An artist’s manager is the person most responsible for managing their career. They are involved in virtually every aspect of the artist’s career including negotiating with record labels and publishing companies on your behalf, lining up the right studio, engineers and producers for a recording session. They will make sure your website is constantly updated and that your label and distributor have your material in retailers and the latest and greatest digital music outlets. A good manager will spend a great deal of their time promoting the artists they represent and work directly with the artist’s publicists to coordinate their publicity plan. They work with the marketing departments at the artist’s label and distributor on their marketing and advertising budgets and programs. Managers should handle all the artist’s personnel issues with the band and crew members and work with the rest of their management team including the attorney, booking agent, business manager and tour manager as needed.

Managers usually get paid 15% to 20% of the artist’s gross earnings. That means they get paid their percentage on all the artist’s earnings including, royalties, publishing, touring and merchandise sales before the artist gets paid. Some managers have multi-year contracts (that can be quite complicated) with the artists they represent and some just work on a handshake.

It is hard to overstate the importance of attorneys in the music business given the complexities of recording contracts and the various other agreements artists are asked to sign. The most important thing to look for in an attorney to represent you is experience in the music business. Just because someone has a law degree (even from a top school) does not qualify him or her to represent you in the music business.

A good attorney with experience in the music business can keep you from making contractual mistakes they have seen that have happen to other artists. Attorneys usually charge by the hour or by retainer (a set monthly fee) and in the music business it’s fairly common for them to charge a percentage of the artist’s gross earnings, 5% is typical.

A business manager is the person or firm that collects monies owned to the artist from royalties, publishing, touring and merchandise sales, pays the bills, band and crew, invests the profits and files the tax returns. They handle the artist’s general accounting related needs, royalty collection & auditing and tour budgeting & reporting. Many good business managers are either CPA’s themselves or employ CPA’s on their staff due to the complexities of the music business accounting and the challenges of dealing with multiple state and international tax jurisdictions that come into play when an artist is on tour. They also handle all financial aspects of the artist’s personal life including insurance, loans, mortgages, investments and estate planning.

Business managers typically charge 5% of the artists gross earnings in the music business, but some an hourly rate or flat monthly fee.

Booking Agents play an important role in the success of the artists they represent by planning and booking their tours with promoters and venues. They will make sure you are playing in venues that are known for your genre of music or booked as an opening act for a bigger band. Booking agents negotiate the fee structure (guarantee, % of the door, meals, etc.), determine ticket prices and ticket availability in the market. Thoughtful route planning is critical to the financial success of a tour and a good booking agent should make sure you are not playing in Atlanta one night, Chicago the following night and Jacksonville the next. Route planning can be a challenge for even a seasoned booking agent due to the large number of competing tours and the limited availability of quality venues in highly desirable markets.

Booking agents typically collect a 50% deposit on the show guarantee from the promoter once the show is booked. They usually charge 10% of the money the band gets paid for the show for their services. For example if the booking agent negotiates a $2000 guarantee for a show, they would collect a $1000 deposit, keep $200 (10% of $2000) then send the band $800. The band or their manager / road manager would collect the balance ($1000 in this example) from the venue after the show.

The Tour Manager handles all the details of life on the road for the artist during a tour. They will arrange transportation, hotels and meals for each stop, make sure the equipment is accounted for and maintained plus manage the crew. The tour manager makes sure the venue has the stage, sound and lighting set up as requested and that the band is paid per the terms arranged with the booking agent . They manage and safeguard the cash collected while on the road. The Tour Manager will work with the tour publicist to make sure the artist shows up on time for scheduled interviews, appearances and promotions in each market. It’s the tour manager who puts out all the inevitable fires that come up at each stop during the tour.

The tour manager is also responsible for maintaining the tour plan and budget set up by the manager, business manager and booking agent. They are typically paid a salary, per diem or a set amount per tour.

1. Why do you want to join?

Watch the response to this question.  Do they have to really think about it?  If so, you need to clarify whether or not they have a good reason to commit to your band.  You’re not trying to make it difficult for them to join, but this first question is the single most important one for them to answer well because it is a true reflection of how they feel about your band and your music.  Don’t prompt them for the answer you want.  Simply ask, and let them answer—no matter how long it takes or how much they struggle for the right words.

2. What do you think you can contribute?

The answer to this question will let you know if they are a well-rounded band mate.  If their answer is just about their musical abilities, that should be a red flag.  What you’re looking for is someone who can tell you about their musical skill, but also be willing to contribute time, energy, money, contacts, and other important resources.  Someone who has experience is also a big plus.  Look for a person who has their eye on the overall activity involved with making your band succeed.

3. Who were your biggest musical influences?

This question is designed to find out who your potential band member emulates musically and in every other aspect of their lives.  If your band is Rolling Stones and your interviewee is Jim Croce, you might want to take that in to consideration.  An ideal candidate will talk about the types of musicians that inspire you and the rest of the band.

4. How much time do you have to devote to practice?

This is serious.  Practice is the heart of your band and if someone has an inflexible schedule or can’t practice every single week, they aren’t a good prospect.  All the talent in the world won’t matter if they aren’t able to make it to rehearsals with the rest of the band.  Everyone should agree on the time commitment that is acceptable and insist that any new member be able to commit to it before you agree to bring them on board.

5. Do you have any other skills you can contribute?

Sure they can play the drums—but find out what else they have in their arsenal.  Even if it is something that seems totally unrelated, it may turn out to be useful in promoting or managing the band.  A degree in accounting?  Great!  Ask them to help you make a budget!  Internet freak?  Super!  Have them manage the band’s website.  Find out what’s in their whole skill set and find ways to utilize that to your advantage.

6. Are you dependable?

The answer of course should be “yes”, but as a follow up to this, ask them to provide you with examples of their dependability.  If they can’t come up with a concrete example immediately, you should be worried.

7. Why did you leave your last band?

Just like a job—people can voluntarily leave their band—or they can be fired.  They can leave for personal reasons or because of conflicts.  Find out what the real reason the interviewee left their band, and remember to keep a skeptical mind.  There are two sides to every story. 

8. Where would you like to see yourself in five years?

You’re not proposing marriage to the person, but you do want to know that they are going to commit to working with you long enough that it will be worth hiring them.  Constant changes in a band are unsettling and cause disruption.  It takes time to gel with a new member and reach an optimal level of creativity.  You don’t want someone who is going to run off in six months after you’ve invested that much time into making them a part of your sound.

9. How do you define “team player”?

Everyone has different perspectives, so make sure you ask them find out exactly what they think it means to be on a team.  Ask for examples of how they’ve contributed to a team before.  Ask them about their best and worst experience working in a team environment.  It might be about their little league baseball team, their science group in high school, or their competitive race car driving experience—but listen carefully at the words they use to describe these situations.  Watch their face as they describe both the good and bad scenarios for clues about how well they handled these situations.

10. What do you want from the band?

Every relationship is give-and-take.  Find out what this person expects from the band in order for them to be happy and remain creative.  An honest and mature person will be able to tell you what they need in order to stay involved.  Do they require honest feedback?  They may need to feel that their suggestions are taken seriously, or that they have freedom to try new things.  Whatever it is, weigh their answer with the rest of the band and make sure it is something you feel you can do in order to keep your commitment to your newest member.

When you sit down with your potential band member, try to make it informal and easy for them to tell you what they really think.  If you are having this conversation it means you have already heard them play and like their abilities; a face-to-face interview like this should be a final step in the decision making process and every member of the band should be there.  Make sure you tell them a specific date that you’ll let them know your final decision and then stick to it.  They’ll appreciate your professionalism regardless of whether or not you hire them.

If you want to get a record deal, get people to your shows, or sell music like crazy, the answer isn't some kind of "magic pill" website that you post your music on, blindly sending out a bunch of demos, or anything to do with having good music...although good music certainly helps -- the answer is to develop a "mindset" that naturally attracts people to what you're doing as well as an understanding of how the music business game is played.

As you develop as a person, your music career will develop with you.  Sounds crazy, but it's true...and I've seen it time and time again, with thousands of acts that I've worked with, from garage bands, to the guys selling out arenas.  Check out these ten common music business mistakes:

10. Being Too Difficult (or Too Nice)

First of all, let’s get this clear...  Just because you wrote a few good songs and recorded them, doesn’t mean that the world revolves around you.  Lots of people write and record good songs, so get in line.

Contrary to what the online rumor mill or media would have you believe, people in the music business are involved because they love music…and they’re not making enough to deal with jerks.  And they won’t deal with jerks.  If you’re a pain, they’re just go to the next guy, who also writes good songs, but has a better attitude.

With that said, don’t be too nice.  You don’t have to say yes to everything.  Pick your battles.  If there is something you really feel strongly about, don’t settle for anything less.

Bottom line: Keep your ego in check and behave with courtesy and respect. At the same time, don't let anyone treat you any less.

9. Trying to Convince People of Anything…

You play music; you’re not in the convincing business.  Either people get what you’re doing or they don’t. 

So, some reviewer, booking agent or manager doesn't like your new album. Let it go! Don't try to convince him he'll like is better after a second listen. He won't. And the more you press him to give your music another shot, the more he’ll remember how annoying you were.  This means he’ll be far less open to ever listening to you again.

There are a lot of people who won't "hear it" when you approach them. So what? Move on.  There are plenty of other people in this business who can help you. Go find the people who do "hear it" and put your energy into building good relationships with them instead.

8. Looking for Industry Approval

There was a time when the "industry" had a lot more pull when it came to breaking an artist, getting them distributed, and everything else.  This is a new time, so we're playing with different rules now.

Distribution is easy.  Every day, more and more albums are being sold digitally, so you no longer need a label to finance pressing tens of thousands of physical albums (or more) and getting them to record stores.

These days, recording music is easier than ever. You can get a good
recording setup for just a few thousand dollars.  And if you can't afford recording equipment, there are plenty of people who have some, whom you can hire inexpensively. You are not limited on the number of options for getting something on tape.

But most importantly, once you get this stuff together, you don't need the industry to tell you your music is worthy.  The consumers, the people who buy your music, are really the only opinions that matter.  And when you have the love of the consumers, the industry will come around.

The thing is, in the music industry, technology has changed faster than mindset. Stop believing you are at the mercy of any record label executive. You're not. Connect directly with your fans--on your terms. The feedback, loyalty and money you receive from them will be far more gratifying than you spending your time beating your head against a wall trying to figure out a way to get an approving nod from a record label.

7. Not Building Strong Relationships with Fans

People aren't stupid. They know that they're being marketed to.  They know when you're looking to sell them something.

Do they mind?  No.

In fact, if you have a good relationship with your fans, they won't mind being marketed to and, if you do it well, they look forward to being marketed to.

However, they have to know you care.

Building relationships with fans take time.  You have to show them you care.

Do things like:

• Give them a few free songs to download
• Have message board on your website and build a community there
• Do a "fan appreciation" show
• Record a holiday album that you give out to your fan club.

Show them in special ways that you, not only care, but that you're willing to go the extra mile to show your appreciation. In turn, they will buy your music, travel to see you play, call radio stations on your behalf and promote you all over the Web.

Every day, no matter if you're busy recording, on the road or at home worrying about how you're going to find the money to make your project happen, do something (no matter how small the gesture is) to reach out to your fans.

6. Not "Getting" How the Fan/Artist Relationship Works

You’re the leader and your fans do the following.  You make the offer, they choose whether or not to accept.

Take charge, record the music, play the shows, print the t-shirts, and let them have the options of buying your album, coming to see you, or getting something to wear.

The average person has enough “leadership” in his day.  He’s looking for somebody to take control, and let him ride along for a little while.  Do it.

5. Laying Everything on the Table…

You're a rockstar.  Keep that fantasy.  Don't tell people how broke you are, that you're still living with your mother, or anything else that breaks the image of you fans have in their minds.

One of the reasons people like music is because they have the opportunity to live vicariously through the people they are listening to.  When you are on stage, they're up there with you.  When you're on the road in your tour bus, they're riding shotgun.  Don't take that away.

Give them insight into your life and what it's like in your world. However, be selective with the details. Always remember, you're selling music, but you're also selling a persona.

4. Thinking The Key to Success is Musical Talent, Money, or Looks

Yes, if we're talking about pop music, MTV, or the major label system, a certain amount of a contrived "image" probably helps sell records.

Obviously, money helps things.  And it's always good if you can sing.

But it's not "image" that gets somebody on MTV, it's marketing.  It's not good songs that get people on the radio, it's marketing.  And it's not money, although it helps.  It's marketing.

You can play well, have money, and look like a model, but if you don't have the marketing to back you up, none of it matters.

You know what? If you do have a good, solid marketing plan in place (and you're using it), everything else doesn't matter so much.

3. Giving Up Power

Keep control as long as you can.  Yes, a major label deal will give you opportunity that being on an indie label won't.  And a professional manager has connections that you don't.

But when you sign with these guys, you're handing over your career to somebody else. Nobody cares as much about your career than you do. When you and your talent are the most important commodity you have to offer, do not give up your power easily and without a damn good reason.

Your music is worth something. You are worth something. Think of your career as being "virtual real estate" which, if marketed correctly, will pay dividends for years to come.  So, treat it like that.

2. Jumping at Every Opportunity

You don't have to say yes to everything.  In fact, sometimes, saying no to something can be more beneficial to your career than saying yes.

Why do you say yes to things? Take a look at your standards and make them higher. As an example, just because a club has a PA system doesn't mean that it's worth playing there.

There are some gigs that just aren't worth playing.  There are some
connections that just aren't worth developing.

When you say yes to something, especially something that takes your time, you're saying no to everything else.  Leave yourself open to saying yes to the opportunities that really matter.

Trust your own judgment. If something doesn't feel right and you want to say no, it's ok to say no. At that moment, you may worry you're passing up a great opportunity and will be missing out. The reality is, better opportunities (that are a better fit for you) will come and you will be ready for them.

1. Not Getting Help

You don't know everything.  This business has been around for a long time--long before you were involved.

Read books, get advice from people who work in the industry and keep studying every aspect of the industry.

Don't be afraid to ask for help.  You can bypass a lot of the problems you're likely to run into simply by asking people who have already been in, and dealt with, the situations you find yourself in.

Remember this:

Time is worth more than money.  You can always earn more money, but you have a limited amount of time. 

Don't waste your time.  If you don't know something, or need specific help, don't be afraid to pay somebody to help you deal with whatever obstacle you face. Don't let anything stop you from having all the knowledge and know-how you need to have the success you aspire to have.