Over the years, managers have become an incredibly valuable asset to an artist’s career. Managers have worked the phone lines, manned the offices, helped sell the tickets, load the equipment, and even drove the tour bus in an effort to better the careers of their artists. Most people who realize just how much work an effective manager does agrees that they should share properly in the fruits of their labor when the artist finally makes it big.

As previously indicated, managers draw their salary from a commission on work the artist does or had done while under contract to that manager. This “commissionable work” includes record contracts; endorsement deals; TV and film work; tour proceeds; video sales; merchandising; and many others. These proceeds the artist receives are considered gross revenue and the manager has such income specifically mentioned in his contract with the artist as to his proper and equitable share. Some managers have even attempted to obtain a commission off work that many in the industry feel the manager had no connection with: songwriting and publishing.

These are areas, some feel, that the manager had no hand in and should be taken out of the equation when computing the manager’s share thereby giving the manager an “adjusted gross income” to deal with. Many managers agree to this while others adamantly oppose it, citing the fact that the songs are only valuable because the artist has become a hot commodity on the market--thanks to the manager’s help and guidance.

Management has become such an all-encompassing and vital job in the artist’s career that many record companies will refuse to even talk to an artist seriously if the artist does not have a manager. These companies reason that with all the matters involved in today’s music--from production, marketing, and distribution in not only the traditional music fields but in the new media of satellite, cable and cyberspace--that could seriously occupy an artist’s time, it would be fool-hardy to do business with someone who did not have someone on board to coordinate such activities. It therefore makes great business sense for an artist to have a manager on staff when being courted by labels.

Even though a manager handles so much for the artist, there are still times when the manager simply cannot be there when the artist needs him. A great example of this is when the artist is on an extensive tour around the country or around globe, yet business matters need the attention of the manager at home. For such occasions, the manager--after careful consultation with his client--hires a person to travel on the road with the artist to act in all the capacities the manager would have been doing if present.

This person is called, appropriately enough, a “road manger.” The road manager’s job involves handling all the functions necessary to move the artist from one venue, city, state, or even country to another as smoothly as possible. The road manager handles hotel reservations, payroll for the crew and band, collects money from promoters, schedules publicity-related events such as TV and radio interviews, rents equipment, etc. Since these duties revert back to the manager when the tour is over, the road manager’s position may be only temporary. Some road managers have even made a career of performing this duty for various bands that are currently traveling or in need of his services.

Another manager related function is that of the “Business manger”. A business manager, like the road manger, is often hired by the manager-- again, after consultation with his client--to oversee the financial dealings of the artist. Some artists have amassed a great deal of money from their musical work and have sought guidance as to the most effective ways to invest it. Business managers advise their clients on such matters as tax shelters; mutual funds, stocks, and bonds; IRAs and 401K plans; health and insurance plans; invest deals; and other financial matters.

For the artist serious about their career, management in all the areas mentioned is needed to smoothly handle the bumpy terrain that goes with the journey to success. All three positions, by the way, CAN be handled by one person, but the individual who can coordinate such efforts effectively is a rare treasure who usually has superstar clients behind his name. A new or emerging artist can still get by with the attentive services of the manager and add the other roles as business dealings get more involved.