Managers play a vital role in helping artists succeed, and the team from Bronson Ltd. will tell you how they get the job done.
On Thursday, October 29, the artist management team at Bronson Ltd appeared on Haulix LIVE! to discuss their careers and the role managers play in musicians’ success. The team spoke about the challenges and opportunities of the COVID era, as well as their hopes for 2021. you can view the full panel below.
About our panelists:
Hailing from the great state of New Jersey, Chris Hodge has spent over a decade working in both Artist Management and Tour Management. After time well spent touring the world and learning from some incredible colleagues, he created Bronson Ltd. a little over a year ago with a mission to continue to grow and build both a passionate and successful artist and management team. Trying to learn every day while not forgetting where he came from.
Kevin Garcia has been involved in the Music Industry since he started playing and promoting shows in his local scene at the age of 15. After 10 years of touring, fulfilling both performing and tour management duties, he found a strong passion for developing artist careers. Kevin began to transition into day-to-day Artist Management and brought his roster to the Bronson Ltd. family in 2019.
After years playing in local bands, Jesse Lebhar got his real start putting on shows in the Tampa Bay Area, as well as booking tours and tour managing for his friends’ bands. He started pursing a career in the music industry earnestly in late 2016, working his way up from tour manager, day-today manager, co-manager, and now working as a full-time manager. Jesse has a passion for project management, research, and data analytics, all of which he utilizes in supporting his artist’s career development.
10 questions to determine if you ‘need’ a manager (with Scott Waldman)
Long Island, NY native Scott Waldman is what you might call a true renaissance man. The musician/artist manager/a&r executive and host of the weekly show Waldman Words, heard on Idobi Radio, has a lot on his plate, and he wouldn’t have it any other way.
Through his experience Waldman has learned a lot about the industry and the common mistakes many artists make as they attempt to establish themselves in this overcrowded space. Today we’re thrilled to share a collection of questions Scott has put together to aide artists in determining whether or not they truly ‘need’ to be seeking management at this point in their careers. You can find his input below.
1. Do you sell a hearty amount of physical merch at your shows and online?
2. Do you sell a hearty amount of digital merch?
3. Have you sold out several headlining shows in your area (to a higher number of fans than friends) at 300 capacity venues or more?
4. Have you performed several shows outside of your area that ended with more and more bigger and better shows?
5. Do you have a high six figure or low seven figure streaming track (SANS PAYMENT FROM A THIRD PARTY SHADY ASS COMPANY THAT WILL EVENTUALLY BITE YOU IN THE ASS) on Spotify or SoundCloud? The same question applies to views on a YouTube video.
6. Is the work on your plate so overwhelming that you physically can’t even? (trick question: The work never ends and you should leave the industry if you can’t handle behind the scenes work for yourself; you are always going to be your best ambassador)
7. Do you earn a living as a musician?
8. Do you have “industry people” knocking on your door or guitar cases?
9. Do you actively read books, blogs, and other industry articles daily?
10. Are you prepared to pay someone a percentage of your earnings to work for you?
If the answer to 1 or more of these is “no,” you do NOT need a manager. The right manager will eventually find you when more ducks are in a row. Don’t look for ‘em.
On this episode of INSIDE MUSIC, host James Shotwell connects with fast-rising artist manager Jan Powers to discuss the current music industry and what it takes for a young band to quote/unquote ‘make it.’ Jan has built his career from the ground up and now spends his time helping others to do the same. Whether you’re interested in management or wondering if a manager could help your career, this is one episode you should not miss!
The music hear in this episode of INSIDE MUSIC is provided by Before The Streetlights. Learn more about their unique brand of pop punk by picking up Westward through Antique Records.
You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.
Our friends at CDBaby ran this really great feature on negotiating management contracts that we are now sharing with you. We’ve probably shared the information below with dozens of artists in recent weeks, and we encourage you to do the same. We believe education is the key to success in music today.
A masterclass on music contracts
Attorney Steve Gordon is running a fantastic series on Digital Music News about music contracts — 11 different kinds of music contracts, to be exact.
Each article in the series dives into one of those types of contract (record deals, synch licensing, band agreements, management deals, etc.), and starts with the premise that there is no such thing as a “standard” agreement, but that negotiations tend to begin with a form set of terms.
Gordon says:
Often, there are two versions of a form agreement: one that represents the best interests of creators, including artists, songwriters, and producers, and one that represents the best interests of the companies that do business with them, such as record labels, publishers, and managers.
It’s important to understand whose interests are being protected in every aspect of your contract because, in Gordon’s words, “these parties typically have adverse interests.”
The management contract
In one of these posts, Steve Gordon breaks down two versions of a management contract (you can actually scroll through the contract and view his point-by-point commentary): the pro-MANAGER management contract and the pro-ARTIST management contract.
In “the old days” (the 20th Century), a manager’s primary goal was to get a band signed to a label (hopefully with a big advance), and to then act as a liaison between the label and the artist (advocating for the interests of the band).
Now that labels are way more risk averse and don’t want to sign acts until they’ve proven they can build a fanbase and earn money, the role of the music manager has changed dramatically.
Manager are now taking on many of the responsibilities of a label (securing distribution, working more closely with publicists, promoters, and booking agents, etc.). In some cases, more responsibilities means more items to negotiate in a contract. And, of course, all the old questions still need to be worked out too: who gets to make the decisions, who gets paid what, how do you hold one another accountable, and how long is the term of your agreement?
These are just some of the considerations to make when negotiating a management contract.
We have become big fans of Andrew Jones’ work in recent months, and every week or so we like to share some of his unique industry insight on our blog in order to provide a different perspective on this crazy place we call the entertainment business. Today’s post is a little sillier than the others, but it still has a good message to share.
This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
“So, what do you exactly do all day?”
As an artist manager people ask me this all the time, and it’s always a little complicated to answer. There are a variety of answers to this question, and honestly every manager is different. Even one manager may handle slightly different tasks for different clients or handle something for one season but hire a third party for another.
However to me being a manager ultimately means doing whatever it takes to break your artist. Whatever.
To that effect here are a few of the things I have done as an artist manager:
1. Network 2. Encourage artists 3. Route tours 4. Try to get bands on large tours 5. Invite other bands onto tours 6. Help pick singles 7. Give notes on demos 8. Give notes on mixes 9. Help determine track order 10. Record video 11. Edit video 12. Design websites 13. Consult on social media strategy 14. Apply for grants 15. Deign posters 16. Design merch 17. Book dates (don’t do this if you live in California or New York…) 18. Find sponsors 19. Speak into band conflict 20. Talk to publishers 21. Take songs to music supervisors 22. Find publicists 23. Work with publicists 24. Track songs to radio 25. Stall for time 26. Negotiate into a record deal 27. Negotiate out of a record deal 28. Buy digital advertising 29. Chase down money from promoters 30. Design webpages 31. Find local bands to join bills 32. Work with promoters on advertising 33. Line up radio station visits 34. Line up newspaper interviews 35. Blog 36. Maintain email lists 37. Write email blasts 38. Pitch to agencies 39. Write bios 40. Create presskits 41. Create riders 42. Go to conferences 43. Submit music to podcasts 44. Stay on top of digital trends 45. Edit press releases 46. Write press releases 47. Solicit album reviews 48. Set-up photo sessions 49. Approve photos 50. Approve album artwork 51. Upload music to all platforms 52. Find sponsors 53. Track stats 54. Fill and update calendars 55. Set-up interviews 56. Promote local shows 57. Fill showcases 58. Take the blame 59. Text a lot 60. Increase Hype 61. Build a street team 62. Write letters 63. Work with charities 64. Create pre-order packages
…And most importantly….
65. WHATEVER IT TAKES
This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.
Hello, everyone! Thank you for taking a few minutes from your hectic schedule to scroll through the latest content on our blog. Today’s feature just so happens to be the first interview of the month, and I think it sets the bar pretty high for everything that will follow.
This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
If you have been following the blog on a fairly regular basis over the last two months you have no doubt noticed a handful of guest columns contributed by a man known as Andrew Jones. We typically feature our guest writers through interviews ahead of their content’s debut, but Andrew’s schedule has been so hectic we ended up running his work before letting you know anything about the man who brought it all to life. Today, that long-awaited insight into the mind of the man behind Checkered Owl is ready to be shared.
Not long ago, Andrew Jones and I connected over the phone and spent thirty minutes discussion the music industry. Andrew told me about his childhood in Canada, his earliest memories of music, the years he spent making a name for himself in the states before heading back north, and beyond. We talked about his efforts to help independent artists gain the exposure they deserve, as well as the problems with the way labels and management groups approach working with talent today. You can read those thoughts, as well as comment on a number of additional topics, below.
The world needs more people like Andrew Jones. He is a brilliant and passionate music fan who puts the creative endeavors of the artists he supports before everything else. He’s setting the curve for how artist management will be handled in the future, and it’s an honor to share his journey up to this point with you today. If you would like to learn more about Andrew, please follow him on Twitter. Additional questions and comments can be left at the end of this post.
H: Before we begin, go ahead and introduce yourself.
A: Sure, my name is Andrew Jones and I run Checkered Owl Media. I do a mix of artist management, artist development, video production, and everything in between.
H: You wear a lot of hats.
A: I think that is the modern manager’s goal, to be able to handle whatever tasks are present. Sometimes you book a show and realize you need someone to do a poster design. It all ties together, so it’s all worth learning.
H: When you think about your earliest memories of music, what experiences come to mind?
A: I was always into music, but the first thing I clearly remember is being at a garage sale and finding a turntable. We took it home and my dad put on The Beatles’ White Album. I knew the band, but I had not experienced a lot of music in depth, and listening to that album just completely blew my mind. I fell in love with music in a big way, and it has been that way ever sense.
H: Do you remember your first concert?
A: My first concert was actually a local band. I don’t know how to pronounce their name, but it is spelled K-Y-R-I-E. They were a band that had members who just so happened to work with my dad and he took me to see their show.
H: When you say local, what are you referring to? Where are you from?
A: I’m from Alberta (Canada). Edmonton is the nearest place people may have heard of. I’ve been here most of my life, though I did spend a few years in Calgary and even worked in Nashville for a while. I’ve thought about going to the west coast, but haven’t gotten there yet.
H: We have not had many opportunities to speak to people from Canada about working in the music industry. Tell me, did you experience any kind of ‘lightbulb’ moment when you realized a life in music was the one for you?
A: I was in high school and I was playing in bands, but I eventually realized that I was not going to be the guy who grew up to play in bands professionally. I still wanted to be involved in music, so I decided to promote a show, and sense I was in high school and didn’t know any better I booked a national touring band called Thousand Foot Krutch. There were flights, a $5000 guarantee, and a huge venue to fill, but for whatever reason I don’t think their booking agent ever caught on to the fact I was 16. Luckily, things were really well. better than most first shows could hope to go, and from then on I was pretty much hooked on music.
H: I started in booking as well, but I only worked with local bands at first. Taking on all the responsibility associated with bigger productions must have been daunting, especially for someone your age.
A: I probably should have started with local bands (laughs), but I was 16 and did not know any better, so I went for it. I’m happy I did. There was a moment before the show when the sound and lights company explained they were double booked and had to pull out. I panicked, but it came together, and it was in that moment I learned that no matter what you have to do whatever has to be done in order to make sure shows happen.
H: Did you pursue any secondary education? Perhaps to study the music business?
A: I did go to college, but my degree is in Performing Arts.
H: That’s pretty close.
A: Mine was mostly in theater. You know, a mix of everything.
H: I’ve interviewed at least four publicists who have degrees in Performing Arts, so I think you’re in good company. Did you continue booking through college, or was it more off and on.
A: It was off and on for a while. I was eventually running a family theater program, and during that time I started booking heavily again. In college I had no money, so that had to wait until I could start working again. One of the bands that came up was fronted by Luke Dowler, who I now manage, and it was there that my journey in that area of the industry began.
H: What is the origin story behind Checkered Owl?
A: I’d been working from Nashville for about a year, and to be honest I was getting tired. I wanted to be more involved than my career as an agent would allow, so I decided to start my own Management group. I spoke with my wife about it, and together we came up with the name.
H: Is there a story or any kind of significance to the name Checkered Owl?
A: Not really. We liked that owls are up at night and the fact the industry is usually most active at night, but that’s about it. My wife thought of it, we both thought it was rad, and we decided then to run with it.
H: I think that was a good decision. Even in the last week there has been at least one occasion when the name crossed my mind and captured my imagination. It’s the kind of name that you want to know more about, even if you cannot explain why. Kudos for that.
A: I like that. Thanks.
H: The reason I wanted to talk to you about Checkered Owl is because I believe it’s built on an idea that many companies will begin to follow in the years to come. It’s not about doing one thing for artists, but doing as many things as you can under one roof.
A: That’s completely right. I think that as labels start to change in the years ahead that management groups are going to become hubs in the industry. Artists are pulling from a number of revenue streams these days, and as we move forward I want to create a place where we can handle a wide array of tasks for artists. If you have a management, publicist, and booking agent there is a lot of down time in those people’s various roles. What I want to do is create a place where all that is happening through one time. Working with artists to develop and grow their career.
H: There is a blog element to Checkered Owl that I also wanted to touch on. Could you tell us a bit about this part of your efforts and what you hope to accomplish through your content?
A: The goals are 1. To really help artists out and give them one more place to learn from a slightly different angle. Everyone has their own preferred writing style to learn from, and I just wanted to add my voice. 2. Is just to connect with artists and other in the industry. It’s a great way to network and meet other people in music.
H: What are your current career goals?
A: I would say my goal is to reach a place where I have all the tools needed to be able to help the artists I discover and want to work with.
H: That’s pretty selfless.
A: What can I say? I want to work with artists and help culture by giving it more of the art and creativity it needs.
H: What would you say is the biggest problem in the music industry today?
A: I think too often, and this is improving in recent times, but too often the business and creative side of the entertainment industry do not always jive as well as they should, and if they don’t the business side of things will take over. That is bad for art and bad for people, as well as bad for the industry over a long enough timeline.
H: Do you have anything in the immediate future should be checking out from you and Checkered Owl?
A: My artists all have releases in the coming months. I will also be releasing a music video from a country artists I am working. There will be more blogging too. I also offer artist consultations and lyric videos, so I’ll do those as well.
H: Thank you for talking to me today. It’s been great learning about your journey.
A: Thank you for the opportunity. I’m sure we will be in touch in the weeks ahead.
