SPECIAL FEATURE
ARTIST MANAGEMENT
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Guy Lo
Artist Manager at Ignition Management and Director at Fifth
Member Music.
How did you get into artist management?
Purely by accident. I started off promoting
underground local shows with up and coming
bands and got a jist of the touring side and what
the bands were doing. From then, I wanted to get
more involved so I started a little label, which,
for the bands at that stage meant a lot more
involvement on a management side. From then I
started working on a management label with my
first band 5 years ago. It was then something that I
focused on solely.
Talk us through your day-to-day routine
I don’t really have a day to day routine, it is very
reactive depending on what the bands are doing
and what stage they are in. No day is ever the same
and I would say there is no daily routine. That
being said, it definitely isn’t 9-5, it is more of a 24/7
lifestyle.
What’s the best way to generate contacts
within the industry?
Have something to talk about. If you are involved
with something interesting, people will want to
be in touch and to talk to you. You can meet with
anyone if you have something to talk about, people
like to talk.
Talent Manager at 84 World. Previous scout for the Mercury
Prize.
What’s the best way for a new artist to
generate a fan base?
What do you look for in a band or musician
when you’re deciding whether to manage
them or not?
I look for an act who are musically brilliant and
have a sound which differs from others. I also
look for an act who have a captivating live show
and one that can be developed into a spectacle. I
feel it’s important to have a lead singer or persons
in the band, who have star qualities and ooze
personality. Whether it be the drummer (Travis
Barker, Blink 182), guitarist (Slash, Guns n Roses)
bassist (Pete Wentz, Fall Out Boy) or Lead Singer
(Billy Joe Armstrong, Green Day) if they can entice
an audience and make people idolize them, you’re
onto a good thing. Another fundamental factor is
having persons within the group who are creatively
savvy and can deliver their own band assets and
generate ideas, without necessarily having to
source outside help. This includes creating their
own artwork, music videos, and recording/mixing
tracks. It’s imperative to have a band with a solid
worth ethic and get things done without you having
to push them on a daily basis, Before taking on
a band you must be able to get on with all the
members and be capable of managing them and
their personalities. You also have to love their music
and believe in it 100%.
To have good music, be inventive., understand
WHO your fan base is, what they are listening to,
and how they consume their music. You really have
to understand your market. Then, if the music is
good and connects, word of mouth and time will
do the rest. There are short cuts, but that doesn’t
create real fans, so don’t bother.
How do you think Artist revenue streams
have changed over the last few years, and
where are they headed?
Barely anyone EVER sees record royalties anymore
except for maybe Susan Boyle and Adele. It has
now moved into areas such as touring, and more
recently there can be real money made by syncs
and TV or film licenses. These can also kick start a
campaign if the song is reactive. It is big business,
very competitive, and lots of bands will fight for it.
What do you look for in an artist that you
want to sign to your roster?
For me, I have to really get on with the band. It is
all about relationships for me. I have to love the
music and feel as if I can add value over all.
What platforms should Artists be putting
themselves on in order to get noticed and
heard by Managers such as yourself ?
These days it’s important to have an online
presence. A band must be efficient in keeping
their social platforms up to date. By doing this, a
band can reach a larger audience and in