How we work
The spotlight belongs to the artist.
Management is the part that keeps working when nobody is watching. Here is what that means in practice, what we run on your behalf, and what it costs.
What management covers
The work
Strategy
Choosing the work. We start from where an artist wants to be in five years and plan backwards, which usually means declining more than we accept. The shape of a career is made mostly of turned-down opportunities.
Deals
Negotiating terms and then holding them. Fees, splits, riders, releases, sync, and brand work. We sit alongside specialist entertainment lawyers and accountants rather than in place of them, and we will tell you when something needs a solicitor rather than a manager.
Day to day
Promoters, labels, publishers, producers, press, and the people around an artist. Travel, logistics, and the unglamorous scheduling that decides whether a tour is survivable.
Release and campaign
Planning singles, EPs and videos on a calendar that holds together, with the assets, dates and paperwork ready before they are needed rather than during the week of release.
The long view
Careers are measured in decades, not seasons. We would rather build something durable than take the fastest opportunity in front of us.
The platform
Included for every artist
Most artists lose hours every week to admin that lives in a mailbox and a spreadsheet. We run our own platform so that work has somewhere to go. It is included in management — not a separate product, and not something you pay extra for.
Your website
Designed, built, hosted and maintained by us, and kept current as releases, dates and press change. The artist owns the domain and the content. No template subscription, no plugin that breaks the week of a release.
Booking module
Every enquiry, hold, offer and confirmed date in one pipeline, with the terms attached. Promoters get a straight answer on availability, and nothing falls between two inboxes.
Scheduling
One diary for shows, travel, sessions, rehearsals and press, shared with the band and crew so that everyone is working from the same version.
Billing and invoicing
Fees, deposits, invoices, chasing and statements. The artist can see what has been agreed, what has been invoiced, what has been paid, and what is late.
Data stays the artist's. If we ever part ways, you leave with your website, your contacts, your dates and your financial records.
Starting out
The sequence
- One
A conversation
An hour, no obligation. What you are working on, what is not working, and where you want to be in five years.
- Two
A written plan
Before anyone signs anything, we set out what we think the next twelve months should look like and what we would do first. If the plan is wrong, this is a cheap place to find out.
- Three
Terms in writing
A management agreement covering commission, term, scope and what happens if either side wants to end it. We recommend you have it reviewed independently before signing.
- Four
The first ninety days
Website live, booking pipeline and diary set up, invoicing in order, and introductions started. Housekeeping first, because everything after it depends on it.
Commission and terms
Commercials
We work on commission, agreed in writing before we start, so that we only do well when the artist does. [Insert your commission rate, the term, and which income streams it applies to — live, recording, publishing, sync, merchandise, brand work.]
The platform, the website and its upkeep are included. We do not charge separately for tools, and we do not take a cut of anything we did not help bring in. [Confirm this reflects your intended terms.]
Nothing on this page is a contract or legal advice. Terms are set out in the management agreement, and we would always rather an artist had it looked at independently first.
Who we are
[Founder biography — name, background, and the experience that qualifies you to manage. For an artist deciding whether to sign, this is the most important paragraph on the site, so make it specific rather than modest.]