Approaching an artist management company

Throughout this advice the term ‘artist manager’ covers the now less frequently used term, ‘agent’. In most cases, the profession has progressed beyond purely servicing (booking gigs and maintaining a diary) to a more elaborate service to the artist.

What does an artist manager do?

‘Artist managers are catalysts in a complex process. We are enablers or facilitators. We cannot make things happen. To enable and facilitate, however, we often need support and establishing an appropriate management structure can provide this.’ (David Sigall, Ingpen & Williams).

Depending on the arrangement, an artist manager does everything from servicing the artist - these are agency services that artists have neither the time nor the expertise to deal with such as enquiries, urgent telephone discussions with promoters, diary management, fee negotiations, issuing contracts, making travel and other arrangements and helping with overall presentation - to helping develop a strategy for their career. An artist manager will manage every aspect of an artist’s career and may acquire a deep awareness of their personality, practical requirements, artistic needs and aspirations. They will use their comprehensive overview to help develop and ultimately achieve the artist’s ambitions. The artist manager has a specific network of contacts which can help to facilitate all this. A good working relationship will allow the artist to concentrate on performing, practicing and learning new repertoire.

Do you need an artist manager?

If you are very busy, the short answer is probably ‘yes’. The relationship with an experienced professional management company is crucial when your career strategy – that is positioning in the market, repertoire planning and future direction becomes more important. On the administrative side, the artist manager can provide a quick reply to a promoter’s enquiry. Many promoters use artist management companies to engage artists, because they are accessible, reliable and able to follow up a telephone booking with contracts, biographies, press notices and photographs, as well as handling travel arrangements. Many promoters also value the artistic opinions of managers and often form close relationships that are of particular importance in the music world, where so much business is based on trust. Sometimes an artistic decision can be based purely on an artist managers’ judgment, if it is trusted.

Fee negotiations are often easier through an artist manager, since this does not prejudice the relationship between the artist and the promoter. As the artist’s career progresses, the manager’s experience of TV contracts, recording rights and residuals becomes crucial in negotiations.

As well as providing a point of contact and a management service, the artist manager will take an active role in creating opportunities. The artist manager maintains a range of contacts - festivals, clubs, stately homes, opera houses - and is in constant communication with promoters. Artist managers know what is on offer, who is casting for an opera, who is looking for a quartet, what themes the festivals are planning. However, an artist manager is only a part of a successful career and cannot do all the work. If an artist has a manager, the relationships should be viewed as a partnership where each brings something to the table. Essentially, it is a network of relationships that might secure an engagement. This network includes conductors, music directors, casting directors, apart from the artist manager and promoter.

How does the artist and artist manager relationship work?

Ideally, this relationship should be long-term. You should talk frequently, exchanging contacts and information as well as freely discussing ideas. If you do not enjoy spending time together, the relationship is unlikely to work. As a rapport develops, the artist manager will learn how you respond to given circumstances and will be better placed to represent your qualities. You must be prepared to accept your manager’s advice; conversely, your manager should understand your special problems and above all, there must be mutual respect.

You should not expect immediate results. It can often take two to three years before progress is seen for a new artist and there is a lot of investment in time and promotion. Financially, a manager cannot ask you for a monthly retainer in the UK so if the artist does not work, the artist manager does not get paid a commission!

Which company individual should I approach?

A comprehensive list of artist managers can be found in the joint directory ‘Classical Music Artists – who represents whom’ which is free to use and available to the public online. Published by the International Artist Managers’ Association and the European Association of Artist Managers, the database is updated daily and referred to by music professionals throughout the industry. The directory is also available in pdf and book format. Other publications include Musical America and the Performing Arts Yearbook.

Ask yourself where you might fit in and whether there is room for you on an artist manager’s list. Most companies in the business are small, one and two-staff member companies and may only be able to handle one guitarist or two wind players. Pianists, violinists and singers tend to be more prominent since they are in greater demand but even then, four or five sopranos are probably sufficient for a small company’s artists list and they would want to balance the different types of voices. A list of artists will give you some idea of what the company specialises in and you should be able to narrow down the list of artist management companies which might be most suitable at the stage you have reached in your career. Larger companies will have an extensive list of artists, especially conductors. This can be good for cross-fertilisation and for picking up work when another artist in the same stable is not available but that doesn’t mean to say that a small company is less effective. A successful relationship between artist manager and artist is the key element and not the size of company.

Some background work might also provide you with the all important first point of contact. Find out which manager heard you at competitions or college performances and contact them, if only to ask for an honest assessment of your performance. It is not always just the competition winners who are noticed. 

How do I make the approach?

Make sure you are absolutely ready for a professional career. Do your research and test the best way of approaching the company before you put together a portfolio. Most artist managers are impressed by an approach which takes the trouble to appeal to them personally. This shows initiative, which is important for a prospective collaboration. Only address the artist managers that you have identified and who you would like to represent you. Angle your approach to their particular interests but make sure you tell them who you are, as an artist. Most approaches fail because artists are unable to define themselves, be it through repertoire or passion.

Enclose the essential details, your curriculum vitae, some press notices, a good photograph and a list of forthcoming engagements where the artist manager may be able to hear you. Include something eye-catching. Your approach must stand out and make an impression immediately among a large post-bag. It helps to enclose a high-quality recording of yourself or your ensemble, preferably of a live performance or broadcast.  Never send out-of-date leaflets. Invest in a simple but distinctive folder, with cheaper loose-leaf inserts which can be kept up-to-date. This will be much more effective and accurate. Use these leaflets to draw attention to your special strengths and define your artistic focus. Concentrate on who you are as an artist and what you have achieved in your career so far.

It is very unlikely that an artist manager will take you just on the strength of a letter. Most will want to hear you in live performances over a period of time before making a commitment. Once they express an interest, keep the artist manager informed of future opportunities to hear you. Before entering an agreement you should seek a second opinion and take advice. The ISM offers free advice to members on contractual agreements with artist management companies.

Remember that this is an important business decision and that it will profoundly affect your professional life.

Might I get a big break?

Promoters will want to hear an artist live before they make a booking. Although orchestral managers regularly go to hear young artists ultimately it is artist managers who do the initial filtering and orchestral managers often rely on their expertise.

Young, unknown artists are rarely engaged by major promoters during their main season programmes but festivals are more open to risk. Whoever it is, engaging a soloist is a big investment and promoters need to make sure that a concert pays off both artistically as well as at the box office.

IAMA

All agencies are regulated by legislation but IAMA, the International Artist Managers’ Association self-regulates the industry worldwide. All IAMA members are required to abide by a professional code of practice.