A guide to artist management contracts should begin with a simple truth: a manager can become one of the most significant people in an artist’s working life. They may help shape releases, touring, collaborations, budgets and long-term decisions. That makes the agreement more than paperwork. It is the practical record of a relationship that needs clarity, trust and fair incentives on both sides.
A promising artist can feel pressure to sign quickly when somebody offers connections or momentum. Resist that pressure. Good management is built for the work ahead, not the excitement of the first meeting. Take independent legal advice before signing, particularly where the agreement gives a manager rights over income that has not yet been earned.
What an artist management contract should do
At its best, a management contract sets expectations. It says what the manager will do, what the artist will do, how money moves, who can approve decisions and what happens if the relationship ends. If either party cannot explain those points in plain language, the document needs more work.
The manager’s role should be described with enough detail to be meaningful. Broad phrases such as “advisory services” or “career development” can be useful, but they should not be a substitute for a shared plan. Will the manager seek live opportunities, negotiate deals, coordinate a release campaign, oversee social channels, pursue sync, or simply offer strategic support? The answer will vary by career stage.
An emerging artist may need hands-on development and regular planning. An established artist with a label team, booking agent and accountant may need a manager who coordinates specialists rather than doing every task personally. Neither model is automatically better. The agreement should reflect the actual work.
Commission: what is the manager paid on?
Commission is usually the clause artists read first, and rightly so. A manager is commonly paid a percentage of the artist’s income, but the crucial issue is the definition of that income.
A fair agreement identifies whether commission is calculated on gross income, net income, or a specifically defined version of adjusted gross income. It should also state which income streams count. Recording royalties, live fees, merchandise, publishing, brand partnerships, advances and digital income can all be treated differently.
Commission on money that never reaches the artist is a frequent source of conflict. Consider tour income, for example. A headline fee may look healthy, but venue costs, crew, transport, accommodation, support acts and production can leave very little behind. Whether management commission is charged before or after certain direct costs needs to be explicit.
The same applies to physical releases. Independent artists and labels carry real costs in pressing vinyl, manufacturing CDs, artwork, storage, postage and campaign work. A contract should not blur the difference between turnover and genuine artist earnings. Artist-first operations work best when everyone understands where the money is going, and why.
Ask for clear exclusions too. Existing income, money earned before the agreement, income from a separate business, and funds that are merely passing through the artist’s account may not fairly belong in the manager’s commission base. If the manager did not help create or administer an income stream, discuss whether commission is justified.
Term, options and the right to leave
A long initial term can trap both parties in a relationship that is not working. Early-stage careers change fast: a manager’s capacity, an artist’s needs and the size of the team may all look different within a year.
A sensible contract has a defined initial term and a clear renewal process. Avoid automatic extensions that occur without active agreement, especially if they are triggered by vague measures of success. If options exist, establish who holds them, how they are exercised and what conditions must be met.
Termination provisions matter just as much as the start date. Both artist and manager should have a route out if the other party commits a serious breach and fails to put it right after written notice. There may also be situations where a no-fault exit after a notice period is reasonable. That can feel less dramatic than forcing a failing partnership to continue until somebody loses patience.
Watch the post-term commission clause
Post-term commission, sometimes called a sunset clause, allows a manager to receive commission after the agreement ends. It can be fair where the manager secured a deal or built an opportunity that continues to generate income. It becomes unfair when it reaches too widely or lasts too long.
The clause should identify the specific deals or income it covers, reduce over time, and end on a stated date. It should not quietly give a former manager a permanent stake in every future creative decision. A manager deserves payment for value they created; an artist needs room to move forward.
Authority, approvals and control
Management is not ownership. An artist should be clear about what authority, if any, they are giving away.
Some agreements permit a manager to negotiate offers but require the artist’s written approval before signing recording, publishing, live, sponsorship or finance agreements. That is generally a sensible distinction. A manager may be trusted to open doors and handle conversations, while the artist remains responsible for major commitments made in their name.
Be especially careful with powers of attorney. A limited authority for practical administration may occasionally be needed, but it should be narrow, time-limited and easy to revoke. It should never become a blank cheque for someone else to bind the artist to major obligations or control bank accounts without meaningful oversight.
Decision-making should also cover branding, release schedules, use of name and likeness, collaborations and spending commitments. Creative disagreements happen. A contract cannot prevent them, but it can make clear who has the final say.
Expenses need limits, receipts and consent
A manager may incur costs while doing their job: travel to a showcase, campaign materials, professional advice or hospitality around a genuine business meeting. Those costs should not be unlimited simply because they are described as expenses.
Set a spending threshold above which the artist must approve expenditure in writing. Require receipts and regular statements. Decide whether costs are recoupable from artist income, absorbed by the manager as part of their commission, or handled case by case.
The distinction is particularly important for independent artists working with tight release budgets. An artist should not discover months later that their first royalty payment has been swallowed by undefined “development” charges. Transparency is not bureaucracy for its own sake. It protects the relationship when money is scarce.
Accounting, records and conflicts of interest
The agreement should say how often the manager accounts to the artist, when payments are made and what records are available for inspection. Quarterly reporting may suit an active project; less frequent reporting may be enough for a smaller operation. What matters is that the artist can see income, deductions, commission and unpaid amounts without having to chase.
Conflicts of interest deserve direct treatment. A manager might also run a label, publishing company, events business or production service. That can create useful opportunities, but the artist must understand when the manager is acting in more than one capacity and how fees are being earned.
Insist on disclosure and informed written consent for related-party deals. Where possible, allow the artist to obtain independent advice before entering a deal with a company connected to their manager. A connected business is not automatically a problem. Hidden incentives are.
Make the contract match the people
There is no single perfect deal. A new manager investing substantial time in an unknown project may reasonably ask for different terms from a manager joining an artist with an established audience and income. The question is whether the balance feels proportionate, understandable and capable of surviving a difficult conversation.
At Last Night From Glasgow, the belief is straightforward: sustainable music careers are built through fair pay, clear expectations and a community that values the work. A management agreement should carry the same principle. Read it slowly, ask awkward questions early, and take advice from a solicitor experienced in music business agreements.
The best contract leaves both sides knowing what they are responsible for when the work gets busy. That is not a lack of romance. It is what gives a creative partnership the chance to last.