Simon Banks, of SB Management is currently riding high with a roster that includes KT Tunstall, plus new acts Grace and Assylum. Prior to concentrating on management, Simon worked in A&R; did this play a part in him working together with KT?
Yes it did. It started 11 years ago when, in my first A&R position at Island Records and PolyGram/Island music I saw KT play at the Garage under the name Elia Drew. I saw her regularly in London and [her home town] St. Andrews and would consistently try to persuade my bosses she should be signed. I then worked at Gut Records and Telstar Records and whilst they saw she was talented, she was either ‘too old, too ugly or had no hits.’ One boss said to me ‘stop bringing me vibes and find me a hit record’.
So how did the move from A&R into management come about?
About five years ago, KT was offered a publishing deal. I had planned to leave the industry as it seemed talent was no longer relevant. I didn’t have the track record of huge success to pull in artists if I wanted to go down the management route, but I wanted to make sure KT got the best deal she could. I had no intention of managing her - she had already turned me down for management a year before! We were able to secure three more publishing offers in a week, and she then asked me to manage her. We haven’t looked back since. I was very lucky as, from day one, she gave me her complete trust which made it a very smooth operating relationship.
The music industry seems to be in a time of great change, with many of the traditional role models being challenged. Are we likely to see a time when the manager is also the record company, publisher, agent, etc?
Possibly, but for as long as I can remember ‘the doom of the record company’ has been the strap line for every manager. There have always been managers who have paid to make records or get involved in the publishing side. Again, it’s different with every artist. There are still labels out there who sign great artists and those who sign not-so-great artists. I don’t think there’s any science to it really. Yes, the industry is changing, but when wasn’t it? The three acts I manage have all got their deals structured in completely different ways.
Jonathan Shalit has looked after the careers of household names such as Jamelia, Charlotte Church, Big Brovaz and Javine, and is about to launch the career of highly rated newcomer Linda Kiraly. Along the way, Shalit has been involved with record sales in excess of 10 million units.
Does a manager actually generate money for their act?
A good manager generates significant money for their act. The problem is there are simply not that many good managers in the UK. As it becomes harder and harder to recoup on record deals, it is imperative managers develop other income streams for their acts.
Is the role of management different now to five or 10 years ago, and what do you think the role will involve in the future?
Today’s manager needs to be much more sophisticated and business-savvy than in the past. The multimedia technological age we are now working in requires massive knowledge and understanding of a very fast and sophisticated marketing place. As time moves forward the manager will need to be even more on top of all advancements to be able to offer the best service to his client.
Music Managers Forum (MMF)
The Music Managers Forum exists to assist and support the role of music managers within the industry. Formed in 1992, the organisation has grown steadily over the last decade and now has over 500 members, plus various MMF chapters worldwide.
The MMF provides music managers with a solid support infrastructure, concentrated around a programme of training and education for managers. In addition to the training classes, there is a web resource, regular email updates, registration fee discounts on major industry events and a handbook which serves as a comprehensive guide to music management.
www.musicmanagersforum.co.uk