The ManageMental Podcast with Blasko and Mike Mowery

In this week’s episode Blasko and Mike revisit one of the first ever episodes and discuss how their predictions for 2017 and Paul Resnikoff’s article: http://www.digitalmusicnews.com/2016/12/19/music-industry-anti-predictions/ Wireless headphones won’t take over the world (yet). Apple won’t close its iTunes download store (yet). Streaming music won’t reach 250 million paying subscribers. (Currently at 100 million.) *According to IFPI’s Global Music Report, streaming now makes up the majority (roughly 60%) of digital revenue and for the first time, digital revenues make up 50% of the share of total recorded music industry revenues. Rough estimates show that if 10% of the global population eventually subscribes to a music streaming service, the music industry’s worldwide recorded music revenues will far exceed its best year ever in 1999. In fact, a recent Goldman Sachs report predicted that streaming will hit $34bn in revenue in 2030, as part of a healthy $41bn industry.  The Grammys will not be spectacular. Independent artists make up 55% of nominations in all non-producer and non-spoken word categories, according to tabulations from A2IM. In 43 of the 81 categories, the majority of nominees were on independent labels. Independent music is doing better than ever with a record global market share of 37.32% according Billboard. Last year more than two-thirds of Grammy nominations were independent releases. Independent music’s authenticity, vitality, and genre diversity ensure its keystone role in the recording industry and American culture. ‘Spotify screws artists!’ will finally die.  The music industry won’t change YouTube. (artists don’t want another losing war against technology (right or wrong). Which means YouTube is all about exposure and micro-penny payments, in 2017 and beyond.) Vinyl won’t disappoint.* Sales reports from most Coalition Of  Independent Music Stores show Black Friday sales  increases ranged from +5% to an astounding +53%, with an average increase of 13.8%.  Only two stores reported decreases from their 2016 sales, while a couple reported flat sales.  Less comprehensive data from Small Business Saturday was also positive, ranging from flat to +19% over 2016 sales. Streaming will grow; the number of streaming companies won’t. Check out our sponsor Rockabilia and pick up all the merch you’ve ever wanted at www.rockabilia.com Want more industry insight? Outerloop Coaching’s got you covered head over to www.outerloopcoaching.com and http://outerloopcoaching.thinkific.com to sign up for the latest courses. - We want to hear from you so please don’t hesitate to email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we take some questions about playing live from one of our loyal listeners. Tune in and follow along as we address the following questions:   Thanks for answering my questions a few months back. I have more, this is a random list related to touring and live shows.    I get frustrated when I go to a show intending to see band #2 or #3 (in addition to #1) on a bill and they only play 30-35 minutes.  Is it strategically better to be low on a 3 or 4 band bill and play shorter sets, or play with fewer bands and longer sets?  I vote for the latter.  I'm an old guy and have a regular job, so I hate having to stay up late for shows.  But I've been whining about this for 20 years when I was a young guy.  Will it ever change?  Finish by 10pm would be ideal for me.  When bands design their set list, is the best approach to go mostly with Spotify popular with a few oddities thrown in?  Different set list every night?  Let the audience request 1 or 2 songs?  There seem to be more bands touring with fewer members and the help of backing tapes for keyboards, bass, or other.  21 Pilots is an extreme example, but many 4 piece bands cover the 5th and 6th instrument with tapes.  I contend that with the state of the music industry, a band is better off doing it that way than not touring at all. Thoughts?  If I were a manager, I would encourage a band to creatively incorporate a cover song into their set, either the full song - or part of a cover mixed into another song, or a medley of covers.  Thoughts?  Open for a band that your music is a total mismatch - worth taking the risk for exposure or avoid?  I've seen many shows where a screamo opens for a pop punk band, doesn't seem like the screamo band gains much from it, for example. --- Links we referenced during the show: https://settheset.com; Lewis Howes “School of Greatness” podcast - https://lewishowes.com/blog/ --- And don’t forget to check out the Rockabilia.com CYBER MONDAY sale, use code CYBER for 25% off orders over $30 --- We want to hear from you so please don’t hesitate to email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

The Vans Warped Tour has announced 2018 will be the last year for the seminal summer festival that has run across the country for 23 years. Mike and Blasko reflect on the history of Warped Tour, what the end of this era means for summer tours, and consider what could be next for the Warped brand. To learn more about the final Vans Warped Tour head to http://vanswarpedtour.com/2017/finaltour/ --- The hosts also comment on the current sexual harassment allegations in entertainment, specifically in music and give perspective to young bands. To reference the article mentioned in this episode go to https://www.spin.com/featured/fyf-fest-sean-carlson-sexual-harassment-assault-allegations/ --- We want to hear from you so please don’t hesitate to email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network www.jabberjawmedia.com and sponsored by Rockabilia www.rockabilia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Article: http://diymusician.cdbaby.com/music-distribution/biggest-myths-music-streaming/   Author: Chris Robley http://diymusician.cdbaby.com/author/chris-r-at-cd-baby/   This week Blasko and Mike get into the myths of music streaming and digging into the article “The Biggest Myths About Music Streaming” by Chris Robley, tackling the following points:   There’s no money in itFor artists who own 100% of their publishing and sound recording rights, all their streaming revenue flows to them. No label advances, catalog licensing deals, or complicated splits to contend with.  In the major label world though, most songs are written by teams of people. If the artist is lucky enough to be credited as a writer, they’re still often splitting those publishing royalties three, or six, or twelve ways. As for the royalties generated by the streaming of a sound recording, well, let’s just say the labels have done a fine job keeping much of that dough for themselves   It killed the albumStreaming didn’t kill the album. Downloads did. If anything, I’d argue that streaming might actually HELP albums.   I can window or withhold to drive physical sales or downloads(Windowing is the act of releasing a certain piece of music to different platforms/formats at different times so you can direct fans to whichever outlet benefits you most. Again, that might work if you’re Adele. Her fans will go where she commands.) Don’t window and don’t withhold. Be everywhere, because your fans need you to meet them where THEY hang out. Not visa versa.   It’s only a matter of time before people realize they miss having the tangible, physical record or CDIf you grew up with vinyl or CDs, I get it — you miss them (or some aspect of them, at least). But most people who were born in the past two decade don’t miss them, don’t need them, and won’t demand their return.   If we boycott streaming, everyone will have to go back to the way it was.Whoever does get together to remove their music from, say, Spotify — it’s just not going to make that big a difference, because your music isn’t as in-demand as bigger artists that actually embrace streaming. Then you’re just left out of the party, because your potential fans will be dancing to another artist’s jams.   --- Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Mike Mowery tonight at 8pm EST for an Outerloop Coaching Facebook Live event at facebook.com/outerloop.group.   For more information on Outerloop Coaching visit www.outerloopcoaching.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Mike and Blasko go off script and discuss the value of awards shows in the underground music scene.  Listen in as they provide an honest take on whether these shows are needed or not, and if they are, how can they be improved.   Hot off the heels of the Loudwire Music awards, Blasko and Mike review the diversity of award winners at this past week's event - http://loudwire.com/avenged-sevenfold-stone-sour-iron-maiden-win-big-at-the-2017-loudwire-music-awards-2/ We want to hear from you so please don’t hesitate to email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to episode 41 of the Managemental podcast! This week we’re going to get into how to properly write an email to industry professionals, so let’s get on with it! Tune in for our full commentary on the examples below.   GOOD EXAMPLE:   Hi Blasko,   My name is Michael, and I’m the frontman of the hard rock, progressive metal band, (BAND NAME), based in LA.  I was speaking with Steve Rennie recently and your name came up as we were discussing the music business and managers who are innovating and succeeding on the heavy side of the industry.  He recommended that I shoot you an email (and also says “Hi”, btw).   (BAND NAME) has been building a strong audience both locally and online (over 60k combined) for the past several years, and with the recent release of our new fan funded and self produced album,  followed by a packed house show as main support for (BAND NAME) at the Glass House and a sold out show at The Viper Room in LA, we are seeking a manager with which to partner in the expansion of our business.  We have a well established fan base and brand, a strong live show, social and digital media savvy, and are ready to continue working hard in all aspects of expanding our business.   At your convenience, I would love to discuss the possibility of working together in the future.  You can hear our music and find out more about the band from the links below.  If you have any questions, please let me know and I’ll be happy to provide more info.   Here are some of the top tracks from our two albums:   As well as our EPK with songs available for download:   Thank you for your time! Michael   Links     BAD EXAMPLE:   To whom may concern,   I'm looking for a some form of management and/or manager to help my band (BAND NAME) get further within the industry. We are starting to realize the things we need or want to do is at a dead stop do to the lack of knowledge and resources. Hopefully we here from you guys soon!     --- Mike mentions Reman Music & Business in this segment, check it out at https://renmanmb.com Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week’s episode hosts Blasko and Mike Mowery assess Paul Resnikoff’s article “Why A Major Label Doesn’t Want to Sign You”. Let’s dig in… The major labels — Universal Music Group, Warner Music Group, and Sony Music Entertainment — are sometimes referred to as the ‘big three’.  They own a bunch of other sub-labels and have major publishing interests as well.  They are big-time global entities. Generally, major labels have more money and stronger relationships with platforms like Spotify.  In fact, they own a major portion of Spotify, and can push a priority artist into coveted playlists. There are also independent labels, often called ‘indie labels’.  Those labels have far less marketing power, but can be a better fit for many artists. So here are some reasons why a Major might not be a good fit for you…  Reason #1: You’re ‘difficult’ and/or don’t work hard. This isn’t the old music industry anymore.  There’s less money to invest, no more $16.99 CDs to sell, and way more pressure to show results.  So artists not only have to carry their weight, they have to work well with others and work hard. Not even music managers are willing to be babysitters anymore. Some of the biggest managers in the business flat-out refuse to deal with divas. Reason #2: You’re not playing the game right. I wish this world was perfect and everyone got a fair shot But it’s absolutely, positively not a fair game.  That said, there are ways to game the system in your favor. For starters, don’t always go directly to the front door of a major label.  An alternative approach is pairing up with a major manager.  That manager will then try to get serious consideration from a label. Sometimes those artists are signed to smaller labels, other times not.  But the point is this: there are a lot of side doors that people don’t use. Reason #3: There’s no ‘data’ on you. This probably should be #1 with a bullet.  Because it’s 100 times more important than meeting the right people or playing the game right. It’s data.  As in, are there people listening to you online, going to your shows, following you, remixing your music, etc.?  Do your numbers show that? Reason #4: Your data is bulls—t Here’s the thing: labels can sniff that out pretty fast.  Oftentimes there are dead giveaways.  And even if they do get interested based on fake data, they’re going to realize there’s a problem the minute the check out your show or see you in person. Reason #6: It’s not a good match. Step back: do you really need a major label in the first place? In many cases, a major label will actually set you back. Do you want that?  Because even if you do get signed, there’s not guarantee of success. There’s also a catch 22 here.  Because once you have enough traction and data to get noticed, you also have the beginnings of a completely DIY career.  And there are tons of reasons to stay DIY. Head over to www.outerloopcoaching.com for more industry resources and classes from your host Mike Mowery. Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode Blasko and Mike take your questions! Tune in for the discussions and answers from the following questions from listeners Rob, Cory, and Alex.   Hey Blasko, long time listener of the podcast. I was wondering if you and Mike could talk about buying onto tours. Is it a good idea for a developing band? Is it essentially the same as pay to play or is it more like a deposit to reserve the slot? I've heard people mention it and I was hoping you could elaborate. ~ RobHey, absolutely love the podcast.  My band listens while on tour and I listen all the time to get me motivated and pumped up.  I would love to hear some advice on how to make the most out of a band music video premier.  My band has done many video premiers during PR campaigns (even getting a premier on Metal Sucks, which is huge for us as an unsigned band) but even so it is hard to get traction with the videos.  How do you make your video premier stick out among all the other internet posts happening on the website you premier on?  Can you talk about your processes to make the video stand out on social media!? ~ CoryHey Blasko! Lately, my band has been having a lot of inner conflicts when it comes to a lot of things. One of them being song writing, and everybody being getting what they want when it comes to songs. As someone who’s been in a few bands, how do you go about keeping everybody in the band happy, focused, and on the same page? ~ Alex---   Tune in to hear the insightful discussions and answers to Todd’s questions.   Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop Want to get your band to the top of the charts with your next album release? Sign up for Mike Mowery’s “Release It Right” and “Unleash It Right” webinars at signup.outerloopcoaching.com ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Blasko and Mike take on a fan question from Todd, a loyal listener and 60 Days to Signable student (via Outerloop Coaching). Todd writes:   Hey there!   This is Todd, student of 60 Days to Signable and Unleash It Right and long-time listener of the podcast.   My band recorded a 5-song EP with a well-known producer last year. We paid a lot of money for it and without really taking time to learn about the industry or business side of things, or consider self-releasing, we jumped the gun and signed with an indie label to a not-so-good contract.   We soon realized that was a mistake. The release plan we had in place, which was a part of a PR campaign we'd already paid for, was scrapped (and we didn't get money back); the singles from the EP weren't released or supported well. We pressed physicals on our own (the label didn't want to), and we didn't know about UPCs at the time, so we have about 200 copies left without barcodes that we can't report.   About a month before the EP's actual release, we lost two members, one of whom was the singer on the album. A couple of months ago we talked to the label and secured a release. We decided (again, hastily, I think) to just give up rights to the EP because we didn't have the same members anyway. Looking back, I think that was a mistake because the label didn't pay for any part of the recording/production, etc. of the EP.   Now, we're debating whether or not to approach the label to buy the rights back. We have new songs, but we feel that EP could have been so much more than it was... especially with the knowledge I now have from 60 Days and Unleash it Right. Our thinking is that we'd use the stems we already have from the EP (FX & drums), then re-record the guitars/bass (maybe in a lower tuning), and also have our new vocalist do his version of the vocals, and get everything re-mixed & mastered.   So my questions:   (1) In terms of "masters"; let's call the masters we gave up as Set A, and the ones we'd hypothetically redo as Set B... would they technically be separate sets of masters? To where we wouldn't necessarily have to buy the old ones back? Or would they be re-recordings?   (2) Is it worth our time to worry about it, or should we just accept our mistakes, cut our losses, and focus solely on new material? We do have two new tracks we're planning the releases for currently. But, we also feel there's more that could be done with the old EP, and that giving up on an investment isn't necessarily the best idea... but also chasing a dead one might not be either.   Sorry for the length of this email! Thanks for your time and always awesome insight.   Best,   Todd   ---   Tune in to hear the insightful discussions and answers to Todd’s questions.   Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop Want to get your band to the top of the charts with your next album release? Sign up for Mike Mowery’s “Release It Right” and “Unleash It Right” webinars at signup.outerloopcoaching.com ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Blasko and Mike dissect Paul Resnikoff’s article “The Young Persons Guide to Getting Into The Music Industry” via Digital Music News.  #1. Meet Anyone and Everyone You Can In This Business. Before you’re desperate for a job, before your loans are due, and before you need something from people, it’s critical to start meeting people who are actually working in the industry.  You will be investing heavily in your future network, one that will pay very rich dividends down the line.  So take a bus, ride your bike, take a Southwest flight, or just Skype it if you must, but get in front of as many people that are willing to chat. #2. Mentally Prepare Yourself for How Extremely Difficult This Business Is. This is an industry in extreme flux, and one that has seen a massive pie-shrink over the past 15 years. But that doesn’t meant there aren’t jobs and opportunities.  It also doesn’t mean you shouldn’t accept the challenge, simply that you should consider your risk appetite and ability to stomach extreme uncertainty.  #3. Chart Your Course, But Avoid the Obvious Choices. If you want a job at Spotify, fine.  But understand that everybody wants a job at Spotify, and Apple Music, and Shazam, and SoundCloud.  These are fun, hip, and connected environments that will impress your friends, but not if you can’t get in.  Do a little extra homework, and you’ll find all sorts of less obvious opportunities, which means less competition and greater chance for advancement once inside. #4. Read Everything. Of course, read Digital Music News everyday!  But also read everything else you can access, including publications and sites covering industry, music, culture, scenes, whatever. #5. Try to Get Real Industry Experience, Paid or Unpaid. There’s a huge amount of debate over whether unpaid internships are worth it (or even ethical).  If you’re slaving away on errands and busy work without meeting anyone or learning anything, then you’re definitely wasting your time.  But usually that’s not the case, especially if you’re taking initiative and getting college credit. #6. Develop a Mentor Relationship. So, how to you find a great, life-changing mentor?  Oftentimes universities have mentor programs, though you can also seek them out as you expand your professional relationships.  Typically there’s something you have in common, especially if you’re in the same field.  In the best case scenario, you have a great friend and ally in the professional world and beyond. #7. Learn How to Interview Like a Rockstar. For starters, get the basics straight or you won’t even be considered.  Resumes need to perfect and polished, cover letters triple-checked and polished. Also, double-check all of your social media accounts, and either shut down accounts or make them private.  Some people don’t care about some risqué pictures, other people totally care.  Then, make sure you survive quick online checks like a search on Google. After that, you need to start learning how to interview effectively, because like test-taking, successful interviewing is part talent, part learned.  Learn the most typically-asked questions, determine how to present yourself most effectively, and practice techniques for relaxing if you get nervous.  Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode Blasko and Mike take questions from listener Brandon on where to best spend time and effort as an independent band, how to get on larger tour packages, and benefits of an agent. Read Brandon’s letter and tune in to hear Blasko and Mike weigh in! --- Hi guys,   Love the show. I found out about it a few months ago and have since managed to binge all the episodes.   #1 I play for a rather noisy, chaotic hardcore band out of Phoenix, AZ  I've found that in promoting and booking shows for the band, we can cast a small net in the niche genre and have a pretty good conversion rate for new fans. That much smaller pool of fans however often has heard of bands within a similar style and aren't always the "die hard" ones that are attending every show and buying up our merch. The opposite is going for a much wider audience where fan conversion is a hit or miss, but when it works it's usually the first time that they've heard something of our type. So my question is, being an independent band without a big team behind us, where do you feel a bands time and efforts are best spent?   #2 Our band has been fairly successful in playing one off national shows in our region. It seems that the promoters and touring bands like us too as we continue to get asked back for shows. What we haven't found is how to convert that into touring as support for a larger band. Instead, we're normally out there doing DIY headliners or taking bands of equal or smaller pulls. So my question is, in your opinion what are some good ways to approach getting on larger tour packages? Is it truly all in having a tour agent and/or paying for the spot?   Thanks for giving artists an invaluable resource for this ever changing industry.   Have a good one!   Brandon --- Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

Article: 11 Things Millennial Musicians Just Don’t Get  https://www.digitalmusicnews.com/2017/07/27/millennial-musicians/ By Ari Herstand, author of How To Make It in the New Music Business, a Los Angeles based musician and the creator of the music biz advice blog Ari’s Take. Follow him on twitter @aristake In this episode Blasko and Mike Mowery discuss tips and strategies for how to succeed in 2018 as they dive into the following points made by Ari Herstand’s article “11 Things Millennial Musicians Just Don’t Get” and learn how to come out on top in the new year. 1) Spotify Plays Don’t Equal Fans I can’t tell you how many artists I see on Spotify with hundreds of thousands or millions of streams, but can’t get even 100 out to their local (or any) shows. Or get anyone to back their crowdfunding campaign. Or support them in any way whatsoever. These listeners are not fans of the artists, they are fans of the playlist these songs got included on.   2) Your Branding and Story Is More Important Than Your Music People judge you based on your aesthetic, story and image long before they hit play on one of your songs – if they even make it that far. Your branding (which includes your image, your story (!!), and really your overall aesthetic) are what non-musicians (bloggers) talk about. They ain’t talking about your drum tones, syncopated rhythms, plugins or mix techniques. 3) Your Follower Numbers Don’t Matter As Much As Your Real Life Numbers Don’t tell me how many followers you have. All I care about are how many fans you have who are willing to support your career.   4) You Don’t Have to Follow Musical Trends to Make it Don’t make music you think people want to hear. Make music that is meaningful to you. You can find your audience. Or rather, the audience will find you if you market it properly.   5) The Goal Is Not To Get Signed The Goal Is To Make a Living Doing What You Love If your goal is to get signed, then you’re going to miss. If after building your career on your own to a level where labels are begging to work with you, then, and only then, should you decide if it’s the best move for you.   6) If All Your Eggs Are in Instagram You’re Doomed Yes, Instagram is the hottest social app out right now. At one point the only online presence that mattered for musicians was Myspace. Those that didn’t grab their fans and transfer them to a database they owned (i.e. email list) lost contact with all their fans when Myspace died. Don’t ignore the social sites where your fans exist, but also have a way to keep in touch with them that isn’t dependent on the whims of the latest hot social app. Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop Want to get your band to the top of the charts with your next album release? Sign up for Mike Mowery’s “Release It Right” and “Unleash It Right” webinars at signup.outerloopcoaching.com ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week’s episode Blasko and Mike take on questions from listener and aspiring manager, Zach. His letter reads:   I understand there are "friend managers" that take on the title early in a band's career who are only in it to hopefully ride the coattails of their creative buddies' success...and not really deserving, nor qualified to take on the work and responsibility that comes with being a good artist manager as you've outlined in previous episodes.   I am referencing the up and coming artist manager who is in the trenches daily, fighting the good fight to break their client and handling all business aspects of their career as a champion of their music...The artist manager who is working to CREATE opportunities as well as manage them.   With that in mind, the band that I am working with has been approached multiple times in recent weeks by an independent manager as well as an established management company...both of which have bigger resources and better relationships that I could never compete with.    Personally, I would never want to hinder the growth of my client by becoming a barrier to conversations with potential partners due to my personal interests and fear of potentially being replaced...Also, I like to think that someone like me can be viewed as an asset to a potential partner...either way, I'm very interested to hear your take on it...   Blask and Mike tackle the questions:     Did either of you experience this type of situation early on in your careers when your management experience was limited? If so, how did you handle it?  What are your thoughts on co-managing a band? Are open to co-managing if you believe the person was right for the job?  Have either of you taken on a band who had a less established manager on their team?  Check out the article Mike references in regards to Lorde:  http://www.theguardian.com/music/musicblog/2015/may/19/oh-lorde-pray-leaving-your-manager-wasnt-a-mistake   Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop Want to get your band to the top of the charts with your next album release? Sign up for Mike Mowery’s “Release It Right” and “Unleash It Right” webinars at signup.outerloopcoaching.com ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com    Learn more about your ad choices. Visit megaphone.fm/adchoices

“9 Reasons Why You Aren’t Getting Signed” by Paul Resnikoff Article:  https://www.digitalmusicnews.com/2016/05/18/get-band-signed-within-two-years/ Author: https://www.digitalmusicnews.com/author/presnikoff/   In his article Paul Resnikoff interviewed a few industry executives to find reasons why bands are not getting signed today. Blasko and Mike will take you point by point through these reasons, give their personal opinions and real world experiences.   (1) You want it too much. The most interesting artists are the ones that don’t need a label, yet are most likely to get signed by one.  They have strong followings, great music, work hard (and usually tour), and can survive on their own.  In fact, labels often prefer artists that well-developed identities and mini-machines going, because it saves them the work of having to build something from scratch.  It also lowers their risk, which is huge in such an uncertain environment. More importantly, it also gives the artist far greater leverage in a negotiation, because the only reason they need a label is to get to another level.     (2) Your songs won’t appeal to broad enough group of people. There are definitely niche labels that focus on specific genres.  Nuclear Blast wants crushing death metal artists, not Jason Mraz look-a-likes.  But the bigger labels and publishers want big songs, because those get the most mileage across radio, TV, streaming, and touring.   (3) You aren’t getting real engagement on Spotify. If you’re buying plays on Spotify or paying for playlist inclusion, they can tell.  So it has to be organic, and it has to be real.     (4) You don’t have a strong, no bulls–t following on social networks. It doesn’t have to look like Demi Lovato, but there has to be something going on.  “The song is paramount, but I use a lot of other criteria to evaluate it,” said Ron Burman, president of North America at Mascot Label Group and a 15-year veteran at Roadrunner Records “If I go and check out their socials and there’s nothing going on, it makes me a little bit leery to get involved because we don’t have a huge machine so it means I’m going to have to start at zero.”   (5) Your little brother is your manager. A real manager knows the deal, he isn’t an amateur and he isn’t wasting anyone’s time.  Preferably, your manager has done this before.  “They’ll know the ropes they will do a better job of negotiation,“They’ll help you establish the right contacts, or already have them.   (6) If you do get signed, you don’t know how STAY signed. Artists that think getting signed means ‘making it’ are sorely mistaken.  Labels have always dropped underperforming artists, but the risk of losing a deal has only intensified over the years.  All of which translates into increasing the commitment and intensity after getting a deal, instead of slacking off.   Email any questions or comments to askblasko@gmail.com Find Blasko on Twitter and Instagram: @blasko1313 Find Mike Mowery on Twitter and Instagram: @mikeoloop ManageMental is part of the Jabberjaw Media Network. www.jabberjawmedia.com  Learn more about your ad choices. Visit megaphone.fm/adchoices