Termination
With
Judge JulesJudge Jules explains why getting out of a management agreement is rarely simple, and the consequences of terminating one.
What's in the course
46 lessons (1h 6m) · 1 free
01. Accounting
Free lesson1:16
02. Termination
You are here1:29
03. Collection societies and letter of direction
0:26
04. Commission structure
2:32
05. Cross platform-multimedia aspects
0:39
06. Expenses
1:10
07. Key man provisions
1:01
08. A manager's obligations
2:33
09. Post term commission
1:30
10. Should a manager be involved in all aspects of an artist's income?
1:40
11. Term
1:46
12. Should a manager manage more than one artist?
1:24
01. Accounting payments and auditing
2:18
02. Ancillary shares
1:58
03. Artist approvals
1:51
04. Artist promotional obligations
1:50
05. Assignment or licence - what's the difference?
3:17
06. Interplay with publishing
0:51
07. Options
1:39
08. Release commitment
1:26
09. Rights in the artist's name and brand
1:26
10. Royalty types
1:20
11. Territory of agreement
1:54
12. Warranties and indemnities
1:37
01. What are the most important areas of a contract for a new artist?
2:11
02. Is it normal that a music lawyer would meet me and listen to my case before charging me?
1:15
03. If a label, publisher or manager approaches me to sign a contract but I dont have the funds to pay for a lawyer, who should pay the legal fees?
1:20
04. Are 360 degree deals good value for an artist?
1:14
05. Am I still protected when it comes to copyright in the NFT or the crypto world?
0:26
06. Should I be wary of a publishing deal?
1:02
07. What protection exists for artists releasing their own music that don't have access to a lawyer?
1:03
Lesson transcript
Navigating Management Agreements in the Music Industry
It's frequently very difficult for an artist to get out of a management term without consequences. The reality of a management agreement lends itself to this challenge, as its greatest benefit is also a potential source of conflict.
The Nature of Management Agreements
- The agreement typically explains, in quite microscopic detail, how commission is apportioned.
- This detailed commission structure can act as a metaphorical tool for the manager to leverage against the artist if the artist chooses to leave.
The Manager's Perspective
As a manager, both practically and legally, you cannot force an artist to be managed by you.
- All you can do is take the management agreement and say, "Well, okay, you can leave, but this is what you're going to have to pay me to facilitate that happening."
- This situation often turns into a bit of a haggle.
In legal terms, we might refer to this as a settlement, but ultimately, it's a negotiation.
The Negotiation Process
When addressing the management agreement:
- The manager might state, "There are X amount of months or years left in the management term."
In response, the artist might argue:
- "I can't possibly give you all the commission you might have received during that period, because how on earth could I appoint another manager if I won't have any money to pay them?"
Thus, they meet somewhere in the middle.
The Potential for Conflict
While there is always a potential for negotiation, the process can become acrimonious.
- Some lawyers may be appointed to suggest that the manager hasn't done a great job.
- Meanwhile, the manager may be absolutely appalled at the suggestion.
Hope for a Resolution
Here's hoping there is a deal to be done. This negotiation process is typically the way out of any management agreement.
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Meet your guru
Meet your guru
Jules O'Riordan has over 30 years of experience across the entire spectrum of the music industry. This includes nearly a decade as an A&R for the Universal umbrella of labels, 15 years as a presenter on BBC Radio 1, over 150 record releases and remixes in his own capacity as a recording artist, plus a 30-year career as one of Britain's best-known, globally-travelled DJs (Judge Jules), with over 5000 gigs under his belt, plus extensive experience as an event promoter and artist manager at the highest level.
Suffice to say, Jules knows the music industry inside-out, and his clients regard him as a trusted advisor for whom no legal or business affairs challenge or problem is too large or small.
Jules has been a lawyer for 10 years. His practice takes in the entire breadth of the music-focused entertainment industry. His legal and deal expertise includes management, recording, publishing, distribution and label services, music-based apps, games and tech projects, production deals, producers, featured artists, endorsements, merchandising, neighbouring rights, TV/film scores, live performance, events and venue agreements, plus copyright and rights infringement and many other disputes.
Jules's clients include artists, management companies, record labels, songwriters, event promoters, producers, music tech businesses, production companies, live agents, music publishers and DJs. He has spoken on many panels and seminars including ADE, Brighton Music Conference and AIM events, and has been a guest speaker on legal issues across a number of on and off-line media outlets, including BBC Radio 5 Live, BBC Introducing, Financial Times, The Sun, The Times and Mixmag.
Jules speaks fluent Spanish.
Who better to demystify the contracts and deals every musician eventually faces? In his course, Jules turns three decades of hard-won industry knowledge into plain-English guidance, so you can understand the business side of music and protect your work long before you sign on the dotted line.
