What does it take to be a great Artist Manager? Ardie Farhadieh shares answers…
What makes a great artist manager? Being a manager now is very different than it was a decade ago. Social media has replaced music media for audience building and the artist to fan connection is more important than what label you’re signed to. Ardie Farhadieh had ridden these waves successfully and now teaches it at Berklee Online.
How His Connection to Music Shapes Ardie Farhadieh’s Approach to Building Artists’ Careers
Courtesy of Berklee Online
Ardie Farhadieh has worked with an impressive roster of artists, including Mumford & Sons, Bon Iver, Glass Animals, St. Vincent, Sufjan Stevens, Arcade Fire, and many others at the Billions Corporation. He was instrumental in Spotify’s Fan First presale program (where users get exclusive offers from their most-streamed musicians and bands) and is the founder of Wick Management. He currently manages Marian Hill, Slenderbodies, the Kilans, and DJ/producer Michael Brun through Split Second Management. This is just part of what earned him a spot in Billboard as a music industry professional “on the rise” in the magazine’s 40 Under 40 feature.
Farhadieh has learned his fair share of lessons in the music industry, and he’s sharing them all in his new Artist Management course at Berklee Online. In this Q&A, he tells us about what you’ll learn in his course, his background as a classically-trained violinist, what he looks for in new talent, and his approach to helping artists build sustainable careers.
Tell us about your musical background.
Ardie Farhadieh: I’ve been playing violin since I was three and I sort of have a split personality when it comes to music. I have a love of classical music, but I also have a love for a lot of mainstream, contemporary music. My dad was very musical and had a love for classical music. I grew up listening to his extensive classical music vinyl collection and it really impacted me. I also grew up in Chicago, which has vibrant house music and punk rock scenes. I was exposed to these genres while being in the city. I felt like music truly moved and impacted me throughout my life. Above all else, violin was the one constant that brought me a sense of discipline and focus.
What attracted you to the business side of the music industry, particularly artist management?
Ardie Farhadieh: In high school, I discovered there were degrees in music business and gravitated towards universities with strong music business programs. It was around then that I also realized a career in the music industry was what I wanted to pursue. In college, I quickly realized I wanted to be an artist manager. Managers get to work in every part of the industry and work closely in developing and building the artist’s career. I feel like it’s as hands-on as you can get, and it can be extremely fulfilling to build and grow an artist’s career. Overall, I wanted to be able to make a difference in the world and found ways to do that through music.
Looking back, was there a pivotal moment that shifted your approach to artist management?
Ardie Farhadieh: For sure. In the Artist Management course, a big theme is how technology has shifted the ways in which the artist manager’s role has formed and the music industry as a whole functions. The early days of my management career were centered around blogs, Hype Machine, SoundCloud, the social platform Vine, and early days of DSP (Digital Service Provider) playlisting. Today, it’s less about those mediums and all about the artist’s brand, building a solid foundation and audience on social media, capturing that audience, and activating that audience. I guess what I’m trying to say is that my artist management strategy has greatly evolved over time as technology and marketing techniques have evolved.
How do you decide which artists to represent, and what qualities make you want to invest in someone’s career?
Ardie Farhadieh: I mention this at length in the Artist Management course that a manager needs passion above all else to properly manage an artist. I think that holds true for how I decide which artist I’m going to represent. Of course, I have to evaluate the artist’s socials, streaming numbers, and overall initial brand they’ve built, but all this usually comes after I’ve taken a good listen to the music. Artists are the driving force of the music business. Without the artists, the music industry would not exist. I admire artists who know themselves, know their brand, are authentic, and know how to cultivate community and build a culture around themselves. On my end, I need to be passionate about their music more than anything. Passion will drive everything, including all the hard work I will put forth on behalf of the artist. Every time I’ve decided to represent an artist, I’ve known in my gut that it’s 100 percent right. The artist’s music has spoken to me and awoken a passion that is undeniable.
If you could offer one piece of advice to a musician trying to become more business savvy, what would it be?
Ardie Farhadieh: Learn everything and anything. Don’t be in a rush. Artists want to see results overnight, but Rome wasn’t built in a day! I always say, “Slow and steady wins the race.” Artists need to stay true and authentic to themselves. Today, it’s not just about making the best music. It’s also about building an authentic brand that is true to oneself. Today, artists need to keep up with technology, learn how to market themselves, be their own label, publisher, etc. There’s more pressure on an artist than there ever was. I say try not to be overwhelmed by this, and instead, adapt in a way that will allow you to build something meaningful and authentic that allows the artist to feel fulfilled.
When working with high-profile artists, how did you establish a strong relationship and trust?
Ardie Farhadieh: It’s always been a day-one approach. I’m all about transparency, communication, and trust. Without that, the artist management relationships will not thrive. I joke that I wear my emotions on my sleeve and that I’m almost too transparent. I always make sure that I’m fully aligned with my artists and that we are working towards the same goals. I tell every artist, big or small, from day one that they will be informed and know exactly what’s happening every step of the way. The artist knows that it’s a true partnership and that we will be a team from day one. Every step of the way we communicate and the artist knows exactly what’s going on. I think this helps build trust and establish a strong working foundation.
What is the biggest lesson you learned in the music business?
Ardie Farhadieh: Hmm. I mean, where do I begin? I’m constantly learning and still feel like I’m learning to this day. I think one of the biggest lessons I learned was that it’s okay to ask questions and admit when you don’t know something. Early on in my career, I made some mistakes, not realizing truly the decisions I was making would affect my artist in the long-term. I learned the hard way and I look back, thinking, “Why did I make some of those decisions?” I shouldn’t have been in such a rush and I should’ve taken a step back to see how to do certain things the right way. Now, I feel like I’ve learned from my mistakes and it’s made me a better manager for it.
There are amazing people in the music business willing to help you make the right decisions. Artist managers are expected to know everything and anything, and that’s virtually impossible because there’s just so much to know in the different areas of the music business. That’s why artists have bigger teams. The teams are there to support one another, and one thing I learned early on was to have some humility and know when it’s okay to admit when you don’t know something. I’ve become stronger for it in the end
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