The Importance of Artist Managers

The Importance of Artist Managers

There are basically six types of music managers that can play a role in the careers of recording artists, record producers, songwriters, and musicians. Most artists will interact with only one or two of these managers, but it helps to know what to expect from each of these managers.

The six types of business managers are: music manager, business manager, road manager, tour manager, production manager and technical manager.

The music manager (aka Artist Manager, Talent Manager, Band Manager, or Personal Manager) has the most interaction with the artist and is generally the most important person in the artist's musical life. They are involved in planning, coordinating and organizing the career of the artist. They are involved in counseling and advising the artist on all matters related to their musical careers. The personal manager should research the music industry and know all about record labels, publishing companies, producers, booking agents, promoters, publicists, stylists, photographers, recording engineers, graphic designers, video directors, music licensees, etc., and how they integrate themselves into the overall career plan. The more contacts the manager has, the more effective they will be at their job.

The business manager (usually an accountant by trade) manages the income and expenses of the client. Business managers usually take care of making payments to musicians, background singers, roadies, tour managers, etc., on behalf of the artist. They also advise the artist on assets and investments, savings and taxes (local, state, federal, and International). Most artists are unaware that they have tax obligations that relate to their performance and licensing income, CD and merchandise sales, equipment purchases, sponsorship cash, other miscellaneous income, etc. Business managers also try to get their clients to invest in their future and save something for a rainy day since even the most successful artists eventually stop earning regular income from making records and touring. 


The road manager normally takes care of logistics while the artist is on tour (or on the road). Duties include making sure that everything on the road is provided as spelled out in the contract and all monies are paid on time. The artist is then left free to concentrate on their performances and not whether the promoter, venue booker or booking agent has met their obligations. The road manager also follows up on items that were promised as part of the contract such as accommodations, per diems, equipment rentals, commissions, etc.

The tour manager on larger tours coordinates all the Road managers along with the details and logistics of the tour itself. Sometimes the road manager and the tour manager are the same person. The Tour manager is in charge of all the details that relate to the entire tour including communications, merchandising, tour routing, catering, hospitality, etc.


Production managers can be found on larger tours involving major record label artists. Production managers work closely with tour managers, helping with certain details having to do with the production of the show; like renting sound, video and lighting equipment, dealing with trucking issues, etc. Production managers also deal with the publicity for the show, as well as assist with scheduling and coordinating both the touring crew and the local venue crew (stagehands, carpenters, riggers, etc.). 


The technical manager (or Technical Director) is usually the person in charge of set design, construction, and control during the performance. They work closely with the production manager.

It is important to understand the methods and roles of effective business managers when an idea is being proposed. The message must be clear, the audience must be well defined, and the purpose should not be vague or abstract. These elements are also effective in the workplace, as efficiency and easily understood communication makes everything smoother for all involved.

References

Managers Worldwide Confront Common Concerns. (2002). Billboard, 114(38), 44.

Tolkoff, E. (2003). Personal Managers: TO SIGN OR NOT TO SIGN. Back Stage, 44(11), 28.

Taylor, C. (2003). Artist Management: When?. Canadian Musician, 25(5), 62.

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