How long have you worked in Management?

4 years.

Who do you manage now?

Eduardo De La Paz (Mix Engineer), Mark Broughton (Recording / Mix Engineer), Callum Pitt (Artist), Rye (Artist), Andi Anderson (Songwriter/Producer), Jamie Beth Balshen (Songwriter)

Where did you find your first client and what inspired you to take them on?

I started working with an incredibly talented artist from Morocco called Malak. Having a background as a producer, I started by helping her produce some demos and her single, Heather. I am always looking to the songs and the voice when considering working with anyone and Malak had both in abundance!

What does a good/bad day at work look like for you?

A good day is hearing new and exciting music for the first time.

A bad day is not finishing my to do list!

What has been the highlight of your management career to date?

It’s hard to pick a single moment, but I always feel a huge amount of pride when seeing my artists perform live. The immediate feedback you get from an adoring crowd is intoxicating! Although I have had no part in managing them, seeing artists that I have played a small part in developing early doors (such as Sam Fender & Ben Hemsley) achieve the levels of success they have achieved is an incredible feeling. Being able to stand back and watch them kill it is amazing!

Additionally, helping to create meaningful, creative partnerships between my clients and other artists feels very special. I love nothing more than introducing two creative people that I know are going to hit it off and create something class. I’m relatively new to management but I get a huge sense of achievement in helping facilitate great records.

What do you think are the big challenges for a manager in 2025?

Having to stay on top of the ever changing digital landscape is a real challenge for current day managers, especially in the emerging artist market. In many ways the markets have become more democratised and accessible but with that comes high levels of saturation. I think the great managers are the ones that can use this to their advantage and take full control and ownership of their artists’ audiences. As with any business, cashflow is king, so ensuring an artist’s growth isn’t hindered by the lack of funds is an ever-present challenge for managers and artists alike!

Why would you recommend the MMF?

I really value the community aspect of the MMF. Having a group of like-minded managers as a sounding board is incredibly valuable. I can’t begin to express how beneficial they have been to my career as a manager, especially in the early days. It’s just great to know you have up to date & verified information and resources to hand at any given time from such a forward thinking organisation. The Dissecting the Digital Dollar and Management Deals Guide are worth their weight in gold!

What music are you currently listening to?

I’m almost always listening to new music from artists on my roster and artists I work with in a wider sense.

Rye – new demos (Super excited about her new material!)
Callum Pitt’s forthcoming album (a work of art imho)
Polyvinyl (local Newcastle band) – forthcoming EP (mixed by the legendary Paul Gregory)

And here are some albums I’ve been really enjoying recently:

Loma – How Will I Live Without a Body
Chappell Roan – The Rise and Fall of a Midwest Princess
Lucia & The Best Boys – Burning Castles
The Weather Station – Humanhood
The Dawdler – Pursed Modern
Miso Extra – Ghostly