BOBBY BORG
Bobby Borg Consulting
bobbyborg.com
Bobby Borg is a former major label, indie, and DIY recording artist. He is also the author of four widely read books: Music Marketing For The DIY Musician, Business Basics For Musicians, Five Star Music Makeover, The Musicians Handbook and over 1,000 magazine and blog articles. The founder of Bobby Borg Consulting, he helps artists and business professionals turn their art into a successful business. A life-long learner, Borg holds a BA in Professional Music from Berklee College of Music, certificates in Marketing Management, Project Management, and Instructor Development from UCLA, and a Master’s Degree in Communications from the University of Southern California.
In your books you’re big on the DIY (Do It Yourself) approach. Why?
Artists need to understand that there’s no other way when you’re starting out. They’re not going to attract the attention of people who can help them unless they help themselves first. They have to prove they have what it takes before anyone (especially someone with experience) takes them seriously.
You discuss three types of managers: start-up, mid-level and big-league. Can you explain the difference?
START-UP: Start-up managers are usually people with little or no experience. They may be a friend, a relative or a fan. They’re available to you, but expectations shouldn’t be too high. Although quite a few new managers grew with their acts and helped them become superstars—like The Rolling Stones’ manager, The Beatles’ manager and Dave Matthews’ manager (none of whom ever managed an act before), most will probably not last forever. You have to be realistic about it.
MID-LEVEL: Mid-level managers usually have some experience and connections. But, they usually look for acts that are about to break—either with a record deal, or something else that is significant.
BIG-LEAGUE: Big-league managers are at the top. They can make things happen. But, generally, they also have a roster of other acts that may be further along and making much more money than you are. Because of that, getting and keeping their attention can be difficult. I was in a band that had a lot going on and attracted a big-league management company. They repped Metallica and we thought we could tour with them. As it turned out we never got the tour we wanted or the attention we needed. Big-league management did not get us to the big leagues.
What should artists look for in a manager?
A manager should love the artist and their music. They also need to be driven, they should really want to manage an act. They should be able to create and take advantage of opportunities that help an act advance. You also want to avoid drama—so, having the same vision is very important. If you’re not on the same page, it’s not going to work.
How about hiring someone with experience—as a consultant or an assistant?
That could be worth it, if they get results. But, you need a strategy to make it work. The right person could be a wise investment, as long as you both agree on what needs to be done and how you’re going to achieve it.
What about performance guarantees in a management contract?
I like them. After all, you’re putting your career in their hands. You don’t want to wake up three years later with no results to show for it. That sucks.
Should the artist also have responsibilities?
Definitely. Managers are not magicians. Even if they work really hard, it may not happen if artists don’t also do their part. It’s a team effort, and there has to be some fairness in the relationship.
What should artists watch out for in prospective managers?
You don’t want anybody to BS you—you don’t want them blowing smoke up your ass. Watch out for big talkers that promise you the world—even if they have a big office with records on the walls. You want someone who’s going to be in it for the long haul, who’s going to stick it out with you, even during the tough times. •
