Are you a good band manager?

Fred Zindi Music
The posters read: “Show starts at 7.30 pm”. 7.30 pm came and went. So did 8 o’clock, then, 8.30 and 9 o’clock. I was starting to get antsy.

The anticipation for things to start was building in the house. The only entertainment in the house was the bar which was flooded. Booze and biltong were being consumed until the lines evaporated, but the core business, which was five Zim dancehall artistes, was still missing in action. Then at 10 pm, some pre-recorded music started to play. DJ Smoothy was at the turntables. This is not what the crowd had come for, but under the circumstances, they were left with no choice.

I plucked enough courage to ask one of the managers of the artistes who were billed to perform that night why his artiste was not on stage. He told me that it was due to circumstances beyond his control. I was dissatisfied with that response and went on to ask the second manager the same question.

He came up with, “Well, we are supposed to be the third to perform after the first two acts, but they have refused to perform because the crowd is still thin. They are waiting for more people to come in their band managers tried to persuade them to play but the guys refused..”

So what was the point of advertising that the show would begin at 7.30?

That set me thinking! What really is the role of a band manager if he cannot control anything?

Any band manager who has ever been involved in the administration of a band, particularly a band that has enjoyed some longevity, will tell you that “a band is just like a marriage”. The main difference is that the love is for the music, not necessarily for each other.

Nevertheless, the principles are the same when it comes to staying together. Here are a few typical dynamics that you’ll encounter and some practical ways to deal with them.

A band manager works closely with a music group to help make major decisions regarding the creative and business direction of the band. The manager is the person the musicians put in charge of the business side of the industry so that they can focus on making music. Some band managers work for management companies, while others work independently.

A manager often works on commission. Some take on more than one client; others work full-time with one band. At some point, Tsungi Zvobgo was managing four artistes who included Victor Kunonga, Chioniso Maraire, Alexio Kawara and Ammara Brown. This is a mean feat as it becomes difficult to satisfy each individual artiste’s needs.

The road to becoming a band manager is a unique experience that has many variables.

There is no formal education requirement for the career. Some colleges offer degree programmes in music management which combine aspects of business, recording, law and music.

While not a requirement, a bachelor’s degree in music management can provide valuable education through classroom work and experience in the music industry through an internship in music management.

Curriculum for these programmes includes courses in sound recording, entertainment law, music theory, orchestration, marketing management, financial accounting and many other areas. The duties required of a band manager vary greatly depending on the individual needs of the artist. Some managers focus exclusively on a few duties, such as advising the band on creative, business and personal decisions and assisting them in finding engagements. Others take on multiple roles, such as booking agent, promoter and travel arranger. Managers often negotiate recording contracts and help the band members understand their responsibilities.

Many artistes do their own things e.g. record, book gigs at venues, advertise go on tours and negotiate fees without a manager. These are many success stories of artistes who manage themselves using the experience of band members to do the job of managers effectively. To the artistes who take the initiative to manage themselves, there are two questions which they should answer:

Do you have time to manage yourself?

Can you deal with promoters, agents and record companies and continue to write music, record and perform live?

If the answer to any of the two questions above is in the negative, then the artiste needs a manager.

Managers have specific roles to play in order to achieve the success of their artistes. Here are a few of those roles:

Handle the business side of an artist’s career e.g. bookings, gigs, live shows, negotiating royalty settlements with record companies and publishers.

Administration –looking after the band and to liaise with lawyers, deal with accounts, give press statements to journalists, Talk to A&R departments of record companies.

Guide the artistes’ career in the right direction

All these questions are management issues and require careful handling.

It must be noted that there are no hard and fast rules. Everything is subject to negotiation when it comes to the choice of manager and the working conditions. The idea behind appointment of any manager is to employ someone who will further advance the artiste’s career.

Commission is often 20 percent of the artists’ gross income. Artistes are encouraged to choose someone who will make a difference to their future. Make sure they earn their money by relieving you of administrative burdens.

There is need for someone with contacts in the business or someone who is capable of networking to get the appropriate contacts. Avoid unscrupulous and untalented managers. Wherever possible, it is advisable to get professional legal advice.

A management contract is a two way agreement. It should include:

No impediments such as artist being contracted to someone else. The manager should make this clear from the beginning that he or she will take care of all of the artiste’s business or a section of it, depending on what is agreed upon.

Exclusive deal that the artiste will perform all contracts entered into by the manager.

All enquiries for live performances are referred to the manager. Even when the artiste is approached personally, the artiste should not give an immediate yes or no until he/she has consulted with the manager.

No negotiation of any contracts without consulting the manager.

The length of the contract between the artiste and manager is often three years with escape route in the event that the band is not successful.

Control over money is a decision between the artiste and the manager. The artiste should never allow the manager to be the sole signatory. It is either him with you or with your accountant.

When there is an emergency, set up a second account. This is one business in which the artiste can fire the manager in case of serious misunderstandings.

Expenses should be paid on receipts only. Generally 20 percent on gross income is paid. If band has to pay income tax this must be deducted first. Only expenses reasonably and necessarily incurred on behalf of the band should be entertained.

Termination of contract comes if manager: goes bankrupt; fails to attend to artiste affairs for more than two months or is guilty of serious breach contract.

It must be noted that there are no hard and fast rules for choosing a manager.

Everything is subject to negotiation when it comes to the artist choosing a manager and the working conditions thereof.

The idea behind appointment of any manager is to employ someone who will further advance the artiste’s career. It is better to choose someone who has a keen interest in the music of the artiste and who understands it as opposed to someone who just sees the band as an opportunity to make money. Artistes are encouraged to choose someone who will make a difference to their future. They also need to make sure the managers earn their money by relieving the artiste of administrative burdens. The manager should be someone with contacts in the business or someone who is capable of creating contacts. The artiste should avoid unscrupulous and untalented managers. Wherever possible, it is advisable to get professional legal advice.

Do managers need contracts?

In a word, “YES”. Even if you’re managing an unsigned band made up of personal friends and there is no money involved for now, you need a written agreement.

It doesn’t have to be fancy or even supervised by a lawyer. Just jot down what is expected of both manager and band, what the percentage of income for the manager will be if any money should come in, and what happens if band and manager decide to part ways. Many new bands don’t want to make their friends sign contracts. Put that out of your mind. When you’re entering into a business relationship with a friend, a contract keeps the friendship safe. A management contract is a two way agreement.

If you think management might be a good fit for you, take a look around you. Do you know any musicians who could use someone to help organise shows or manage their websites? Volunteer to help bands you know, even if it means working for free while you’re learning the ropes as most musicians need managers.

The duties required of a band manager vary greatly depending on the individual needs of the artiste. Some managers focus exclusively on a few duties, such as advising the band on creative, business and personal decisions and assisting them in finding engagements.

Others take on multiple roles, such as booking agent, promoter and travel arranger. Managers often negotiate recording contracts and help the band members understand their responsibilities. On Thursday this week, the Book Café hosts a debate on what many musicians view as a controversial topic. It is about band management. There are many crucial questions which the panellists will try to answer. These are:

Are instrumentalists in a band or those hired to play with a band supposed to be paid for rehearsal?

Are they supposed to be provided with the instrument they play or they should have their own?

Are they supposed to be given transport money for rehearsals?

And food/ snacks during rehearsals?

Should session musicians be acknowledged on album sleeves for their services?

Should there be a fixed amount per hour for session fees or should this be subject to negotiation?

Should a popular musician negotiate his own deals or this should be done through his/her manager?

How does an artiste end up choosing a manager?

What is the role of ZIMURA in handling music composers?