Canadian Musician - January / February - Page 11

THE STUDENTS & FACULTY OF THE 2017 PHOENIX PROGRAM Tash Sultana were there. What they got out of that has had a huge impact on that art- ist’s career and now you have an artist who can sell out 1,500- to 2,000-seaters almost anywhere in the world and has done maybe 100 million streams. An indie artist from Australia! You know, the only success that Canadian artists mostly have is that they are managed by managers who aren’t in Cana- da, get signed to a major label, and have top 40 success elsewhere.” The Australian and New Zealand pro- gram was created by Mariel Beros, a film producer who first created a program for the film sector before a government bureaucrat familiar with the music industry told her that it needed something similar. “We’re also tar- geting mid-career [professionals], not entry level and the things that we focus on are not about the nuts and bolts of the music industry; it’s how to do what you’re doing better. We examine the various business models that occur within the music industry, but also the other great creative industries and outside of that, too,” explains Beros. “The main question I get the advisors to ask ev- erybody is, ‘Why are you doing what you’re doing and why are you doing it that way?’ Then the final one is, ‘What if? What if you’re doing it differently, how is it going to impact your bottom line?’ The final one is on finan- cial modelling and we differentiate between financial statements and financial modelling. One is about the present state of affairs and the past, and one is about the future. What if you tour on this, this, and this date, and this number of venues and stuff, how is that going to affect your bottom line?’ We also do a lot of reverse engineering, looking at where you want to be in two years’ and five W W W. C A N A D I A N M U S I C I A N . CO M years’ time. So work backwards, what are you going to have to achieve to get there in that timeframe? So we look at the milestones you need to hit, as well. So it’s not rocket sci- ence; it’s common sense, but the thing is it’s like, in the music business or any other small business, you’re so busy working in the busi- ness that you often don’t have time to work on the business.” Young Canadian managers and label owners, according to McBride, are “all fo- cused on working in the business. They’re stuck in the weeds and they’re not work- ing on any strategy. They’re being reactive versus being proactive and they really don’t understand what their business is, what the potential of their business is, and where they should be spending their time, ef- fort, and energy that not only benefits the artist, but also benefits them. They’ve had no formal training. They’ve had no one sit down and mentor them.” He says the Phoe- nix model is what’s needed across Canada as it’s the equivalent of an executive MBA program tailored to music professionals that covers everything from business de- velopment plans to financial management and data analytics to psychology. “It gets into the strategies and it also gets into the data, so you basically know where to put your energy,” says McBride. “There’s a way within the streaming world to see an outlier and to create a hit and have it travel the world. Right now, that expertise, frankly, sits mostly inside the major labels, but it doesn’t need to. I mean, if I think of what [Nettwerk] did with Passenger, it was that exact same strategy. As managers, what we did with Mike Posner. Th N( 26VPFBVfW'6FBBvfR&N( 272&W@BvRB7G&V֖r'vBvPB6֖r'W76BF0FW"vRBV&W"RBvF( ĒF&( vF"&ƖW27G&V0&VBFRv&B'WBBFFBvЦVFvR6FRג6FrW7FǐvBFFvFBFBW7VǒFW2@W7BWG6FRbFR"&V2( ХFrFBGRbvVFvRWG6FPFR"&V2B7&72FR6VG'2FRvf"w&vrBW62$2( ĒFFFǒFBFW&R6VB&R6P6W6fRF6( BFW6( BGFW b^( &RF&Ff6WfW""Ɩfv^( &Rv&rvFFR6RGW7G'( v^( &R&r6VG'B6RvPbF2v2'&VvBFǒBR7F'@FFW'GvRvF6VRg&f6RЧfW"B6VRg&Ɩf( w&vr62( V6rFB7GVfbFvWFW"vǒPFRGW7G'7G&vW"g&&fW76WfVvvR6&GV6R27G20vRvB'WBbFRg&7G'V7GW&R2BFW&Pg&FRGW7G'( 27FGBFVv^( &PFrW'6VfW2F76W'f6RBF&R&PFG&FVFFRFw2Fv&WfVऒFN( 2w&VBFB6R'F7G2RFV6Ч62FfRVgֆGFW"vW'2FPR2&V6W6RFWFFN( 2FR7vW"'WBBFW6( BfRF&RFR7vW"B6V@&RVr&vBW"v6VG'@FW6RF2BFW6( B&VǒGFW"vW&RP&SFRv&B2F6RVVB2FW6BR'WBRrFR֗2Ч6BFRvW&R2FfR7G&pGW7G'v6vRF'WBFvR6V@FB&RFV6RBVWF6P&fW762W&RFW&R&RG2bG&2ЧB6F2&VBFRv&RFprFw2BN( 2&2FBFW&R&PBbVg&FW'2BvVG2WfW'ЧvW&R'WBvRbvRvW&RFVWF6PW"R6VG'( Фf"4'&FRRvW2FBbRЦ旂V6VBV'2v( ĒFPvVBfRC"S&RvW'2@&V6&B&V2FBvVB&R&R7V66W72ЦgV&Rf7W6VBVrV6FW"B^( BfRV6&WGFW"'W6W706VGVFW&VFF6R'F7G22FP7W'B77FVFR7BWFR'BЦ7G26VB&R&fVB( Ф֖6V&R2FR6V"VFF"`6FW662BR22( "