MMF membership secretary Manasvi Dethekar shares five takeaways from the organisation’s recent workshop on the future of artist development. Held at The Garage in London, the event was organised in collaboration with ILMC’s Futures Forum, with support from AEG Europe, AXS, and The O2.
What were the key considerations for the managers and live teams in attendance with developing emerging artists’ live careers?
To make sure an artist is performance-ready; that they’re rehearsed, they’ve put in their 10,000 hours, and are prepared to engage with and perform before an audience. Beyond that, our participants focussed on the importance of infrastructure and developing a clear strategy: accessing funding and investment; finding creative solutions to securing that funding; audience building and converting streams and social media activity into ticket sales; and ensuring everyone is educated about the basic processes and mechanisms of the touring business.
What are the main barriers to developing and growing a fanbase in live music, according to the attendees?
The unanimous response was loud and clear: costs! Even in the best of times, the revenues from live music were rarely enough to cover increased budgets and expenses, and 2024 is definitely not the best of times, especially at the grassroots level. Managers and live teams are having to become increasingly creative to find efficiencies and plug shortfalls.
Our roundtables also raised concerns around market saturation, with too much static to cut through, too many artists, and not enough nights dedicated to breaking new music. This situation has been compounded by the closures of grassroots venues, the subsequent reduction of touring opportunities, and the lack of a university scene.
“All our participants agreed on the need for greater economic investment into the base of the live music pyramid”
What strategies and innovative approaches had attendees taken to ensure a successful tour?
Given the diversity of participants, we were rewarded with a wide range of examples of how managers/music professionals
had overcome challenges to put on successful tours.
Much of this came down to planning and creating efficiencies: reducing transport costs by using venue backlines and PAs; inviting local support acts onto the bill; working with local promoters; and only touring when the artist has something to promote and rally momentum around.
Managers also gave advice about accessing brand sponsorship and investment in order to fund touring, gaining access to student audiences by selling reduced-price tickets, and capturing video content to share over social media.
What solutions would attendees like to see for the aforementioned challenges?
Funding. Whether it’s government schemes to fund the arts, increased tour support from record labels, or the implementation of a grassroots ticket levy on arena and stadium shows, all our participants agreed on the need for greater economic investment into the base of the live music pyramid.
Elsewhere, some individuals raised the issue of a lack of dedicated performing opportunities for new artists, while others raised the need to nurture audiences by reducing the fees on tickets and providing fan-friendly policies to crack down on ticket touting and encourage face value resale.
How important is it that managers and live teams align on artist development and problem-solve together?
Absolutely vital. When it comes to live music, particularly grassroots live music, artists and managers have both assumed a far greater share of the workload, as well as the responsibility to cross-pollinate touring and live performances with streaming, social media, and all other creative activities. Ultimately, there’s rarely anyone better or more effective at selling tickets than the artist. They’re the ones with a direct and authentic relationship with the audience.
However, the mechanics and complexities of touring inevitably mean that the manager will have to help their client to build a team – bringing in appropriate expertise to help them book the right kinds of shows, deliver the best performances, and maintain an upward trajectory. That kind of successful teamwork is only possible if everyone is invested and aligned.
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The future of artist development
Manasvi Dethekar shares five takeaways from the Music Managers Forum's recent workshop in collaboration with Futures Forum
07 Aug 2024
MMF membership secretary Manasvi Dethekar shares five takeaways from the organisation’s recent workshop on the future of artist development. Held at The Garage in London, the event was organised in collaboration with ILMC’s Futures Forum, with support from AEG Europe, AXS, and The O2.
What were the key considerations for the managers and live teams in attendance with developing emerging artists’ live careers?
To make sure an artist is performance-ready; that they’re rehearsed, they’ve put in their 10,000 hours, and are prepared to engage with and perform before an audience. Beyond that, our participants focussed on the importance of infrastructure and developing a clear strategy: accessing funding and investment; finding creative solutions to securing that funding; audience building and converting streams and social media activity into ticket sales; and ensuring everyone is educated about the basic processes and mechanisms of the touring business.
What are the main barriers to developing and growing a fanbase in live music, according to the attendees?
The unanimous response was loud and clear: costs! Even in the best of times, the revenues from live music were rarely enough to cover increased budgets and expenses, and 2024 is definitely not the best of times, especially at the grassroots level. Managers and live teams are having to become increasingly creative to find efficiencies and plug shortfalls.
Our roundtables also raised concerns around market saturation, with too much static to cut through, too many artists, and not enough nights dedicated to breaking new music. This situation has been compounded by the closures of grassroots venues, the subsequent reduction of touring opportunities, and the lack of a university scene.
What strategies and innovative approaches had attendees taken to ensure a successful tour?
Given the diversity of participants, we were rewarded with a wide range of examples of how managers/music professionals
had overcome challenges to put on successful tours.
Much of this came down to planning and creating efficiencies: reducing transport costs by using venue backlines and PAs; inviting local support acts onto the bill; working with local promoters; and only touring when the artist has something to promote and rally momentum around.
Managers also gave advice about accessing brand sponsorship and investment in order to fund touring, gaining access to student audiences by selling reduced-price tickets, and capturing video content to share over social media.
What solutions would attendees like to see for the aforementioned challenges?
Funding. Whether it’s government schemes to fund the arts, increased tour support from record labels, or the implementation of a grassroots ticket levy on arena and stadium shows, all our participants agreed on the need for greater economic investment into the base of the live music pyramid.
Elsewhere, some individuals raised the issue of a lack of dedicated performing opportunities for new artists, while others raised the need to nurture audiences by reducing the fees on tickets and providing fan-friendly policies to crack down on ticket touting and encourage face value resale.
How important is it that managers and live teams align on artist development and problem-solve together?
Absolutely vital. When it comes to live music, particularly grassroots live music, artists and managers have both assumed a far greater share of the workload, as well as the responsibility to cross-pollinate touring and live performances with streaming, social media, and all other creative activities. Ultimately, there’s rarely anyone better or more effective at selling tickets than the artist. They’re the ones with a direct and authentic relationship with the audience.
However, the mechanics and complexities of touring inevitably mean that the manager will have to help their client to build a team – bringing in appropriate expertise to help them book the right kinds of shows, deliver the best performances, and maintain an upward trajectory. That kind of successful teamwork is only possible if everyone is invested and aligned.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
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