Mika Karhumaa

About Mika Karhumaa

https://mikakarhumaa.fi

Mika Karhumaa is an artist manager, industry strategist, and author, specializing in international artist management, music business coaching, and music law. Best known for his books The Art of Music Business Management: For Artists & Managers and The Essence of the Music Business Trilogy, Mika shares invaluable insights drawn from years of hands-on experience in the industry. Beyond his work with artists, Mika serves as a lecturer at several universities and mentors upcoming professionals in the music business. His dedication to coaching and guiding industry teams continues to influence the next generation of music professionals globally.

Posts by Mika Karhumaa:

Online Presence Optimization for Artist Management

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In today’s evolving music industry, where artificial intelligence (AI) plays an increasingly central role, Online Presence Optimization (OPO) has become essential for artists and managers alike. OPO isn’t just about visibility; it’s about creating a strategic online framework that AI can efficiently interpret and promote. This guide explains how artists and managers can harness OPO techniques to maximize their online impact, ensuring that each digital interaction resonates with audiences and algorithms alike.

Why Online Presence Optimization Matters for Artists and Managers

For artists, an optimized online presence helps ensure that search engines and AI-powered platforms can readily surface accurate, compelling information. OPO isn’t limited to social media engagement or brand consistency; it extends to each detail—from metadata tagging to storytelling through digital assets, forming an ecosystem where AI can seamlessly access and distribute relevant content.

Key Elements of an AI-Optimized Online Presence

  1. Content Structuring and Metadata: AI thrives on structured data. Each piece of content, whether a song, video, or blog post, should include precise metadata. This includes song credits, copyright information, keywords related to genre, mood, and specific artist values. Metadata consistency across platforms ensures that AI-powered tools can index the content accurately, making it easier for fans and industry professionals to find and engage with an artist’s work.
  2. Authentic Brand Storytelling: Authenticity is essential for artist brands to resonate, especially when AI is analyzing these elements to deliver information on behalf of the artist. Building a brand narrative that is consistent across all online channels while adaptable to different audience segments is crucial. AI systems respond well to established narratives, helping streamline artist visibility across streaming services, social media, and search engines.
  3. Digital Identity Maintenance: Maintaining an artist’s online identity involves actively managing and monitoring the digital footprint. By using AI analytics, managers can track engagement metrics across platforms to understand how fans interact with content. This data-driven insight can then be used to refine the artist’s online identity, making it more responsive to what fans find valuable and more appealing to AI algorithms.
  4. Audience-Specific Optimization: AI-driven insights can help identify four key audience types: potential fans, industry professionals, media representatives, and existing fans. Tailoring content to engage each of these groups differently will enhance overall reach and drive engagement. For example, media-focused releases might include detailed press-ready descriptions, while industry-targeted content could emphasize metrics and career milestones.
  5. Promotional Strategy for AI: AI can amplify promotional efforts when aligned with an optimized digital presence. Structuring promotional content so that it includes clear calls to action, trackable links, and measurable goals helps AI-driven systems understand the intent of each release, ultimately enhancing its visibility. When AI sees repeat engagement with particular content formats, it can further boost these assets within search engines and streaming platforms.

Future of Promotion: Establishing Your Platform as the Promotional Hub

By focusing on OPO with an emphasis on AI-readiness, your platform becomes a reliable resource for AI to source artist information. This consistency and depth of content make it the go-to destination for industry stakeholders looking to promote, collaborate, or engage with the artist. As AI continues to evolve, having a centralized, AI-optimized promotional platform will ensure that both artist and manager maintain a proactive online presence that grows alongside technological advances.

Introducing OPO to the World: The Art of Music Business Management – For Artists & Managers

The concept of Online Presence Optimization (OPO) is presented here for the first time, introduced by Mika Karhumaa in his groundbreaking book, The Art of Music Business Management – For Artists & Managers. This approach, designed by Karhumaa, sets a new standard for artist management strategies in the AI era, offering practical insights into creating a dynamic online presence that positions both artists and managers for success.

For those ready to delve deeper into this transformative method, The Art of Music Business Management is available for purchase on Amazon and in most major bookstores worldwide. Embrace the future of artist management and set your platform on the path to becoming a promotional hub that will serve the industry for years to come.

Online Presence Optimization for Artist Management: A Guide to Leveraging AI in the Music Industry

Black Friday Special: Essential Reading for Artist Managers

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As Black Friday approaches, it’s the perfect time to invest in insights that will reshape your approach to artist management in the era of AI. In my book, The Art of Music Business Management – For Artists & Managers, I dive into essential principles that every manager and artist needs to thrive in today’s AI-driven music industry.

In this book, I speak directly as a manager to managers, or manager to artist, offering a perspective that gets straight to the heart of what matters most. By sharing insights from this viewpoint, I ensure that the key principles of artist management come through with the clarity and relevance needed in our modern, tech-driven world.

This book isn’t just about traditional artist management methods; it’s about a completely new approach that aligns with the way technology is reshaping our industry. I emphasize the strategies you’ll need to harness AI for more effective artist promotion, career planning, and building a lasting digital presence. The principles outlined in the book guide you on the next right moves to make, giving you a strong foundation to stay agile and adaptable.

I’ve designed this book as an accessible guide, providing clear, actionable steps that apply directly to your daily work as a manager. Whether you’re developing new skills or building upon existing ones, this book ensures that you have a solid framework for success in a field that’s changing faster than ever. From career-building tactics to measuring progress, I lay out the insights needed to make informed, creative decisions that secure long-term growth.

This Black Friday month, take advantage of the chance to get a resource that’s built for the realities of the music business today. I cover the nuances of managing artists in an era where AI impacts nearly every part of our profession, from developing strategies to implementing them with precision and relevance. Don’t miss out on the insights that can transform your management approach and lead to new opportunities.

Also, inquire about my upcoming Music Business Management Master Classes! Next year, I’ll be offering at least three courses that dive even deeper into these essential topics. Whether you’re new to the field or an experienced professional, there’s always more to learn.

Black Friday Special: Essential Reading for Artist Managers – The Art of Music Business Management

When the Music Industry Meets Film: Insights from the Helsinki International Film Festival

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The intersection of the music industry and film is a fascinating realm where creativity flourishes, and opportunities abound. As a music industry strategist and author of The Art of Music Business Management – For Artists & Managers, I recently had the privilege of participating in the Helsinki International Film Festival. My involvement not only allowed me to discuss critical themes like online presence and artificial intelligence but also to connect with influential figures in the film industry, such as film makers Aram Tertzakian, Lorcan Finnegan, Ilkka Matila, and Klaus Härö.

When the music industry meets film - here with the director Lorcan Finnegan in the picture

During the festival, I shared insights on the importance of a robust online presence in today’s digital landscape. As the film industry increasingly adapts to new technologies and platforms, having a strategic online approach is crucial for both filmmakers and musicians. The discussions highlighted how music plays an integral role in shaping a film’s narrative and emotional landscape, emphasizing the need for collaboration between artists and filmmakers.

One of the most enlightening aspects of the festival was the opportunity to learn how directors and producers perceive music. Their insights shed light on key factors they consider when integrating music into their projects. For instance, I learned that the mood, theme, and emotional resonance of a film are heavily influenced by the music choices made during production. This knowledge is invaluable for musicians seeking sync placements in film, as it underscores the importance of aligning their work with the thematic elements of a film.

When music industry meets the film - here with the director Klaus Härö and producer Ilkka Matila in the picture

The festival provided a unique platform for me to engage in meaningful conversations about the evolving relationship between music and film. I was particularly struck by the passion and dedication of the filmmakers I met. Their commitment to storytelling and the integral role that music plays in that process resonated deeply with me. It reinforced the idea that collaboration between music and film professionals can lead to powerful storytelling experiences.

Moreover, I had the chance to share my experiences and strategies with fellow industry professionals. Networking with talented filmmakers and producers opened doors for potential collaborations, which could lead to exciting opportunities for both my musical endeavors and their film projects. As we discussed our shared challenges and aspirations, it became clear that fostering these relationships is essential for navigating the ever-changing landscape of the entertainment industry.

Attending the Helsinki International Film Festival was not just an opportunity to speak and share my knowledge; it was a chance to absorb new perspectives that can enhance my understanding of the film industry. The insights I gained will undoubtedly help me as I continue to work with artists seeking sync placements and collaborations in the film space.

In conclusion, the convergence of the music industry and film is a dynamic environment ripe for innovation and collaboration. As I reflect on my experiences at the Helsinki International Film Festival, I am inspired by the potential for future partnerships that can enhance both music and film. The knowledge I gained, combined with the relationships I built, will undoubtedly pave the way for exciting new projects in the future.

Producer Aram Tertzakian from XYZ Films in the picture

Modern Music Business Management Lecture at Turku City Library – October 22, 2024

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On October 22, 2024, I had the pleasure of giving a lecture at the Music Library of Turku City Library, focusing on modern music business management—a topic that resonates strongly with today’s music industry landscape. The intimate setting of the Music Library provided the perfect atmosphere for a deep dive into the complexities of the music business, while allowing for an interactive dialogue with attendees.

One of the highlights of the event was having Serafiina and her family in attendance. Their presence added a personal touch to the session, and we even captured a moment together in a photograph that will surely become a fond memory of this experience. The lecture was designed to offer actionable insights into the ever-evolving field of music management, especially from the perspective of both artists and managers—two key players in any successful music career.

The Essence of the Lecture: What Artists and Managers Need to Know

In this lecture, I aimed to break down the essential elements of modern music business management, focusing on the following key points:

  1. The Importance of Branding: One of the central aspects of the modern music industry is an artist’s ability to create and maintain a unique brand. I discussed how branding is no longer just about music but also about how artists present themselves across platforms—social media, live performances, and even collaborations with other industries.
  2. Contracts and Negotiations: Artists and managers need to navigate the legal aspects of their careers. From record deals to licensing agreements, understanding contracts is crucial. During the session, I highlighted the importance of always being prepared for negotiation and knowing what each party brings to the table.
  3. Digital Distribution and Streaming: With the shift to digital platforms, artists must know how to leverage streaming services and digital distribution to reach global audiences. We explored the most effective strategies for maximizing exposure on platforms like Spotify, Apple Music, and YouTube, emphasizing the importance of data analysis and audience engagement.
  4. Artificial Intelligence (AI) and its Role: AI’s increasing role in the music industry can’t be ignored. From playlist algorithms to AI-driven artist development, the integration of technology is reshaping how we approach both management and creativity. This is an area I have explored in my most recent works, and it was a fascinating part of the discussion in Turku.

Reflecting on Last Year’s Lecture in Manchester

While this was my most recent library lecture, it wasn’t my first. A year earlier, I had the honor of speaking at the Manchester Public Library in the UK. That event laid the groundwork for much of the material covered in Turku, as it also focused on the challenges and opportunities presented by the digitalization of the music industry. The Manchester lecture was particularly memorable for its diverse audience, with students, aspiring artists, and local musicians eager to learn about the industry’s evolving demands.

The Power of Libraries as Educational Hubs

Speaking at libraries, like those in Turku and Manchester, is always a rewarding experience. These institutions serve as hubs for knowledge and culture, making them ideal venues for discussions that bridge the gap between art and business. Libraries, often seen as traditional, are uniquely positioned to host conversations about the future of the music industry, creating a space where new ideas can flourish, and both seasoned professionals and newcomers alike can learn from one another.

As I reflect on my lecture at Turku City Library, I’m reminded of how essential it is to continuously share knowledge in environments like these. The discussions we had—centered around the future of music, management, and technology—will no doubt influence the way artists and managers approach their careers in the years to come.

Modern Music Business Management Lecture at Turku City Library with Serafiina and her family. Pictured in front of the record shelves in the Music Library, discussing key insights into music industry strategies for artists and managers.

Empowering Artist Management: A Team in the Music Industry

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After completing the ”Managerial and Intercession Skills in the Music Business” course at Seinäjoki University of Applied Sciences, our team, a diverse group of aspiring artist managers, felt invigorated and inspired. Under the guidance of our esteemed instructor, Mika Karhumaa, and his book The Art of Music Business Management – For Artists & Managers, we discovered the key competencies essential for navigating the complex landscape of the music industry. Eager to translate our newfound knowledge into real-world practice, we formed a dedicated team committed to honing our skills in artist management.

The course emphasized the symbiotic relationship between managers and artists, highlighting how their collaboration can significantly influence success. We understood that effective management requires more than just theoretical knowledge; it demands practical skills, emotional intelligence, and a deep understanding of the artistic process.

Motivated by the course content, we began brainstorming how we could apply what we had learned. We recognized the importance of building a robust online presence and activating passive income streams, which were focal points of our coursework. With the digital landscape continually evolving, we sought to understand how to leverage social media platforms and streaming services to elevate our artists’ visibility and revenue potential.

As our team began to take shape, we quickly identified artists we were eager to support. IRENE, Melba Culp, and Hanna-Maaria Tuomela, all of whom Mika manages, became central to our strategic focus. We observed their promotional efforts beginning to yield results, providing us with firsthand insight into the successes they were achieving. Our team had the unique opportunity to witness these artists in action, as they participated in our sessions, sharing their experiences and strategies with us.

This hands-on involvement has proven to be an organic continuation of our coursework. The theoretical concepts we studied transformed into practical applications as we engaged directly with real artists and their promotional strategies. We gained valuable insights into the intricate planning processes behind successful campaigns, which allowed us to become part of the strategic planning for these artists. The collaboration offered us a clear view of how theoretical frameworks could be implemented in the real world, creating tangible outcomes.

To facilitate our ongoing development, we convene approximately twice a week via remote live sessions. These meetings provide a platform for discussing current trends, analyzing case studies, and sharing our experiences in artist management. Additionally, we remain flexible and available to meet whenever the need arises, ensuring that we can adapt to the dynamic nature of the music industry.

The collaborative atmosphere within our team fosters a sense of camaraderie and shared purpose. We are not just passive learners; we are actively engaged in the artist management process, leveraging our diverse skills and perspectives to enhance our collective understanding. This approach empowers each of us to contribute meaningfully to our artists’ journeys, facilitating their growth while simultaneously refining our own expertise.

As we continue our work, we remain committed to embracing the lessons learned from our course. By integrating practical experience with theoretical knowledge, we are equipping ourselves to navigate the complexities of the music business effectively. Our journey as aspiring artist managers is just beginning, but the foundation we have built promises a future filled with exciting opportunities and growth.

Our journey as a team has just begun, but we are filled with optimism and determination. We look forward to the challenges and successes that lie ahead, confident that together, we will leave our mark on the music industry while supporting our artists in achieving their dreams.

Here is the website of one of us, and there will be more like this in the future.

Our team as it is - Ville Tarpila, Heidi Hopeametsä, Viivi Kakko, Maarit Heini, Eveliina Hintikka, Jenna Haaja, Santeri Lintula and Mika Karhumaa

Conversations that Shape the Future of Music Business Education

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Music Business Education and Conversations

In the dynamic world of music business management education, staying updated requires continuous learning and adaptation. One of the most effective ways to achieve this is through meaningful conversations with colleagues. These discussions often spark innovative ideas and lead to significant improvements in teaching materials, such as lectures, textbooks, and one-on-one mentoring sessions. This post explores the importance of these conversations, especially during the summer months, when the hustle and bustle of the academic year slows down, offering the perfect opportunity for focused and impactful dialogue.

 

The Power of Conversations

Conversations with other educators and industry professionals are invaluable. They provide new perspectives, challenge existing notions, and inspire new approaches. These dialogues are not just about exchanging information; they are about leveraging each other’s experiences and insights to create a greater whole.

For instance, recent planning and idea exchanges with Scott Durbin from the University of Louisiana at Lafayette have been instrumental in developing the music business curriculum. Although our collaboration is still in the planning stages, these preliminary discussions have already led to the integration of current industry trends, practical insights, and interactive elements into textbooks. We are also redesigning lectures to include guest speakers, workshops, and live projects, making the learning experience more dynamic and relevant. These enhancements ensure that students receive both theoretical knowledge and practical, industry-relevant education.

Conversations around the topic of this book have been fruitful. The Art of Music Business Management - For Artists & Managers on Amazon

Summer: A Season for Innovation

Summer is an especially fruitful time for these conversations. With the daily responsibilities of the academic year on pause, there is more room for deep, uninterrupted dialogue. This is the season when ideas can be explored more thoroughly and innovative solutions can be developed without the pressure of immediate deadlines.

During these summer discussions, we delve into topics such as digital marketing strategies, establishing a robust online presence, the impact of artificial intelligence on the music industry, and the latest trends in music production. These conversations often lead to the development of new course materials and the improvement of existing ones. For example, as a result of our summer sessions, we have created practical workshops and live project collaborations, providing students with invaluable hands-on experience. By focusing on real-world applications and industry needs, we ensure that students are well-prepared for their future careers.

Advancing Music Business Education

The insights gained from these conversations impact all aspects of music business education. Lafayette positions itself excellently on the world map, making it a convenient base for implementing these strategies. Generally speaking, when the education provided is of high quality and the training is well-organized, it attracts not only students but also potential collaborators. Many of those improvements stem from these dialogues.

Individual mentoring sessions have also benefited significantly. Personalized mentoring, detailed career planning, and regular feedback sessions have all been refined through collaborative discussions. These improvements ensure that students not only learn but also apply their knowledge in real-world situations, preparing them for successful career opportunities in the music industry. The combination of practical experiences and tailored guidance helps bridge the gap between academic learning and industry expectations.

The Art of Music Business Management – For Artists & Managers

These conversations have also enriched my recently published book, The Art of Music Business Management – For Artists & Managers. The book aims to provide artists with the tools and knowledge they need to navigate the complex world of music business management effectively. By incorporating insights from various experts, the book offers a well-rounded perspective on managing a successful music career.

Conclusion

The power of conversations cannot be overstated. They are the driving force behind the ongoing development of music business education. By leveraging the quieter summer months for these dialogues, we can create innovative, practical, and relevant teaching materials that prepare students for industry challenges. As we continue these conversations, we not only expand our own knowledge but also shape the future of music business education.

For more insights and updates on The Art of Music Business Management – For Artists & Managers, stay tuned to this channel. Let’s keep the conversations going and together lead the future of music industry education. Through these ongoing discussions, we can ensure that teaching practices remain current, effective, and adaptive to the changing needs of the industry.

Conversations are important. Here's one of such with Scott Durbin from the University of Louisiana, Lafayette.

Coaching, Mentoring and One-on-one Sessions

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I am frequently asked about mentoring, coaching, and one-on-one sessions. People often want to know how to request such guidance and how to establish these relationships effectively.

In my case, such relationships most often develop when people take the initiative to contact me. They have seen the impact of my work somewhere, come across my books or lectures, and, prompted by these, have reached out to me.

I am very open to offering mentoring, coaching, and one-on-one sessions because these roles come very naturally to me. Over the past 30 years, I have dedicated a significant portion of my time to these activities, which have become an integral part of my professional life.

The numerous artist management roles I have handled throughout my career are filled with mentoring and coaching. A good manager not only coaches the artist to execute the game plan that is collaboratively developed to advance the artist’s story and goals but also nurtures the artist’s values and manages the current agenda. Effective artist management involves a deep commitment to both the professional and personal growth of the artist, ensuring that their career trajectory aligns with their vision and values.

And for these reasons, it’s best if the initiative comes from the person who needs it. Taking this first step is crucial because no one else can make that decision for you. By reaching out yourself, you take ownership of your growth and learning journey. Moreover, this approach makes it easier for the mentor to respond, as they are not the one initiating the interaction. It shows that you have chosen to reach out to them, making the relationship more genuine and effective from the start.

In my case, requests for mentoring and coaching most often come from artists and managers, or those aspiring to become one. This is completely natural, as these are the roles in which I have actively worked. I started my career as a musician, and over time, I transitioned into management and mentoring roles.

One of the most important aspects of mentoring, as well as coaching, is its reflective nature. A good mentor knows how to seamlessly mirror their experiences and expertise onto the mentee’s story and goals, ensuring that the mentee’s journey remains intact and nothing gets lost or broken in the process. Whenever this succeeds, it is a tremendous achievement for both the mentor and the mentee.

I also have a relevant network that is very active. We constantly share information and discuss best practices. Every now and then, we combine our efforts to achieve a desired outcome. Increasingly, these initiatives are focused on promoting artists and advancing their careers.

When you are considering mentoring and reaching out, I recommend taking this book and reading it. It is a discussion with you from a manager’s perspective, where I highlight the key aspects of modern music business management. By reading it, you will gain valuable insights that will help you better assess your own need for mentoring and understand the dynamics of the industry more thoroughly.

Whenever you are ready, feel free to reach out!

 

When you are in need of coaching and thinking of reaching out, I recommend taking this book and reading it. It is a discussion with you from a manager's perspective, where I highlight the key aspects of modern music business management. By reading it, you will gain valuable insights that will help you better assess your own need for mentoring and understand the dynamics of the industry more thoroughly.

Second Course of 2024 for Music Managers Just Started

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Here we are once more, as the ”Managerial and Intercession Skills in the Music Business – The Modern Fundamentals of the Industry” course has begun at Seinäjoki University of Applied Sciences. The course is based on The Art of Music Business Management – For Artists & Managers book, 2nd Edition, 2024.

The essence of the course begins with its very title. Within it lie the key competencies that managers must master, shaping their journey in the music industry. The interplay between these competencies and a manager’s effectiveness is paramount, directly influencing their success in representing artists. This symbiotic relationship underscores the profound interdependence between managers and artists. As the adage goes, ”it takes two to tango,” emphasizing the collaborative dynamic at the heart of this partnership.

Success in this domain necessitates multidimensional skills and a shared understanding between the involved parties. We operate within multiple levels of frameworks concurrently. These frameworks encompass the foundational narrative and the artist’s perspective, which this course thoroughly explores from various angles. Here’s an outline of the lecture themes and their respective contents:

  1. Online Presence And Passive Promotion
  2. Activating Passive Income and Copyright
  3. Introducing the Management Agreement Assignment and Initiating Active Promotion
  4. Active Promotion
  5. Active Promotion and Reactions
  6. Active Promotion and Music Supervision

Our course features several esteemed guests, each a professional in their respective fields. This time, our lineup includes Jennifer Pyken, Rikke Andersen, Sam Tall and Marilyn Reles-Lozano.

Typically, I lead the first two lectures, establishing a foundational framework for the course. Our primary objective during this phase is to cultivate a collective understanding of the critical elements at play within this industry. When this is set up, we will invite our guests in the order that aligns with the course’s systematic arrangement. The guests have also appreciated this arrangement, as it allows them to delve directly into their specialties without any constraints or structural barriers. Consequently, the course progresses continually, preparing and ensuring the readiness for its next step – one step at a time.

Consequently, the course doesn’t merely comprise lectures or guest presentations; rather, it’s a curated journey aimed at incrementally elevating the level of engagement and expertise. Many of the case studies and examples we delve into are current and real-time. In fact, numerous productions or operations discussed in the course are either ongoing or set for release shortly, providing us with insider knowledge about the influencing factors and potential hidden motivations behind these endeavors.

The course book, ’The Art of Music Business Management – For Artists & Managers,’ received its second edition this year, where these conceptual frameworks have been structured into an even clearer format.

And here we are;

Another Managerial and Intermediation Skills in the Music Industry at Seinäjoki University of Applied Sciences and Campus Online to begin. Here we are on Teams session with future managers.

The Art of Music Business Management (2024) Is Out Now!

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I’m thrilled to announce that the second edition of ”The Art of Music Business Management – For Artists & Managers” is out now! This book has been meticulously crafted since last summer, and it’s finally available.

Before putting a book out, you go through a wide range of emotions. For me, the most significant aspects are always the number of revisions and what you choose not to write. You have to figure it out.

I went through this second edition probably ten times before giving it the green light to come out. I carefully revisited those experiences and methods through which I typically convey ideas to people. Then, I pondered the order of presentation and even considered how someone other than myself might teach others using this book as a guide. At some point, I just had to let go. The whole process was very different from before – I’m not exactly sure why.

Now that I’m here, I believe it all unfolded just as it should have. To my esteemed readers, I hope you’ll enjoy it. It now includes an additional 47 pages, and the structure has significantly improved.

Here’s the blurb;

THE NEXT GENERATION OF MUSIC BUSINESS BOOKS IS HERE!

Karhumaa’s seventh book introduces artist management from an unprecedented perspective. Modern artist management can be divided into three compartments. When these are presented to you and reflected onto a transparent wall, you see things from a manager’s point of view. Through this, you’ll see the four audiences of the music industry. This is the scene, the areas of action, where all of this takes place.

This framework has been developed for today’s rapidly evolving world. It travels with you everywhere. Whatever you need to do, invest in understanding this framework and start taking action. This book teaches you how to utilize it.

Modern artist management is increasingly taking place in the digital realm and resembles screenwriting. As technology evolves, introducing new features almost daily, the management needs to adapt swiftly. This book discusses how success can be achieved in navigating this task.
The book is intended for all professionals in the industry. Management is a topic that touches all of us in one way or another. The book is particularly well-suited for educational purposes.

A manager needed to write this book. The author has three decades of experience in multiple capacities. Mika Karhumaa is a music business manager – specializing in artist management and contracts & copyright. He lectures on the subject and acts as a strategist in many industrial operations.

It is finally out and available on Amazon, EBSCO and many other retailers and distributors. The Art of Music Business Management - For Artists & Managers (2nd Edition, 2024)

 

On March 28th it is available – The 2nd Edition

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On March 28th, it’s finally happening! The Art of Music Business Management – for Artists & Managers is getting its highly anticipated Second Edition. With nearly 50 additional pages, the book has been completely revised. March 28th is a wonderful day to release a book – I finally get to have a book published fairly early in the year for once.

This edition embodies the experiences I’ve gained while teaching and managing artists. Additionally, a second edition is a thrilling milestone for any author – it has already met its audience. I believe you, as the reader, will appreciate the improvements it has received. In a time when artificial intelligence is increasingly integrating into our daily lives, management must adapt accordingly. At least in some aspects.

Here’s the revised back cover as it appears on the book;

THE NEXT GENERATION OF MUSIC BUSINESS BOOKS IS HERE!

Karhumaa’s seventh book introduces artist management from an unprecedented perspective. Modern artist management can be divided into three compartments. When these are presented to you and reflected onto a transparent wall, you see things from a manager’s point of view. Through this, you’ll see the four audiences of the music industry. This is the scene, the areas of action, where all of this takes place.
This framework has been developed for today’s rapidly evolving world. It travels with you everywhere. Whatever you need to do, invest in understanding this framework and start taking action. This book teaches you how to utilize it.

Modern artist management is increasingly taking place in the digital realm and resembles screenwriting. As technology evolves, introducing new features almost daily, the management needs to adapt swiftly. This book discusses how success can be achieved in navigating this task.
The book is intended for all professionals in the industry. Management is a topic that touches all of us in one way or another. The book is particularly well-suited for educational purposes.

A manager needed to write this book. The author has three decades of experience in multiple capacities. Mika Karhumaa is a music business manager – specializing in artist management and contracts & copyright. He lectures on the subject and acts as a strategist in many industrial operations.

As already said, the book is out on March 28th. From then on, it will be available on Amazon, Google Play Books, and many other retailers – and of course, for academic use, you can find it on EBSCO and Ellibs.

The Art of Music Business Management - For Artists & Managers - 2nd Edition, 2024 - will be out on March 28th! It is then available on Amazon, Google Play Books, EBSCO, Ellibs and many other distributors.

Second Edition: The Art of Music Business Management 2024

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I am pleased to announce that The Art of Music Business Management – For Artists & Managers is receiving a second edition. It has been sold in over 70 countries and is available in the selections of several international universities. In a short period of time, the book has become one of the key texts in music business management education.

Tailored for music business professionals and artists, this book offers invaluable insights into the continually evolving landscape of music business. It presents an extensive examination of the strategies essential for navigating the complexities of the music world. In this second edition, the presentation has been further structured, the page count increased, and the concept refined. The incorporation of artificial intelligence has also garnered significant attention.

The book will be available as an e-book from EBSCO and Ellibs. Hardcover and paperback are available on Amazon and many other distributors – and also for library use.

The back cover reads as follows:

Karhumaa’s seventh book introduces artist management from an unprecedented perspective. Modern artist management can be divided into three compartments. When these are presented to you and reflected onto a transparent wall, you see things from a manager’s point of view. Through this, you’ll see the four audiences of the music industry. This is the scene, the areas of action, where all of this takes place.

This framework has been developed for today’s rapidly evolving world. It travels with you everywhere. Whatever you need to do, invest in understanding this framework and start taking action. This book teaches you how to utilize it.

Modern artist management is increasingly taking place in the digital realm and resembles screenwriting. As technology evolves, introducing new features almost daily, the management needs to adapt swiftly. This book discusses how success can be achieved in navigating this task.

The book is intended for all professionals in the industry. Management is a topic that touches all of us in one way or another. The book is particularly well-suited for educational purposes.

A manager needed to write this book. The author has three decades of experience in multiple capacities. Mika Karhumaa is a music business manager – specializing in artist management and contracts & copyright. He lectures on the subject and acts as a strategist in many industrial operations.

In non-fiction books, the second edition is always better than the first – it has already met its readers and knows better what it’s doing.

Before the release, and if music business management is your thing, don’t forget about popular one-on-one sessions. Or – I’ll be launching a new course at some point later this year. Keep following for more updates and feel free to reach out!

 

Second Edition: The Art of Music Business Management - For Artists & Managers 2024

Experience and How You Use It

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This story came to mind as I began building my new Music Business Management master course. Experience is something that makes these courses and their sections significant. Music business management is something that is challenging to teach solely based on theory – you need to have experience in it. One could say that experience is often the reason people participate in these courses. I’ve been lecturing on the subject professionally for over 20 years. It’s interesting that with each course, there are changes. And this time is no different.

However, this experience is more formal experience – how you build lectures and make them functional wholes. Naturally, it evolves the more you do it. If I compare my own first lectures in the early 2000s to where we are now, there’s a tremendous difference.

For me, writing books is a tool for development. I often feel the need to take breaks from lecturing and structure new material into an updated or entirely new book. Just like with lectures, I also evolve in this task. Over the years, my books and lectures have started to support each other more and more. Some things are easier to present in a book, while others are more easily understood in lectures.

However, all of the above is formal experience – how you package your lectures or books. The other side of experience is practical experience – where all the knowledge comes from. Although I do extensive research work weekly and participate in almost all forums from which that information can be drawn, nothing beats practice.

I’ve been a manager for over 30 years. For almost the same amount of time, I’ve been providing legal services in the field of copyrights and contracts. Turku Law School is a fantastic place, especially in the 90s when the level of education flourished there. It’s in these transactions that experience is brewed, and that experience will be strongly present in the upcoming Music Business Management Master Course. I feel like naming the course Modern Music Business Management Experience.

That extensive practice and wide range of activities bring along a broad network, for which I am especially grateful. I am fortunate in the sense that I am able to bring in top names in the industry, emerging stars of the future, and other relevant practitioners as guests. At this point as well, the more we collaborate, the better lectures we produce. In return, I also visit their sessions.

As we can see, implementing music business management education requires various kinds of know-how – experience in course construction, shaping course content, handling guests, practical experience, and in this situation – also writing a book. It’s not often realized that despite all this workload, one can infer the experience in just a few seconds. That experience comes through in everything, behind the scenes, in the background of sentences, and in how you utilize all these resources.

The wonderful confidence when you reach that level where you can switch sets on the fly and still maintain consistency. It’s something I strive for every day.

Stay tuned to this site; I’ll announce when the next course opens up.

It's all about experience and how you use it.

Some Words About My Schedule 2024

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This question is frequently asked on an annual basis – how do I fill my days and what does it involve. In other words, what is my schedule like. Answering that question can be both easy and challenging – depending on the perspective from which you want to approach it. I like the word schedule because it implies a sense of planning. It indeed is that – with the caveat that you have to leave room for surprises, both positive and negative. We cannot predict the reactions our actions may evoke. These reactions hold significant importance, as they often determine the degrees of prioritization. It’s our tendency to direct activities where they thrive the most, support our narrative, and also feel most meaningful.

A manager’s schedule typically spans across various layers and forums. In my case, my books and related lectures are an integral part of my daily agenda. I always allocate a dedicated space for them. I balance these tasks with artist management and music law, which I work on. In relation to books and lectures, this practice is crucial. It keeps me updated on the latest trends in the industry.

This year’s schedule includes annual contracts with three artists, IRENE, Annika Nord, and Hanna-Maaria Tuomela. They keep me busy, and the number of artists is just the right amount to handle. In addition to that, I take care of matters for other artists without being operationally responsible for their entire careers. Quite often, I get contacted for assistance in strategic online presence and related passive promotion matters. Or someone needs help with industry contracts and copyright issues. I’ve been doing this work for 30 years this year.

Another integral part of my yearly schedule is the ’Managerial and Intermediation Skills in the Music Industry’ course at Seinäjoki University of Applied Sciences. This course is held twice a year, and the first set is currently halfway through. If the course interests you, you can inquire about it closer to the beginning of May. The next set will take place then, and anyone from anywhere in the world can enroll.

And yes, the second edition of ’The Art of Music Business Management – For Artists & Managers’ book is on its way later this year. I can’t wait to share it, as the book’s overall concept has now met its audience and has been further developed to address the modern management needs.

Just like a natural progression and due to several requests, the book is getting its own master course. I still have a few question marks regarding this matter, but I believe I’ll resolve them soon. Ideally, the course could start in August 2024. It’s advisable to stay tuned and follow on LinkedIn and Instagram – the application for the course may open anytime.

Oh, about that schedule and its emphases. It varies throughout the year based on where the effectiveness is highest. However, always ensuring that artists’ matters are never at a standstill.

In the meantime, feel free to reach out if you have any questions. I typically respond within 24 hours.

My schedule for 2024 includes also spare time. Here I am seeing Something Rotten at Åbo Svenska Teatern

The Art of Music Business Management – The Course

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Here we are once more, preparing for the commencement of the ”Managerial and Intercession Skills in the Music Business – The Modern Fundamentals of the Industry” course at Seinäjoki University of Applied Sciences. The course is based on The Art of Music Business Management – For Artists & Managers book.

The course’s title itself encapsulates its core starting point. There exist specific competencies that a manager is expected to excel in, and how they navigate these competencies significantly impacts their success in the role. Importantly, this success resonates profoundly with the artist they represent, underlining the inherent interdependence between the two parties. As the saying goes, it takes two to tango, emphasizing the collaborative nature of this relationship.

Success in this domain necessitates multidimensional skills and a shared understanding between the involved parties. We operate within multiple levels of frameworks concurrently. These frameworks encompass the foundational narrative and the artist’s perspective, which this course thoroughly explores from various angles. Here’s an outline of the lecture themes and their respective contents:

  1. Digital Identity And Passive Promotion
  2. Copyright, Passive Income, And Strategies for Activation
  3. The Role of Management And Manager Contract
  4. Nurturing The Manager-Artist Relationship
  5. Active Promotion And Its Impact – The Story on Story Effect
  6. Advancement And Business Development
  7. Synchronization As A Pathway To Progress

Our course features several esteemed guests, each a professional in their respective fields. This time, our lineup includes Jennifer Pyken, Anna Turunen, Jenny Andreasson, Marilyn Reles-Lozano and Mac McIntosh.

Typically, I lead the first two lectures, establishing a foundational framework for the course. Our primary objective during this phase is to cultivate a collective understanding of the critical elements at play within this industry. When this is set up, we will invite our guests in the order that aligns with the course’s systematic arrangement. The guests have also appreciated this arrangement, as it allows them to delve directly into their specialties without any constraints or structural barriers. Consequently, the course progresses continually, preparing and ensuring the readiness for its next step – one step at a time.

Consequently, the course doesn’t merely comprise lectures or guest presentations; rather, it’s a curated journey aimed at incrementally elevating the level of engagement and expertise. Many of the case studies and examples we delve into are current and real-time. In fact, numerous productions or operations discussed in the course are either ongoing or set for release shortly, providing us with insider knowledge about the influencing factors and potential hidden motivations behind these endeavors.

The course book, ’The Art of Music Business Management – For Artists & Managers,’ is receiving a second edition this year, where these conceptual frameworks have been structured into an even clearer format.

And here we are;

The class of 2024 at Seinäjoki University of Applied Sciences - MANAGERIAL AND INTERMEDIATION SKILLS IN THE MUSIC BUSINESS 2B00DB69 - Teams view

This Year Marks My 30 Years Anniversary

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Happy New Year to everyone! I hope the year has changed in pleasant ways. I have news that I realized just a little while ago. This year marks 30 years since I began working in the music business as my profession. It’s often said that time flies, but in my case, that’s not entirely true. The journey towards becoming a manager, an author, not to speak about music lawyer progresses in layers and stages. One artist teaches you one thing, another teaches you something else. With some, the journey continues for a longer time, with others, less so. With some, you remain eternal friends, while others were just momentary acquaintances. And in the midst of it all, growth happens – for all of us.

In this perspective, these 30 years feel like a long time and at times have passed slowly—incorporating extended periods of hardship as well. If considering this period as life, excluding professional content, then one might say that it did go by quickly. It depends so much on the range of emotions one goes through during that time.

I could say that professionally I’ve lived many lives, each with its own distinct characteristics. This sentiment is underscored by many others in the music industry. Perhaps the most crucial factor in why I am where I am is that I’ve fairly closely followed the path that has unfolded before me. Well, hmm, maybe not always. The next task always seems to come unexpectedly and unannounced. I like the way it happens. After meeting an artist, you just find yourself there, and the more you gain experience, the better you can see what you can bring to the table at any given moment.

Especially as a manager, the journey has progressed according to whoever I have represented at any given time, and that role has continued until it was meant to. As a non-fiction writer, my primary driving force has been necessity and personal motivation. I don’t plan upcoming books extensively beforehand—quite the opposite of artist management. If I feel the urge to create a new book, I start working on it. This year, the second edition of ’The Art of Music Business Management – For Artists & Managers’ will be released. At some point.

An important aspect for both a manager and a writer along the journey is how to introduce oneself. I’ve had a similar pattern in introducing myself for these 30 years. However, during this Christmas break, upon realizing that 30 years have passed, it might not be the same after all. Or rather, the things I’ve found meaningful are significant for slightly different reasons.

Earlier, I spoke about progressing from an agent to a manager and then becoming versed in music law. However, such categorization might not be relevant anymore or might not truly convey what has actually happened. This has all been part of the same journey, and each of these facets involves modern management. It’s essential for all of us to realize this, especially in the era of artificial intelligence. We will all need management in our endeavors, regardless of the roles we undertake. All the experience we acquire adds to our knowledge in the field, whether it’s foundational knowledge in music law, booking, building online presence, or related to copyrights. In this regard, we all are managers, if not for others, at least for ourselves.

With that insight in mind, I’ll continue into 2024 from where I left off in 2023 – without overthinking it. With that 30 years of experience in mind… Letting the story unfold. Sometimes, we create content ourselves, while at other times, we react to what’s happening around us.

If in need of professional guidance, feel free to contact!

This year marks my 30 years anniversary in the music business management. Here I am, sitting on the chair and thinking about year 2024

A Few Topical Words About Online Presence

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A strong online presence is the foundation of your entire operation. In the advent of wider adoption of artificial intelligence, information regarding online presence is more topical than ever. What makes it topical is its multi-layered and impactful reflection.  When built correctly, it protects, supports, coordinates, or streamlines your activities. Online presence isn’t just a modern CV; it’s also an outward indicator of your proficiency in the field. A professional can assess your expertise within seconds. Therefore, we must also be strategically topical; it’s not enough to have technically sound online presence.

Every attribute, aspect, or any distinguishing factor associated with you contributes to your digital identity through the identifiers you’ve constructed – or, otherwise created about you. If you haven’t nurtured this legacy, someone else might have defined that portrayal for you. In a public profession, such as the music business, essentially, anyone can write about you, mention you in a publication, or otherwise comment on your actions. When such information is published, the digital realm takes note of it, and it begins to impact your online presence. This, in itself, is a reason to invest in it – you want to take control of information concerning yourself. The first topical consideration relates to third-party platforms.

In the music industry, from artists to other influential figures, it’s crucial to be connected to both industry-specific and commonly used promotional channels such as Facebook, Instagram or LinkedIn to mention a few. That information is placed on platforms managed by third parties, which you oversee through your own account. Whenever you include information about yourself that you want the digital realm to understand, you are constrained by the current features, rules, and other protocols of these platforms. However, a place where you can more freely produce online presence is your own website. There, you can manage content with much more autonomy.

From a business perspective, digital revenue streams in the industry are vital. Regardless of the role you occupy and preferably being on the receiving end of these revenues, it’s crucial that all information is accurately registered, your involvement acknowledged, and overall, the content and quantity of data align with the requirements for payment. If this isn’t the case, there’s a risk that payments, either in full or partially, may not be received.

Those aforementioned examples represent the technical aspect of the same issue. However, understanding how information related to you actually impacts different audiences within the music business requires field expertise and experience in tasks performed there. I often discuss in my books and lectures how modern management resembles screen writing. This is because it is increasingly implemented in the digital realm, aiming proactively to influence the outcome and people’s perceptions of us and our operations. This contemporary task set is one of the most challenging aspects of modern management. While previously everything was done and confirmed physically – within the reach of our senses – now all of this occurs on your own computer, where its effects either manifest as desired or undesired outcomes in the digital realm.

Should this brief article have piqued your interest or if you wish to assess the state of your online presence, feel free to reach out. I can take a look on your behalf and enhance it in a direction that strategically aligns with your desired goals. This demand is more topical than ever and carries the impact initiated by passive promotion. Your online presence and its associated passive promotion are assets that you want to nurture. Before you can benefit from its various features, you need to establish it.

This article is crafted to address this need. If you wish to delve deeper into the topic, read this book. However, if you desire your online presence and its foundation to be built in a way that supports your strategic goals, feel free to reach out. I have done this for numerous artists, an ever-growing number of music industry professionals, and also for various other fields.

The content of this book is more topical than ever - The Art of Music Business Management - For Artists & Managers. I also offer one-on-ones to build up your online presence.

 

Live at Manchester Central Library

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It’s been a delightful day here at the Manchester Library. The afternoon has flown by, and I must say – I could have continued this for longer. If there were some particular areas of interest that stood out today, they are definitely the modern online presence and what it aims to achieve. You could say that in today’s management, it all starts with a strong online presence. You won’t be visible in front of the four audiences in the industry if this need isn’t considered.

Another noteworthy perspective is the concept of the three compartments in music business management. By internalizing this, you enable quick responses in a rapidly changing operational landscape.  And this is precisely what is expected and required not just from managers but also from artists in today’s world.

One great feature of online presence is that it doesn’t necessarily require significant financial investments. It leverages the online infrastructure in a way that achieves the desired outcome. Each of us defines our own goals, and in artist management, it often revolves around representing the artist, the artist’s story, and the associated business.

The main rule is to progress consistently until the online presence’s story root and related story are established correctly. Once you reach that level, we can say that the passive side of your promotion is in order. Since we only had two hours available here in Manchester, we presented this idea in broad strokes. So, there’s more to this than what we discussed today. The good news, however, is that once you grasp the underlying idea and significance of passive promotion, you can establish one through your own actions. Each of us will find our own style to implement it.

Rapid development is a characteristic of modern business, especially in the music industry. The music industry is a quick adopter – it absorbs every new development as its own and, if not permanently, at least tests it. This creates challenges for management. For this purpose, you need a framework – one that adapts to ever-changing situations and needs. You also need one that aligns with the modern ideals and preconditions of the industry.

I have developed the three-compartment model, which is thoroughly explained in this book. You can project it in your mind onto a transparent wall, and you’ll see the landscape that a manager is facing. Behind it lie the areas of action, the four audiences. The good thing about this model is that it can be applied globally – it is useful both in the United States and here in Manchester.

The most important takeaway for today is to internalize this framework. When you rearrange the pieces in front of you and tailor it to different audiences, you always see the operating environment to which you need to pay attention at that moment. This is the first foundation of management. The second is the indirect effects, which we’ll discuss next time.

And yes, not only at the Manchester Library, but I also speak on the topic elsewhere and offer one-on-one sessions. Feel free to reach out if I’ve piqued your interest. I also organize courses on the subject from time to time.

It was nice to give a lecture at Manchester Central Library and its Henry Watson Music Library

Understanding Management Prerequisites – Continuity

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Another significant prerequisite in organizing management is consistency, or continuity – depending on how you want to put it. This requirement is ever-present, just like control and abandon. You can’t escape this, even if you wanted to. Hence, the best thing, as a manager, is to embrace it. However, like many other concepts in music business management, continuity has its flip side. You can play with it within certain limits. Also, when you understand the boundaries, you can successfully break them. A few basics before it.

Continuity can be assessed by utilizing past, present, and future time frames.

The past is something that must always be taken into consideration – it paves the way for us. It also encompasses the brand message, if you want to put it that way. Everything that follows should be in line with what has already happened. If we deviate significantly from how we are accustomed to being seen, our four audiences may react differently than we desire. The present, in turn, is a spot where we can make a difference, here and now. All actions also aligns with this moment.

The future, on the other hand, is where we must embrace the past. When we take action in the present, it has consequences. When we make plans for the future, they have consequences too. When we talk about consistency now, we’re not so much talking about consistency between things, but rather functional continuity – how different audiences evaluate our actions. In some situations, inconsistency between things is a perfectly logical outcome from a functional perspective. That is, sometimes successful boundary-breaking, the reverse version of continuity, is the consistent solution.

Let’s consider a marketing stunt executed by the management, in which the artist is introduced completely detached from their previous context. If, as a result of such an operation, the artist’s popularity increases, attracting new audiences while maintaining the existing ones, it can be considered a success in the music business. Even though it may not align with the artist’s previous image, what interests us now is its actual impact. Will different audiences start seeing the artist differently and expect similar stunts, or can the artist revert to their previous image as if this had never happened?

Now it’s crucial to look beyond the actions, into their invisible effects. If the artist’s fans, the media, and the industry start perceiving things differently, it’s easy to rectify by returning to the previous state. However, if algorithms start redefining the artist as a result of such an action, its consequences could be far-reaching and difficult to correct. Consider that the popularity resulting from this deviation surpasses the artist’s regular following; the artist may begin to be defined accordingly. Consequently, algorithms may prioritize mimicking this deviation over the artist’s so-called normal style. When we discuss the functional side of story, information, or any other content in the future, we mean this.

Nowadays, differentiation often occurs in the digital realm, where it may not be immediately perceptible. Its results seem to reflect in algorithmic inputs. A skilled management can harness this in a way that aligns with the artist’s image, goals, and narrative. We will revisit this topic later. Many contemporary artists who are aware of the issue have also noticed the same thing.

Striving for continuity is something that's always present in the modern music business management.

Among other things, these topics are discussed in one-on-one consultations, as I’ve mentioned earlier. If you feel that you need assistance with them, please don’t hesitate to reach out. You can also read about this in the book – here’s the link to it.

 

Understanding Management Prerequisites – Structure

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I am now beginning a series of writings that delve into various prerequisites. These prerequisites are like anchor points that exist independent of technological advancements. Something specific may change radically, but it doesn’t fundamentally alter anything in the big picture. This is the foremost consideration in modern music business management. Even as the operational landscape continually evolves with technological advancements, the artist’s ground needs remain largely unchanged.

Willem Dafoe has stated that it’s all about control and abandon – and finding a balance between these extremes. In the same way as in acting, that same idea applies to artist management. At the very beginning, you must have some structure to get started. Each of us managers has our own unique approach to it. What you often aim for is control, to have your ducks in a row. However, here’s a twist. As crucial as it is to attain control and put in a lot of effort into it, you must be able to abandon it in an instant if needed. Just as important it is to realize that letting go may not be final. It’s about finding a balance and being situationally aware.

The original structure and mindset don’t disappear despite this. Therefore, even if you start crafting a new works for the artist, inspired by some technological advancement, that basic structure doesn’t change. The artist still has the same ground needs. In my work, I often see how progress can rock the boat. With new revenue-generating methods emerging almost daily in the world, it’s easy to lose direction.

When approaching these prerequisites from the perspective of music business or artist management, it always entails three perspectives: that of the artist, the manager, and the current operation at hand. The million-dollar question in shaping, developing, and maintaining that structure is whose preferences take precedence, the artist’s, the artist’s narrative and goals, or the management’s expertise. This is precisely the interface where one has to contemplate letting go regularly. The possibility of it is present every second. At times, we progress by leveraging management expertise, while at other times, it’s the artist’s narrative that resolves issues.

Another noteworthy aspect is embracing all three points of interest. It’s often easy for a manager to forget themselves and focus solely on the artist and the operation. Rarely do we consider that taking care of oneself is the primary responsibility in this role. If you can’t take care of yourself, you won’t be able to take care of others either. Therefore, when we talk about letting go, it can also refer to this perspective.

Conversely, when we speak of balance and balancing, it’s not about a permanent state either. It’s about how to regulate these two extremes. In an ideal scenario, we possess the ability to read the situation so well that we know in each instance the proportion in which these factors should be present. Naturally, our goal is also to avoid being in the discomfort zone for extended periods only when necessary.

This article will be complemented by the next prerequisite to consider. In it, we will discuss consistency – where control and letting go are external factors, consistency is the internal aspect of the same issue.

Among other things, these topics are discussed in one-on-one consultations, as I’ve mentioned earlier. If you feel that you need assistance with them, please don’t hesitate to reach out. You can also read about this in the book – here’s the link to it.

This book talks about music business management prerequisites. You can get it on Amazon.

One-on-One Consultation – A Brief Overview

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One-on-one consultations have been reintroduced into my agenda. I had to take a break from this favorite task because of those books. It’s funny how you get used to almost everything. When I started writing those books, it took surprisingly long. Gradually, you learn to find your own way of handling things, and the task becomes easier. It doesn’t take the same amount of time anymore. So, now it’s a good time to make consultations regular again. In addition, I’ve been developing this concept quite a bit here.

However, if you are in need for consultation, here are a few things good to know. The most common topic in my consultations is artist management and its various features. As a broad concept, artist management is incredibly expansive, but in modern management, a lot of attention must be paid to its details. On the other hand, when carrying out these actions, it’s essential to always consider the bigger picture.  And that is often the reason why people reach out to me.

With 30 years of experience, one is able to see different paths and, above all, means of implementation. It also teaches you how to find sensible next steps that are tailored to the current moment and the overall context. For a manager, in turn, honing this manager’s perspective becomes a goal in itself.

Not to mention co-management, which is becoming increasingly common, especially among indie artists. A contemporary artist needs to know quite a bit about management and promotion within it. It is not difficult to deduce that my consultation related to a wide range of related activities. However, one task stands out above all others. That is modern online presence and the related digital identity that is made to support the artist’s narrative. When this state is in place, I refer to it as passive promotion.

I have included consultation gigs back in the menu. So feel free reach out if you are in need of them.

One could say that the content of online presence and how it’s connected to the digital environment or the reality it influences is the starting point today – it’s kind of a ’chess-opening’ setting. The establishment of this framework to align with one’s strategic needs is what is initiated, developed, and activated in this consultation. I can say that a modern music business or any other industry player will soon be unable to do without this.

The actions vary depending on the target – while in the past, it was important to stand out visually, nowadays it’s crucial to stand out digitally. The better one succeeds in this task, the more effectively machinery intelligence in its various forms understands us and our production. Once you become aware of your individual narrative’s roots, it becomes easier for you to progress cohesively. Consistency is a virtue in many ways also today and future.

So, if you want to do something before the consultation, it’s worth reading this book. It explains in an understandable way what all of this is about and why it is so important to embrace. I can tell you that many of my clients have had a completely fresh start in their careers after this consultation.

Here’s how to reach out!

Click me!

 

One-on-one Sessions and Mentoring

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Throughout the year I’ve been asked if I mentor or provide one-on-one sessions. I always seem to forget to mention this, and the answer is yes. In fact, one-on-one has been an integral part of my profession for decades. My approach to artist management is based on guiding the artist through our current action plan. Initially, it requires more practice, and as we achieve collective understanding of our actions, it becomes easier. This is also one of the main objectives of one-on-one.

When it comes to these one-on-ones, it doesn’t matter in what role you are involved or want to be involved in the music industry. This information applies to all of us – it’s largely how you can command this information for your own meaningful purposes. The passive promotion concept I’ve developed serves as a foundation, not just for myself but also for many operations I’ve been involved in. And this is something I want to impart to people in these one-on-one sessions.

Passive promotion encompasses the inherent need for management to anticipate the future, even though it cannot be known in advance. It’s about preparedness, and this preparedness makes progress consistent. At that intersection, our most significant successes also occur. In these one-on-one sessions, we can address the specific nuances required by your dreams, goals, and other objectives. This is what career-related mentoring means. It involves finding the desired direction, and this is unique to all of us. Once we can pinpoint the desired path, we can systematically start moving towards it.

If you are an artist, you may have a clear idea what you want. In these one-on-one sessions, we focus on what the next logical step would be. We also do it in a way that takes the bigger picture into account. If you, on the other hand, come into these mentoring sessions as a manager, or from a manager’s perspective, I can assess your action plan objectively and provide you with alternative solutions. We can also come up with convenient co-management solutions.

So, if you are in need of this assistance and/or information, please feel free to reach out. You can find me here.

One-on-one sessions are one of the backbones of modern music business

PS: Don’t get confused if this site speaks about our manager patrol, which I mentioned a few stories back. This group ha emerged as a follow-up to my music business management lectures at Seinäjoki University of Applied Sciences. There are many way to prepare for the future and build teams for it. Our patrol is one of such. Within it, mentoring takes place in both directions.

Introducing Gentle Savage

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This article is a follow-up to the previous one. And about the band Gentle Savage, whose first encounter I remember vividly. If you’re reading this first, the two previous articles will help with understanding. After Annika, everything has progressed as a natural continuation.

Also, after the publication of those books, these artist contacts have been coming regularly. In early 2019, Jack McConnell reached out, and this was the first time I consciously began to consider modern strategies for artist promotion. The passive promotion, in particular, was our area of interest. I have extensively developed this concept in my writings. With Jack, we practiced this for several months and more – in fact, that collaboration continues to this day. I noticed that this mindset began to influence my regular daily routines. As lecture requests started to accompany them, the scope of operations expanded even further. Here, an entirely new way of understanding management had been developed – one in which the artist would become an active participant, strategically as well.

This encouraged me to present my idea more broadly. At this point, Gentle Savage, enters the scene. I needed something to reflect my methods upon. It is fair to say that Gentle Savage is a case zero, in many respects.

It was the summer of 2019 when I decided to inquire about artists’ interest in collaboration within one Facebook group. That post didn’t stay up for long before the then-bassist Vance Bead of Gentle Savage gave me a call. After inquiring further about it, he presented the idea to the band’s leader, Tornado Bearstone. Shortly after, the phone rang again, and this time it was Tornado on the line. For two hours, he interviewed me in return. It was fascinating to observe his reactions to my ideas and how quickly he embraced it.

He and his band came to my home, and over one weekend, we practiced the steps, exploring various promotional avenues and methods. They originally planned to drive back through the night, but our session extended. It’s over 300-miles journey from there where the band lives to here. In hindsight, I’m glad things turned out this way. We got more hours to get to know each other and, most importantly, generate valuable ideas. In return, these methods began to resonate in the music business management lectures I regularly conducted. A unique cycle had been established, generating and continues to generate something meaningful every day.

Even now, as I introduced the idea of our management patrol for the first time, I carefully considered when to present it to Tornado. He has a tendency to put me through the wringer. This is only a good thing, as being put through that wringer makes me think about possible flaws and find better solutions. But in the end, he always agrees!

I am particularly pleased about one thing. I introduced Gentle Savage and Rylos to each other back in the day. They clicked, and to this day, they have embarked numerous joint tours. As they both remain integral parts of our management patrol, all is well. They embody all this – naturalness, effortlessness and significance.

The portrait of Gentle Savage

Introducing the Manager Patrol

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It’s time for you to meet our patrol. I myself believe that the music business is at its best when it realizes its own essence. The current state emerges as a consequence of some prior action, outcome, or production and engages the participants involved. This same principle applies to building a team and forming one. In that case, it’s best when the team forms almost on its own – you suddenly realize the patrol exists. Ideally, everyone’s commitment is self-initiated, although sometimes a tangible shared experience is needed to kickstart it. It’s usually the way in. Either way, this is what happened to us. For us, the trigger was the music business management lectures.

As many of you know, I have been lecturing at several universities – teaching music business management. Every time a course comes to an end, some students want us to continue. This happens with every course. The course is somewhat incomplete, or at a stage where all of us are aware of what needs to be done next. However, tt often remains just a conversation.

Something unusual happened during the Campus Online course last summer. This time, those thoughts didn’t just remain as talk. I noticed the course had transitioned into a discussion phase even after it had ended. When I took a break from lecturing and gained some distance from the topic, I realized our patrol had been born. It just needed to be initiated.

However, the biggest surprise was the reaction of our group when I presented the idea to them. Most of them were anticipating my contact and already knew what I was going to say. So, there was no need to persuade anyone to join in. This is exactly what I mean when I say the best things naturally fall into place.

When we began considering our operational targets, the same pattern repeated itself. I had collaborated with several artists, and I often use them as examples during my lectures – discussing the relationship between an artist and a manager, among other similar topics. Most of the examples we use are drawn from real situations artists have faced. We present our operational targets and our own plans. Often, this implementation takes place during the course, and students can observe its progress and degree of success. So, why wouldn’t we continue from where we left off in the lectures?

A similar concept has also been on the minds of artists. When I then approached them with a concrete idea, they were also keen to join. As a result, we are jumping on board this moving train, and our group gets natural operational targets. For the next four months, we will be enhancing our teamwork, aiming to achieve a collective understanding of what we’re doing, and initiating various plans related to our artists.

So here we are, the future management patrol.;

Heidi Huttunen,

Johanna Laakkonen,

Olli Jukkola,

Viivi Koivu,

Susanne Ripsomaa,

Petri Savola,

Nicolas Roimola and

Mika Karhumaa

Experiences gained from this collaboration will also be utilized in future books and related education. We will delve deeper into many aspects in various locations. I believe this is a modern way to make things happen. Also, this story will be is updated..

Our management patrol in the same picture with Nicolas Roimola, Johanna Laakkonen, Susanne Ripsomaa, Petri Savola, Olli Jukkola, Viivi Koivu, Elli Vihervaara and Heidi Huttunen

Our management patrol in the same picture with Johanna Laakkonen, Ditte Järvi, Heidi Huttunen, Susanne Ripsomaa, Petri Savola, Nicolas Roimola, Elli Vihervaara, Olli Jukkola and Viivi Koivu

Our manager patrol from another point of view.

And yes, the operation we’ve initiated reflects the same ideals that modern vocational education aims for. I’ll get back to this later when it is time for it. Until then, have a great autumn time!

The Other Perspective of Team Building – Artists

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I will soon be sharing the story of our manager team. So, this narrative is a bit premature but still an integral part of it. To make our manager team complete, it needs artists. A manager can’t really be a manager without artists. This perspective of the story is at least important and greatly influences what we do. In the upcoming article, I will explain how the artists will be selected to join and why. Let’s go back in time a bit – to the origins of this story. In addition, the intention is to demonstrate a few ideals of the music business: naturalness, effortlessness, and meaningfulness.

I personally took a break from artist management between 2013 and 2016. During that time, I stepped away from the entire music business scene and focused on preparations for the future – writing, giving lectures, and engaging in other industry-related tasks. The industry was, to say the least, undergoing a transformative phase at that time. When I talk about naturalness, I mean this. This perspective often gets less attention amidst all the hustle and bustle. In any case, the era of streaming was on the rise, and for me, it brought forth entirely new possibilities. It removed a few troublesome gatekeepers. I quickly realized that the artist’s perspective would soon become more prevalent.

Then I heard about Annika Nord. A friend of mine recommended to get to know her. When I found out that she had done her thesis on my book, I gained a new perspective on management. That was perhaps the moment when I got the idea of modern co-management between the artist and the manager. Being an indie artist might even be beneficial in the future. I had to meet her.

She was performing covers at that time, but she expressed her desire to write her own songs. We started meeting regularly, and Annika introduced me to her lyrics. And there it began again, gradually – artist management. However, this time with a modern perspective.

Annika Nord on set shooting a music video for the song called Hugo.

Around the same time, I published my first international music business management book. It brought me into broader awareness, which naturally reached the artists as well. This encouraged them to reach out more boldly, and I must admit – it was quite easy to find those with whom collaboration would naturally and seamlessly align. Annika has been followed by a few artists, most of whom are part of our patrol. We all share a similar perspective on management and how it is conducted between the artist and the manager.

I want to highlight them more prominently, which is why we will continue this article in the next chapter.

 

Summer Updates Before The Fall Kick-off

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Before the Fall kick-off, a few updates are in order. In this regard, I am experiencing exciting times as the meaning of ’kick-off’ remains somewhat unclear to me. There are several reasons for this. Here are a few of them.

The Art of Music Business Management – For Artists & Managers has been sold in over 60 countries. It couldn’t have not influenced the matter. Visibility has improved, and above all, the book’s content and insights have delivered their impact. Additionally, what perhaps delights me the most is that the fundamentals of modern music management, which I have been instrumental in developing, are finding their way into more and more vocabularies. Concepts like passive promotion, or the crucial significance of story root and its functional significance for algorithmic placement and copyright royalties, are becoming better understood.

Secondly, despite the increasing prevalence of artificial intelligence, the book’s embedded predictive mechanism has already taken this into account. I am not taking a stance on whether all developments are good or not, but rather emphasizing the importance of understanding what to prepare for and how they might potentially impact us. One thing can be said right from the outset – consistency in operations further increases its significance. For this purpose, a threefold diagram has been developed in the book, aiding in comprehending all the new features.

Thirdly, I couldn’t achieve all this without teamwork. All these ideas, thought structures, and the concept itself are refined in the background as I lecture with the professionals like here below. In that interaction, the end result (which is never truly finished) takes shape. This interaction also generates fresh material continuously, which increases the number of possibilities. Therefore, when I talk about the fall kick-off, it could encompass anything. Invitations to speak may come from anywhere.

Hence, the exact number of lectures for the next semester is not known, but they will be scheduled. Stay tuned!

 

Timothy Williams, a film composer, talking about scores at Mika Karhumaa's lectures. The kick-off for the Fall will take place on September.

Here’s Timothy Williams, whose music is known from films such as Guardians of the Galaxy, Pearl, and Deadpool 2.

Jennifer Pyken on Mika Karhumaa's lectures - talking about music supervision. She will be a part of our kick-off also next Fall.

Here’s Jennifer Pyken, who is known as the music supervisor for shows like This Is Us or The Way Home.

And the students themselves at Mika Karhumaa's music business management lectures at Seinäjoki University of Applied Sciences. The kick-off for the next semester takes place in September.

And the students – here’s a picture from one of the lectures at Seinäjoki University of Applied Sciences.

Those whom this concerns, the fall kick-off is approaching. If you want to be prepared, here’s the book. This is where everything always comes back to, and where all these courses and affiliations begin. You can find the book on Amazon,

EBSCO,

Ellibs, and many other distributors

And yes, before the kick-off takes place, let’s enjoy the summer a little while longer!

-mika

 

Here We Are Again – Another Course To Start

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Here we are again. Another ”Managerial and Intercession Skills in the Music Business – The Modern Fundamentals of the Industry” is about to start at Seinäjoki University of Applied Sciences. This course has one clear starting point, which is also present in the name of the course. There are a few things that a manager is expected to master. How they handle those things will determine their success in the role. And here – it also has a significant impact on the artist. There is a profound interdependence between these two parties, and the manager couldn’t be here without an artist. So,  it is ok to say it takes two to tango.

To succeed, multidimensional skills and collective understanding between parties are required. We have multiple levels of frameworks simultaneously at play here. One of them is the story’s root and the artist’s opinion on it. This course covers these tactics from multiple perspectives. Here are the lecture themes and their contents.

  1. Digital Identity And Passive Promotion
  2. Copyright, Passive Income, And How to Turn Them On
  3. The Role of Management And The Manager Contract
  4. The Relationship Between The Manager And The Artist
  5. Active Promotion And Reactions – Story on Story Effect
  6. Advance And Business
  7. Synchronization As A Pass-Through Route

We have several guests here – each a professional in their own field. This time they are – in the order they appear –  Sam Tall (Studio71), Marilyn Reles-Lozano (PresentPR), IRENE, Timothy Williams (BeachHouseMusic) and Jennifer Pyken.

I usually give the first two lectures myself. During this time, we create a framework for the teaching to take place. The aim is to achieve a collective understanding of what is at stake at any given moment. So the course is not just lectures or guest visits. In fact, we manage this course, gradually raising the level of demand. Most of the examples we use are happening in real time. Many of the productions, or operations presented in the course are actually being released during the course, or at least in the near future. This way, we get private information about the factors that affect the event and become aware of possible hidden motives.

Here we all are.

Here we are in the class room with Campus online students. Talking about managerial and intercession skills - in the modern music industry.

PS: One day these courses will be available to everyone. If you can’t join yet, here’s a book for you. It includes a lot of the things we cover in this course. This way you can learn to think like a manager.

 

Introducing Marilyn Reles-Lozano

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When lecturing, one question always keeps popping up: “How did you meet in the first place?”

Because it’s always a pleasure to talk about collaborators, this time I want to introduce Marilyn Reles-Lozano, the CEO of Present PR. I’ve been working with her for a year now. She’s both a returning guest lecturer at my courses at the Seinäjoki University of Applied Sciences, and a vital part of IRENE’s international team.

I got to know Marilyn in 2018 when assessing music business agreements in a particular project. Music PR is not the easiest part of the music industry. I still remember how Marilyn introduced the case with an analytical approach and brilliant questions. Ever since, I’ve witnessed her switch from management to PR, being able to take both perspectives into account.

Last year, as we were making improvements and expanding the international reach of our Management and Intermediation Skills in the Modern Music Business studies at Seinäjoki University of Applied Sciences, I remembered Marilyn’s analytical approach addressing different topics. I began to think that she would be a perfect fit to teach some of the aspects of PR for our students. When she eventually took the stage, it seemed like she had already been lecturing for years. I couldn’t believe my ears when she told me that this was her first time. Now, after a few courses, Marilyn’s lectures are among the most highly anticipated ones.

As usual, great collaborations tend to expand naturally. When IRENE and I were discussing the campaign of her next release, we decided to introduce the case to Marilyn – we knew that she would analyse the possibilities and help us pinpoint the most ideal angles. After a great brainstorm over Zoom, we knew that Marilyn would be our go-to person. Now, as we speak, IRENE’s next release ”Gatekeeper” is about to see the light of the day and the campaign is off to a good start.

What I love about purposeful team-building is that it creates meaningful outcomes on many levels. During the past six months, Marilyn and IRENE have become regular guests on my lectures. We get to share real-life examples, sometimes even ongoing at the same time. This transparency allows our students to follow every significant operation phase, from planning to execution, not to mention the strategic considerations. Such an approach further emphasizes the preparation of university studies for the actual worklife – and the skills needed for it. This is what I consider authentic sourcing of relevant information. Not only is it surely accurate but also equally available for all students.

The content of our teaching is evaluated through four criteria. Every piece of content must be natural, effortless, and meaningful. When mutual consistency is applied on top, the result is organic teaching material. Marilyn’s involvement contributes to these standards in all levels.

Here she is. More lectures with her are scheduled for May.

Marilyn Reles-Lozano from Present PR in the picture.

© Kimberly Rensburg

Group Sessions for Managers and Artists

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The much asked group sessions will begin in early autumn. I have received a numerous inquiries requesting private mentoring as well. This provides a natural continuation of the manager training offered at Seinäjoki University of Applied Sciences. We gather in groups of 40-50 there. However, a slightly smaller group size would be better for learning. Therefore, I will start a new group whenever there are 15-20 registered participants.

If you are a manager or artist looking to improve your skills, this program may be for you. Each new mentoring course, let’s call it a program, consists of six four-hour sessions. In an ideal situation, all band members would be able to participate at the same time. It would be even better if both artist and manager could attend these sessions together. This way, we can promote the development of modern management practices and transparency within the band. And yes, don’t worry – you can participate in the program on your own as well.

Where you come from or who you are doesn’t matter. Such a group also creates a great opportunity for networking and collaboration. Imagine you’ve met one of your colleagues before and are considering potential collaboration with them. If both of you participate in this program, you can evaluate the potential future collaboration in peace, you will get to know each other in advance and learn new things to implement yourself.

This is the modern way of managing music business. More information about these group sessions will be coming closer to the fall. If this announcement has piqued your interest, feel free to contact at mika@mikakarhumaa.fi

In the meantime, reading this book that serves as the basis of this program would be helpful. The more of its theses you are familiar with, the more you will get out of this program. The book is available on Amazon as a paperback, hardcover and e-book. You can get it as an audiobook on Google Play Books. For academic purposes on EBSCO!

Group session training based on this The Art of Music Business Management - For Artists & Managers will start in the Fall 2023. Sign up at mika@mikakarhumaa.fi to join.

A Chart That Makes You See Things Better

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I have been asked this point of view for a while now. From my readers. I guess now is a time to put it out. About observations you also should be aware of. Some things are better reading from the book, while in some cases a short article can bring the idea out best. In this article – we are interested in the chart that book contains.

I have created this chart below for multiple purposes. This article is about two of them. The rest you can find out from this book.

A chart that we used at Seinäjoki University of Applied Sciences during 2023 course.

The Art of Music Business: For Artists & Managers

The chart has been developing along the way. When mentoring artists, teaching music business students, or in other ways trying to make my point clear – I have used this chart for framing. I am pretty sure it will help you too. To find your own style to handle things, everyone needs the frame – and hence a concept. Something to reflect on. This chart is made for you. I personally use the idea of it daily.

Music business management can be a difficult equation to figure out – especially among its most demanding subcategory, artist management. There’s a lot to do. In the beginning, when there isn’t necessarily anything to take a grip on – you still need to make a next move. To start something. As an artist manager, you’ll need an artist with at least one recording out. Before that moment, everything is more or less artificial. It’s the release that eventually starts the journey. This is the lesson one. A starting point.

That release will also become a story root. The story root is one of the modern music business’s most significant feature. Consequently, our job is to define it, make it grow, as well as to nourish it and attach it with a new meanings. Without fulfilling this basic obligation, it is difficult to move on as a modern artist, artist manager or in tandem with a co-management. This alone is a good reason to read this book. It will explain in more detail the things to pay attention.

Fortunately, this isn’t the whole truth. In terms of the artist management, there are many things you can anticipate. Get ready for the future. The first two compartments of this chart, management & copyright, is the environment where you can be active all the time. Their completion doesn’t require other’s contribution.  You can build them without any constraints.

Instead, the third compartment, intercession, is something that requires more from the manager. You need to have gained at least some level of field knowledge to get in run properly. Learn by doing – that’s the way. Intercession is also something that requires contribution of others. How to combine and attach all these elements together in sensible fashion makes manager a manager.

All this was the dilemma we dealt with comprehensively at our course. And that chart above as our compass.

Seinäjoki University of Applied Sciences students at Management & Intercession Skills Course 2023

The Things That Probably Trend in 2023

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Some things always trend better than others. One thing is for sure – any trend is never steady. The way I see trend, or trends is – I am interested in meta truths affecting them. Something has made them come up. In a time when uniqueness, or an effort to become one is the thing people are striving for, one attention must be made. You don’t have to slavishly follow the trends to be trendy. No, it’s nothing like that at all.

You may use the alternatives trends give you almost however you want. With some features more stylish than others. Still and however, the most important thing is that how that trend sits into your fashion. Your way of life, your system of values, or how does it sit on your goals.

This is the foundation behind all that you do. It is influenced by passive promotion. Your own digital identity. How it then correlates to the reality, your own goals and the story you want to tell is another thing.

The important question to yourself is to decide, on a case-by-case basis, whether some trend is something you’ll incorporate into your own action. You have a power to decide that. It can be as much as trendy to use something as to completely ignore it. One piece of advice is in place. Be consistent before the foundation of your digital identity is established for the all four audiences.

What all this means to the music business management and the modern version of it. It’s a lot things. You really cannot neglect the planting of passive promotion. It is something that has to exist. If you don’t have it, you do not exist in the eyes of the relevant algorithms. Given that this is one of the most important meta truths today, passive promotion is a trend that it always around.

If you want to read more about this, here’s a book. It will explain everything understandably. Your artist management, or whatever you do in the music business will become easier. You’ll soon understand why!

This chart will trend in 2023 and beyond

 

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