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Pt. 1: Great Managers and How to Find Them: Intro
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Great Managers and How to Find Them: Part One
(originally appeared in Harmony Central in 2000)
In 1991 I was living in a drafty warehouse on Chicago's South Side, practicing with my band in the basement and playing local clubs -- until I got a call that would change my life.
An old friend phoned with news that her bassist had quit the band and asked if I'd like to join. That band, Babes in Toyland, had just signed to Reprise and was about to record their major label debut. I joined. In two weeks I was on tour, with a recording session scheduled immediately after we got off the road.
In true punk rock fashion, we split all of the work. But things soon became hectic, and it became an overwhelming responsibility to keep on top of our business -- touring, recording, upgrading equipment, something about ASCAP, and needing someone to tell us that A&R didn't stand for Artists & Restaurants. We wanted an ally, someone like us who understood what we were doing, who knew the business and could help us protect our interests and image.
It was time to get a manager.
In all my previous bands, I'd never thought of having a manager or even known what music business people really did. Entrenched in the DIY ethic of Chicago's indie scene, when I pictured a manager, I saw a cheap suit, a cigar, and a snake holding someone else's money.
Fast-forward a few years, and today I'm a music business executive. I dress pretty cheaply sometimes, and I do smoke cigarettes -- but I know now that most managers out there are not thief-like Svengalis. By and large they're hard-working people from all walks of life, with a passion for music and a respect for artists. How do you find one of these managers -- someone who has the drive, if not the experience, to nurture your career?
Glad you asked.
Where do I find a manager and what does it look like?
'Be clear early on about where you could use some help. Look at the people around you -- can any of them offer you that help?'
Calling up a big coastal management firm is not the best first step in finding representation -- especially if you're a "baby band" (which is an unappealing term used by the industry to describe a band that's just starting out or shopping for a deal). The best thing to do is look at the people closest to the band -- people who appreciate what you're doing and can offer constructive support. It may be the friend who's always helping you put up flyers and load out equipment at the end of the night. Or maybe it's the woman who books the club you call home and awards you the primo slots. Those situations can grow naturally and successfully into management/client relationships. Witness Maggie McPherson, formerly booking agent for the Uptown Bar in Minneapolis, now manager of then-local bar band and current Columbia artists the Jayhawks.
Many managers, like me, become involved with no intention of full-time management. Instead, they see a talent, become passionate about its potential, and feel they can contribute something to that artist's drive for success. Steve Hutton of Upper Cut Management was a friend of Kid Rock's back in Detroit and, until recently, his manager. "There was a local band that I really liked," Hutton recalls. "I started working with them. I used that as an excuse to network and teach myself the business."
Like Hutton, Janet Billig at Immortal Entertainment has an eye for indie talent and has learned about how to develop it on the job. One of her first clients in the early '90s was Courtney Love and her band Hole; she now works with Lisa Loeb, Cibo Matto, and Guided by Voices, and partners in a film production company with Love. "At different stages of an artist's career, you need a manager to do different things," Billig says. "Sometimes newer artists think, 'I need someone to help me design flyers.' Well, some managers might be really good for making flyers, but that may not be the best use of their time or abilities. Think of how they can facilitate your goals instead of thinking of them as your personal assistant."
In other words, be clear early on about where you could use some help. Look at the people around you -- can any of them offer you that help? What could you give them in return?
'A manager needs to love and appreciate the music of an artist, but they also need to be able to tell them the truth.' -- Danny Goldberg
Next week: Is experience necessary in a good manager?
(originally appeared in Harmony Central in 2000)
In 1991 I was living in a drafty warehouse on Chicago's South Side, practicing with my band in the basement and playing local clubs -- until I got a call that would change my life.
An old friend phoned with news that her bassist had quit the band and asked if I'd like to join. That band, Babes in Toyland, had just signed to Reprise and was about to record their major label debut. I joined. In two weeks I was on tour, with a recording session scheduled immediately after we got off the road.
In true punk rock fashion, we split all of the work. But things soon became hectic, and it became an overwhelming responsibility to keep on top of our business -- touring, recording, upgrading equipment, something about ASCAP, and needing someone to tell us that A&R didn't stand for Artists & Restaurants. We wanted an ally, someone like us who understood what we were doing, who knew the business and could help us protect our interests and image.
It was time to get a manager.
In all my previous bands, I'd never thought of having a manager or even known what music business people really did. Entrenched in the DIY ethic of Chicago's indie scene, when I pictured a manager, I saw a cheap suit, a cigar, and a snake holding someone else's money.
Fast-forward a few years, and today I'm a music business executive. I dress pretty cheaply sometimes, and I do smoke cigarettes -- but I know now that most managers out there are not thief-like Svengalis. By and large they're hard-working people from all walks of life, with a passion for music and a respect for artists. How do you find one of these managers -- someone who has the drive, if not the experience, to nurture your career?
Glad you asked.
Where do I find a manager and what does it look like?
'Be clear early on about where you could use some help. Look at the people around you -- can any of them offer you that help?'
Calling up a big coastal management firm is not the best first step in finding representation -- especially if you're a "baby band" (which is an unappealing term used by the industry to describe a band that's just starting out or shopping for a deal). The best thing to do is look at the people closest to the band -- people who appreciate what you're doing and can offer constructive support. It may be the friend who's always helping you put up flyers and load out equipment at the end of the night. Or maybe it's the woman who books the club you call home and awards you the primo slots. Those situations can grow naturally and successfully into management/client relationships. Witness Maggie McPherson, formerly booking agent for the Uptown Bar in Minneapolis, now manager of then-local bar band and current Columbia artists the Jayhawks.
Many managers, like me, become involved with no intention of full-time management. Instead, they see a talent, become passionate about its potential, and feel they can contribute something to that artist's drive for success. Steve Hutton of Upper Cut Management was a friend of Kid Rock's back in Detroit and, until recently, his manager. "There was a local band that I really liked," Hutton recalls. "I started working with them. I used that as an excuse to network and teach myself the business."
Like Hutton, Janet Billig at Immortal Entertainment has an eye for indie talent and has learned about how to develop it on the job. One of her first clients in the early '90s was Courtney Love and her band Hole; she now works with Lisa Loeb, Cibo Matto, and Guided by Voices, and partners in a film production company with Love. "At different stages of an artist's career, you need a manager to do different things," Billig says. "Sometimes newer artists think, 'I need someone to help me design flyers.' Well, some managers might be really good for making flyers, but that may not be the best use of their time or abilities. Think of how they can facilitate your goals instead of thinking of them as your personal assistant."
In other words, be clear early on about where you could use some help. Look at the people around you -- can any of them offer you that help? What could you give them in return?
'A manager needs to love and appreciate the music of an artist, but they also need to be able to tell them the truth.' -- Danny Goldberg
Next week: Is experience necessary in a good manager?
Comments
P.S. it was nice to see you this weekend too!
In order to give the readers more context of where you are coming from based on your experience which validates all that you say in this blog, they should check out your bio as a rock musician here.
And also, for context of course, a hot chick pic here [Maureen playing her bass guitar with Babes in Toyland]
[Maureen promised me she will also learn how to use BBcode. What a gas! Anyone learning it in about 5 minutes will change their life on the internet forever.]
I'll be reading part two as soon as it's posted...
Thanks for the helpful info!!