Like I said in Part One, a manager is the first buffer between an artist and the world. As an artist’s manager, you are your act’s biggest supporter, biggest fan, as well as their biggest critic.

You have to support your artist fully and consistently, no matter what. Your support for them must be blind—like love. If you don’t support your artist, how do you expect others to support them? As a manager, you have to give your all—if possible—to your artist’s career.

Sometimes artists feel they know it all. They can be selfish and overly protective of their music, and as such, may refuse to listen to the voice of reason at times. You have to humour them sometimes—encourage, guide, explain, and always look for ways to make their next offering or performance better than the last.

It is your job to observe every performance, study crowd reactions, and assess stagecraft, with a view to discussing ways your artist can improve or refine their craft. Your job isn’t just to handle logistics, negotiate terms, or sit and wait for bookings or opportunities to come your way. It also includes going out of your way to explore and maximize every opportunity that will expose your artist to better opportunities, increased income, improved music and performances, and overall growth for the entire team.

The artist is the product, so you—and everyone on the team—must constantly seek ways to market and sell that product to the world.

There’s nothing wrong with an artist performing a free show, as long as it benefits them positively, helps them grow, and adds value to their brand/career. The benefits may not be immediate, but the right free event can open doors faster than many paid gigs.

Without free shows or unpaid events, how else do you expect an artist to hone and perfect their performance or stagecraft? How will they reflect and identify what they could have done better so that next time they can truly deliver an outstanding performance—not just rely on word of mouth?

Nothing teaches better than experience, and nothing builds mastery like practice. No matter how much an artist rehearses, it will never fully compare to performing live on stage. And what better way to gain that experience than at a free show or event?

Many managers and artists assume free shows are a waste of time because they don’t generate immediate income—but this is a misconception.

The problem isn’t that the show is free—the problem is poor positioning.

You put your artist on a platform that doesn’t suit their genre, doesn’t align with their brand, or doesn’t match their performance style. Sometimes, in a bid to secure a gig, you place your artist in front of an audience that clearly isn’t theirs.

For example:

• You know your artist’s strength is live performance, yet you allow them perform over a backing track.
• You know the event is a street-style show, not an intimate setting, yet you put a soft vocalist on that stage just to say they “killed the show.”

It’s like asking an artist to perform an R&B or slow song when the crowd is mostly Gen Z and expects high-energy, dance-driven performances.

Or placing a modern, high-energy performer in front of an old-school 90s R&B audience that prefers a mellow, laid-back vibe.

Every artist feeds off the energy of their audience. Negative or mismatched energy can disrupt performance—especially for less experienced artists. Put your artist in front of the wrong crowd, and you risk damaging their confidence and killing their vibe.

As a manager, you must always learn from those around you. Observe colleagues at events, study how others operate, and build on what you learn. Read, watch, and learn from those who came before you. Always be approachable and willing to engage with other professionals in the industry.

When in doubt, ask questions.

Also remember: what works for Artist “A” may not work for Artist “B.” Every artist is unique, so always do what best suits your artist. Don’t ask your artist to dance if it’s not their strength—hire dancers instead to enhance the performance and elevate their set.

Loyalty is key in every field, especially in the music and entertainment industry. As a manager, you will have access to a lot of sensitive information about your artist. You will sometimes see and hear them at their lowest points.

Your loyalty must always be to your artist/client—both while working together and even after the relationship ends. Any confidential information or data you gain access to must remain private and protected.

No matter what happens between you and any artist, you are expected—as a professional manager—to keep their secrets confidential, even if it means taking them to your grave.

A manager with a loose mouth cannot be trusted. In this industry, word travels fast, and such behavior can cost you new opportunities, potential clients, and even existing relationships.

I can go on and on, but the simple truth is this: many who call themselves managers are merely road managers or personal assistants.

Nobody is perfect, and no one is born a manager. But if you are open to learning, willing to adapt, and committed to improving, anyone can become a good—if not great—manager.