one-on-one session

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.

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