Musicians croon their opinions on having a manager
Dumisani Ncube | Wednesday June 24, 2015 14:28
There are those who choose to do everything for themselves, also known as “sole riders” and those who swear by their managers.
Some “sole riders” like Frank “Franco” Lesokwane continue to sustain their careers while writing their songs, producing music, and handling bookings and shows.
This is completely unlike others who after arriving on the music scene with huge potential, failed to live to expectations because of poor marketing.
A musician like Frank ‘Franco’ for instance, writes his songs, produces music and handles his bookings and shows but still continues to sustain his career.
He argues there is no need to find someone to do something that you can do yourself.
“Only if you cannot manage maybe because of time constraints, can you bring in a manager. I do not see the need to do that because I can manage on my own,” he argues.
But being a jack-of-all-trades is less popular in overseas countries.
Industry players are mostly sworn to the idea a musician can register measurable success and turn into a superstar and if qualified people perform different roles in the building and maintaining of his or her career.
In this context, a manager is regarded as a key figure in the set-up.
This is despite conflicts that always erupt between the artistes and their managers with nasty words like “I was robbed” or, “everything I did was in line with our contract, an usual occurrence in the tabloids pages.
Locally, the relative success of some “sole riders” like Franco have complicated the issue of whether having a manager is important for artistes.
Take two artiste managers, Selby Muir and Mischelle Gaofano who believe having a manager is the way to go if artistes are to grow.
“First and foremost, one needs to know that music is a business. An artist needs someone who will handle the business aspect while they focus on the music side,” says Gaofano an artist manager at Off Campus Events.
Gaofano argues managers are vital because they handle a number of tasks and roles such as branding, marketing and booking gigs for artists.
She says: “By doing so, the artiste is left with more time to concentrate on their craft.”
She argues that artists tend to lose track when they are getting more bookings, thinking they do not need managers anymore and they can make it without them.
She is however quick to note that a manager should be aware of certain elements that make an artists comfortable in their agreement.
She adds that as a manager, one should also be aware of the artist’s personal life including their welfare. “Above all managers and artists should have some mutual understanding and transparency between them,” says Gaofano.
She also advises artistes to be aware of the conditions in a contract before signing it.
The Contrabanditz manager Muir says an artiste needs a manager to helps them develop.
“Artists might have related skills such as recording, producing and writing their own lyrics, but they do need someone who will help their talent into a working brand,” says Muir.
He strongly believes that artists are capable of doing some of these roles, but they do need someone who can coordinate everything for them while they concentrate on the core business.
“Artistes need support, usually someone with experience and connections to grow their careers at an accelerated rate,” he says.
Afro-soul crooner, Lizibo says artistes only need managers at a certain stage of their careers. Managers should understand that they are the employees while performers are bosses, he stresses.
“When you are still starting out, you do not need a manager. It is only once you have built your brand that you need someone to manage that brand.
“Managers should understand that they are not the ones calling the shots. For instance, you find a manager who turns down gigs or agrees to some without consulting the artiste.
“That is wrong. There must be regular meetings because the artiste’s input is crucial in deciding his fate,” he says.
Dikakapa’s Moagi ‘Jumbo’ Lekone echoes Lizibo, adding that performers might lack the necessary negotiation skills and as such could end up charging less than their real worth.
“We have been charging P5,000 since 2006 and we are still charging that. Artistes need managers who can handle their deals.
“They are supposed to have the artistes’ best interests at heart. You can then hope that they will negotiate in good faith,” he says.
Dikakapa have been without a manager since their formation more than six years ago. Popular poet, Moroka Moreri now manages them.