music and AI

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.

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

Mentoring and Career Counselling

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Did you know that I mentor people a lot? Mentoring and career counselling has been a part of my repertoire for almost three decades. It all started as a guest. One of my friends needed help in his recording agreement negotiations back in the 90’s. I agreed without hesitation. For a first-year law student it was an excellent opportunity. To see how things turn out in real. The negotiations went well and the deal got signed. While coming back from that meeting, he asked whether I could be more of assistance. My answer started a four-year journey that has lasted till these days.

What is it then about mentoring that fascinates so much? For me it’s the impact – a chance to make a difference. Your contribution may really mean something, to someone. If you won’t make an interference when asked, it may be that some promising occurrence never sees the light of day.

I like the idea that I haven’t really advertised my services. The mentoring just happens – without any cumbersome plug-ins. Something makes people contact me. Usually it is my own activity that becomes seen. And that in turn act as a trigger – a reason to make approach.

Consequently, this relates to passive promotion I like to talk so much. Setting your passive promotion up correctly enables unexpected, but also anticipated contacts in a way you cannot particularly reach. It leads to another conclusion of the matter – to become a mentor and mentoring itself probably need a reason. It is something you already have. For me, it’s the experience – especially nowadays.

If you want to deep-dive into that passive promotion concept, here’s a book for you. You can have it easily on Amazon.

My mentoring is based on this book,

It’s funny how this mentoring has changed its form over the years. In the early days, when the experience was non-existent, it was the energy and enthusiasm I could release for completion of the goals. It still is, but in a slightly different way. Like I said, my mentoring reflects a lot of experience and it’s the thing that makes it so valuable.

If you ever end up being someone’s mentor, the first thing you have to ask for yourself is the reason why. Why is this mentoring started in the first place. Then you probably understand your own value and it makes you able to act accordingly.

Also, there’s a personal dimension too – not everything takes place just because it is professionally justified, or that it is economically reasonable. No, I have a completely different starting point. I think many of my colleagues will approve this too. I need to hear that click. And that click can be anything. Sometimes it is music, sometimes some position that is present incorrectly – something that needs a fix. And yes – I love conversations. If you have something in mind, feel free to make an approach. You never know where it may lead you!

 

Teacher Info

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If you are a music business management teacher like me and are interested in The Art of Music Business Management – For Artists & Managers book, here’s some valuable background information. Every teacher naturally values their own methods and practices, which served as a foundation when I began writing this book. I’d like to believe I have successfully crafted a book that speaks ”from one teacher to another”. That’s one objectives behind this book. Another goal was to create content that is equally beneficial for artists and meets their management needs.

The book primarily emphasizes a deep understanding of the core principles and concepts, rather than delving into numerous details. While there are examples provided, they are presented judiciously, only when necessary. This approach is deliberate in shifting focus from the conventional domains of the music business to real-world scenarios and treating them as practical case studies. You will soon grasp the significance of this approach, as it allows us to gain a genuine perspective on the role of a manager.

This innovation facilitates presentations through three pertinent dimensions: management, copyright and contracts, and intermediation. It simplifies the explanation of the shift in contemporary management priorities from the traditional mediator model to this updated and current model, founded on strategic control.

This is advantageous for the students as it provides them with a comprehensive understanding of the contemporary job description. In accordance with modern management practices, artists are no longer viewed as passive objects rather as dynamic assets. Consequently, students gain deeper insights into the strategies and current regulations that impact this field. Not all of this may be immediately apparent, but you will soon discover it!

From the artist’s perspective, we replace the term ”promotion” with the concept of ”story”. However, it is essential to clarify that the term story doesn’t refer to a traditional narrative in this context. Instead, it serves as a framework to elucidate the functional elements of the narrative – what purpose the story truly serves. This approach allows us to shift from an external perspective focused on appearances to an internal perspective, delving into the story’s content and its underlying objects.

Contracts and copyright, on the other hand, have been addressed only to the extent that is pertinent to music business management, specifically focused on the business aspects. This approach prevents the complication of the overall comprehension with excessive technical details. The book includes references to supplementary material for those who wish delve deeper into these topics.

However, there is one exception and it pertains to passive promotion. The book explains the significance of copyrights from a modern promotional standpoint, and copyrights play a pivotal role in this context.

All of the above allows ample flexibility for individuals to utilize this information as they see fit, supplementing it with additional pertinent sources, personal experiences, or examples. The provided framework for the teacher doesn’t impose on or exclude any existing frameworks. It also doesn’t preclude other methods of acquiring the same information, even if they run in parallel or overlap.

I have implemented this structure in my lectures for three years now. Our guest lecturers have greatly appreciated this setup. They have mentioned that it allows them to seamlessly integrate their experiences without any rigid structural constraints. It empowers them to discuss what they are most comfortable with while maintaining a contextual framework.

One of the most intriguing modern management tools and my favorite, passive promotion, is well explained in the book. I am one of the founders of this school of thought.

The final two chapter of the book may appear somewhat repetitive. When I teach manager students, I typically omit these sections. However, when working with artists, I’ve founded that repetition can be an effective approach. In their case, there are valid reasons to reiterate certain concepts, as they require this information for various purposes.

Another rationale behind including these two last chapters is to prepare for a potential Second Edition. These chapters contain memory traces that need to be considered when planning the update. This approach ensures that I do not overlook them.

I had mixed feelings about venturing into predicting the future developments, so I ultimately chose not to do so. Consequently, I refrained from making extensive predictions about where web3, the metaverse, or other businesses might lead us – my aim was simply to present their current existence and significance. I believe it’s wiser to allow practice to demonstrate their trajectory first. This turned out to be a right solution. The book’s conceptual framework naturally takes the future into account. This is evident now, especially with artificial intelligence – there is no immediate need for updates. In fact, in the context of passive promotion, the book is ahead of its time.

This is also a reason why the book has fewer (134) pages than average. When the necessary additional information becomes available, this book serves as a platform for its incorporation.

If you have any questions, please do not hesitate to reach out to me. As a teacher, I wish you a great lectures!

This chart will make it easier to teach - teacher's info

Homepage and Communication

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When the first steps of the promotion are to be presented, the website cannot be ignored. In fact, the website provides a fertile ground when we talk about the road map, plan realization or just reacting accordingly. As it is with income types, also promotion can be divided in active and passive sections. Modern promotion has many different tasks, but also meanings. You should read The Art of Music Business Management – For Artists & Managers to get an updated info.

With a new artist, the audience rarely has enough knowledge of them. Therefore all the plug-ins that increase that awareness is extremely important. When people begin to know their name, the two-way role of the website will be established. For the followers who already know the artist and their story, the main focus is on the artist’s up-to-date affiliations and future plans. This part of promotion is the active part. For others, the people who are not yet aware of the artist, or who visit the site for the first time – the attention is paid to other things. They are generally interested in what it’s all about. This side of the story could be considered the passive part of promotion. Unlike with the already existing fans, a new encounter need a background information. They are usually in a need to know more about the artist, and what a better way to do it than search engines. If everything is in order, search engine provides the artist’s own homepage first. The homepage is also a source of information where an artist can best influence the content of stories.

When considering the promotional content, one must take into account the different levels of needs. TV series must have parts that attract new viewers even if they haven’t followed the show from the beginning. In addition, it must also be able to retain older fans interest with new episodes. The artist’s future and the ability to follow their progress is for the existing followers. Giving the opportunity to find out the artist’s history and origin is for the new followers. Thus, it is a good idea to have metadata information such as biographies and discography, as well as photos and videos along the way.  All the new material instead, plays an important role for the fans as it shows the artist being active.

All the artist’s products should be easy to find – also the related information. Information acts like a product description. Unlike the products that can be bought with one click, information works differently. It always requires an effort from the recipient. This in turn requires clarity on the artist’s side, with the content and layout. The artist cannot confide that a new visitor will be patient or want to find information behind a thousand links. This may cause a counter reaction – it can be a good idea to keep your homepage simple, but also thoughtful and spectacular – pleasing to the eye. The career information should be initially guided by the artist’s action plan, not so much a massive awareness of the artist’s existence. On the tactical side, it is important that the artist reacts to the call, if the reception requires. If the artist is unable to answer this call, it is not worth acting the opposite.

What most artists want is to the contacts – for this reason contact info must be very easy to find. The same applies to other things that the artist wants to emphasize. The products should also be accessible and the links should be avoided if the products are difficult to obtain. This of course requires on-call time. If this situation changes in the future, availability placement can be made to match the prevailing situation. This is one example of why homepage matching reality is more important than impressive appearance. If a potential buyer cannot get the product they want, or worse, not even find a link, the visit will surely leave a sour taste.

This will be the next thing – the links and their use. It is perfectly normal and even advisable to use links to the services and improve availability. However, they should not hinder the acquisition of information or mislead people which may happen by accident. Ensure that links actually lead where you want to steer people. It is not uncommon for something to go wrong when setting up links. The artist is therefore not linking their homepages to mere sales aspirations. Links also have other uses. They can lead people to interviews or other relevant forums. It is good to note links may change its content. They may, and often change – as well as their locations. Someone else’s interview may be found behind some particular link. It is good to be aware that not all the content behind these links is not solid.

If you’ve shared that one of your songs or albums is #6 on some chart and half a week later someone clicks that link and you’re in position 28, the positive message you’re trying to convey may have the opposite effect. A 22 position drop does not necessarily support the other positive messages on your homepage. Fast-changing information is better placed elsewhere on the social media environment – not on the homepage unless placed on its News Section.

Restrictions can also be present with copyrights. Some distribution networks have divided their offering so that there are regional distribution points around the world. Many times this is due to local legislation. Even if some umbrella organization has obtained the right to sell your copyrighted products throughout the world, the content of the license does not necessarily apply to all of its distribution outlets. Therefore, it is not necessarily wise to advertise products through German link despite the product would be topical in Germany. This choice may exclude all the other countries if you are not careful. It can be that the umbrella organization’s French unit is responsible for France’s distribution and Italian unit for Italian needs. If there is a globally eligible link available somehow, you should use it. Alternatively, if the artist has a fan site in Germany, then it is completely natural to use German links there.

In many cases – the less information, the better. Browsing pages may become a challenge if the artist’s homepage is a salad, filled with all kinds of information from here and there. Different sections of that site hold a different weight and it is always better if the most delicious points of one’s career are presented first. In doing this, the visitor gets a better idea of what the artist really entails.

Particular attention should be paid to the site’s sections that do not change very often, but are of great focus. It is a good idea to strongly invest in the content, structure and layout – to meet the artist’s image. It is also good to post artist-related communications elsewhere in social media, rather than just on the artist’s home page. Some news are just better to place on artist’s Facebook page, where it disappears with the news stream. Visitors usually tend to pay attention to the issues that the artist raises. If the artist’s current plan calls for more sales, it isn’t wise to talk about the new album and associated pre-production – as this topic is premature. It only takes the focus away from the current agenda.

It is time to remind the concept of footwork. The active stage favors regularity. It is highly recommended to build a communication plan, the protocol. To map out all the things the artist wants to share and/or how to react to the echoes. Fans who regularly visit the artist’s ‘premises’ are surprisingly aware of the truths behind the scenes. All the lightweight news is better placed in faster forums such as Facebook, Twitter, or Instagram, if the artist feels it necessary. This allows the artist to react quickly in a situations where the artist is expected to respond. The bigger news and more time-tolerant stories are worth to put on the homepage.

All in all, communication on the homepage and its relation to the artist’s other information channels is a matter of choice. No single truth exists. It is about the artist’s career stage that usually determines the contents of the artist’s homepage. In any case, it is always wise to plan in advance how to meet the different situations – and through which media different things will happen. At the beginning of one’s career when knowledge of an artist is limited, it is important to be clear and honest. Everything leaves a mark on the search engines.

Why homepage and its communication should be aligned can be read from this The Art of Music Business Management - For Artists & Managers book