modern music business

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.

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.

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

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!

Story Root and A Few Related Insights

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As it is with every story, its root is an always present thing. The story root exists, even if it you cannot see it. It may have been replaced with some other, more topical or accurate feature. Something that is more interesting, or in time at that particular moment. Even in case of its altered form, the origin is always there – you cannot get rid of it. In fact, all these new features springing out of it, are somewhat in line with it – one way or another. It is our growth story.

That set-up is present where ever you are accepting a new assignment – no matter the role. Even though there can be a root already, your contribution begins a new era within it. All the features you will bring with it, will be evaluated though the scope of this root. How much, or how little your efforts are reflecting that idea. When we say that someone is taking good care of the artist’s legacy, for example, it is this story root and related episodes that acts as a measure.

The story root is an enabler – it makes the necessary evaluation possible. You may afterwards analyze your action according to how it corresponds to the idea of that root. Or how it correlates the back motives involved in it. As we already pointed out, that same story root is relevant outside the artist’s story too. It will make reflections to the artist’s background organization. To understand and internalize this very philosophy is something that makes you a manager. Even if the artist has released their biggest hit just recently, it is still their first release ever that consists the origin. Everything else that has happened from that moment on, is a growth story. This is something to keep in mind before starting your job as a manager.

The takeaway insight is that the story root itself is usually located to much earlier moment we tend to think. It isn’t always obvious. It is the first official mark where the journey begin. With regard to the artist, it is always a released recording or a published song. It is your job to find it. Only then you can be consistent with your work. Embrace the origin.

This is us – at Seinäjoki University of Applied Sciences. 29 students plus one teacher and a common interest – a modern music business management. Even though our story in this context is still under construction, we decided to make a premature move. To provide our content on the matter. Otherwise we would be just a registration mark. This post will eventually become relevant, retrospectively – as it is already linked to Seinäjoki University of Applied Sciences. The people here are its cultural management students. The first thing with regard to our story is the moment when they enrolled themselves to this course and got accepted in it. As they already are the school’s students, the context is clear. When we get this course finished, it establishes a registration mark – a grade. That registration is permanent. It cannot be changed or taken away, unless you decide to raise the grade. However, the mark itself remain. In time, when the whole degree will be completed, it will crown all this. It becomes a whole. All these registration marks together establishes a frame to our story. If we decide to do something else together – it will always return to this root that has been established. Keep this in mind and you are able to be more consistent with whatever you do.

The Essence of the Music BusinessTalking about story root at one of our lectures

The Essence of the Music Business