Die Entwicklung eines Teams – Rat einholen, einstellen und entlassen

Building a Successful Team in Music

At the very beginning, there were no such things as teams. I did my own makeup, my own styling, my own production, I chose my own material, and I did my own tour managing. I did it all myself.

Learning Through Experience

I learned through trial and error how to do everything. However, this experience showed me what I needed in someone else because I gained insight into the jobs involved.

• Delegation is Key: I feel like I need more people doing a little bit less, with more diversification in the team to fill in those gaps.

One of the best pieces of advice I received was from Richard Branson. When I asked him, "What's the secret of your success?" he replied:

"Delegation. If you can find somebody who does something better than you, get them to do it."

That was the best advice.

The Beginning of the Journey

We started with five of us and quickly attracted a following in Oxford.

• Chris Hufford, the owner of the local 24-track studio, approached us saying, "I want to record you."
• He had a partner he had been in a band with called Bright Edge. Initially, they just wanted to record us and press 1000 EPs.

They began taking the tapes out to record companies. We realized we needed management. After visiting various management companies and not feeling right about any, we suggested:

"Why don't you guys manage us?"

And that's where it all began.

Building a Team

We quickly secured an agent, Charlie Myatt, who has been with us forever, as has our road crew. It's crucial to choose the right people; everyone you pick is really, really important.

Early Challenges

I signed my first contract when I was 16. I was underage and had no legal advice. My father had to sign it for me. He was a lovely man and a welder, but he didn't understand the law or the music business, which was still relatively non-existent back then.

The manager at the time came to me because I was discovered by a guy named Adam Faith, who was an established artist:

• Adam wanted to manage me himself but, due to his busy schedule, he did it through her, leading to double percentages, both for her and for him.

Importance of Legal Support

The most crucial person for me has always been a lawyer. Those bits of paper, the contracts, can either enable or disable you.

• Be sure they are flexible and suit your needs.
• It's important to conduct thorough due diligence on any contracts.

When we had a management contract, we reached out to who we believed was the best lawyer at the time, John Kennedy, back in '92.

"Listen, we don't have enough money to pay you now, but when we secure a recording contract, can we pay you then?"

He agreed and handled all our legal matters.

Managing Conflicts

When conflict arises, it's essential to maintain respect and listen to each other.

• If you can't see eye to eye, you may need to part ways. Relationships that don't allow you to be yourself may need to end.

"Managers are very reluctant to let artists go. It's a bit like farmers who don't like to part with any land, even if they don't want it anymore."

When an artist decides to move on, it can become challenging. You must be clear-headed and understand that clinging to a relationship that isn't moving forward benefits neither party.

Handling Breakups Gracefully

I don't prefer to handle breakups face to face. I communicate directly to say it's over, then ask someone to follow up to ensure the other party feels respected.

It's crucial to maintain a feeling of gratitude for everyone who has been part of your journey, even if experiences weren't positive:

"If you're a truly creative person, you will learn even from the rough stuff."

Keeping this mindset fosters joy, allowing you to remain an artist with something to give.