> ## Content Index > Fetch the complete content index at: https://www.hypebot.com/llms.txt > Use this file to discover other available public pages before exploring further. # Manager of the Month: Mike Lisanti of MLennial - URL: https://www.hypebot.com/manager-of-the-month-mike-lisanti-of-mlennial/ - Published: 2026-10-16T13:49:16.000Z - Updated: 2026-10-16T13:49:16.000Z - Description: We discuss how artist growth needs to involve room to live life, how to create productive partnerships, and what happens after virality. - Author: Jeremy Young - Tags: Manager of the Month, manager, artist management, management, Managers & Tours, Interviews, MLennial, creative marketing, marketing campaign, #coverstory Welcome back to our new interview series, [**Manager of the Month**](https://www.hypebot.com/tag/manager-of-the-month/), in which we spotlight the work of successful pros in the artist management space, and ask them to share (just a few of) their coveted trade secrets... *shhh!* Manager of the Month is supported by [**Bandsintown Pro**](https://www.bandsintown.pro/?utm%5Fsource=hypebot&came%5Ffrom=900), the *smarter* way to promote live concert events. [**MLennial**](https://www.mlennial.com/?ref=hypebot.com) is a Los Angeles–based artist management and entertainment company founded in 2024 by **Mike Lisanti**. Built on an operator-first philosophy, MLennial focuses on developing scalable, long-term careers for electronic artists through hands-on management, growth strategy, and business infrastructure. In its first full year of operation, MLennial-supported artists collectively sold more than **150,000 headline tickets worldwide**, expanding into new headline markets before entering its second year with major projects including **Seven Lions’ second studio album** and continued roster expansion. Here's our conversation. Let's dive in. Enjoy! --- **Hypebot: Hey Mike, so tell us about your role. What was the arc of your career that led you to MLennial?** Mike Lisanti: "I’m the founder and CEO of [MLennial](https://www.mlennial.com/home?ref=hypebot.com). My role is to help guide our artists’ careers while building the team and infrastructure that support them." I came into this as a musician and producer, then worked in touring and artist management before becoming COO of Prodigy Artists. Those experiences gave me an understanding of both the creative side and the business behind it." I launched MLennial in April 2024 to build a company around that perspective, with a hands-on approach and a longer-term view of each artist’s career." **H: Looking back, where did the passion for music come from for you? And how did it grow?** ML: "It started in middle school, playing guitar and forming bands with friends. I picked it up quickly and became pretty competitive about getting better. That eventually grew into producing and performing myself." Rock and metal were a big part of that foundation, and I still love the musicianship in those genres. Over time, the creative satisfaction expanded into helping other artists realize their ideas." I still get excited about a great record, but now I also get excited about figuring out how to build a whole career around someone’s talent." **H: Is there too much pressure right now for every artist to constantly appear to be growing — more followers, bigger rooms, more streams — even when slowing down might be healthier for the career?** ML: "Absolutely. Everything is publicly measured now, so it’s easy to feel like every announcement needs to prove you’re getting bigger. That can lead to decisions that look impressive but don’t make much business sense. A bigger room can come with more risk and less profit. More shows can leave less time to make the music that creates future demand." I’m ambitious for our artists, but growth needs a purpose. Sometimes the right move is to consolidate, make something great, and give fans a reason to come back." > *"There also needs to be room to live. If the business only works when someone is constantly on the road and exhausted, we need to improve the business."* **H: MLennial talks about building sustainable artist businesses rather than chasing short-term wins. What does “sustainable” actually look like for an electronic artist today?** ML: "It means the artist can keep making music and earning a living without needing every release or tour to be their biggest ever. Practically, that means profitable touring, manageable overhead, a catalog that continues to earn, and fans you can reach directly." Ownership matters, too. What is the artist building that will still have value five or ten years from now?" There also needs to be room to live. If the business only works when someone is constantly on the road and exhausted, we need to improve the business." **H: Mike, you’ve said managers can’t manufacture momentum from nothing. So when an artist comes to you, what do you need them to have figured out before management can genuinely help?** ML: "They need some understanding of who they are creatively, evidence that people are responding, and the ability to follow through. I don’t expect a finished business or enormous numbers. But I want to see initiative: releasing music, connecting with listeners, creating opportunities, and learning from what works." A manager can bring structure, relationships, and better execution. The partnership becomes much more productive when the artist already has direction and is actively participating in their own career." **H: What’s the difference between an artist having a viral moment and an artist actually having a business?** ML: "What happens after the attention arrives. Do people remember the artist’s name? Do they listen to another record, buy a ticket, or come back six months later? Can you reach those people again?" A business has repeat customers, revenue, and a way to deliver consistently. A viral moment can be a great introduction, but you still have to give people a reason to stay." **H: What's your most frequent lunch order? :)** ML: "Chipotle chicken and steak burrito bowl with extra guac." **H: Managers have access to an extraordinary amount of data now. What is one important career decision that you still wouldn’t trust the numbers to make? (In other words, what still takes human intuition?)** ML: "Whether to support a new creative direction. The numbers mostly tell you how people responded to something that already exists. They can’t fully tell you what an artist is capable of becoming." Sometimes an artist brings you something that doesn’t fit their previous results, but you can hear that it matters to them and could open a new chapter. That takes listening, trust, and judgment." Data can help us decide how to introduce it, but I wouldn’t let it make the creative decision." > *"The other number I think deserves more attention is what the artist actually keeps. Gross revenue gets talked about a lot, but profit after production, travel, and the team gives you a much clearer picture of whether the career is becoming healthier."* **H: Back on the data thing, is there a data point or set that you think is underrated?** ML: "Audience retention and direct fan conversion. I want to know how many people come back, and how many take the next step from watching content to joining a mailing list or buying a ticket. Looking at that by city can be especially useful for touring." The other number I think deserves more attention is what the artist actually keeps. Gross revenue gets talked about a lot, but profit after production, travel, and the team gives you a much clearer picture of whether the career is becoming healthier." **H: What’s a success story in your managerial capacity? An artist you worked with and what worked in their campaign case?** ML: "Crankdat is a strong example from more than six years of managing him. There was a period in 2022–2023 when he was questioning whether he wanted to continue being an artist, and we had a conversation about giving it another focused push and allowing himself to take more creative risks. He has [spoken publicly about that conversation](https://edm.com/features/how-crankdat-beat-burnout-flamethrowing-middle-fingers-fan-first-mission/?ref=hypebot.com) as a turning point that helped put him on the path to selling out arenas as a headliner." The artist’s participation was essential, and the same applies to Seven Lions’ recent resurgence. In both cases, we had to understand what their most loyal fans were connecting with and where new fans were coming from." For Crankdat, it was reigniting the audience that originally connected with his SoundCloud remixes and reaching a new generation through TikTok. For Seven Lions, it has been about serving his massive existing fanbase while reconnecting with the sound of his original golden era. There’s an EDM renaissance happening, with younger listeners discovering the classics, and an opportunity to bring that sound forward in a way that still feels fresh." The strategy was different for each artist, but both required them to believe in the direction and actively participate in making it work." **H: What is the biggest thing you’ve learned working with artists over time?** ML: "You have to understand what success means to that particular person. Some artists want the biggest stages possible. Others want creative freedom, financial security, or more time at home. Those priorities can also change." You can execute a very successful campaign and still miss the mark if you’re building a life the artist doesn’t want. Having those conversations honestly — and revisiting them — is a big part of the job." **H: Best concert you've seen recently that wasn't one of your clients? :)** ML: "Korn’s set at Sick New World 2026 in Las Vegas." --- *To learn more, visit* [*MLennial*](https://www.mlennial.com/about?ref=hypebot.com)*.* *Join the leading live event professionals saving time and selling more tickets with* [*Bandsintown Pro.*](https://www.bandsintown.pro/?utm%5Fsource=hypebot&came%5Ffrom=900)