What would YOU do with freedom and a healthy budget to break a new artist?

Over the past several years, I’ve spent much more (non-billable) time than I should have trying to convince old-school label execs, independent artists, managers (both big and small) and others that the traditional rules don’t work any more in this new music business.  

When trying to “break” a new artist independently, spending a large amount of money on radio, downplaying internet marketing and direct-to-fan communication and spending a lot on expensive videos rather than producing less-expensive but more interesting/innovative videos (e.g., the now famous OK Go treadmill video) are usually bad moves.  Top-down marketing just doesn’t work any more, unless you’re a very young pop act signed to Disney/Hollywood.  As my marketing friend would say, it’s all about “pull” rather than “push” marketing.

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What makes a good "manager" in the DIY world?

The meaning and role(s) of a “manager” have changed dramatically over the last decade, as the traditional CD/Radio/Retail business model has given way to the “new” music business. Traditionally, a manager managed an artist’s efforts to get signed to a label, and once signed, he/she managed the relationship between the artist and the label. The label itself managed marketing, distribution, artist development (ah, the good ol’ days), radio promotion, producer and writer relations, etc.

But given the state of labels today, the unsigned artist must assume that he/she will never be signed - and build a career accordingly. A traditional manager is often unable and ill-equipped to successfully manage and develop an artist’s career in this new “DIY” environment.

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