How Some Managers and Agents Benefit From Piracy and Low-Paying Streaming Music - hypebot

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Neil Harris

Maybe David Lowery should find a manager that commissions on Net.

Mr. Delurk

I always wondered why on earth would a sane artist give away his best, HD quality music video for free through VEVO (tantamount to pirating oneself) instead of selling it to buyers who played & liked a standard resolution version on YouTube.

This article finally shines some light on the forces at play.

Paul Resnikoff

It's a little cynical, though I think you're hitting upon something here David. Touring once supported the recording, in fact tours were often named after the album in many cases and fit neatly into the album release strategy. The marked-up, scarce album was where a bulk of the money was.

That said, I'd like to think that good agents and managers have the bigger, longer-term picture in mind and care about generating the income that results from the celebrity and name of an artist. That can be touring, merchandise, 'experiences,' vinyl, etc. After all, a lot of that stuff is sold right at the venue.

Ideally, they should be in it together with the artist to realize the greatest gain.

Christopher Moon

In all my years of managing artists, I never took a commission on a tour that the artist didn't also make money on. I've never known a manager to take a commission on a tour that is being supported by the label.

As far as agents commissioning on all live shows, they do the work and they earn that 10%. It's a great service to the the artist and if they treat it like any other expense then it makes sense in the long haul.

As your points relate to streaming, I tend to think that if someone has the opportunity to experience your music via a streaming service and that motivates them to buy a ticket to your show, that's a more immediate and direct line of potential income for an artist than if they simply purchased a CD or download of your album via iTunes or Amazon. Once they're at the show, there's the opportunity to engage with the artist (but emotionally, becoming a bigger, long term fan, and financially, in buying merch).

It's hard to compare the past to the present, considering how quicky the ground shifts and changes, but I tend to look towards the future and for ways to make new money vs. lamenting the ways that no longer apply from the past...

mason

the piece that's missing from this article is the fact that nearly all artists these days sell most of their merch at live shows. that is extra income with a larger percentage for the artist, and without the touring those merch sales aren't going to happen. only including the artist's cut of the door doesn't factor in the additional sales of physical goods that result from touring.

JR

I find good managers and good agents to be a necessity in this business. I know of no manager that would ever cash in on tour support, managers make money once the band does.
As far as I know the streaming services are really the product of major label collusion and it is up to the managers,agents and bands to figure a way to make lemonade until things change. If recorded music revenues are down, then doing a great tour is important to the financial future of the act, and generally that takes a great deal of effort and teamwork. Bashing the people that more often than not, make those things happen serves no one, especially when your data is wrong. To say some managers feel erroneously that streaming is a good thing is one thing, to assert that managers and agents as a whole are often not thinking about their acts but themselves, does the greater majority of us a great injustice.

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