Discounting The Myths of Music Management

I used to think that my business relationship with an entertainment attorney was going to be the most important as a songwriter, composer and producer. However, I am learning from my master classes in entertainment business that other relationships matter even more. I recently read an article about the myths of music management by Heather McDonald on About.com. Heather has helped me realize, “The relationship between a band manager and a musician is just about the most important (business) relationship either party will ever have.”

This article comes to me at a time where I am recreating my business plan to launch my career as an influential composer, songwriter and producer.  Over the years I noticed that I might get more work if I have a manager representing me. I also thought I could just be my own manager. However, when times get really busy, I will want help; not just any help, but the right help. I have been back and forth wondering how to decide when to get a manager and how to choose the right one for me. Three points stood out to me from Heather’s article that give me confidence in making management decisions in the near future.

1. "An enthusiastic, though inexperienced, manager with a solid work ethic can do big things for you, even if they have to fight every step of the way to establish contacts and get people to pay attention to them".

This point encourages me to allow a trustworthy relative, such as an Uncle or Sister, to take the load off of me and use their naturally strong business skills to help manage my music career.

2. When you're selecting a manager, it is critical to make sure that you share the same vision and have the same expectation about the music career you're trying to build.

This point encourages me to keep my criteria simple and clear on how to choose the right manager for me. Knowing I want a partner with the same vision, expectation and ethical standards for my career helps narrow down any overwhelming options.

3.…don't feel like you need to get a manager before you get enough songs to fill a set at a show or before you even have your first practice. In fact, people within the industry will take you less seriously if you have one of those "managers" - i.e., a friend who calls themselves a manager and does absolutely no managerial work - than if you go in representing yourself.

This point encourages me to represent myself with confidence until I have the right manager. I just have to keep building thick skin to do the job until I can pass on the work.