla expresses her love and appreciation of black music through hosting her own radio show. Hosting the Midday with Kay Show, she prides herself on helping to push new and upcoming artists to the forefront.

What is your greatest career success to date?

Having my artist sign to a major label, and then working on the female collaboration “All Me pt 2” which highlighted, female UK R&B singers.

What has been the most significant challenge you’ve encountered in the industry?

Navigating the industry as a woman has been a challenge, especially as a black woman in such a white male dominated space. Being heard and taken seriously as a businesswoman has been a huge challenge as were often overlooked or assumed to be ‘the help’.

Who gets your Women’s Day shoutout?

Whit Asomani – Whit has been super supportive, when I’ve needed advice on how to advance my career. She’s Also a marketing genius, Working on launches, events and strategies with my artist. Her work ethic is inspiring!

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

Listen and believe the experiences of women when they have the courage to speak up about them.

Hopes for the future?

More Female Heads of Labels, More women of colour in top position in the industry.

For the 8th of March, we’re celebrating International Women’s Day with a very special ‘8 on the 8th’ Music Manager Spotlight Series. Throughout the week we will highlight some incredible managers, here’s our chat with Kaiya Milan of Off Balance Group.

Tell us a bit about yourself!

I currently run Off Balance Group and personally manage three acts including; Steam Down, Afronaut Zu & Ahnansé. I have currently been managing for the last 6 and a half years and have worked within the music industry 8 years nearly.

What is your greatest career success to date?

My greatest career success to date would have to be keeping my artists both busy and sane during the pandemic. I think remaining grounded in the midst of chaos is something that we often overlook but the last year has taught us that adapting, being able to recenter both yourself and your acts and still standing through all this is a success in itself.

What has been the most significant challenge you’ve encountered in the industry?

The most significant challenge I have encountered in the industry has been being undervalued and overlooked due to being a young, woman of colour. Far too often does race, age and gender play a part in people’s preconceptions of your value, experience or knowledge within the music industry – and I have experienced this first hand in my journey as an artist manager.

Who gets your Women’s Day shoutout?

The person who inspires me most would have to be my mother first and foremost – thanks Mum! And the person who supports me as a professional manager most would have to be the incredible Wozzy Brewster OBE – artist manager and founder of the Midi Music Company. I have never really had an industry mentor before, but Wozzy has really taken me under her wing, and I have learned and gained so much from her unique experiences and insight.

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

If I could change one thing, it would be having more women and specifically women of colour in senior roles and positions of influence, to not only inspire the next generation but make safer and more inclusive environments for both management and talent. 

Hopes for the future?

My hopes for the future for women in the music industry would be to have more unity and sisterhood amongst us. I want us to look out for each other more, to support each other more, so we can grow and develop together. 

For the 8th of March, we’re celebrating International Women’s Day with a very special ‘8 on the 8th’ Music Manager Spotlight Series. Throughout the week we will highlight some incredible managers, here’s our chat with Denise Allan of 677 Media Management.

Tell us a bit about yourself!

I am a Director at 677 Media Management and we have been in business for 14 years. Our clients include Glasvegas, Freakwave, Lamaya, Cherry and Steph Johnstone.

What is your greatest career success to date?

Taking Glasvegas to platinum success with over 300,000 album sales in the UK.

What has been the most significant challenge you’ve encountered in the industry?

The lines between personal life and professional life can be easily blurred. Its ingrained in the culture to be accessible 24/7 but its not sustainable. I’m still grappling with how best to look after my mental well being and have a more balanced work/life relationship.

Who gets your Women’s Day shoutout?

Honestly, its my kids nursery in Dennistoun, Glasgow! Sorry thats quite UN-RocknRoll, but without their understanding and early support there would be no management career for me. I am forever grateful.

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

In big bold writing TARGETED SUPPORT FOR MOTHERS!!! So they stop having to choose either to be a parent or having a career in music.

Hopes for the future?

Like the rest of the UK women are underrepresented in Scotland too. There are 2 maybe 3 other full time female music managers that have children. My dream is that one day I’ll turn up to a showcase in Glasgow and recognise a great plethora of fellow female (or those who identify as female) music industry executives and live crew in the venue. All different ages, filling the room with perfume, high pitched chatter and big bouncy hair.

For the 8th of March, we’re celebrating International Women’s Day with a very special ‘8 on the 8th’ Music Manager Spotlight Series. Throughout the week we will highlight some incredible managers, here’s our chat with Jill Hollywood of Echo Beach Management.

Tell us a bit about yourself!

Echo Beach Management is a busy and successful management company, guiding the careers of writers, producers and engineers. We represent some globally successful producers – Jacknife Lee/ Cam Blackwood/ MyRiot / Chris Zane / Ash Workman as well as some of the best and most successful mix engineers such as Ash Howes and Dave Bascombe. I am also extremely proud to represent Lorna Blackwood who is an incredible vocal producer and works with some of the biggest names in pop – Dua Lipa, Ellie Goulding, George Ezra, Mabel etc. We work with a diverse range of talent but are always looking to collaborate with artists who prioritise pushing the boundaries of pop music, rather than chasing chart success. 

What is your greatest career success to date?

Setting up my own company in 2016 was hugely challenging but really rewarding. Prior to that I had always worked for someone else and was lucky enough to work with real visionaries like the late Jazz Summers at Big Life. I learnt a lot during those years but working for yourself and being able to steer your ship whichever way you want is the best! The other thing I am proud of is how long I have been working with my clients – some of them for over 15 years. It’s been a real privilege to share their successes and navigate a path through the tougher times.

What has been the most significant challenge you’ve encountered in the industry?

Definitely getting established as a music professional when I first started working for record companies. I was scouting for a major publisher and then a large indie for 8 years (prior to management) and it was tough to be taken seriously. This was back in the late 90s and there was definitely a whiff of a masculine work culture at an executive level. It’s been great to see brilliant female executives like Rebecca Allen, Kim Franciewisz and Alison Donald reaching top levels at major corporations.

Who gets your Women’s Day shoutout?

Having a posse of super smart female managers around me that I can bounce ideas off and ask questions when I’m unsure of a scenario is a godsend! Sandy Dworniak, Hannah Joseph, Celia McCamley, Polly Comber, Vicky Dowdall are all amazingly creative and so hardworking. Watching their successes is always inspiring to me.

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

Definitely having more women running companies. At the risk of sounding sexist (!), seems to me that women have a more holistic approach to managing their teams. Issues of juggling childcare with work in the music business are really demanding as you are expected to work long hours and lots of evenings. For women to be able to rise up through the ranks they will need support through their 30s and 40s when the have young children and having a boss that has experienced that juggle and is willing to accommodate that is vital.

Hopes for the future?

To see a lot more women producers and mixers coming through. Currently they represent about 2% of the genecpool which is terrible. Technology has really helped democratise the production process and there are some incredible female artists that are producing their own records now… FKA Twigs, Christine & The Queens, King Princess, Maggie Rogers, Saint Vincent to name a few. It’s going to be exciting to see some of them transition to producing records for other artists. 

Tell us a bit about yourself!

I’ve been a manager for quite some time now, nurturing and developing careers for a range of talented creatives in the industry, including artists, producers and songwriters. I run JD Management and our current roster includes prolific songwriter Wayne Hector, multi-faceted artist Samm Henshaw, the wonderfully creative duo WESLEE, the incredible songwriter and producer Josh Grant and the versatile songwriter Emma DD. We also have a couple of other creatives in development.

What is your greatest career success to date?

I’d say my biggest success/achievement is what I’ve built with Wayne Hector. I’ve been blessed to have worked with him over the years and our growth together has been really humbling and exciting.

What has been the most significant challenge you’ve encountered in the industry?

The lack of opportunities for women generally across the industry is something I’ve had to deal with since I joined the business, and more specifically the lack of opportunities for black women. I have seen privilege afforded to others that was not extended to myself, and I have been overlooked for things as a result. For this reason I’ve taken it upon myself to promote and encourage diversity/inclusion in the industry wherever I can, so that things are fairer, regardless of your gender and regardless of the colour of your skin. 

Who gets your Women’s Day shoutout?

I’m fortunate and blessed to know all 4 of these wonderful ladies:

Sylvia Rhone, who has paved the way for so many black women with what she has accomplished, she’s powerful, she’s a woman of integrity, and is an encyclopaedia of the business. She’s a real trailblazer and an inspiration to many, including myself.

Dyana Williams is a pioneer and an award-winning powerhouse who I’m grateful to call her a friend. She’s helped me to understand the importance of my voice and how I can instil inspiration into others myself.

Ethiopia Habtemariam has had an incredible journey and it’s amazing to see her recent promotion to Chairman and CEO of Motown Records.

Shani Gonzales has an incredible business mentality with limitless A&R skills and knowledge. She’s a real dealmaker and has an amazing eye for talent across all genres.

We have some of powerful black women in America and it would be amazing for the UK business to follow suit.

If you could change one thing about how the music industry operates to improve the experience of women, what would it be?

It would be great to see an equal and level playing field. I feel that opportunities should be open to all and based on merit before anything else, and in conjunction with this, it’s important for us to pay women correctly so we can reduce the gender pay gap. It is time for us to nurture women behind the scenes in creating music; we should shine a spotlight on the female songwriters and female producers out there, and provide them with the right opportunities to grow and build successful careers.

Hopes for the future?

I’d love to see more women in more influential positions across the various aspects of the industry – whether it’s publishing, producing, DSPs, songwriting, radio plugging, managing, booking, or elsewhere.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Bronagh Monahan.

How long have you worked in Management? 

I’ve been a digital-first talent manager for six years now, I started out at Gleam Futures representing some of the top YouTube talent in the UK and then after two brilliant years decided to go freelance and pave my own way. My original dream was to pursue a career as a singer-songwriter, I trained as a classical pianist and singer in Belfast and then in Glasgow, but once I moved to London I realised, through a series of lucky breaks and hard work, that I had a knack for scouting out next generation talent on the internet. My company is set up to nurture creatives & artists across all different genres. In music, I represent the amazing 18 year-old singer-songwriter Yaz Caramanli.

Who do you manage now?

I manage a roster of digital-first talent all with an expertise or creative talent in their own right. Yaz Caramanli is my only music client and she’s got massive potential. She started out on YouTube when she was 14 growing really quickly numbers wise (a quarter of a million YouTube subscribers at 14 now at 750,000 and 1.5 million across her other channels). We’ve worked hard to ensure that that really quick exposure didn’t distract from her having a normal teenage life and having the headspace to focus on school. In the past year she’s been in fantastic producer sessions to develop her sound. She also came up with some music formats like YazMix, where she writes original verses to popular songs, one of which got shared by Bebe Rexha. It’s a simple idea but it shows her audience that she can write and is a fantastic way to collaborate with mainstream artists.

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

Yaz was my first client. We originally met when I was at Gleam and when I went freelance we kept in touch and I was lucky enough to get to work with her again in my own company. Yaz inspired me because she’s an artist and singer like me and is always thinking about the long term goal of having a successful career in music. She has never been fixated on how many followers she has and I think that’s why it hasn’t gone to her head. I’ve always dreamed of finding a talent like Yaz on YouTube who truly is a quadruple threat. She can sing, she can write music, she’s got an amazing look and she gets what young people want to listen to. I’m excited to bring more creative partners on board her journey once we start to release her music, and I know her audience can’t wait to come to see her live when that day comes.

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

A good day for me is when I get deals over the line with partners who get what I do and want to creatively collaborate. Whether that’s a production company or broadcaster looking for new talent, a publisher who believes they’ve got as much kudos on video as they do in the book world, or a music producer/A&R who sees the potential in working with digital first talent and wants to make music, that’s the dream. We’ve got so much to learn from each other.

A bad day is if I have an unhappy client. For me that’s my worst nightmare. It very rarely happens but of course perfection isn’t realistic, things go tits up and someone gets pissed off. But I’m grateful that I’ve got very good relationships and it’s nothing a phone call and some crisis management can’t sort out.

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

When Yaz put out her song Blood on her YouTube channel at the end of last year I was bursting with pride. It was the first time her audience saw her in a different light and got to hear her perform original music and our first music video that we had worked on together. I also just absolutely love that song and remember it being one of the first that she sent me on voicenote and I thought, hey I’ve landed myself an artist here.

What do you think are the big challenges for a manager in 2021?

From having conversations with various managers and people at labels it sounds like building a following is one of the biggest challenges for a new artist. I can’t imagine how frustrating it must be for musicians who naturally come alive on stage, having to totally rethink their strategy of building a fanbase. I know how fortunate Yaz is to have such a big online following at this stage in her career, but it also comes with its own challenges as our aim will be to convert her followers into listeners and ticket buyers. It’s so easy to like a post on Instagram, but where you truly connect with your fans is in that live setting, which I can’t wait to see Yaz in.

What music are you currently listening to?

Looking at my Spotify history it’s a real mix, which I know is what people always say but to give you this past week I’ve been listening to Billie Eilish (amazing documentary on AppleTV, what an icon), Claudia Valentina (very good new artist signed to Tap MGMT of course), Barry Can’t Swim (a producer friend of mine), Celeste (Stop This Flame, Strange are absolute belters) Mark Ronson (Late Night Feelings, a triumph of an album with some of my favourite singers; Yebba, Lykke Li, Miley Cyrus).

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Gavin Green of Good Eye Ent.

How long have you worked in Management? 

I’ve worked in management for around 10 years taking breaks for other business ventures.

Who do you manage now?

Currently I manage producers Chris Rich Beats, Love Life and Ayetm. Alongside these, I’m managing KFROMKWAY, an upcoming artist from Oxford.

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

I was introduced to Dan (NoManners) by mutual friends who were talent scouting alongside me; he was 16 at the time. His song writing ability for that age was above average and it really caught my ear.

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

A good day would be spent in the studio producing a potential hit and seeing the positive reactions of others in the studio. On the other hand, a bad day would be plans not going ahead after arrangements have been made, especially when artists/producers have travelled already and as a manager I’m left responsible.

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

It would be hard to pinpoint but it’s got to be between Chris being nominated for breakthrough producer or successfully negotiating a 6 figure deal, after a single track release- this can often take years.

What do you think are the big challenges for a manager in 2021?

Finding new ways to make money through music during the restrictions, especially around shows and the loss of live income.

What music are you currently listening to?

Drill mainly as it is so current, being one of the main genres in the UK. Wizkid, his latest album has been on a repeat since its release and not to forget Unknown T- looking forward to his next project.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is James Foster.

How long have you worked in Management? 

This year has will be my 10 year anniversary working as an artist manager.

Who do you manage now?

Currently I manage Koven and I’ve got my eye on a number of up-and-coming acts.

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

Koven were my first client! I was running a record label at University called 2 Much Bass Records around the big Dubstep surge in 2009-2012. Max from Koven sent me a demo called “Let It All Out” – I thought this track was too good for my Label and I pitched the idea of management to him if I managed to get it signed to a bigger/better label. We successfully placed the track onto a Dubstep compilation with Ministry Of Sound called ‘Dirty Bass’. We’ve been working ever since basically 24/7.

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

A good day would be having a solid hour or two of exercise in the morning followed by a rewarding day i.e seeing the outcome/results of project we put into motion some weeks or months prior. There’s nothing more rewarding that spending months working on a project or activation and then seeing it through with everyone being happy with the results and being proud of their work. A bad day would be not meeting the expectations I set myself for a task/project/activity.

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

Releasing Koven’s debut album ‘Butterfly Effect’ last year on March 13th 2020 without a doubt. Granted the year didn’t go the way we planned, with touring plans cancelled etc. However, I’m still incredibly proud of what we managed to achieve as everyone involved worked so hard and it was really successful.

What do you think are the big challenges for a manager in 2021?

In my opinion it’s going to be the biggest challenge any manager faces on a daily basis and that’s managing expectations with internal an external clients (artists / labels / publishers / promoters / merch managers / etc) – everyone has a part to play. We (the music industry) have been dealt a pretty crappy hand this past year and we continue to face new challenges every day. From; revenue streams to potential implications of touring internationally. I strongly believe that the majority of decisions made this year weather they are creative or business related need to have realistic targets set.

What music are you currently listening to?

Although I work in Electronic on a daily basis my roots are in Rock and Metal, thats how I managed to transit into Dubstep in the early days of my career. I’ve been abolutely loving my discover weekly on Spotify and have been listening to a lot of; Sleep Token, Architects & If These Trees Could Talk.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator Manager Rachel Millar.

How long have you worked in Management? 

I’ve been managing for approaching 4 years! I came from a background in event production, producing the London Jazz Festival alongside major UK tours and stand alone shows with Serious. Having also previously worked at The Leaf Label and been a musician myself, it felt like the natural progression for me and I haven’t looked back!

Who do you manage now?

I currently manage saxophone/clarinet player, composer and band leader Shabaka Hutchings, his two projects Mercury Prize nominated Sons of Kemet, South African group Shabaka & the Ancestors, and my most recent addition to the roster is Cuban trumpeter Yelfris Valdes. Yelfris has collaborated with some insane artists such as Buena Vista Social Club, Quantic, Stormzy, Billy Harper to name a few but his solo project is the one to watch!

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

When I was about 19 I was down in London for a gig and linked with drummer Seb Rochford and I remember him saying there was the new player on the scene called Shabaka Hutchings and to watch out for him. Little did I know that our careers would collide at various points from then on. Initially we worked together when I was at The Leaf Label and Shabaka was playing in Melt Yourself Down, then on multiple occasions during my time with Serious/LJF. When the time came to take the leap into management a mutual friend informed me Shabaka was looking for a manager and after a few conversations we decided to embark on this journey together. Having watched Shabaka grow over the years, interacted and worked with him in different settings, I knew I respected his work ethic, personality and of course loved his music, so it felt like our approaches to, and perspectives on, the industry were very aligned and a natural fit.

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

A good day is when plans and projects progress and start to come into fruition, or even better watching them actually play out! The days that are creative, collaborative and on-the-ground are definitely my favourite.
A bad day is spent on email fire-fighting, chasing people… or accounting!

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

This is hard but probably Sons of Kemet being nominated for and performing at the Mercury Prize 2018, resulting in a full standing ovation from the room. It was pretty emotional.

Sons of Kemet at Glastonbury and headlining Somerset House Summer Stage in 2019 is up there too!

What do you think are the big challenges for a manager in 2021?

Finding new and alternative income routes for your artists and yourself! Learning how these new business models work and how the industry is changing. I think every manager is used to being flexible, adapting, handling last minute changes and general stress but 2021, off the back of 2020, is going to push people to their limits and staying positive and motivated is going to be a big challenge for some.

What music are you currently listening to?

This week I’ve been listening to a lot of J Dilla, it would have been his birthday on the 7th and I find his music is like a comfort blanket for me when i’m feeling overwhelmed (with music choices or life).

More generally, Ambrose Akinmusire, fellow Accelerator manager artists Puma Blue and The Staves, JPEGMAFIA, plus the new unreleased Sons of Kemet album and EP from Yelfris Valdes (perks of the job!)

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Tony Crean!

How long have you worked in Management? 

20 years, still not sure how that happened, before that I worked for indie labels in press and marketing for 10 years.

Who do you manage now?

I work with Fleet River, mainly as part of The Chemical Brothers management team, over the years artists worked with have included Hot Chip, The Avalanches, Alexis Taylor, The 2 Bears, Ladytron, Goldfrapp and The Shortwave Set.

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

First management job was Goldfrapp, after a meeting with Mute’s Daniel Miller who sold me on them before I’d heard a tune, then by chance a very old mate Dave Harper asked me to help him out for a bit on the management, worked with them for 10 years and am still amazed by the music they create, proper artists, taught me a lot about respecting the musicians creativity and fighting their corner (while holding your own…;)

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

A bad day is one spent on email, fire-fighting or problem-solving. A good day is one spent probably doing the same, but face to face, seeing plans work out, and music being heard. And being at a gig with mates.

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

Watching The Chems blow Glastonbury and the O2 away last year. Hard to even begin to describe those shows in these days. One day soon.
Before that, probably getting to work with Van Dyke Parks on second The Shortwave Set album (a great lost classic). Goldfrapp at the Albert Hall.
And the new album by The Avalanches means a lot too.

What do you think are the big challenges for a manager in 2021?

Where to start…getting paid, keeping positive, connecting to a real audience, probably most important is maintaining audience & media attention on the artist which was hard enough before and is now a real challenge, has to be  turned into a driver of creativity and quality.

What music are you currently listening to?

Promised myself once again that this would finally be the year that I properly got into jazz…so a fair bit of Coltrane as well as a lot of the new UK stuff as recommended by my friends at Sounds of the Universe.

And mainly been kept going by the great djs and selectors every night from The Social (@sociallondon), especially the ace @petefowlerart who has done every friday since start of lockdown 01, plus James Endeacott in the mornings on Soho Radio, and all the great records the legendary Heavenly Records keep putting out (check out Katy J Pearson, Working Mens Club, Caixa Cubo and the brilliant book ‘Believe in Magic – the first 30 years’ by Robin Turner).

Plus the great ambient series by Richard Norris and Night Tracks on Radio 3 (and pretty much anything by Hannah Peel). And that new Avalanches album. Genius and properly life-affirming in the very best way.

Anything that does the job the hour demands.

As Mr Weatherall said, Fail we may, Sail we must.

Keep on keeping on, thanks to the MMF for all the support as ever.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator manager Clare Wright!

How long have you worked in Management? 

Six years ago I started to take on my own clients however I’ve been in management for 12 years working my way from the bottom up.

Who do you manage now?

I manage 4 artists. JFDR from Iceland, Æ MAK from Ireland, Eliza Shaddad and Esya from the UK.

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

My first client on my current roster, JFDR, was introduced to me by my long term colleague and friend Dean O’Connor from Big Dipper. He asked me to co-manage her with him and I just could not resist. She’s a dream to work with as are all my artists.

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

A good day is receiving new demos, mixes, artwork – anything creative. All four women I work with are incredibly talented in all aspects of their craft and I’m always excited and invigorated to hear/see anything new coming in. I genuinely adore speaking to each of my artists too so our catch ups are always fun for me. I’ve been careful to work with artists that appreciate my creative input too so quite often our calls are colourful and positive. A bad day is when I get struck down with a bout of imposter syndrome. It’s something a lot of us have to deal with but talking about it helps.

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

Growing my roster and really carefully choosing who I work with and the artists in return choosing me. JFDR winning Icelandic artist of the year, Esya signing to Mute Song, Eliza Shaddad delivering her latest incredible record and Æ MAK performing on a TV show that I can’t announce just yet are just a few of the highlights of the last 12 months for me.

What do you think are the big challenges for a manager in 2021?

I think not being able to be in the same room as my clients is a minor challenge. Two of my artists I’ve never even met human to human – we have no idea what each other smell like! Hopefully this will change as the year progresses. And of course live and not touring is tricky – it is such a stream of revenue for artists be it festivals / merch + simply growing your fanbase on the ground. So thinking of innovative ways for your artists to continue to make a living. The marketing side of your brain has to be totally switched on.

What music are you currently listening to?

I’ve been listening to my roster a lot lately as we are going to be releasing loads of new music this year. I also run Sigur Rós’ record label, Krunk, and have been listening to a huge amount of composer/artist Alex Somers who is on the label. I’m the type of person that gets obsessed with an artist and then listens on repeat. Forever. Always on repeat for me are Nick Cave and The Bad Seeds, Big Thief, Yves Tumor, Blood Orange, Fiona Apple, Sonic Youth, Frank Ocean, Sharon Van Etten, Phoebe Bridgers, Moses Sumney, Lana del Rey and Tyler the Creator. New artists that i’m really loving are Anaiis and Gugusar.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Des Agyekumhene!

How long have you worked in Management? 

Since 2013 after going to the Ultimate Seminar and realising that what I was doing was called management and not just “helping artists out”.

Who do you manage now?

Zaddywithabaddy, Cally Jane, Nukiyo (Jeff Nang, Segun)

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

Found a 14 year old kid called Rhyan in Novacane studios in south London. As a teenager, he wrote and sang like a wise old beautiful soul. We signed him to RCA but he fell out of love with making music. That was a great lesson early on in my career… learning who really wants it, who really loves it, who respects the business side of music and the right amount of pressure to apply to your artists. As music is like a fart. If you have to force it, it’s probably sh*t.

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

Good day, sat on my mac sending emails. Bad day, sat on my mac mindlessly on Twitter/Instagram. Trying to stay focused can be a challenging, even more so in lockdown.

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

There’s been too many highlights to state (from the numerous times mgmt has taken me abroad, to the amazing people I’ve met along the way…) but what’s been a special highlight has to be the catalyst that inspired my career… Seeing how a song from an artist I managed get picked up and used as a soundtrack to bring awareness to the issue of albino orphans being sold on the black market in Tanzania. That was the tipping point for me which made me realise music can be used for more than just having a great time. But for having real cultural impact.

What do you think are the big challenges for a manager in 2021?

Understanding the new business models available to make alternative income for your artists… there are multiple industries within the music industry, so don’t be afraid to explore and try new platforms. “If you want something you’ve never had, you’ve got to do something you’ve never done” comes to mind.

What music are you currently listening to?

Currently listening to my private playlist called “Skip?? Never!”… here were the songs played on shuffle whilst I was answering these questions:

Robert Glasper – Of Dreams To Come

Killswitch Engage – My Curse

Alison Kraus & Union State – Miles To Go

Pa Salieu – B***k

Snoh Alegra – Whoa

John Mayer – Stop This Train

Bebel Gilberto – August Day Song

Gretchen Parlato – Holding Back the Years

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Tom Nicol!

How long have you worked in Management? 
Personally, my career in management is relatively new, but the wider Only Helix collective has management experience that goes back fifteen years. I’ve tour managed Years & Years, The 1975, Of Monsters and Men, Anne-Marie and Savages to name a few, so have been fortunate enough to learn from some of the best managers out there. Only Helix has been a production company for a while and decided to grow the management leg about twelve months ago after working with some artists we got really excited about.

Who do you manage now?

Only Helix looks after a mix of new and more established artists, spanning across producers, writers and performers, many of whom also work collaboratively with each other on projects. Steven Down and I are working closely with Andy Spence a like minded manager with a wealth of experience combining our strengths. Currently on our roster we represent Beanie Bhebhe (Artist/songwriter), YinYang (Artist),  Ashton Miranda (Songwriter/producer/MD), Tom Cane (producer/MD) and Alex Arcoleo (producer).

Where did you find your first client and what inspired you to take them on?
Working as Anne-Marie’s TM I met Ashton Miranda her musical director and was instantly drawn to his musical talents. The first time he played me a Charlie XCX remix he’d done I was blown away with the possibilities and how fun it could be to work with him. Ashton has remixed some of the biggest artists out there such as Ed Sheeran, Rudimental, Mabel and Clean Bandit clocking up millions of streams. What excites me the most is his song writing, I truly believe he will be one of the biggest songwriters coming out of the UK in the next couple of years. We’ve worked together in so many guises now that we’re well aware of each other’s way of working and how best to work together which makes it a great combination.

What’s a good/bad day at work look like for you? 
The last ten months or so have been a bit of a different beast, the lack of live shows and touring has meant theres been a lot more time to focus on new projects in development, and be around more to invest time in Tom Cane and YinYang who are really starting from scratch. A lot of time on the phone, and in the studio when we’ve been able to do that safely, and just generally a lot more time with the artists themselves (mostly virtually of course) which has been really productive.
A good day is when you feel like something has really been finished.

What has been the highlight of your management career to date?
Finding new artist Yinyang and putting her into the studio with Tom, Laurens first single has attracted R1 love, 2021 is going to be a great year for her.

What do you think are the big challenges for a manager in 2021?
Live is a huge part of an artist’s income, and so the big question mark over when touring and live shows will be back is going to cause a lot of challenges, particularly for brand new artists of course. The sheer volume of new music being released independently or through labels online in the last 6-10 months too has meant that it’s a pretty challenging marketplace. Getting people out there and noticed is going to be tougher too, which is saying something.

What music are you currently listening to
Christmas at home was a great time to revisit a lot of classics like Chemical Brothers, Four Tet and Bicep. Deftones latest record has been my go to when running. Otherwise Rival Consoles, Ben Lukas Boysen, and actually anything on Erased Tapes always has time in our house. Fontaines D.C. were a firm favourite of last summer and Jehnny Beth’s ‘To Love is to Live’ and Sigur Ros ‘Valtari’ have been played more than is cool to admit over the past few weeks. Looking at it, it’s quite a moody playlist.

Only Helix are looking for like minded managers that have a passion for music and already work with uncompromising artists to become a member of a new management collective. If you would like learn more get in touch with Tom on tom@onlyhelix.com.

Insta: @only_helix
Web: www.onlyhelix.com

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Haja Fanta!

How long have you worked in Management?
I started about seven months ago, so I’m very new to the job.

Who do you manage now? 
Lex Amor.

Where did you find your first client and what inspired you to take them on?
We went to the same uni but didn’t know each other at the same time. We then happened to end up in the same creative collective SXWKS and got to know each other from there.

I was already a Lex Amor Stan, so it was a pretty easy decision to make. Lex is just great; as a person and at what she does. The combination of her work ethic, her integrity and how she uses her talents to fulfil her purpose inspires me. Our working together is spiritual alignment.

What’s a good/bad day at work look like for you? 
A good day is getting through the admin side of things like emails and calls, and something fruitful comes out of it. Also having the penny drop/learning something new is also a sign of a very good working day.

So far a bad day is uploading everything to a streaming site and the page refreshing – so I guess it’s not so bad at all so far.

What has been the highlight of your management career to date?
The highlight of my career thus far has been seeing Government Tropicana go out into the world. From a spectator’s perspective, it’s beautiful to see your friend share their talents with the world.

What do you think are the big challenges for a manager in 2020?
Navigating the pause of live music, finding new ways to generate income, and anticipating the changes to come.

What music are you currently listening to? 
Lex Amor, Pa Salieu, emil, WizKid, Finn Foxell, Amaarae list goes on…

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Elisabeth Troy!

How long have you worked in Management?
I have worked in management for all of 5 minutes!! Hahaha. Seriously, I’m quite new to management on a full time basis for another individual. As an artist and vocalist for many years, I’ve often managed myself periodically and have always paid close attention to the inner wranglings when being represented by Big Life so I’m not completely in the dark in the world of management.

Who do you manage now? 
At the moment, I am managing an Incredible talent who gives me chills every time she sings! Her name is Anelisa Lamola.

Where did you find your first client and what inspired you to take them on?
Anelisa is my very first. I’ve known her for some years and always tried to encourage her and help out where I could with getting her studio time and giving advice on certain situations she would find herself in. Kind of a mentoring role more so until one day she DEMANDED that I manage her! Hahaha!
We have a very strong bond and a lot in common so there is a trust that has built very naturally.

What’s a good/bad day at work look like for you? 
A good day is when I can get through one of my many lists, get the Admin out of the way, and then be freed up come the early evening to be creative in my studio, writing, recording, plotting! I ignore bad days….Tomorrow is always imminent so  another chance to have a good day.

What has been the highlight of your management career to date?
Getting my office and building my own studio has been massively important for me. Having somewhere to go each day has really helped me to focus and be more productive. When you’re writing emails in the kitchen and making beats in your bedroom its very hard to draw a line under your day and create time for the really important things like family.

The fact that the office and studio space was a real dump when I got it, crumbling walls, leaky plumbing etc… I’m super proud of the hard work we put in two make it the beautiful creative and comfortable space it is now.

What do you think are the big challenges for a manager in 2020?
I’m really not sure of what 2021 will bring, needless to say, 2020 challenged everyone in a myriad of ways that NO ONE could have predicted. I’m extremely  grateful to be still here and relatively unscathed. So no predictions, just optimism. (And lots of prayers!!!).

What music are you currently listening to? 
I also really love Anais, Kelli-Leigh, Anderson Paak, Yasmine Green, Plastik Palm, Charlotte Adigery. Off the top of my head.

But I tend to find myself constantly going back to my beloved Rare Grooves! Natural Four, LA Boppers, Queen Aretha, Lynn collins et all! That stuff is class! It never gets old and is always a source of inspiration.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Jack Fratini!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Sarah Lipman!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF Vice-Chair and all around music-legend Kwame Kwaten!

How long have you worked in Management? 
I have been a manager since 2003 WOW just worked that out….. But started really in 2006 at ATC management.

Who do you manage now?
www.ferocioustalent.com – Luckily for me I have a great team and co-managers who do day to day. So I’m more of an MD now. I love the acts on the roster and am not talking any more on .

Ferocious like many management companies is becoming an all round music company. I learnt that at ATC – you can’t stay in one lane – You HAVE to adapt – so we are very used to change at Ferocious – we live by it – we drink “change juice|” !! 😂😂 for breakfast/lunch/dinner.

Where did you find your first client and what inspired you to take them on?
First clients are great lesson providers Louise Setara was my 1st client as a manager- I remember seeing her perform and thinking WHAT a voice. I simply had to take her on. Got her one deal- which was with SONY BMG the timing was wrong so then got her another with Manhatten records that didn’t hit – ! The  Album came out – She toured with Lionel Ritchie – I did A&R on that record too and had a hunch that an old Bob Dylan song was due to be a winner so got her to cover “make u feel my love” -but alas it was 3 years before Adele – Louise’s version is still up too. Timing with acts is so important! That was the lesson I took from that and I’m actually grateful for EVERY lesson.

What’s a good/bad day at work look like for you? 
Wow well a good day is like today…. got a call last night from a huge series about one of the acts – so negotiated fees last night – and they want her to be in the series and have asked for her to come down for casting TODAY. Now thats the kinda start to a day I love.

A Bad day involves lots of miscommunication on WhatsApp and Emails – something we are ALL guilty of!! That miscommunication just chews up time in your day uggggghhhhhhhhhh😥😥😥😥😥😥😥😥😩😩😩😩

What has been the highlight of your management career to date?
Oh Wow – its usually the small wins that I love.

Blue Lab Beats progression has been amazing to watch.Them getting the Apple Advert and me sitting at home watching the game of thrones closing episode and the advert coming on was a. Wow moment!

Caitlyn Scarlett as a new writer being invited to write for the Rihanna camp was pretty special.

Managing Laura Mvula was special…the journey of her being a temp at CBSO not being allowed to touch the Steinway because she was a receptionist. So she had to look at the keyboard from her desk and imagine where the chords were going to go- she would send me short videos for many of the sings that ended up on album one in this way…. her tapping out the rhythm on her desk. From that to main-stage Glastonbury TWICE – yep that’s pretty special.

As a manager we have to forget those that said the artist was not what they were looking for and dig deep/hold on to our belief that they are all wrong!!!

What do you think are the big challenges for a manager in 2020?
Covid!!! And making sure that your artist can keep their hope alive during the lean months.

Your artists mental health in lockdown – done be afraid of therapists – use them.
Artists being accounted to fairly/ royalty transparency is a big one that will roll into 2021 and beyond. Making sure your artist is not consumed by social media.

What music are you currently listening to?
A strange blend really.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF board member Steven Braines!

How long have you worked in Management? 
A relatively lucky 13 years.

Who do you manage now?
I run a management collective called the Weird & The Wonderful with Sophia Kearney with a lot of artists like Catz N’Dogz and Trance Wax but my personal ones are: Maya Jane Coles/Nocturnal Sunshine, louisahhh, Wax Wings, Robert Owens, Syreeta, Jossy Mitsu and Engine-Earz.

Where did you find your first client and what inspired you to take them on?
It was an act called Freerunner who later became Little Comets. I just really liked their songwriting and , in particular, the charisma of Mark Harle. I was lucky enough to sign my first 6 figure publishing deal with them to Michael Morley and Tim Smith at Zomba. Two of the my best mentors in music.

What’s a good/bad day at work look like for you? 
Mark Hargreaves of Crown – who is my industry father and hero – put it best to me. “A good day is not getting fired” thankfully I haven’t had a bad day for a lot of years!

What has been the highlight of your management career to date?
I do love awards but managing my flat mate KDA to UK number 1 besting One Direction on his debut single was almost filmic, or presiding over the resurgence of my musical hero Tricky, but I would have to say it’s meeting Maya Jane Coles that changed my life; she is a genuine polymathic  genius  and the amount of doors she has broken down for others is incomparable.

What do you think are the big challenges for a manager in 2020?
Keeping creative and resilient with corona around. I feel that everyone is more open about mental health, being more innovative and collaborating creatively. So whilst it hits the pocket may be it’s given birth to some good music and got rid of people who are in it for money over music.

What music are you currently listening to?
I tend to be cocooned in the music of my own acts but I’m also obsessed with Krudo, closely followed by Mysie, Arlo Parks, Loick Essien, Nadine Shah (another act I managed in my younger years), Then it’s my mainstays like Kate Bush, Lisa Gerrard, Enya, Sade, St Vincent, Siouxsie Sioux, Gary Numan, missy Elliot, Massive Attack, Portishead and my boyfriend got me back into listening to pop stuff like Dua Lipa and Ava Max. Also I listen to really weird ethereal goth, female rappers, techno and acid house.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Matt Dodds of Ditto Management!

How long have you worked in Management? 
Its been about 11 years since I managed my first artist. Obviously in the early days I had no clue what I was doing but those initial experiences helped me develop my contact list and taught me about grass roots management.

Who do you manage now?
I run Ditto Management where we look after Big Zuu, Nathan Dawe, Niko B, Alhan, Kid Brunswick, Nine8, I’m Just Bait, Izzi De Rosa.

Where did you find your first client and what inspired you to take them on?
I think it was Soundcloud where I found my first artist. I just remember them having a great voice and I always wanted to be in the music industry so I went for it.

What’s a good/bad day at work look like for you? 
A good day is when I’m out and about at shoots with the artists and generally meeting people. Those are the days that always go quickly and thankfully in management there’s a lot of them. The bad days are just when important things don’t plan out the way you hoped but this happens all the time and you just have to roll with it. This is an industry where the highs are ridiculously high and the lows can really get you down so it’s important to just try and always stay neutral. Don’t get carried away by the good days and just get on with it when you have a bad one.

What has been the highlight of your management career to date?
When Craig David played the pyramid stage at Glastonbury. I was part of the of management team throughout Craig’s comeback for about 7 years. The moment he played the pyramid stage was the accumulation of years of hard work and it was just a surreal experience for everyone involved. Standing on the side of that stage is something I’ll never forget.

What do you think are the big challenges for a manager in 2020?
Planning for another year without live music fully coming back. Obviously no one knows when exactly it’ll be back to normal but live is a big source of income for the majority of managers and everyone’s having to come up with different ways of making money. It’s such a difficult situation but I think the way through it for managers is to make sure your roster has the ability to diversify into different lanes.

What music are you currently listening to?
It’s a boring answer but I honestly listen to everything. I think it’s important to have a broad taste in music when your manager as it allows you to work in different genres.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF board member Liza Buddie!

How long have you worked in Management? 
To be honest not sure I can put an exact number on that probably 10 years, I have been lucky to have been in the early days mentored by the likes of Peter Jenner who convinced me to sign up to the MMF & Jazz Summers, I have fond memories of Jazz 🙂 and the lovely Safta Jerries taught me a lot about Publishing

Who do you manage now?
I manage TOVA an alternative rock band, and I’ve just secured ACE funding for them. I also consult as well as advise labels, managers and artists on applying for funding/grants

Where did you find your first client and what inspired you to take them on?
Wow, my first client was a band who’s myspace link was sent to me via a friend, I was working in PR at the time. I loved their music and eventually they signed to a label that sat inside EMI at the time.

What’s a good/bad day at work look like for you? 
A bad day is when all the plans you have start unravelling & falling apart haha – A good day is when all your plans fall into place 🙂 I think as a manager having a trait where you’re good at solution finding really helps

What has been the highlight of your management career to date?
I really love hearing my artists’ music on a radio show or reading a lovely review. It’s a highlight for them but also it’s a reward for all the blood, sweat & tears it takes to get there.

Highlights are Great funding award results & being part of their journey 🙂

What do you think are the big challenges for a manager in 2020?
Covid19 was everyone’s challenge 2020 & to be in 2021, I think we’re still all going to feel the strain next year and the financial hardship alot of our industry has to face. Losing the live side has reduced artist income considerably and the manager is always at the bottom of the money chain. Our challenges are to find ways and ideas for our artists to continue to be creative, release music and keep their careers moving forward.

What music are you currently listening to?
Architects, Bring me The Horizon, TOVA, Nova Twins & Linkin Park – it was 20 years last week the incredible ‘Hybrid Theory’ was originally released 🙂

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Cori Chinnici!

How long have you worked in Management? 
I’ve been an independent artist manager for 3 years.

Who do you manage now?
Electronic pop songstress GEISTE and electronic artist producer and multi-instrumentalist LOELASH.

Where did you find your first client and what inspired you to take them on?
I met Geiste at Westminster University four years ago, we were studying the same MA in Music Business Management. I felt a strong human connection with her since day one. After a few months, I saw her playing and her performance, her voice, her stories made me feel something quite unique. From that moment on, I felt the need to help her develop as an artist, she showed me a new beautiful world that needed to be discovered and shared with other people. It’s hard to explain in words, I guess it’s that “gut feeling” we all hear a lot about. When I saw her, I just knew.

What’s a good/bad day at work look like for you? 
Sometimes I feel that a good day and a bad day can happen within one hour! Generally, it’s a good day when the artists I work with are serene and can focus on making music and looking after themselves, when most things look planned and under control and they don’t feel overwhelmed. A bad day is when anxiety hits, and everything seems to fall apart and we lose sight of where we’re at and what we need to do next.

What has been the highlight of your management career to date?
It’s quite hard to choose, so I’ll give one highlight each. Shortly before lockdown, Geiste performed in front of a sold out Omeara supporting Isaac Delusion. I was in the middle of the unknown crowd. She was fiercely owning the stage, people were dancing and truly connecting with her, and I felt immensely proud witnessing her conquering them. Another big moment is the first time I heard Loelash on BBC1xtra – I’ll never forget when I started to hear his beats alongside Jamz Supernova introducing him, knowing that his music was broadcasted on national radio.

What do you think are the big challenges for a manager in 2020?
When the crisis hit, I felt we were taken away from the momentum we finally got to build in 2020 – like many others, we had strong plans for this year and felt that we couldn’t keep up with them. However, we then realised that I was given back time to think and strategize, have more conversation, take it a bit slower as all the industry was moving at a different pace. The biggest challenge is maintaining a good work-life balance, especially having a full-time job besides management. Sometimes it’s hard to switch off the computer and unplug the brain, as well as looking after the wellbeing of the artists while also checking in with your own mental health and energy.

What music are you currently listening to?
Here are a few exciting new artists I am into and that I highly recommend: DijahSB, Sans Soucis, Clear Mortifee, Lynks, Godblesscomputers.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator Manager Ameena Badley!

How long have you worked in Management? 

3 years.

Who do you manage now?

Mowgs, A Class and Smuggzy Ace.

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

My first client was Tempa. Working with Tempa was very natural as we went college together. I had an idea that I wanted his help with, and from there I started assisting him on a few things which naturally progressed to management. I never ever planned to be a music manager – I think what inspired me was his talent working and with him taught me a lot in my formative stages as a manager.

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

A bad day for me is not sticking to my day plan which can lead to going off on a tangent. A good day is results, I love results that lead us to the next step.

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

I’ve had a few  – some really amazing moments. I think so far, Smuggzy’s Nike advert was a great moment. I think Mowgs going on tour with Jamaican superstar Popcaan was another massive highlight.

What do you think are the big challenges for a manager in 2020?

I think unanimously we can all say COVID-19 definitely threw a spanner in the works. The live show element of 2020 fell through completely. It allowed us to focus on other elements of our plan a lot harder – survival of the fittest I suppose.

What music are you currently listening to?

Right now I’m listening to A Class – I know that’s bias as he’s my own artist but I’m really excited to see how people take it in. Mowgs next single is on repeat as well. When I’m not listening to my own acts my music taste is very eclectic, I can go from Joe Black to Bybz Kartel, to Christina Aguilera in about 2 swipes.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF Board Member Kerry Harvey-Piper!

How long have you worked in Management? 

I’ve been a manager for 12 years and run independent label Red Grape Music.

Who do you manage now?

Currently I manage folk icon Peggy Seeger, Icelandic folk pop artist Hafdis Huld and the singer songwriter Luke Concannon (ex-Nizlopi). I also manage producer Calum MacColl, executive coach Stephen Daltrey and the catalogue of folk singer Ewan MacColl.

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

I’ve been Hafdis Huld’s label for the whole 15 years of her solo career and around 12 years ago her previous manager moved on, leaving her without management. I offered to interim manage her until we found her a ‘proper’ new manager, but we never did and I’ve been her manager and label ever since. Like many managers, I’ve learned everything ‘on the job’, making mistakes along the way but Hafdis and I have a great working relationship so being both her manager and her label has worked out really well.

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

I had a great day last week when I heard I’d managed to secure a decent sized grant for one of my artists meaning we now have a marketing budget for a new album.  The worst day of my management career was when my close friend and client Colin Vearncombe (aka Black) died as a result of a car accident on the way to a writing session. Days don’t get any worse than that and it affected so many people and fans around the world. In comparison, any day is a good day and I’m grateful for each one.

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

So many of them – I absolutely love my job and it feels a privilege to do what I do.  One highlight that really sticks in my mind was persuading one of my favourite bands of all times, The Bible, to reform for a 25th anniversary tour.  I managed the band reunion, booked the tour and acted as tour manager.  I remember standing at the sound desk as the first gig got underway, hearing songs I’d loved for a very long time and realising that if I hadn’t driven the project, it wouldn’t have happened. It’s rare that I allow myself a moment to pat myself on the back, but that was one of them.

What do you think are the big challenges for a manager in 2020?

Despite this being a terrible year for live music, I don’t think the challenges are that different; managers are brilliant at being agile, creative, innovative and dynamic so we just have to keep being that but more so.  The difference this year is that we’re probably having to be more supportive to the artists especially in the areas of mental health for them and for us.  Keeping artists and ourselves positive and moving forward is probably more crucial than ever this year.

What music are you currently listening to?

I have six children and they’re always alerting me to new music as well as old music that might have passed me by. Every time I take on a new intern the first thing I ask them to do is to make me a playlist of their current favourites so I’ve discovered a huge amount of music from them too. I’ve also taken to listening to classical music late at night to help me wind down after a stressful day.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is MMF Board Member Rachael Bee!

How long have you worked in Management? 

20 years (although had some breaks along the way).

Who do you manage now?

Izzy Bizu, Emmavie, Anjelo Disons, Damn Shaq, Vibbar although have to shout out John Hendrickse who leads on everyone but Izzy (-;

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

I was running the MTV Lick Parties and had an urban events and promotion company and was approached by Jade Richardson (A&R at Polydor at the time), who was looking for a manager for a girl group she had put together called Ladies First. I went to meet them and they picked me out of a handful of meetings she had set up. I was only in my 20’s and was always game for trying something new so it wasn’t a hard decision to say yes to the offer. The girl group didn’t last but Jade became one of my best mates. In fact, she was a maid of honour when I got married!

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

A good day is when amazing new music has landed in my inbox from one of our acts, we’ve nailed a great deal or opportunity for one of our artists or a release has reacted really well. A bad day is a deadline looming, creative assets not coming together how we had hoped, unhappy stressed artist and/or just too much to do (although if truth be told, as a manger there is always to much to do but some stuff not so deadline driven).

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

Hard to pick between Izzy being nominated for The Brits Critics Choice, winning BBC introducing Artist of the Year or being asked to support Coldplay on the US Arena Tour.

What do you think are the big challenges for a manager in 2020?

Releasing albums in these times is really hard. It’s not so bad if you are brand new or massive but for everyone in the middle, it’s tough. It’s hard to release an album without a live plot around it and the opportunities are much fewer at media with Covid too.

What music are you currently listening to?

Today I’ve been listening to Michael Kiwanuka on the back of his Mercury win, Emmavie’s new unreleased music coming soon, Xadi (an artist on our development programme at iluvlive) and Celeste, Arlo Parks, Solange, Ray Blk, Joy Crooks, Daniel Ceaser, Mos Def and of course Izzy all on my current personal playlist. I like to mix up some old and new together.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Melanie Ijieh!

How long have you worked in Management? 

For about a year and a half.

Who do you manage now?

An alternative R&B artist called BINA. solely and I’m on the management teams for both Blue Lab Beats and Cassie Rytz.

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

At a live event called the Ree Up Events. I had previously found her music on Soundcloud and really enjoyed the alt take on R&B she displayed. I’ve always wanted to push and enable artists  to change the musical landscape and challenge the mainstream and after a lengthy conversation with BINA. we found out that our views and aims were pretty much identically aligned. For me aligned visions are super important when finding an artist to manage because it’s a partnership at the end of the day, you both are in business with one another.

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

Good day: all the artists are on top of their socials and checking their diaries to make sure they’re on time to studio sessions or appearances etc. Bad day: none of them are answering their phones.

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

Being able to help create and fully assist on projects my artists have released and getting a premiere from the FADER.

What do you think are the big challenges for a manager in 2020?

I think the biggest challenge is maintaining the art/business balance. You have to be efficient in managing business affairs and think about business objectives like revenue, breaking even, deals but also keep a huge consideration for the art and artist – which I think you can underestimate just how difficult this can be.

What music are you currently listening to?

A lot of Griselda Records (Westside Gunn, Benny the Butcher, Conway the Machine), as well as artists like Ego Ella May, Nayana IZ, Nines and Durand Bernarr.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Zeon Richards!

How long have you worked in Management? 

I have be lucky enough to be earning a living in the business for 11 years now but was doing it unofficially previously.

Who do you manage now?

Wretch 32, Knox Brown, Wavs Dnt Die and Tia Carys.

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

Wretch 32, he was a close friend and I was passionate about his talent. I am thankful to have been able to learn from ground up together with him.

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

Good day is one where we deliver an amazing song, video or live show (sad face)…A bad one is one where nothing seems to progress. The day of a manager is a rollercoaster but I have learned to embrace the tough ride.

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

Having a number 1 record with Dont Go. At the time Wretch was signed to Levels / Ministry of Sound which was run by Alec Boateng and Richard Antwi who sadly passed away. Our friendship really pushed the project forward and will long live in my memory.

What do you think are the big challenges for a manager in 2020?

No live income or live opportunities to grow a fan base given the current times. Covid has been a reality check for us all, I sincerely hope that support is given to those in need as the majority of manager’s already live on a tightrope so these extreme times only make things worse.

What music are you currently listening to?

The new Nines album and lots of unreleased demos that I cannot wait to be released.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight are Callum Read and Adam Harris of Touchdown Management!

How long have you worked in Management? 

Adam: I (officially) started managing artists 8 years ago but I had worked with various managers prior to that. Callum and I met around 10 years ago and immediately hit it off. It wasn’t until 2016 that we set up Touchdown together.

Callum: I got into management after being a tour manager from 2014 for various acts (Dream Wife, Hinds, Dr.Dog and many more). I loved having a knack for making my artists feel comfortable and take away as much stress from them as possible in order to perform at their very best. My passion to be artist friendly in my approach to many things, as well as my urge to ‘get s*** done’ was the perfect combination to Adam’s ability to hustle in the industry and we’ve been happily working together since 2016.

Who do you manage now?

Both: We manage The Snuts and a new and very exciting artist called Grace Barr. We are also developing a new act who we are hoping to launch next year.

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

Adam: I was introduced to my first client, a band called Heyrocco from Charleston SC by a producer friend. The band were all aged 18 at the time and the music they were creating was something very special, they were also great performers and incredibly charismatic.

Callum: After 2016 when we formed Touchdown, every tour I did I always left wondering if I’d meet the act I’d end up managing and that’s exactly what happened. It took a while to meet or hear any act I liked enough to give everything to, which I knew I would as a manager, but then In April 2017 I remember being absolutely blown away in a tiny pub in Leith, Edinburgh by four guys (The Snuts) who were absolutely dripping with ambition and had these amazingly powerful and sentimental anthems – later those four boys became the guys Adam and I love like family and continue to do anything for to make them a huge success.

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

Adam: A good day is delivering great results for you and your artists and team, whether that’s closing a deal, selling out venues, entering the charts in a good position or securing your Artist’s creative objectives. A bad day is pretty much the polar opposite of those elements that make up a good day. Because we work so closely with our acts, I think we feel the disappointments as much as they do when they happen and in this business you can never just switch off, there’s always something that needs your attention.

Callum: Management is so turbulent – for me, it’s hard to remember a totally bad day or a totally good day for that matter. Especially when you’ve got acts that are massively ambitious. The first thing we’ll do after something great is of course celebrate and acknowledge it, but often we quickly move onto the next thing and start preparing to focus on that. likewise if there’s some tough situations we’ve had to deal with, it’s all about resolving them, moving on and feeling satisfied with how they’ve been dealt with – sometimes that can be just as satisfying. Luckily for us we have a great team around us who are all so supportive and hard working, particularly worthy of a shout out is The Snuts’ superstar Tour Manager & Social Media Manager (Gary Williamson) who’s been so loyal and so hardworking for all these years. 

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

Adam: I’m fortunate enough to say there have been a fair few, especially with The Snuts. Seeing them develop into the formidable force they have become both live and in the studio. Whilst awards are lovely to receive, nothing beats seeing and hearing thousands of fans sing every word back to the band at a gig….especially when only 24 months prior that artist was playing to 200 fans.

Callum: Likewise to Adam, there’s nothing like seeing The Snuts and the growth of their live business over the last 3 years or so. Nothing makes me prouder than seeing them progress and I remember thinking to myself the first time they headlined a show and sold out King Tuts in 2017, ‘I wont stop working til this band are huge’ and every time we accomplish something as a team, whether it’s a sell out a show, or a charter release, I always remind myself that we’ve come so far and are going in the right direction.

What do you think are the big challenges for a manager in 2020?

Both: If you’d asked us that pre-March of this year it would have been a very different answer. The pandemic has thrown the live industry which is in many ways the life blood of the music business into the worst scenario it has ever faced. It’s devastating seeing Artists, crew and all those who contribute to making live events happen have their livelihoods taken away from them, not to mention seeing once very healthy business’ disappear through no fault of their own.  It’s blatantly clear that socially distanced events are neither financially viable or particularly enjoyable for the fans, so whilst we have absolutely no guidance from the Government about how or when a staggered return to live can take place, we have had to be incredibly creative with how best to maintain momentum, exposure (and revenue). Yes livestreams and socially distanced shows have partially filled the void but in my opinion they aren’t the future. Nothing can replace how an artist connects with their fans through live music. Coming up with new ways to connect with fans and to develop new acts in the absence of live music is without doubt a challenge of mammoth proportions but at the same time it’s the manager’s job to continuously adapt to the ever changing landscape…can’t stop won’t stop!

What music are you currently listening to?

Adam: Mood dependant…today I’ve been alternating between Holly Humberstone & Fela Kuti with a bit of Beastie Boys thrown in for good measure.

Callum: New Bright Eyes album on repeat since last week and nothing else (super fan).

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Megan Burns, who is on the 2020 Accelerator Programme. 

How long have you worked in Management?

I have worked in management for just over 3 years now. Although I have been involved in the entertainment industry in various capacities since the age of 13.

Who do you manage now?

I currently work with Palm Reader, Isolated Youth and TARLD

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

I found my first client through a friend of mine who played me a demo track and I fell in love with them instantly, their sound perfectly encapsulated everything I adore about music and I knew I had to work with them. My daughter was a toddler and I had a full-time job at a university at the time so it was a struggle, but I just really wanted to try and help them out.

My approach to management is very passion based so it took me a little while to come to the realisation that I can’t always just follow my heart, I must also use my head and look at things from a business perspective too. Now when a band approaches me I try my best to not fall head over heels and dive straight in based on songs alone. I get the boring (important) chat out of the way in the initial meetings to be sure they can invest in themselves and do actually want to be managed/put in the work to build their profile.

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

I feel like most days are good days. I’m incredibly grateful to be working in an industry I love with such inspirational and talented people. So whenever I think I’m having a bad day, I have to take a minute to check myself and remind myself I could have it so much worse.

The only truly bad days are when a decision is made to part ways with an artist, that’s always a sad day.

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

As cheesy as it sounds, my highlight is hearing brand new material from my artists. Being involved in that process from phone recordings to studio to stage is so rewarding.

What do you think are the big challenges for a manager in 2020?

The artists I work with rely heavily on touring to promote and sell records/merchandise, so the pandemic has certainly affected how we are approaching business. As a manager there has been added pressure to come up with new and innovative ways to market my artists and because these ways are new, it all feels a little trial and error as nobody has the answer. That uncertainty can be unsettling but I have confidence that this need to think outside the box will freshen up the industry.

What music are you currently listening to?

On my playlist at the moment I have the new Deftones single ‘ohms’ and albums from Wode, Bambara, Drahla and SPQR.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Shaurav D’Silva of 2-Tone Entertainment.

How long have you worked in Management? 

I have been managing talent for over 10 years now- I started building my relationships with talent as a UK Garage DJ and club promoter back in early 2000’s. Being part of that UK underground club culture initially led me into managing a number of talented producers such as Terror Danjah, Diztortion and Rudimental. Being around Producers in studios was also a great way to discover new artists – so naturally those relationships led to my first few meaningful artist signings.

Who do you manage now?

Our management roster is a really diverse one that ranges from Black Music through to Dance/Electronica and Pop. It is run day to day by our brilliant team of Derek Amedume (Previously manager to producers Parker & James and songwriter Dyo), Mo Ogleh, Charlotte Hazell and Ahren Vassell.

Our most commercially successful client is Sigma (who we manage in collaboration with Jamie Osman @ Real Life Mgmt). I originally signed them as an A&R when I was at 3Beat Records and they have since been on to have back to back OCC number 1’s, multiple Top 10s and a Gold selling debut album.

We also represent an incredible Singer/ songwriter named Eyelar who has really established herself as a top songwriter having written big songs with Demi Lovato, Charli XCX, Little Mix and David Guetta. She has been recently been working on her own solo project thats really starting to gather momentum.

As a company we have also made a real conscious effort to represent more regional based talent- We manage a Midlands based Bass music DJ/ Producer called TS7 and an exciting Liverpudlian rapper named Aystar.

On the producer side we look after Dutch-born producer Diztortion. He has done very well in the UK Rap and Dancehall/ Afrobeat scene with the hits with Tion Wayne, Sean Paul, Bugzey Malone, Stylo G, MNEK and Darkoo to name a few.

We also have a great new Production duo named 2Fvded who are very connected in the rap space and have had releases with Aj Tracey, Yxng Bane and Cadet.

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

As well as DJ’ing and working closely with producers in the early stages of my career, I was also working within the marketing team of an established UK Black music awards show. There was an “unsigned” competition and I met an exciting young RnB vocalist named Lee Henry who I thought had huge potential. He was really the first artist we signed on management back in 2004. We signed him to an independant record deal with Phil Nugent (Full Crew Productions)- they had already had major success as producers in the 90s with RnB acts like Craig David, Mis-Teeq and Kreuz. While Lee’s project wasn’t a huge commercial success it was a great learning curve for me and we managed to play a lot of live shows around the country including some dates at Jazz Cafe with legends like Ne-yo, Floetry and Omar. Omar’s manager Lucia Fiore became an amazing mentor and friend to me- she introduced me to some of the best musical creatives I’ve ever met and showed me how to work the live circuit with an iconic artist. I was so fortunate to have people like Lucia and & Phil supporting me and guiding me in the early stages- it really homed my skill set and gave me a real understanding of how the music industry really worked.

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

To be honest- most days are good days. Im really blessed to work with people I really respect and admire. Creating new opportunities or seeing them break out of their comfort zones always makes me feel a sense of achievement. Celebrating all the small wins like NMF or 1st big radio spin are really important things to do to give your artists confidence and momentum.

A bad day involves dealing with people who don’t respect the creative process or manipulate a situation for their own benefit without any regard for how it may affect others. We are all dealing with a lot emotionally at the moment with the pandemic and the Black Lives matter movement and its really frustrating to still see people not showing due care in some cases for peoples well being.

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

Its so hard to pick out one moment- every one we represent has had their own success that cant be compared to anyone else’s success. My best highlight of 2020 (and what a year its been!) was watching Demi Lovato perform “Anywhere” at the Grammys in LA (a song that Eyelar co-wrote). It was a spine tingling moment- especially with the back drop of her story of fighting addiction and knowing how the song came together in such a spur of the moment way.

What do you think are the big challenges for a manager in 2020?

The pandemic has of course meant that so many managers have had to totally re-strategise their business model for the next few years. The lack of live income means we are being forced to look at how we can increase our revenues in digital / social media and branding as well as recorded and publishing income. The ability to really focus time on the music creation  has also been hugely affected as managers now have so many social platforms to run and maintain. Having a great team like mine is more important than ever. I also think that managers have now had to become multi skilled record label executives as so many artists want to self-release. Having a great understanding of that release process and also having the relationships to help get attention at DSP’s is an area that managers have really had to work on developing their skills in.

What music are you currently listening to?

Honestly- I’m so lucky- because our business as a whole operates across Records/ Publishing and Management we have so much music coming in from our own roster we don’t really ever have a shortage of great music to listen to. In terms of external stuff there are so many great new artists and scenes developing. I’m currently loving the Bootleg Boy channel on Youtube- Its low-fi rap / sad songs has a real mood and community that makes it feel very unique. Artists like  Powfu (“Deathbed”), and Kina (“Get You To The Moon”) started on that channel, so its interesting to see their growth into more commercial spaces. I also love Holly Humberstone- shes a really exciting new singer/songwriter who is writing great songs. Big shouts to her manager Josh Sanger at Closer Artists- he is showing the world how grass roosts artist development should be done and the importance of the A&R process being super tight in the early stages.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Nim Jani of Catalyst Management.

How long have you worked in Management? 

In an official capacity for 5 years but I’ve been learning the ropes for over 10 years.

Who do you manage now?

I personally manage Sam Tompkins, Steel Banglez, Michael Dapaah and Ashley Walters – Our company also manages Mist, Blade Brown, Tom Zanetti, Preditah & Swifta Beater.

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

I initially began managing myself as a singer/songwriter a good few years ago. That’s where I learnt the day to day of managing an artist. Sam Tompkins was the first artist I was able to use the skills that I had gained with. I came across him online.

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

A good day is a couple of the artists performing in the evening, press/video shoots in the day mixed in with a couple meetings all flawlessly in sync. A bad day is everything from a good day not working plus way more.

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

I’ve got a couple actually – travelling the world with ‘’mans not hot”, Sam Tompkins sold out headline show in London. And the highlight now is being able to balance it all. I feel I can comfortably say I’ve really found my flow.

What do you think are the big challenges for a manager in 2020?

Undoubtedly the live touring aspect being shut down, secondly I feel managing the expectations of artists in such a time can be really tough. I feel for the artists, the fact they can’t perform the music they are making is taking its toll now. Trying to keep up the energy without actually knowing what’s going to happen is the biggest challenge I feel.

What music are you currently listening to?

I’ve always been an old school R&B head I love warm R&B melodies and the chords that accompany them. I don’t think that’s going to change anytime soon.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Loretta Andrews of Safe Music Management, who was on the Accelerator Programme supported by YouTube Music in 2019!

How long have you worked in Management? 

I’ve been working in management since the Summer of 2015. Although I’ve worked in music and radio for most of my life, I didn’t have a clue what I was doing for the first year or so and mostly have figured it out as I go along.

Who do you manage now?

I manage Joshua Luke Smith, Guvna B, Bianca Rose and Jake Isaac.

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

I used to host a radio show that showcased unsigned and independent artists.  I interviewed Joshua Luke Smith on my show and was just blown away by his talent, his integrity and his vision.  We stayed connected with me as a fan really and a year later he asked me if I’d ever considered management and weirdly I was just thinking about it at the time so it was perfect timing.

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

A good day looks like getting wins for my artists like sessions we’ve been after for a while, radio play-list adds, and syncs as well as receiving new music from them that reminds me how lucky I am to work with them.

A bad day looks like endless meetings that take up a lot of time but don’t seem to really achieve anything. Or playing some of my artist’s music to someone and they don’t feel about it like I do.

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

A highlight for me was last month when all of my artist’s collaborated together on a track called ‘Brother’ which they wrote in response to the recent Black Lives Matter and anti-racism movement. The collaboration was so natural and came together so easily and beautifully that I realised that we all genuinely feel like a family and that’s pretty unique for a bunch of artists that just happen to have the same management.

They really support and champion each other. I felt like a proud mum in that moment plus the track is sick!

What do you think are the big challenges for a manager in 2020?

You have to be all over every aspect of the artists career and have a minimum of a basic knowledge of everything and keep updated on changes in the industry.  That can be tough.  Also, I think it is getting in front of the right people at the right time and obviously the COVID-19 pandemic has made that even more difficult.  I know how amazing my artists are and their talent speaks for itself but reaching and forming relationships with the right people who can open doors for them is so key but can be a challenge.

What music are you currently listening to?

I love the new Lianne La Havas album. Guvna B’s everywhere + nowhere album and both Jake and Joshua have just completed new albums and I’m honestly so excited about them that I can’t stop listening to the demos when I’m out walking!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Pip Newby of Friends Vs Music, who is on the Accelerator Programme supported by YouTube Music!

How long have you worked in Management? 

It’ll be three years come the end of the month.

Who do you manage now?

An awesome roster of insanely talented writers, producers and mixers. Al Groves, Ben Mclusky, Darren Lawson, Henry Brill, Owen Lewis, Rocky O’Reilly, Sean Oakley, Simon Byrt, St£fan & Steven A Griffiths. I’ve just signed a new writer/producer in LA that I’m very excited about called Phil Gornell and am developing a couple of artist projects behind the scenes.

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

Darren, Rocky, Steven & Sean were my first clients when I started the business. They were all people I’d worked with in my previous guise as an A&R. Darren had done an Enter Shikari Live EP for me; Rocky had done a few mixes for me and looked after me exquisitely whenever I went to Northern Ireland; Steven was in a band signed to PIAS; and Sean was making a record for me for an incredible band from the Isle of Wight called CHAMPS – he already had a manager in the US but I came on board to help establish him more in Europe.

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

A good day is one where you can finish up the day and reflect on having done a couple of things that have made a positive difference to your clients’ careers/happiness/bank balance.

A bad day is the one where you shut the laptop and all you have to reflect upon is the time wasters and the whingers.

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

The last three years have been a blast and easily the most exciting and rewarding in my career in music so far. In terms of great memories, getting the paperwork through for Henry Brill’s publishing deal with Kobalt in was a massive moment. We were both in Nashville for the first time – I’d only been managing a year and had whacked the whole trip on credit cards. Henry was trying to make two weeks of PDs for a record he’d been working on last two months. We were both totally skint.

We’d been stood up for a meeting in a posh hotel bar – I was abusing the wifi as my US data had run out when Henry’s lawyer sent the contract over. There’s a photo of the two of us together that afternoon drinking huge, cold glasses of mescal where we both look the best combination of knackered, elated and relieved.

What do you think are the big challenges for a manager in 2020?

Honestly, I think the biggest challenge is creating careers with real longevity. I’m not against a single-based music culture – if anything it forces creatives to raise their game to satisfy the market, but a decrease in true career development and building real multi-platform three dimensional artist careers is really gonna bite everyone in the arse in the end. And that’s just as true for behind the scenes talent as it is for performers.

On another note related to longevity, I think the industry needs to get over itself in terms of coveting knowledge and information. It’s creating a climate where plenty of people are afraid to admit to what they don’t know and ask questions. That’s no good for anyone and leads to a lot of time being wasted and heckles being raised. Knowledge isn’t a finite resource – if you don’t know, ask, and if someone shames you for asking a relevant question, fuck ‘em.

What music are you currently listening to?

Like every ageing emo, I’m chain smoking Phoebe Bridgers’ new record. Alfie Templeman on Chess Club continues to blow my mind with every new release (for full disclosure Darren Lawson’s mixed most of Alfie’s stuff, but I’d be in awe of this kid’s output whether any of the gang were involved or not). Oh, and there’s a band called KOKO that Made’s label have just signed who I think are really exciting.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is TK and SK of Finesse Foreva!

How long have you worked in Management? 

12 years combined experience!

Who do you manage now?

Skengdo x AM, S1, SYM, JoJo Hundred, Ghosty (Producers) JB Made It (Producer), Gotcha (Producer).

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

They kind of found us as they used our studio facilities, but what inspired us was the synergy we had, the hard work of the artist and the potential of where things could go!

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

There is never a good or bad day, it’s just work! Some days are harder than others.

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

Being the first managers to line a UK/US Drill feature and selling two tours in one year with a Drill act!

What do you think are the big challenges for a manager in 2020? 

One of the biggest challenges for managers is proving they are good managers and that they are genuine, it takes a while but just be patient and stay consistent.

What music are you currently listening to?

Mood dependent – either ‘Inner World’ by His Holiness the Dalai Lama or Special Request – Stairfoot Lane Bunker (Minor Science Remix).

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Chloe Roberts of First Access Entertainment!

How long have you worked in Management? 

More than 15 years.

Who do you manage now?

The company manages Rita Ora, Winnie Harlow, Ray Blk, Madisson Beer, Evan Ross, Conor Maynard, Issaac Elliot and host of exciting developing and emerging artists.

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

My first client was my younger sister ‘Jem’, she would play demos down the phone to me while she was at Uni. One day she persuaded me to meet her lawyer (Sarah Stennett), who pretty much offered to set up a business with me on the spot to co-manage Jem. Jem’s debut ‘Finally Woken’ sold a million copies worldwide on ATO Records/SonyBMG, it broke out of KCRW in LA (Nic Harcourt), she co-wrote a song with Madonna, got syncs in her sleep and toured extensively. Success came quickly so I was thrown in at the deep end and on a global scale.

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

Good day = being super productive, negotiating/closing deals and fine tuning release planning. Bad day = unnecessary dramas and letting people go.

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

Too many highlights, each at different stages of artists careers. For example, the first time you hear them on the radio, or just out while shopping on some store playlist, the first time they play iconic venues like Shepherds Bush, Brixton, The 02, the first time they play Reading & Leeds, Glastonbury, Coachella, Lolapalooza, the first big TV performance, the first awards show. I think being in this business most of us are not star struck however, attempting to strike up a casual conversation with Madonna on a transatlantic flight was a highlight, not because it was a particularly welcomed conversation (by her), but because it was Madonna. If I had to pick one, it would be whenever an artist that I am connected to, has played the main stage at Glastonbury, there is just something about that Festival and the connection to people, that is everything.

What do you think are the big challenges for a manager in 2020? 

Aside from the obvious impact of Covid – how to be all things to all clients: manager, label, publisher, merchandiser, promotor, mentor, friend. How to be available at all times and though all moods and still sleep, eat and exercise. How to keep up with WhatsApp messages/groups and constantly evolving technology (apparently as a race we are going to evolve and grow with larger thumbs).

What music are you currently listening to?

Mood dependent either ‘Inner World’ by His Holiness the Dalai Lama or Special Request – Stairfoot Lane Bunker (Minor Science Remix).

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Ian Douglas Forteau!

How long have you worked in Management? 

I have worked in management for 3 years now very early days! To quote Yoda “Much to learn, I have” this is why I have joined the MMF to learn grow and make great business relationships with its members and to contribute what I can to the organisation from my own experiances.

Who do you manage now?

I currently manage 3 fantastic artists, Ru (Pop, Jazz, Funk, Soul) Sam Way (Folk, Pop, Indie, Alt) and Leia Jules (Bubblegum Pop / Trap)

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

I found my first artist performing at a showcase in Mayfair.

Ru inspired me to take her on because her music resonated with me from that first showcase performance and the fact that I could see that she is incredibly driven like myself. Ru believed in me although I was just starting out as a manager. I knew with focus belief hard work and determination I would be able to help her get to where she wanted to get to in this industry. We also have very similar tastes in music like Jamrioquai and Chris Cornell. Ru is classically trained and can perform a wide range of genres. Great to see her debut release this year take off in so many countries.

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

A good day is when I know that hard work and dedication has proved to be the winning formula and we artist and manager and see the fruits of our labour being a successful tour or single release, great reviews etc.

A bad day at work is when I come across people in the industry who try and rip others off whether it be live promoters or producers etc. it messes with the status quo.

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

To date it would be the release of Ru’s debut EP she put so much of herself into the development of the completion of the “About Time” EP made me very proud to see the music release and the reaction from her fan base supporters and media.

This and adding Sam Way to my roster he is a fantastic singer songwriter and performing artist we are excited for the future.

What do you think are the big challenges for a manager in 2020?

I think the big challenges for a manager in 2020 are being restricted from our normal day to day processes physical meetings and such and adjusting to the financial implications that the epidemic has had on artist and manager. To be honest these are only a few examples I have faced. I could wright a list lol.

What music are you currently listening to?

Currently I am listening to Tom Misch’s “What Kinda Music” maybe a little too much also “Run The Jewels” 4th Album RTJ$

Friendly Fires new music has caught my attention also.

I would like to say a big thank you to Kwame Kwaten and Penny Foster for their inspiration and guidance through out the years.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Taisha Johnson!

How long have you worked in Management? 

Officially since 2017.

Who do you manage now?

Miraa May (check her out!)

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

Miraa and I went to a performing arts school together, we’ve bounced off each others creative energies from a young age.

I think in 2015/2016 I began to understand there were lanes for me to take in the industry and I was offered the opportunity to do so with Miraa.

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

A good day for me is a day without any complaints; things are running smoothly.
I try not to make any day a ‘bad day’ as each day comes with it’s own challenges, it’s just about how you choose to tackle them.

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

I don’t think I could narrow down one highlight. Throughout my career thus far, I am continuously proud of the efforts and achievements I’m making;
depending on your work ethic, the job can be extremely demanding, so I take time to constantly remind myself I’m doing good things.

What do you think are the big challenges for a manager in 2020?

Well considering we’re currently in a pandemic, the biggest challenge is to keep safe! After that I’d say, mental health and finance.

What music are you currently listening to?

Currently I’ve been banging  ‘Bino Rideaux – Outside’ project.
It’s got that LA feel to it, summer time settings.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Shane Mizermilli!

How long have you worked in Management? 

10 years.

Who do you manage now?

Artists: MoStack, K-Trap, Rae?, The Rara. Producers : JT & Rxwntree. DJ: DJ Semo

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

Found my first client online, watched a sbtv freestyle, heard the lyrical content and style of rap and was blown away.

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

A good day: When you meet deadlines to submit songs & videos, which doesn’t always happen. Also, being in the studio with your artist and you hear a hit record unfold.  

A bad day: If a release goes wrong, video link doesn’t work, or a timed release doesn’t come out at the exact time.

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

Highlight has been selling out 2x Brixton O2 academy With MoStack , as I’m born and raised in Brixton and have watched all the greats perform there.

What do you think are the big challenges for a manager in 2020?

With Covid 19, it could be difficult to keep artists motivated and geared up, especially when all shows have been cancelled. Keeping everyone’s mental health in order in such times are challenging in itself.

What music are you currently listening to?

I’m listening to all different types of music, from Rap, R&B, Drill, Grime, to Soul, House, Dance  & Pop.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Accelerator Manager Bobby Brown!
How long have you worked in Management? 

I’ve worked in management since 2012, winging it initially, but quickly realising this was what I wanted to do with my life.

Who do you manage now?

I currently manage Hip-hop duo Frankie Stew and Harvey Gunn, as well as singer Karl Benjamin.

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

I grew up in Brighton, I used to run events and had a YouTube channel back in the day where I’d film all the local talent. I had worked the most talented artists in the area and when any of the Artists started getting traction they would ask me for help. It just went from there really.. eventually I helped negotiate deals, tours, worked on projects and took on the role as a manager more formally.

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

A good day is a show day or a studio day. A bad day is when you don’t meditate.

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

Frankie Stew and Harvey Gunn’s Breathing Exercises album and campaign just gone. Despite it being released just weeks before the global lockdown kicked in (Feb 28th), I’m really proud of how we serviced this record and all the work the boys put into pulling it together. It showed me the true potential of an independent operation nowadays

What do you think are the big challenges for a manager in 2020?

Navigating the global pandemic and keeping your Artists sane and inspired to create.

What music are you currently listening to?

There’s loads of great new artists I’m listening to at the moment..

Mustafa – Stay Alive

Kamal. – Blue

Jac Ross – Saved

Pip Millett – Heavenly Mother

Greentea Peng – Ghost Town

Tora – Call your Name

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Christopher Grey!

How long have you worked in Management? 

I have been working in music for 5 years but I began getting into management late 2016 / early 2017.

Who do you manage now?

Currently my roster is made up of producers Nyge, Clonez, Gibbo.
A DJ named Taylah Elaine & a developing singer / song writer called Paige Lihya.

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

My actual initial goal was to get into A&ring rather than management funny enough. So i took it upon myself to learn as much about the industry and gain experience where I could. I attended seminars hosted by an initiative called Urban Development, which used to have panels talking about various sections of the industry. From that I was able to land an opportunity working with an artist manager who was looking after rappers Bonkaz & Yxng Bane at the time. I began by doing all the day to day management for them. Then I was drafted in to help put together an album under XL Recordings called ‘NEW GEN’ via the connections I had made. That album was entirely produced by 3 producers, one of which was Nyge. We grew an organic relationship over time and I naturally began helping him with his career, which led to him becoming my first client.

I think it was mixture of believing in his talent , and understanding that we was both in a position to help build the culture of black music within the UK as the appetite for this genre of music was beginning to breakthrough. Aside from that I was just hungry and passionate to do anything to help a friend and get my foot in the door of a segregated industry.

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

I think a good day is when you have list of tasks you’re trying complete and you’re able to tick them off. The industry can be quite a distraction between all the travelling, meetings, phone calls etc you sometimes let things slip through the cracks etc. I find the best days for me are when i’ve taken care of all the admin based work and can enjoy the planning and execution of the creative ideas and getting product out into the marketplace. It’s always good when a deal, placement or booking has been confirmed also.

A bad day can come in various forms whether it be a last minute change of plans or delays that derail weeks or months of hard work towards a release or launch. Having to chase down money that’s owed to you, or the constants battle of trying to make sure your clients are not being undervalued or taken advantage of, a pandemic which destroys all live plans that would have been a great opportunity for branding, exposure and money. The list goes on…

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

There’s been a few but I think not being comfortable and pushing the boundaries with Nyge as a producer has helped diversify his career but gives the company opportunity to be flexible in the activity we take part in. We was deliberate in making sure Nyge wasn’t a faceless producer. Yes he has worked with the biggest rappers the UK has to offer but he began putting out music under his own name, which led to a two single deal with Virgin Records. He signed his publishing with BMG in 2018 and is AJ Tracey’s official DJ. All that activity has allowed us to leverage it into a label deal with ADA to put out records as a company with funding to support our releases. It will be a huge highlight to still help build careers of the talent we believe in but also be flexible and explore other areas of growth so we are not restricted to one area of business.

What do you think are the big challenges for a manager in 2020?

Firstly, I think with the virus that has put a lot of challenges on managers in terms of executing plans for the year from live to releasing music in the manner which maximises the potential and exposure of the record.

Secondly, there will always be a challenge of how do you fight through the noise of getting your act heard. If you’re developing an act and you’re in the beginning stages how do you build their platform and fanbase with limited resources, especially if you haven’t got a team to help share the workload also. A Manager has to take on various roles outside of the title to get the job done.

I know for myself i’m think about how to get over the challenge of not just having activity domestically but how to build the narrative around my acts internationally.

What music are you currently listening to?

Its always a mix but mostly as of this week its been Gunna, 112, Kehlani, Jagged Edge, Don Toliver, Headie One & Millionz.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Sam Cantlon!

How long have you worked in Management?  

Two years.

Who do you manage now? 

Joey Maxwell, RYD and I also assist on The XCERTS, The Wytches and Luke Sital-Singh.

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

I first became aware of Joey a couple of years ago whilst he was in his previous band. I had seen them live a few times and it was clear that Joey was a star in the making. Around a year after that first encounter, I was sent a demo of Joey’s solo project and by the time I hit the first chorus I was hooked and knew I had to get involved.

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

A good day is finding rhythm with my work, collaborating on creative ideas within the roster or actioning exciting plans which have been weeks/months in the making.

A bad day is when I can’t find that rhythm, creative ideas aren’t flowing or a global pandemic cancels the exciting plans you were about to action which have been weeks/months in the making…

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

Joey signing to B-Unique for publishing and, most recently, signing his record deal with Polydor are two moments I’ll never forget. It’s been an amazing experience working with Joey and seeing all the hard work starting to pay off is an incredible feeling. Also, a huge shoutout to Julian Deane, co-manager and my mentor; it’s been a real team effort to get us to where we are over the last year and I can’t wait to see what the next one brings.

What do you think are the big challenges for a manager in the current COVID-19 situation? 

I think given the circumstances it’s just about figuring out how we can best empower our artists/writers to operate in the online world. There are skills that all artists and writers will need to develop during this time and I think it’s our job to be as supportive in that as possible. And it’s also a balance of managing expectations as well… Should our artists expect to be touring again this year? Maybe not. But that doesn’t mean there aren’t opportunities to grow and build their careers. We’re seeing writers adapt to online sessions and artists be really innovative with the way they engage their audiences. There are lots of opportunities popping up. We can only do our best to ensure our clients have as much access to them as possible.

What music are you currently listening to? 

I’ve been listening to a big mix – Jean Dawson, Roy Blair, Efterklang, as well as the latest records from Laura Marling and The 1975. I was also very sad to hear about the passing of Jimmy Cobb, so will be listening to Kind of Blue a good few times over the next couple of days.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Henry Walton!

How long have you worked in Management? 
Coming up to 4 years now though I had been involved on the artist side for a lot longer…

Who do you manage now?
Sarathy Korwar (Leaf Label, Gearbox / Metropolis Songs), Soccer96 (Moshi Moshi / BMG), Danalogue (Total Refreshment Centre / BMG). We’ve also just taken on Ash Koosha and AI artist Yona who creates all her music through AI. This is a really exciting step for us as Yona is at the forefront of virtual artist technology. We’re always going to be focused on the human element but it’s absolutely the right time for us to be investing in new tech that challenges the status quo.

Where did you find your first client and what inspired you to take them on?
I was listening to a lot of Alice Coltrane & Pharaoh Sanders when I met Sarathy. He played me Bismillah and told me he’d just won the Steve Reid Innovation Award and his album was coming out on Ninja Tune but had no team and needed some help…

What’s a good/bad day at work look like for you? 
The best day is always receiving new music or bringing a new project on. I am always 100% convinced it’s the best thing in the world. Obviously! Worst days are when I forgot to adhere to the processes we’ve set up to help manage the work load. I’m pretty unforgiving with myself when I forgot to work the way I want to.

What has been the highlight of your management career to date?
WinterJazz in NYC this year was great. Maybe the launch of ISN’T IT ODD late last year with my business partner Will Daunt. But probably each time I’ve started work with a new artist.

What do you think are the big challenges for a manager in the current COVID-19 situation?
The challenges are obvious but the paid opportunities less so… We’re looking at revenue streams for our artists that are a little outside of music such as book deals and exploring tech including virtual artists like Yona. Content generation is so important right now to keep your fan base engaged and conversation moving forward and for a lot of people, it’s very hard to do that. Artists that are able to do this, with teams that can support them are going to be in the best position they can be once the curtain lifts.

What music are you currently listening to?
Keeley Forsyth on The Leaf Label is great. Alabaster dePlume’s To Cy & Lee is pretty special and he’s got an album out with our Danalogue later in the year which is heavy. Lunch Money Life’s album Immersion Chamber which Dan produced and mixed is real good with some great assets as well, as are Snapped Ankles who he also produced. He’s a busy man! The Expansions… Only just realised they’re current! Not new but Carlos Niño & Lil’ Sci’s Love, Hugs and Hip Hop Soul is such a good track and I keep coming back to it.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Trina Smith!

How long have you worked in Management? 
Almost four full on, but incredibly educational years.

Who do you manage now?
I solo manage an absolute genius Producer/Composer called Andrew Kingslow, who is also my business partner and Co-founder of Electric Pineapple. Together we manage Ben Lythe, Rob Late and Dan Carasco – all three of whom are utterly fabulous and have very different vibes.

We also have a band in the making but it’s too soon to tell the details on that one…

Where did you find your first client and what inspired you to take them on?
Andrew was my first client. When we started working together he had hired me as a Virtual PA (a business I’ve run since 2015) and we just gelled. Despite his 20+ years in the industry he had been mistreated/exploited more often than not in the past and was keen to leave his then management, so I suggested I take him on – what’s the worst that could happen…? We just bloomed from there into a company that wanted to stop mismanagement of upcoming artists and that’s what Electric Pineapple are all about.

What’s a good/bad day at work look like for you? 
A good day at work is quite honestly any day I get to switch off from work in the evenings. Any negotiations or deals done are a huge added bonus! I get the most out of the days when I get to network and meet new people, and when I see a song or a plan come together for my artists. They all make me feel extremely proud.

A bad day is having to shield my artists from news that won’t boost their confidence. It’s also me having to defend my place in this industry to people who condescend. This has happened because I’m female who’ll use her voice and because I’m seen as relatively new to the business and assumed to be naive.

What has been the highlight of your management career to date?
So many – I did my first 6 figure deal with Sony for Andrew in Feb. Ben’s first play on BBC Introducing last week. Dan’s Music and video created for Rob Beckett played on The One Show a couple of weeks ago.
Rob’s first single Bump is about to hit 100k streams so that’s the next highlight for me.

What do you think are the big challenges for a manager in the current COVID-19 situation?
I think keeping morale up and motivation going with your artists can be tough at a time like this. It really is a question of letting them find their way through and offering support whilst continuing to hustle on their behalf.

The biggest challenge for me is maintaining a grasp of conversations within the industry that were going somewhere positive however, understandably, have had to be put on the back burner. There’s such a fine line in showing that you are still interested in pursuing a deal but keeping a respectful distance in time of crisis; you just don’t know what anyone is going through at this time.

What music are you currently listening to?At the moment I’m listening from anything from 80’s Rock through to Parcels to The Bad Dreamers to Little Mix to get me through work and home schooling juggling – I’m a big Dermott Kennedy fan so he sneaks in daily at the moment too

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Rebekah Tayler!

How long have you worked in Management? 
I’ve worked in management for coming up to 8 years now.

Who do you manage now?
I’m working with Passenger, Cher Lloyd and an amazing new development artist called Jed Holland who has his first release coming up. So a pretty varied roster!!

Where did you find your first client and what inspired you to take them on?
I was lucky enough to be offered an Office Manager job at ie: music 8 years ago and was taken under the wings of industry legends Tim Clark and David Enthoven. From there I quite quickly started assisting across Passenger’s campaigns. Fast forward 8 years and I’ve worked on 8 albums with Passenger and the team. Across these campaigns we’ve achieved 19 official #1 singles and 4 official #1 albums across multiple counties, as well as over 3 billion views on YouTube. I still feel really inspired by Mike (Passenger) as an artist and feel incredibly lucky to have learnt the ropes with him.

What’s a good/bad day at work look like for you? 
There are ups and downs every day. The best days are when I feel like I’ve really achieved something for my artists; and the bad days are when I come across key people who don’t share my belief in my artists. I do take a lot of motivation from the latter though!

What has been the highlight of your management career to date?
There are many moments, big and small, that are highlights for me. From the first official #1 album campaign I worked on; to quietly taking in a show we’ve worked really hard to put together; to self-releasing a top 5 album. Working with Cher Lloyd is a massive highlight for me – she’s insanely talented and it’s really satisfying hitting targets and driving forwards with her. Helping to achieve sales of over 1 million copies of her recent single None Of My Business is something i’m really proud of. Another big highlight is hearing and loving a demo for the first time, overcoming all the various hurdles and industry politics over the following months to get everything together for release and then hearing the finished product on the radio for the first time 💪🏻

What do you think are the big challenges for a manager in the current COVID-19 situation?
Every corner of our industry has been affected by COVID-19. Aside from the huge obvious challenges around live and the devastating knock on effects that’s having, the biggest day to day challenge is asking our artists to be across even more online platforms to connect with audiences. We’re so lucky we have access to all sorts of new amazing platforms and technologies which no doubt can and will be monetised (which is essential), but expecting artists to suddenly be able to connect via a mobile phone and perform without audience energy is a challenge that I don’t underestimate. I think so much is already expected of artists releasing music these days and they’re feeling the pressure now more than ever.

What music are you currently listening to?
A huge variety – I do listen to a lot of pop music but have also been exploring catalogues of artists like Dolly Parton and John Prine who my artists have recently mentioned as being influences on their own music. Cher Lloyd also released a single last week called “Lost” (yep – shameless plug) so that has been playing quite a bit as well – my boyfriend recently said he thinks he has now passively listened to it upwards of 500 times over the course of the last few months. Lucky him I say!

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Gemma Etchells!

How long have you worked in Management?  

“Officially” I’ve been managing for just over 1 year now.

Who do you manage now? 

Piano-indie rock band ‘Pacific’ – based in Manchester.

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

Honestly, it was a complete accident with Pacific. I had been aware of the band for about 3 years prior to me even seeing them live. I’d listened to them pretty religiously without really realising, so when I saw they were playing at Jimmy’s (Manchester in October 2018) I jumped at the chance. On that evening, I immediately had this overwhelming feeling of just knowing they had ‘it’ – I still can’t put my finger on what exactly that is, but Pacific has it.

Now I was even more into them having seen them live, I started helping out very casually (keeping an eye out for opportunities, taking photos, helping load in/out, etc). 3 months down the line, I found myself as their manager. And 6 months after that… I quit my day job to focus on the band full time.

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

A good day at work is when all of the ducks line up, when a plan that has taken a lot of hard work finally comes together.  A bad day is the opposite – when the ducks go AWOL and the plan falls apart.

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

There has been an abundance of great moments in the last year, but to narrow it down slightly …

1.Pacific winning the YNOT Band App vote 2019. That was extra special given it was down to public vote, coupled with it being a festival they had always wanted to play.

2.Pacific’s biggest Manchester headline in September 2019 being both a sell-out and one of their greatest live performances to date.

3.The release of their single “Idols” in January. That was a real milestone and the start of a slightly different direction to their music…

What do you think are the big challenges for a  manager  in 2020? 

Obviously, Covid-19 isn’t ideal for the music industry, but we’ve found it manageable by firstly just accepting what is out of our control. Yes, money has been lost, yes, our plans have been blown out of the water, but what can you do? It’s currently a big case of adapting accordingly.

Other than that, generally keeping ahead and up to date in the music industry as well as having an idea of what’s most likely to happen next, which is a challenge in itself. It is consistently changing in front of our eyes, adapting takes endless creativity. It’s a never-ending learning curve.

What music are you currently listening to? 

Apart from Pacific on repeat, a wide variety – old and new. Anything from The Drums to Giant Rooks to Georgia, and a new isolation discovery I’m a little bit obsessed with…KennyHoopla.

Listen to Pacific here.

How long have you worked in Management? 

Either ‘Forever’ or ’30 years’ – I think both answers are correct!

Who do you manage now?

REWS, the awesome female alt rock band signed to Marshall Records. Cortney Dixon, our young multi-talented future star and fab indie/pop songwriter and producer, Diives, from North Wales. Plus, I’m consultant to several acts.

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

An act from Leeds called The Hollow Men who we signed to Arista Records and Warner Chappell. Great writers, talented musicians, creative and proactive which is a prerequisite for acts joining our roster. Soon after came Mike Scott (The Waterboys) and a run of fantastic acts including Republica, Beth Orton, Rialto, Miles Hunt from The Wonderstuff and more who got my early management career underway….

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

A good day is new music coming in from our artists, brainstorming ideas and plans together, hitting the targets we’re after and those moments when the universe brings unexpected bits of luck.

A bad day is dealing with people who don’t have the enthusiasm and commitment we have. Frustration when you know you have something brilliant if only everyone put the same energy and love into a project. It doesn’t happen often as we swerve those situations.

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

Every artist’s career and expectations are different so there are loads of winning highlights. The funny thing is that, at the time, you’re often so busy that it’s only when you look back you realise how great a moment was….

Finding and managing Scouting For Girls – every manager has an act that their industry contacts don’t get and it’s such a victory when you find allies who see what you see. The arena shows, No 1’s, Brit and Ivor Novello nominations that followed were a joy!

Lots of little highlights…racing from stage to stage at Glastonbury with three acts all on at the same time – clever …each artist’s first Graham Norton TV show….first US TV show appearances….the hit record that broke in the USA just as a UK band were about to be dropped…Award nominations…playing in front of massive crowds in parts of the world you’ve never visited….

What do you think are the big challenges for a manager in 2020?

Navigating through Covid 19 – the decimation of the Live sector and the terrible knock-on effect for all areas of the business and personal hardship for so many. It’s zapped the international plans of successful acts, kyboshed a critical breakthrough year for acts on their upward trajectory and halted emerging acts whose Live careers were only just beginning. The big challenge is how to keep careers and income streams going online/digitally when everyone in the world is needing to do the same.

Secondly, and impacted by the above, for new acts the volume of music uploaded to streaming services every day makes it a challenge to get in front of music teams and new fans.  Although there’s so much artists and managers can do without the budget for putting teams together, it needs constant strategy evaluation, knowledge updates and critical decision making to bring new acts through.

What music are you currently listening to?

A huge variety – the acts on our roster are different genres, although they overlap in terms of mainstream potential, and we share music we find or love every day. We listen to the music of their peers, new music, old music, music they love, music we love – it all gets thrown in…

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Simon King!

How long have you worked in Management?
I’ve been managing full time for 10 years but have been managing various clients on the side of a day job for 10 years before that.

Who do you manage now?
I manage Brit Award winning artist Tom Walker, a new development artist called Jalle, a hit writer/ producer called Hight and a new writer/production duo The Nocturns.

Where did you find your first client and what inspired you to take them on? 
Most of my clients I’ve found through referrals or recommendations. I normally look for an artist who has real personality or connection in their songwriting, a unique or interesting vocal, and the desire to learn and grow.

What’s a good/bad day at work look like for you? 
Most days have good and bad bits but I love problem solving so a good day is one that I’ve turned around from starting off as a bad one. A good day is always one when I find or help create an opportunity for one of our clients or help them take another step in their career.

What has been the highlight of your management career to date? 
I think there have been some amazing career moments involving all of my clients over the years but the week that Tom Walker won his Brit Award followed by having a No. 1 album was definitely up there.

What do you think are the big challenges for a manager in 2020?
I think right now it’s about finding new ways of working as a manager during the Covid-19 lockdown and helping our clients adapt. Without face to face interaction songwriters have to adapt to online writing sessions and artists have to really step up their social media game to grow their careers.

What music are you currently listening to? 
All sorts from BENEE and Powfu to Paul Weller and Cosmo Sheldrake.. a real mix.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Tony Garvey // Red Light Management

How long have you worked in Management? 

15 years.

Who do you manage now?

AC Slater, Shift K3Y, Chris Lorenzo, Joy Club, Nathan C, Aazar, Turno, Taiki Nulight, Anti Up, Jack Beats, Cause&Affect, Arctic Lake, Akiro, Cashio

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

At the time me and my business partner Marc Thomas were running a Music Promotion and Music Marketing company called Go Music Promo, most of our business was consultancy and Artist strategy for Major Labels. Part of this was commissioning remixers to break certain Artist in to new areas/scenes, we quickly noticed a lot of the DJ/Producer/Artists we were commissioning to do remixes were unmanaged and thus started working with them in that capacity. It was their ability to work very quickly on turning round a remix or production but also being able to exploit their work through their own touring – so promotion, production and touring were the things we specialised in very early on. One of our first clients for management was an Artist called Borgore, this was right at the start of the Dubstep scene, he was an Israeli Producer based in Tel Aviv. We took care of his bookings initially bringing him to Europe and the US and very quickly grew his Fanbase who became very fanatical, from there we started a label ‘Buygore’ together which in turn brought in new talent which we were able to develop through the label and in turn under management. Shift K3Y was one of those artist back in 2012 and he remains our longest Managed client.

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

A good day at work is concluding a project, deal or release that we’ve been working on for some time, everything is a team effort and when it all finally falls in to place it’s very rewarding for everyone involved for their creativity and vision and reminds us how lucky we are to work in this business, to actually make a difference.

A bad day is dealing with unnecessarily difficult business, usually with unreasonable or inexperienced managers, thankfully this happens rarely, we thrive on challenges and have built up a very good relationship and reciprocated respect amongst many areas of the industry from Mangers, Labels, Radio, Media etc so a bad day doesn’t happen too often.

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

That’s tough because we work with quite a few clients and each give us their own moments that we are proud to play a key part in and that ranges from a chart success, an award or a tour. To be honest the highlight in all this is still being able to contribute so much to brand new fledgling careers alongside remaining conceptual and forward thinking with long standing clients.

What do you think are the big challenges for a manager in 2020?

With so much music in the market place and so much hitting streaming services every week, the challenge is to get noticed both internally by music teams and by listeners at the front end, particularly with brand new artists that don’t necessarily have an existing fanbase to draw on instant engagement – and quite often no significant budgets to build a team to create the right story. In amongst all the useful insights, data and tools it still remains a challenge. The sheer volume and choice and the window to get those viewed all takes a number of factors to fall in place.

What music are you currently listening to?

Everything from Drama to Karsten Pflum to Billy Lockett to TSHA to Roy Wood to Tokimonsta. From our own camp there is some pretty immense new music coming this which Im already hooked on whilst working on the projects.

Manager Spotlight offers a small insight into the heads of incredible managers. This week in the spotlight is Ellie Giles.

How long have you worked in Management? 

Around 8-9 years now (I can’t remember), feel confident in the role now, took me a good 2-3 years to mountain climb, so much to learn, in fact I would say I’m still learning on a daily basis, any manager who says otherwise is arrogant.

Who do you manage now?

Adam Noble (Producer/Mixer), Bill Ryder-Jones (Artist/Producer), Charlie Russell (Producer/Mixer), Erland Cooper (Artist/Composer/Producer) and Warmduscher (Band)

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

My first client was a producer, I realised after A&R that it wasn’t for me, just felt like I wasn’t moving or learning anymore and it felt the right step for me. He had done some great records and was hugely motivated and talented.

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

Good day is when you have an idea or a plan that executes well and that the whole team are motivated and working well together. Bad day was yesterday when we had to postpone a whole tour for Warmduscher, that just sucks, especially as they needed the cash but equally health is more important right now.

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

I don’t have a highlight but think it’s the little wins on a weekly level that I love. One of my producers making an outstanding record or one of my artists getting an insane review. The little wins keep me driving forward.

What do you think are the big challenges for a manager in 2020?

Coronavirus. A lot of artists didn’t have the insurance that made a claim possible. It’s hugely impacting both the finances of the artist and the management community. Plus even if you had insurance the lack of strong words from this country’s leader has meant we are in stasis, we need him to make a call in stopping all shows, this would help the community a great deal as we could then look at getting some monies back. Plus at the moment there is no help for the self employed right now which is just so sad. I know so many artists who are really in a pickle with all this.

On top of this, I would say the digital landscape, the amount of things to consider on a daily basis and how you manage that with a work/life balance. Making sure you look after you as well as looking after your clients and team.

What music are you currently listening to?

A lot of soul and funk to keep the positivity flowing.

We are excited to introduce our new series: Manager Spotlight. This is a way to get a small insight into the heads of incredible managers. This week in the spotlight is Amanda Maxwell, Manager of Ellie Prohan. 

How long have you worked in Management? 
For a year and a half.

Who do you manage now? 
Ellie Prohan a DJ, Radio and TV host.

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

We met at an international womens day event with She Said So and Flexx at Shoreditch House. Ellie was one of the DJs playing and I thought she was sick!Eventually we got talking at the event and we explained what each other did and wanted to do with our careers. We went for a cuppa and had a conversation around management and how we could work together.

Ellie inspired me with her passion and hard working ethic which I felt mirrored mine and her enthusiasm for life all of which have not depleted since then! It’s the way we discussed defining our working relationship and the changes we wanted to make in life and our industry that I knew this was going to be the start of something special.

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

A bad day is one full of learnings on varying scales. I try not to look at things so black and white it would be too much of a seesaw effect. That’s one that’s  not good for anybody’s mental health as there are always going to be challenges in life just how we chose to accept them. A good day is much the same mentality but when everything runs on time, a meeting is with the right people who understand the journey you are on and want to support it or you get that offer from a festival or global brand that approach and want to work with you then that’s a great day. I generally try to remain positive across all that we work on and trust the process every win we get is huge to us!

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

There has been many with Ellie from playing at all major UK festivals last year such as Glastonbury, Reading, Lovebox and Wireless. To being the headline DJ for Spotify Who We Be Manchester to joining the Apple Music family as a Beats 1 presenter.

What do you think are the big challenges for a manager in 2020?

I think the big challenges are people underestimating the hard work and dedication that goes into being an independent team 24/7 as opposed to a team with all the mechanics nuts and bolts. We’ve worked exceptionally hard to reach this point and excited to keep building from here.

The industry would benefit from following a more of a similar mind set to the American friends we have made – always willing to help and introduce which speaks volumes there is enough room for everybody to succeed and the more we remind ourselves of this and to be more human the easier the industry could be.

What music are you currently listening to?

I’m listening to Ellie on The Beats 1 List show on Apple Music. The show brings Apple Music’s The Beats 1 List playlist to life and showcases the world’s best new music. As well as her every day Foundation FM Happy Hour show https://foundation.fm 5-7pm the first female lead radio station.

We are excited to introduce our new series: Manager Spotlight. This is a way to get a small insight into the heads of incredible managers. This week in the spotlight is Sumit Bothra, Director at ATC Management. 

How long have you worked in Management? 

I have been a professional artist manager for two magical decades!

Who do you manage now?

I (along with my esteemed colleagues) manage the careers and well-being of PJ Harvey, Katie Melua, Fink, The Boxer Rebellion, and Nathan Nicholson.

What inspired you to become an Artist Manager?

Prior to becoming an artist manager I worked at Sony Music from the age of 20, where my role there gave me access to all of the front-line weekly label planning meetings – Columbia, Epic, S2, etc.  I learned so much from an incredibly talented array of people, across multiple genres, and too many campaigns to mention.  This was also my first exposure to artist managers – a very special breed of human. I only ever tended to meet them twice though: once when they’d come in with passion and enthusiasm to present a new artist project, and then – usually about 6 months later – to bang their fists on the table in fits of rage.  I was always taken aback by how polarised this relationship could quickly become despite the fact both parties were aiming for collective success. This “us vs them” mentality between managers and labels seemed, back then at least, to be industry-standard.  I left the label system as the introduction of à la carte digital music consumption started yanking the rug three years after I had arrived.

I was inspired to become an artist manager because I felt I could take my experiences from the major label system and use them to promote a healthier understanding between ‘the artists’ and ‘the machine’.  At Sony I had worked side-by-side with pluggers, publicists, sales executives, production teams, and product managers.  I knew first-hand how hard these people worked under immense internal pressures and insanely tight deadlines, and all whilst enduring a daily internalised battle between passion for music and professional obligation. I saw many men and women break under these conditions, and witnessed artists lose complete faith in their abilities as their ambitions failed to materialise.  So, I thought perhaps I could help right the balance. As an artist manager I work hard to promote a stronger understanding between the creators and those in the wider eco-system so we can all retain our passion for great art, while rejoicing together in our delivery of meaningful results.

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

A bad day at work is one where I have to let someone go – whether that be a team member or an artist.  Regardless of what might have prompted the decision, I’m very mindful to not crush anyone’s spirit even if I know that the parting of ways is ultimately the right move for all. Soon enough, however, that person finds the right type of soil under the right weather conditions….and flourishes.

A good day at work is when an idea I might have been working on quietly for months or years comes good.  The truly great managers I know work with their left and right brains equally. They are passionately creative and commercially astute in equal measure, so when these two worlds collide perfectly it becomes a thing of true, world-changing beauty!  Any manager you speak to will know this feeling – it is ELECTRIC!

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

Honestly – way too many to mention – as every success on any level is a career highlight. But the one that always stays with me has to be when I received a request for The Boxer Rebellion to create an end-credits song for a Drew Barrymore film called Going the Distance (New Line Cinema). This was about one year into me managing the guys, who were completely unsigned and independent at the time. I got so deep into discussions with the show’s music supervisor, studio, and director that I eventually convinced them to write the band into the script; have the band perform twice in the movie; hold up the band’s latest album on screen; and feature a close-up of the band’s website.  Not to mention the boys got to star alongside Drew Barrymore, Justin Long, Charlie Day, Jason Sudeikis, and Christina Applegate.  Almost every band you’ll ever meet will be able to recount their own off-the-wall utterly bonkers moment in the time – a memory they will forever cherish – and this was certainly one of ours. Those were literally some of the most insane days of our collective lives, which are forever recorded in Hollywood history.

What do you think are the big challenges for a manager in 2020?

Handling the psychological well-being of our artists, our team members, ourselves, and our families.  At no other point in human history have we been as globally connected and hyper-exposed to each other as we are now. The measurement of this connectivity through data and algorithms puts us all on one type of scoreboard or another, whether that be based on wealth, power, influence, impact, success, or popularity to name but a few.  No one is immune to this sphere of influence and measure. We exist under a new type of pressure and a new set of expectations, and this makes ‘being comfortable in one’s own skin’ a difficult thing to accept, let alone achieve. I really don’t need to give you a list of those who have faltered under these overwhelming pressures, particularly in the entertainment industry. As managers we are expected to take our duty of care to others extremely seriously and this means being attentive to how these factors influence the self-worth of those in our care.  Are we properly equipped to help others as well as ourselves?  Do we lean on each other when the going gets tough?  Do we learn from tragedy?  These are the tough questions we need to ask ourselves and address.

What music are you currently listening to? 

As Nathan Nicholson (of The Boxer Rebellion) is doing so much great writing in the dance space I’m listening to tons of killer dance records these days!  Fink continues to introduce me to new trendy-as-b*lls bands via his KCRW Berlin show. PJ Harvey shares with me the works of supremely talented modern film/TV composers, and Katie Melua continues to educate me on stone-cold classic records that somehow passed me by as I travelled from pillar to post as a child. I’m also loving NZ’s Benee who I just can’t get enough of – her music is awesome – and, closer to home, Liverpool’s Red Rum Club and their latest track Kid’s Addicted.

Read more about ATC Management here. 

We are excited to introduce our new series: Manager Spotlight. This is a way to get a small insight into the heads of incredible managers. This week in the spotlight is Craig Jennings, CEO of Raw Power Management. 

How long have you worked in Management? 

I started in management in 1984. So 36 years.

Who do you manage now?

Raw Power manages several artists including Bring me the Horizon, Bullet for My Valentine, Don Broco, At the Drive in, Refused, Scarlxrd, While She Sleeps.

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

A band called Balaam and The Angel, three brothers from Cannock, Staffs.  Great songs, exciting live show, great ambition and creative vision. All good things to have.

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

Most days are a mix of good and bad but hearing inspiring new music from my artists is always a massive plus. In management its very rarely a good or bad day I find, more a mix of the two!  A good day is when it’s more than 80% positive, I reckon.

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

Many highlights including Horizons first UK number 1 in 2019.  Taking Horizon and Bullet into arenas over the years has also been exciting. The various international succeses of the artists have also been very satisfying including gold albums in the US for Bullet and Horizon.

What do you think are the big challenges for a manager in 2020?

I think the business is in great shape going into the 2020’s. Building relationships across all the DSPs is continuing to be important, streaming is a great thing for the industry. Getting artists properly paid for it will be a continuing ambition of all managers. I would really like to see that move along in the years to come.

What music are you currently listening to?

I love a lot of the new punk like Viagra Boys, Amyl and The Sniffers, Sleaford Mods and, of course, Idles… always QOSTA, The Stranglers and 70s disco… I enjoy listening to a wide range of music. I’m also listening to a lot of old Public Enemy and Roxy Music right now… two bands that couldn’t be further apart really!!

Read more about Raw Power Management here. 

We are excited to introduce our new series: Manager Spotlight. This is a way to get a small insight into the heads of incredible managers. This week in the spotlight is Sophie Bloggs, winner of Breakthrough Manager of the Year at the Artist & Manager Awards 2019. 

How long have you worked in Management? 

10 years, I previously worked at an independent dance label called Cr2 Records. Then set up on my own and eventually joined a bigger company called Machine Management which is now part of YMU.

Who do you manage now?

Kurupt FM, Danny Howard (Radio 1), Hannah Wants, Krystal Klear and a new duo called Pvblic Xcess signed to Because Music.

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

I came through the electronic scene so when I was working at the record label I was putting on events and travelling internationally. We met in Miami at the conference there, I loved his music and the parties he was playing and just wanted to be involved.

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

A good day is getting through my to do list, creatively brainstorming strategies and putting them into action, and enjoying all the different aspects that the job involves. A bad day is usually arguments, fighting for your acts is big part of what we do and no one likes negative vibes 😉

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

Feel lucky to say I’ve had a few, headlining the electronic stage with Duke Dumont’s first live show at Coachella, getting my first Radio 1 playlist with one of my previous acts Oliver Dollar. Ibiza residencies, Danny Howard moving to Fridays on Radio 1. I can’t pick one !!

What do you think are the big challenges for a manager in 2020?

Fully delivering a 360 job for your clients. The landscape of the industry is changing on a daily basis whether that’s how people consume music, buy merch/ tickets or engage with their fans. You have to be innovative always and combined with putting out fires constantly; it can be a lot.

What music are you currently listening to?

J Hus’ new album- I’m obsessed. And all my acts new music obviously 😉
Read more about YMU Group here.

Manager Spotlight gives us a small insight into the heads of incredible managers. First out is Hannah Partington of Young Turks.

How long have you worked in Management? 

About 4 years.

Who do you manage now?

Sampha and The Haxan Cloak/Bobby Krlic.

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

I remember first hearing Sampha years ago, first on a SBTRKT record and then live at a Benji B Deviation night and his voice cut me to the core. I’d not been moved like that for a long time; I met him briefly afterwards and was struck by his gentle, humble way. Fastforward a few years and I heard Young Turks were looking for a new manager to work with him and I just had to go for it!

I’d first heard about The Haxan Cloak through other artists and engineers who had worked with him as a producer, and had sung his praises. And then when talking to Young Turks I found out that Mattis With there had signed him for management. I’d come from working in music and film, and was incredibly excited that Bobby was moving his phenomenal production skills into film scoring, and it was a journey I really wanted to be part of.

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

A good day is seeing a creative collaboration you’ve been orchestrating for weeks come to fruition and feeling the chemistry you’d hoped for. A bad day is, obviously, the opposite or projects being cancelled after weeks of prep!

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

There have been lots. I just get so much pleasure from seeing the artists I work with actualize their vision.

What do you think are the big challenges for a manager in 2020?

How to do things sustainably – the music industry broadly needs to take this seriously and we as managers have a responsibility to make choices about our artists’ supply chains that are as environmentally friendly as possible.

What music are you currently listening to?

Complete mix as always as I’m researching various things across classical, jazz, jungle, soul, gospel, hip hop and Wassoulou music.

Read more about Young Turks here.