If you are in a band, chances are you’ve at least thought about getting a manager, or an agent, or both. But what’s the difference between the two? What do they do? And for that matter, does your band really need either of them?

When the term agent is used in conjunction with the music business, it generally means a booking agent. As the name would imply, a booking agent’s job is to book shows for the artists he or she is representing. In doing so, they negotiate minimum payments, the level of promotion, and make sure the bands technical needs are met (usually in the form of a tech rider). And after all of that, they get that all-important contract signed. And believe me, signed contracts are important, since they help to make sure you get paid. In some cases, they will also arrange for your accommodations, meals and transportation.

Booking agents should have pre-existing working relationships with venues and promoters that book, or are at least open to, your style of music. And as such, they can often get a band booked into a venue more easily than if the band were handling bookings themselves. But remember to have realistic expectations. The larger booking agencies will generally only represent acts that are signed to a major label and have at least national distribution. But there are plenty of independent agencies out there that will work with independent artists. Many, like Thunderdome Touring, will represent bands on a per-job basis, outside of their current roster of bands. Don’t expect to hire a booking agent and immediately be playing stadium shows, or receive $2,000 minimums; but, they can help you expand your band’s profile outside of your home market so that, hopefully, each consecutive time you return you’ll be able to demand more and have better turnouts, so that eventually you can get those larger minimums and play larger venues. If you are thinking of booking a tour outside of your area, a booking agent can be an immense help. If you are happy playing within your immediate area and have no desire to tour, then you don’t really need them.

Managers, on the other hand, do exactly what the name suggests: they manage the band. Their job is to make things work as well as possible. They should determine the longterm goals of the band, then create an innovative approach to raise the profile of the band and help them realize those goals. That can mean negotiating the best price for your merch, organizing travel and work visas, producing a press kit and press file (although, usually, they find someone to create it) managing band funds, distributing press releases to appropriate media outlets, and probably driving the bass player to rehearsals. Of course, these are all things the band can do for themselves and, at least initially, should do for themselves (except for the bassist. When is he going to get his license anyway?).

That said, having a manager representing a band can have its advantages for bands at any level. They can lend a sense of legitimacy to a band as far as media outlets, record labels and promoters are concerned. This allows them to develop relationships with these businesses that might otherwise have immediately dismissed you along with the rest of the unsolicited material that they receive. But again, you have to be working every bit as hard to get yourself noticed. There are only so many doors that can be opened by having representation alone. Once those doors are open, it’s up to you to prove that you belong inside.

So you when should you consider getting a manager? The obvious answer is: when you have something to manage. When you’ve taken your band as far as you can on your own, then a manager who has something to offer in terms of taking that next step is worth considering. Make contact with other bands that have management and get referrals. The best managers function as another member of your band, and as such need to get along with the entire band. They need to be included in band decisions. But again, don’t think this means that all you have to do now is write, rehearse and play. If you want to succeed, you need to keep working as hard as you did before. Their job is to do what you can’t, not what you don’t feel like doing. But at the same time, most of you are musicians, not business people, and as hard as you may work, there are certain aspects of the business side that a manager should be able to do better. Allow them to do what they feel is best from a business standpoint, but not without the band’s consent.

If you are extremely lucky, you might have a friend, fan or family member with the skills, time, dedication, determination and contacts to fill the role for free (or free beer). But like most things in life, you generally get what you pay for. Professional management and booking agents don’t work for free. Some will work on commission (usually 15-20 per cent) and some will work on a monthly or per-project rate. You have to determine what your budget is, weigh that against the potential benefit of hiring this person, and determine whether or not you feel it’s worth it. Research things thoroughly in advance and be careful of what you sign. You don’t want to be stuck paying a manager for six months after disbanding because you signed a two-year contract without any escape.

In the end, the choice is up to you. If you have worked your butt off playing show after show, have a professional quality record, but just can’t seem to get to the next level, then a manager or booking agent might be able to help you. And there’s an old saying in the music business that 80 per cent of something is a hell of a lot better than 100 per cent of nothing.

I’ll leave you with one last bit of information. Cannibal Corpse, who have released 11 albums over a span of 20 years, and toured constantly and worldwide, only hired a manager last year!

Now can someone give me a ride to rehearsal?

Contributor Terry Baldwin is the bassist for Calgary progressive metal trio Phantom Limb, and has numerous years performing, touring and recording experience in his guitar case.