Canadian Musician - March / April 2018 - Page 11

As a manager, Chausse says he learned the immense impor- tance of intellectual property agreements. “If I’m building a brand or band, it’s understanding what I should be negotiating for intel- lectual property, because I am building that with that artist. So if we’re pulling them out of a garage and they’re going to have a career for 10 or 15 years, making sure you understand and have a plan and, shall we say, a business agreement as to what everything is and how all the intellectual property is related back to me as a manager. At the end of the day, I’m a business partner with [my acts], not just a manager, and management in this day and age is very, very different than it was 20 or 30 years ago,” he says, noting that the old model of the manager getting a 15 per cent commis- sion doesn’t work in the era of streaming micro-payments. “What if all of a sudden you get that song that 10 years later ends up in a Dentyne commercial or something and that’s the band that you found in a garage in Oakville, Ontario 10 years ago? Do you have a piece of that?” “One thing they really broke down off the bat, especially as a manager, is that a lot of the things we’re doing as managers are basically things labels used to do,” adds Colin McTaggart, an artist manager with Amelia Artists representing electronic duo The Funk Hunters, punk band No Liars, and singer-songwriter Luca Fugale. “Es- pecially with independent artists, we are wearing a lot of hats, and how can we manage that more effectively in what we’re doing?” As a mentor in the Phoenix program, Terry McBride, co-founder of Nettwerk Music Group and one of the most respected artist managers in Canada, was adamant that managers, labels, and art- ists need to pursue markets outside of Canada and that data ana- lytics (from Spotify, Shazam, YouTube, etc.) now provide the tools to do that smartly. Using Harpoonist as an example again, Wattie says streaming data has offered a wealth of useful information. “Using these analytics has given us a really great [understand- ing] of where their audiences are, which is not what we assumed it was. That is really strange. For example, I made the assumption, a kind of loose assumption, that I wasn’t sure how well they would do in France,” Wattie says, “and it shows exactly how wrong I have been.” Since November, after completing Phoenix, Wattie’s team at Tonic Records has been using analytics to target the band’s on- W W W. C A N A D I A N M U S I C I A N . CO M line presence, which has quadrupled their YouTube views in four months. Amazingly, 50 per cent of that growth came from France. “It’s good to know that I can look at that and not base it on my assumptions or what I think their audience is or where their audi- ence is.” The other key takeaway that Chausse, Wattie, and McTaggart stress is the importance of financial modelling. Unlike simple ac- counting, which is about the past, financial modelling is about planning for the future and using projections to work backwards from a defined goal. “From that moment, and it was only two-and-a-half months ago, I immediately made changes. Like instant changes to how we track our finances, how we are projecting for the future, and how our artists are projecting for the future,” says Wattie. “In fact, my goal is we’re all going to sit down and do this financial modelling together. I have almost all the data together that we need to put in there to do it and I think it’ll make a huge difference for all our art- ists, including the develo r'F7G2BW7BvfW2W2F6RF2F&VƗRVFW"vBvRVVBF6fW"bvRvBF&V66R6W"ЧFv2fW'7W2BvvrB'WBF6W'FFVw&VRvRfPBF6Rv2'WBBFR6RFR&VVvvrB&RF&VƗVBvRVVFVBF( ХFRf7VGb'F6G2bFR#pV旂&w&Ф7&726F֖Ɩ2&R7VBV6V"FVGV6FRB7WЧ'BW62'F7G2FB2fF7F2BԔ26VB6FVRFBЧf6FRf"'F7B7W'B&w&2BgVG2'WBB6VB6&PfbFRGW7G'&VBFR'F7G26( BvfrFVFR&W7@66Rf"7V66W72FN( 2vBV旂"FV6fR&w&0F&vWFVBB֖BWfVW62GW7G'&fW7626VBVvF( Ē&&VB&BF'&rF2F6FB&VƖWfRFP6FW62'W6W726VB&Vǒ&VVfBg&B( 624'&FP2vRVBW"6fW'6F( ĒfRFrFv'FrF0FW"FVFW'7FFrFBF26VBvfR6F'F7G0FR'GVGFfRrFW&7V66W72BFFB2vBFr( ФƖ6F2f"FR#VFFbV旂&R&Vr66WFVBg&Ф&67BF&Vv&7&BgVFWF2&Rf&RBwwrW66&2&r֖6V&R2FR6V"VFF"b6FW662BR22( "