The Manager

by Alex Walsh

This article was culled from three interviews with local band and artist manager’s. Mike Kappus from the Rosebud Agency, Hari Berrier from Zeitgeist Management, and Dianna Arnspiger, an independent manager. The Rosebud Agency is the largest of the three, with over 20 international clients. Zeitgeist handles five clients. Some of the larger management companies handle hundreds of bands or artists, so these are considered boutique agencies in the industry. Dianna Arnspiger manages one artist.

How do you choose acts to work with?

Mike Kappus: It’s a very standard question of an audience of musicians,”How do we get an agency? How do we get a manager?” As far as an agency, for us (Rosebud), it’s different than most. In most cases it would be, “How can I become appealing to that company?” That company is here to do business and make money and if you’re making a lot of money they’d be very happy to take 10% of it. But for us (before signing an artist) we want to, number one?be moved by that artist, personally and emotionally moved—really appreciate their music on a deeper level than just being able to sing along to the tune. We are a business, so we do have to see that it’s going to make sense down the road (even) if it doesn’t right now... It has to be a business. Obviously, you can’t have a company of loss leaders or you’re (operating) at a loss.

Hari Berrier: ...First and foremost we think the music is amazing, we’re fans of the music. I think you really have to believe in it to be able to promote it. You really have to like the music and musicians you’re working with.

Dianna Arnspiger: The way I found Jethro Jeremiah, he was a street musician...what roped me in with Jethro was his amazing voice. He has a beautiful voice. It didn’t happen instantaneously; we developed a relationship over a couple years. I actually developed a relationship with a guy in his band who just kept sending me demos and kept Jethro in my consciousness. And at the time that I did want to manage someone, he was the natural choice because he was someone that I had been following. I believed he had what it took to get to the next level, and once I talked to him about whether he wanted to go to that next level, we just decided to go for it.

What do you do?

Mike Kappus: Management is the representative for the artist for potentially everything. Everything as far as interaction with the outside world. And it can be anything the two parties agree to. Sometimes a manager will control the nature of everything--the performance, and who’s in the band, and so on and so forth. In relationships I’ve had, we frequently have little or no control--or desire to control-- the membership of the band, or songs in performance. (As management) You are the mouthpiece--the funnel of information from the artist to the lawyers, record labels, publicists, and so forth, and the funnel of information back, as well as the coordinator of merchandise and publicity and publishing.

Hari Berrier: ...the type of work we do varies depending on the artist. For example, if we have a band going on tour, we don’t book the shows. A booking agent does that for us. So the shows are in place and we have all that information. What we are mainly in charge of is setting up the tour, sending promotional materials to the venues...booking transportation or coordinating hotels...If we’re working with a publicist...we play a role in coordinating and setting up interviews and appearances. And beyond that, if something comes up when they’re on the road we’re definitely the person they would call. You know, if their van breaks down, or if they have any problems whatsoever.

Dianna Arnspiger: I’ve been working with (Jethro) more on a developmental level for the past four years...there’s a difference between jamming on the street and having a serious band. So that’s what I had to wait and see with him--did he just want to be a street musician, or did he actually want to do more. Once I determined that he did, I started guiding him...and we’re still working on it. My approach is, “Okay, we’ve got this great talent, let’s do as much as we can to get the name out in our own backyard.” You’re taken a little more seriously if you can make an impact in your region first....We’ve reached that goal, and then some. Unfortunately along the way, the music industry has dramatically changed. We’re at a point where we’re re-thinking our goals. Chasing after a record deal doesn’t make as much sense anymore. I’m actually the accountant, the webmaster, the whole nine yards for him.

What should someone look for in a manager?

Mike Kappus: A message for people (musicians) coming up is be very careful before they commit themselves to somebody for a long time. (For management) The key is having the ability to make something happen with their business contacts, and having the time and desire to go out and push on the artists behalf. I’ve been around situations where one of the most powerful managers in the business takes somebody on but is so tied up with their other priorities that (the band) would have been better off with their next door neighbor handling their business. But sometimes, failing other things being available…it can be somebody else in the band, or the roadie can be very intelligent and have a good way with people, and can actually become an effective manager.

Hari Berrier: ...If it’s not someone you trust, there’s just no way it’s going to work. I would look for a manager who has time for my band...they don’t wait three days to call you back.

Dianna Arnspiger: The most important thing is you feel a sense of trust...

Do you have any last words of wisdom for up and coming artists?

Mike Kappus: There’s a couple things. I’ve been on panels where people talk about ‘the cream will always rise to the top.’ And in fact, unfortunately it doesn’t necessarily. And they also talk about watching what’s going on and watching the new technology and watching the trends and so on—I totally disagree with that. It should be about what a person really believes in. If it’s Delta Blues, then so be it. If you become a great performer of Delta Blues and if there is not the same market for that as a boy band, recognize that at the start--you’re not going to be competing with a boy band, but be satisfied with what you love to do, that you’re doing what you love. If you’re going out following todays trend and perfect it, but todays trend is gone tomorrow, tomorrow you’ll be known as this person with that image and you’ll be out of a job and you won’t be satisfied because it isn’t what you wanted to do in the first place. Stick with what you believe in and be cautious in who you sign up with. You’re putting a lot of trust in that person... if you sign on with a person (representing) themselves as having greater experience or a different background than they really have...people in the industry are going to recognize those things and not want to deal with that person. So just watch for any signs. It’s hard, especially for an artist who’s not been able to connect with anybody, and has been hoping to for an indefinite period of time—and then they find somebody who really likes what they’re doing. To have to say “No” to that person would be a pretty couragous move--But sometimes you’ve got to do that.

Hari Berrier: When looking for a manager it should be someone that you know and that you have a good rapport with, that you communicate well with and that you can trust. You don’t have to be their best friend, but you should feel good about the relationship.

Dianna Arnspiger: I would say the smartest thing to do for a struggling band with no money is go put an ad on Craigslist and find a college student that wants to help you. Put an ad saying “We don’t have any money, but if you want an opportunity to get involved in the ground level...” and maybe you’ll find someone who is willing to spend some time, a few hours a week, working with you. Or do that with your email (mailing list)--ask if there is someone out there that wants to help you. You don’t even have to call them your manager. Bring someone on board, see how they do, and if they do a good job, think about it later. “Real Management” isn’t necessarily needed until the bigger issues come in.

Do people keep telling you you sound like someone, is there a name that keeps coming up? Target fifteen or twenty artists that you think your music is similiar to in the feeling or style, and look up their managers. Look on their website, or look on the CD, and send them your music--because you never know. You never know who is looking.

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