![]() ![]() It's all part of the job, just don't let them become too dependant on you. I personally would never turn away somebody with a problem even if I can't fix it I can listen and maybe sometimes advise. At times you will feel like a babysitter at other times a mum or dad, this is all part of management. Remember that you are not only their manager but also their shoulder to cry on and sometimes an imaginary punching bag (not literally). The more the manager knows about their band members the better the communication. There are several basic contracts on the web that can be downloaded, all you have to do then is change what you feel is appropriate to you and your band.Īnother belief I have is that your band members should feel comfortable with you and that they can come to you with any questions, ideas, grievances, even personal problems. Some new bands do not know the ins and outs of contracts and it should be stated in such contract that they have it looked at by a solicitor or at least somebody in the know. Draft your contacts with honesty and care, do not sell yourself short and do not take advantage of your band. Don't get me wrong, I don't disagree with verbal contracts if that is what you prefer but with the system as it is today you must have a solid back up. Not so long ago there was a time when verbal contracts were the done thing, some of these are still in place now (decades later) and are still as strong as when first taken up. ![]() I am a firm believer in contracts that are fair to both parties. There must be trust, good communication and understanding between all parties to enable the team to function well on all levels. The following is of my opinion, lessons learnt, mistakes made and what I believe a manager should be.įirstly, I believe that a manager should be part of the team, whether it is a band, group, duo or solo act. We're not going to tell you that you have to engage a manager, in fact, we're going to develop a library of how to do a lot of things yourself - but here's one band manager's perspective on The Basics of Managing a Band. The Metro Gnome asked Rhonda Lewis, from Uptone Entertainment to tell us from a band manager's perspective what it takes to manage a band. You'll still have responsibilities, but so will they. You tell them what you want to achieve and then together you divvy up the responsibilities to get to your goals. Band managers do things for you on your behalf. Booking agents either call you or you pursue them. The answer may be that you are ready to hire a band manager. You want to be a professional performer, but you don't want to know how to do all of the business stuff that it takes to get from here to there. You all have "day jobs," because the money coming in isn't going to pay all of the bills, and it probably never will, but you do this for fun (and money) and want to keep it up.īand Scenario 2 - You have original songs - great songs that you want to get out there and showcase. I love you!īand Scenario 1 - You have a covers band, you have the equipment, and you have gigs, but you want more. Thanks always to Alan, for letting me take the time to find my feet. I needed to be creative, to explore strange new worlds, and to figure out what was important to me. Thanks in particular to Ben Little, Wayne Tritton, Cyndy Fahnestock, Rosie Oates Tritton, Paul DeCarlo, Angus Thorburn, Doug Lloyd, Michael Rootes, Dai Pritchard, John Swan, Jon Stevens, Ian Moss, Sue Konan, Stacey Morris, Sally-Heath Lloyd (my most diligent supporter and proofreader), Glenn Ford (creative designer of the Metro Gnome image), Tina Broad from Music Play for Life, Greg Dodge who taught me about Weekend Warriors, Rohan Whitmore and Colin at Encode, and all the proofreaders, fans, and friends for helping me start my writing career. ![]() But as I moved articles over to this blog, I was reminded of the wonderful talents and unselfish effort put in by my friends. My interviews with Jon Stevens and Ian Moss are personal highlights. I have let the domain name go, but I've captured the articles here so I can look back on them and remember. In 2008, Sue and I sold Hotsource to another company, and we started to focus on other things. Then I incorporated all of that content into Hotsource, a business I co-founded with Sue Stanbridge. I worked on it for a year and published 5 issues. ![]() I started a project that turned into a hobby, that turned into a business. I worked on my resume, but I just didn't feel right about getting back into a corporate role. For a month or so, I wasn't sure what to do. In 2004, I left my corporate job and started a new journey. ![]()
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