Published on: September 05, 2024 01:23 (EAT)
The music industry is a vast and multiplex landscape, with many different moving parts.
At the heart of it all is the music itself, but there are also the managers who help to guide artists’ careers, the labels that release and promote their music, and the live venues, the streaming platforms, the fans and promoters who stage their shows.
All these different elements come together to create an ecosystem in which each player has a role to play – and each role has to be masterfully executed in order to achieve a wholesome result.
And while there can be conflict and competition between those different players, they ultimately share a common goal: to make great music, get it out into the world and, of course, make money.
The rise of streaming platforms like Spotify, Boomplay, Audiomack and Apple Music has upended traditional models of how music is consumed, purchased and distributed.
And while this has created new, uncharted opportunities for artists, it has also made it more difficult for them to earn a living from their work – therefore, putting even more pressure on managers to help their clients find success in an increasingly challenging – and dynamic – environment.
That, and several other factors, determine how an artist manager is supposed to guide their artist, find success for them, ensure that the money is balanced and also, grow their career.
Loice Mwangi and Gift Nasimiyu are two music managers who have walked the path of managing Kenyan artists and understand the complexities of the game.
According to Loice, unlike in the American market, Kenyan managers do not necessarily change your entire personality and look – they just encourage you to be yourself.
“Here, we do not seek to change the artist or overhaul their look and feel,” Mwangi says. “We just ask you to be yourself. Maintain your authenticity and originality. We just come in to help you spruce up on your look and sound, as managers…”
The two music managers, currently working at CMG Records, say that one of the biggest challenges they’ve encountered is having to exist in an industry dominated by men and also, having to deal with egotistical artists who, soon, appear to outgrow their management.
“Being a woman in this industry is not easy. Some artists do not respect you while some might even want to take advantage of you,” Nasimiyu says.
“You’ve just got to develop tough skin and face the business with professionalism and soon, they will see your value and respect you regardless of your gender.”
About an artist’s ego, Mwangi says, “At first, you may start off with an artist quite well. After a while though, they might grow and their brand gets bigger. This artist now starts to disrespect you and doesn’t approach the business with the same humility anymore. This can really strain the work and hurt their brand too.”
Mwangi also emphasised the need for an artist to properly understand the contract for avoidance of future legal complications.
“I don’t think a manager is to be blamed for the poor interpretation of the contract by an artist,” Mwangi argues. “One needs to take their time to understand the contract in order to know what is in store for them, what the manager is entitled to and what to do in case of any legal misunderstanding.”
“Yes, it’s possible and legal for management to own your YouTube channel,” Nasimiyu says. “It all depends on the contractual obligations. Did you read the contract properly? Did you seek sound legal advise? If yes, then we should not be witnessing these ugly fights in the tabloids.”
She adds, “Also, revenue sharing highly depends on what you initially agree upon. There are record labels which pump in alot of resources into an artist’s growth and development. Surely, you cannot expect them not to reap adequately when the money starts pouring in… “
Is the business lucrative? Mwangi says that she did not go into artist management for the money but for the love of it.
“You have to be passionate about what you’re doing. Passionate about watching an artist grow from scratch, seeing them rise to the top and become a success. I think that’s where the greatest fulfilment is. Not the money…” she says.
And on artistic identity, Nasimiyu urges Kenyan artists to understand themselves, identify their own sound and follow their own path.
“Don’t be a follower. Be a leader. Find your own sound, your own voice, your own identity. Otherwise, you’ll be swallowed up by a wave and it will be hard to stand out and be seen,” she advises.
Currently, the two music managers are involved in various projects involving several up-and-coming artists and content creators. They’re also involved in the artistic directions and productions of some established stars including veteran rapper CMB Prezzo and sensational lyricst and rapper Kristoff.
