A manager on managing success – Spotify for artists

Matt Sadie is an artist accustomed to everything. From The birds of fairy tales are special Per Humble mouse, He has heard and seen it all. For him, what a manager does can be warmed up for one thing: to clean the streets so that an artist can shine. At this Co.Lab, he shares tips to find a manager who can help you with the best profit strategies from them.

Spotify for Artists: What does a typical day look like for you now? And how do your previous experiences play a role in what you do?

Matt Sadie: I’m probably working on a musical release with an artist. I can help others with videos or artwork for the album. Another might be pulling out a book, and I need to work with the publisher to make sure it’s being promoted properly or the pictures have been cleared.

I have worked on record labels as well as music distribution and music marketing. I learned how the music business works. This is important and I am making some recommendations for potential managers. When you are advising an artist on every aspect of his career, you need to have a deep and broad understanding of what you are going to take. You don’t want to give them bad advice. If you don’t know what you’re talking about, you’re in trouble.

What is the job of a manager? How have you seen this role evolve?

To be an artist you need to be a clear and central communicator and filter for all corners of their business. The manager helps an artist do what they want to do, which is to create music and express themselves creatively. To do this, we need to make everything as clean, straightforward and digestible as possible so that they understand that their business is being taken care of and that they seem to be involved in the process, but not weighing themselves with the things they don’t need. To be about. Over time, the role of a manager has evolved extensively. I think this view of a manager is a person who sits in a bean bag at the back of the studio, smokes weeds and says, “Yeah, it looks sick.” That’s not just the case.

From an artist’s point of view, which team members do you consider essential and which can be hired on the street?

In the end, music is the most important thing. It will rarely help, unless it’s accurate, so it’s important that anyone can take you there, be it a co-writer, producer or music partner. Great music can overcome the shortcomings of your team, however, if the music is not right, even a great team will fight.

How can an artist be the creative center of a project and take direction and advice from the people around him?

First and foremost, it’s about faith. You need to realize that everyone is working for you, understands you, loves what you are creating and comes together and concentrates on a common goal. Beyond that, it’s really, really special about who you’re hiring. Don’t necessarily leave it up to the manager. Work alongside them and meet those people yourself.

How do you change through partners and develop your team?

It depends on the team members. You want to have people around you who are highly respected and can communicate well. This will create a safe environment for everyone to express themselves and create an open conversation about your project and how you can change it so that it is not a strange surprise or uncomfortable moment when change happens.

I also think a lot of people in the music industry are accustomed to it. This is not a big surprise, especially when an artist has a history of changing members or if they see their team evolving all the time. The core team members are tough. Lawyers, promoters, managers, agents – these are a little more noisy and need to be handled more carefully. It can be like a breakup.

Did you get good but probably no clear advice during your career?

The key to building a team is to have people who respect your creative vision and share your goals. That sounds obvious, but it is not. They need to be fans of your music and your art. They really need to take care of it. When I do a development work people tell me that they’re going to send me songs and then they don’t, I like, “Where is it ?!” I don’t just want to hear their songs from their business perspective, I want to hear it because I’m a fan and it’s exciting.

-Spotify for artists

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