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Traditional Artist Management, or a Consultation Arrangement: What's the
Difference, and Which is Best for You?
By Randi Reed
Vast changes in the music industry and the rise of the independent artist
have increased the number of music business consultants. Confused about what
a consultant does, how working with them differs from the traditional artist
management arrangement, and how they get paid? Here's the lowdown...
In a traditional management arrangement, managers usually work on a
percentage basis--typically 20%-30%, 20% being the norm--and often finance
the artist's projects and/or delay charging the artist for expenses
incurred. Because the manager is not earning income for services provided
and may be assuming most of the financial risk, the artist is signed to an
exclusive, multiyear artist management contract. This type of management
arrangement is geared toward long-range career goals and should only be
entered into with the aid of an experienced entertainment attorney hired and
paid for by you--not an attorney provided by the manager.
The function of the artist manager (sometimes called the personal manager)
is to help the artist define and achieve career goals over the course of
several years, represent the artist in dealings with the label, agents, and
publicist, screen offers for the artist, assist the artist in auditioning
band members and hiring tour personnel, and to handle the tasks that help
the artist achieve the long-term career goals. Artist managers are in
constant communication with the artist, and depending on the client and the
nature of the working relationship, sometimes find themselves "on call"
24/7.
Bad managers are artists' nightmares, but excellent managers work their
butts off and are worth the percentage. Notice I said "excellent" managers.
MusicBizAdvice.com's definition of an "excellent" manager is someone
who, in addition to skill, charges a reasonable fee and actually cares about
the client's well being. (Yeah, yeah, stop laughing. We'll wait for you to
contain yourself...Done? Good.)
As I was saying, contrary to portrayals in the media and those who've been
burned by bad managers, excellent managers really do exist. Many of them
aren't as colorful as the bad ones and tend to keep the focus on the client
rather than themselves, so they don't make good press, but they do exist.
Consultants are usually hired for a specific task or project, or to
help the artist achieve short-term goals. (Bio preparation, an album
campaign, or shopping the artist to traditional management companies are a
few examples). Depending on the project, consultants are paid by the hour,
by the project, or via monthly retainer until the project is completed, and
the consultant does not finance the artist's projects or pay the artist's
expenses. (Because rates vary greatly depending on the consultant's
experience, credits, area of the country, and scope of the project, there's
no "average".) In a consultation arrangement the term of the contract is
usually very short, the contract may or may not be exclusive during the term
of the project, and the consultant's tasks are limited to the scope of a
specific project, as opposed to handling day to day-to-day tasks.
Because they're paid immediately, it's especially important that the
consultant have excellent industry experience and credits. Anyone can call
themselves a "consultant," but you should consider the title reserved for
those who have earned it through experience. Many consultants are
ex-managers, ex-agents, or former label personnel, or are managers or agents
who do occasional consultation work on the side.
Which arrangement is better depends on the artist's career goals,
experience, contacts, current career situation, and the personality of the
artist.
A consultant with solid industry credits and experience can be helpful in
upgrading an artist's Bio or demo package, because they've seen firsthand
what execs respond to. Conversely, that same consultant may not be well
suited for the artist who calls management 20 times a day or, God forbid,
lands in jail. Certain managers in the traditional artist-manager
arrangement, on the other hand, have come to expect such late-night calls.
That doesn't mean consultants only deal with beginning artists, however. A
business savvy, highly driven platinum artist with a low-maintenance
personality, a rolodex of excellent contacts, and his or her own label (or a
good, long-standing relationship with a major label) can also be a good
candidate for a consultation arrangement.
A good consultant can also be a valuable asset to an artist with past
success who, for whatever reason, has been out of the industry and wants to
get back in, or for those who want to change career direction.
For the artist with label problems, multiple lawsuits, personnel problems
within the band, financial difficulties, or any combination thereof, a
traditional management arrangement with an excellent manager is usually more
beneficial. Good managers excel in making various pieces fit together into
one cohesive unit, and major issues like these aren't solved with a quick
fix.
Regardless of which arrangement is right for you, it's important to keep in
mind that just as every artist is different, every manager or consultant is
different, too. Work styles and methodology, experience, personalities, and
chemistry differ greatly among execs, so do your research, check out several
candidates, and ask a lot of questions. (But don't expect them to reveal
their entire game plan before signing on the dotted line; that's not playing
fair.) And always consult with a good entertainment attorney before signing
on the dotted line.
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