Management talk…

Manager and label boss David Jaymes shares his view points on artist management…

How did you start your career in music and how did you end up in artist management?

I started off as a musician and after a really successful period of 8 years in two bands became a writer and jingle writer.
I then realised it is difficult to get your songs and music represented well and thought I should look at and take an interest in the business side.
This coincided with bands asking me for help so I eventually became a full time manager.

Which artists have you worked with in the past?

Jah Wobble, Mike Scott and the Waterboys, Beth Orton, The Drum Club, Rialto, Republica,Two Spot Gobi,Glen Matclock, John Renyolds , Justin Adams. Sunhouse, Ghostland, Sinead O Connor, Sharon Shannon, Damien Dempsey, Raglans, Morrissey and Marshall, Wolfgang Press, and many more

At what stage should an artist be looking for a manager?

No set time but there seems to come a time when you need someone other than yourself to advise, help and take over the organisation or at least assist. If you find the right person then go for it as good ones are few and far between. You must be able to trust them and depend on them.

What are the main 3 things you look for in a band before you consider adding them to your roster?

They need to be unique and brilliant or at the very least, very good indeed.

They need to be self starters and display that they have brought their music and band up to a certain stage. If they totally rely on managers and labels they are not motivated correctly.
They need to be doing an awful lot themselves especially in these days of social media.

I need to love the band or the music and preferably both.
If I don’t love the people I am no good as their manager. That’s just me though.

Which area do you find the most challenging part of breaking a new act?

Getting deals, agents and profile in the media.
To be honest it is all very challenging and extremely tough and when people say how did you break this act I forget as every path is unique.
Tough question for me to answer

How necessary is it now days for bands/artists to have a complete product (in terms of recordings etc) when approaching management?

I think the more you have the more likely to get a manager but then occasionally there is someone or a band who shine through and you know they are brilliant and you have no doubt they can go the distance.
But the more you have going for you the more people generally will take interest and it is important that you ie the band have a plan whoever is or is not involved.

What has been the highlight of your career as a manager personally?

Huge hit with Republica (Ready to go) in the US.
Many more highlights but that sticks out as we were touring as unknowns and as the days went past they became starts over the duration of the tour