For the nominees, there is another dimension to this evening that provides a strong incentive to show up—the GRAMMY® Gift Bag. These luxury packages contain all sorts of goodies that the recipients may enjoy, even if they lose. The 2023 package had a total cash value of $60,000 and included everything from robotic pool cleaners to Swarovski crystal flip-flops. If you’re unaware of the celebrity gifting practice and are thinking this is another case of the rich getting richer, understand that the ventures giving away their products do so because the advertising they get from having a star use their brands more than makes up for the cost of the items. 

Although last year’s stash boasted treats such as wine and a voucher for $10,000 in arm liposuction, the latest edition includes new jewelry from Grossé. This ornamental option began in 1907 in Pforzheim, Germany by Heinrich Henkel and his brother-in-law, Florentin Grossé, starting life as part of a watch repair store. In 1937, the company was awarded the gold medal at the Paris World’s Fair. Then came the relationship with French fashion designer Christian Dior, starting in 1955. It was the beginning of a 50-year partnership that helped spread the brand’s popularity all around the world. 

The company’s baubles became even more sought after once the day’s luminaries began wearing them. Film star Marlene Dietrich, for instance, adored their designs so much that, according to legend, she once bought everything in their New York warehouse. Greta Garbo was also a big fan. Incidentally, Grossé jewelry was part of the 2023 Academy Awards gift bag. 

But this isn’t the first time Grossé has been featured as part of the GRAMMY® Gift Bag. The designs were first introduced into the swag pile in 2011. A selection has been included every year starting in 2017, with 2024 being the eighth time in total. 

Yuki Takizawa is the PR Director for the jeweler and handles their two brands, EINS by Grossé and Grossé Glacé, their more casual line. Working in the jewelry business is something she always wanted to do. Being part of a family business is just icing on the cake. As far as what it is that keeps customers returning, she believes it’s Grossé’s prestigious history, top-notch quality and beautiful looks that make the difference. It’s also what keeps the GRAMMY® Gift Bag deciders coming back for more. 

 Notably, Grossé jewelry is technically costume jewelry, although it isn’t the sort that’s made of cheap plastic. This label simply means that they do not use pure gold or silver. Sale prices range from $200 to $10,000. 

Whatever its purity, it looks stunning under stage lights. “Celebrities wearing Grossé at the massive Crypto.com Arena look even brighter than those wearing fine jewelry,” Takizawa insists by email from Japan. “One of the main reasons they choose us is because they can concentrate on their performances with peace of mind.” That said, Grossé jewelry is equally suitable for those who do not spend their days in the spotlight. “It is a great honor to be loved by celebrities, but it is also important for us to have people wear Grossé jewelry in their daily lives.” 

The fact that these pieces have less monetary value in comparison with other jewelry makes it ideal for wearing during shows. Should a piece get lost because a performer is feeling the moment and getting physical, it will be less of a crisis than if a much more expensive earring or brooch were to go missing. Grossé jewelry is also especially durable. The company uses advanced technology to create six layers of coating, so it is practically guaranteed to last a good stretch. Some items from Grossé’s early days are still in the company’s possession, and these pieces continue to shine as if they were just made. Says Takizawa, “Our jewelry is art that will last for generations.” 

One might wonder if Grossé’s designs are out of step with modern aesthetics. After all, it is reasonable to imagine that a 117-year-old fashion company is missing the boat on what today’s customers crave. Shoppers need not fear. “Grossé has created a variety of jewelry in line with the times,” writes Takizawa. Although their selections lean extremely feminine, that’s changing. This year’s GRAMMY® inclusions will feature gender-neutral products made of platinum and silver. 

Readers who want to see what the company has on offer are encouraged to go to their website and browse their extensive array of bangles, necklaces, rings and more. “We have a wide selection of items, including a revival of archive collections from the 1930s, as well as simple and sophisticated jewelry that matches modern trends. 

“Grossé jewelry is created through extensive research by masters and has a beautiful shine that differs from other costume jewelry,” she continues. “Our jewelry is even stored in famous museums such as the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London.” 

Grossé’s wearable treasures are ideal for performers at every level, from Beyoncé on down to the beginning artist making waves in a local coffee shop or competing in talent showcases. Its durability, incomparable shine and affordable price tag make these trinkets a solid choice for those with refined tastes and sensible budgets. If you’re looking for a fashion statement to grab the audience on your next tour, consider adding a piece or two from Grossé to your wardrobe. 

Yuki Takizawa

yuki.takizawa@grosse.jp, grosse.hk

Amuse 

Years with Company: 5 

Address: Kammakargatan, Stockholm, Sweden 

Web: amuse.io 

Email: erik@amuse.io 

Publicity: Jeff Kilgour/The Syndicate, jeff@thesyn.com, 917-678-4420; 

Brendan Bourke/The Syndicate, brendan@thesyn.com, 347-564-2927 

Clients: Yot Club, Vundabar, Bedroom, Emei, 80purpp, Serhat Durmus, Mind’s Eye, Ryan Mack, Brooksie, Slowshift, Confetti, Penelope Scott 

BACKGROUND 

When Erik Ljungqvist moved back home to Stockholm from London, the change was prompted by twin desires—to start a family and to join Amuse, the digital music distribution service that’s been disrupting the industry since 2015. Additionally, the company offers licensing deals, operates its own label, and provides artist financing. 

An Amusing Concept 

We were built on the idea that we can leverage data from our distribution platform to identify music with momentum at an early stage. We want to build artist-friendly services for the DIY and independent artist communities and really support them. Our services stretch from supporting an artist that might do a few thousand streams or less per year to an artist who does billions, with the artist staying independent. They set the direction; we’re merely there to support them on their journey. 

Using Data To Identify Rising Stars 

We sign people to our distribution platform and, if they start to grow, we spot that early on. We can help them understand what they should do next. We’re very good at understanding what the artist needs. 

We get lots of data from the streaming services but also social platforms like TikTok or YouTube. We have advanced algorithms and an advanced machine-learning system that can spot tracks picking up momentum. 

Distribution Tiers 

We have a tier called Start, which is free. It gives access to any artist to distribute their music. That’s for the beginner artist, usually. If you’re not rich or sure how to do it, you can join us and get a taste. 

And then we have two paid tiers, Boost and Pro. Boost is the middle tier, where you get access to a few advanced features. And then we have Pro, which is the premium tier aimed at artists who might have a team or multiple projects. 

Also, with each tier you go up, you get faster support and are able to push yourself quicker, etc. 

Data Crunching With Insights 

We launched Insights earlier this year [2023.] We work continually to improve it. It’s important that you don’t just look at it as data. We help you do that. We try to show where users are coming from. Are they listening to music organically or are they listening to music through playlists? Where are they? I think we are the only service that displays TikTok data. We also show YouTube content ID data. 

The important thing for artists is to have a presence wherever their listeners are. If their fans are on a Discord channel, they should try to do something for that. If they see a lot of listeners appearing in a certain city, it might be a good idea to advertise in that region. 

Remote Mastering Services 

Few people can hire a mastering engineer, because it’s expensive. And mastering is a tricky process. We are partnering with a Norwegian startup, Masterchannel, which has built A.I. tech around their mastering service. We are offering that service to our users. 

A.I. is taking big steps and can give you really nice results in a short time with no effort. If you pay $5 to get your track mastered and do ten tracks a year, that’s $50. That’s significantly less than buying a software program or hiring a mastering engineer. And you can still get really good results. 

Flexible Funding 

We have two advance products, one of which is Early Access. You get access to your money earlier than you would. Normally, you’d have to wait around three months. We can shorten that by approximately two months. 

And then we have Fast Forward. It’s an automated advance that predicts how your music will perform and calculates an advance on that. It’s tailored to you. You still control your rights; we don’t own your masters or anything. You recoup across your whole catalog, so if you take a Fast Forward offer today and upload ten new songs tomorrow, all of that will count toward your recoup, so you can recoup faster. 

Early Access can be from $5 up to a few thousand. With Fast Forward, you can go a bit bigger. We have our licensing business, which is more manual but still tailored to how you’re performing and what you need. We can cover a wide range of artists’ financial needs. 

Financially Fueling Careers 

When we launched Fast Forward, we had a band based in Ireland, Blue Americans. They wrote to us and said that offer made it possible to pay for flights and accommodations to London for a gig, which they would not have been able to afford. That’s a prime example of what we are trying to do—give [artists] cash they need at that moment so they can accelerate their careers. 

Playlist Pitching With Groover 

There are multiple things you should do [to promote yourself,] but playlist pitching is one of them. And you can pitch to playlists through a service like Groover. 

With Groover, you’re not paying to get your music onto playlists. You’re paying for the ability to pitch it. You should always be wary of services that say they guarantee a spot on a playlist, because the likelihood of it not being organic is high. But with Groover, they’re real playlists. They look to make sure they’re not bot-driven or that there’s no stream farming. 

More Than Distribution 

We don’t see ourselves as only a distributor. We see ourselves as a music company that builds artist-fan services for the independent community. And we use data to identify music that has momentum at an early stage. So for us, it’s not only about distribution. That’s almost a means to an end. 

With other distributors, their singular mission is to be a distributor. Ours is that, but we have the distribution service so we can identify growing artists that we can license, give an advance and help. 

We have artists that have started on our Start tier for free and then started growing. We were able to identify that, and they’re now selling gold and platinum in the U.K. With us, you can stay the whole way through your career and we’ll be able to support you. 

Having Artists’ Best Interests in Mind 

We genuinely have our artists’ best interests in mind. We have a culture that is extremely artist-friendly. We have a lot of people who work at Amuse that are artists. And we always put artists in focus with what we’re trying to do. There’s an extremely strong culture of wanting to improve the lives of people that do music. 

Never Surrender 

Don’t give up. We see a lot of cases where an artist uploads songs, they get a few streams but it doesn’t grow much. And then one day, the right person finds your song. It can blow up very quickly. We see that happen time and time again. 

Although computerized assistance in the music industry is nothing new, the rise of generative A.I. poses a new level of concern. What will happen as the technology continues to develop? MC spoke with five experts to analyze this burning topic. 

Dr. Martin Clancy

Founder / Chair

IEEE Global A.I. Ethics Arts Committee

martinclancy.eu/ieee

What does a future with artificial intelligence look like? 

Things are happening quickly, so any predictions are nebulous. I teach and also work as a manager and artist. I got involved in A.I. because I noticed some of my students were responding to these technologies. I ended up doing a PhD on this subject. I wasn’t making predictions, yet what I researched is pretty much what has happened. 

There’s a lot happening that has profound implications. And it’s also an opportunity for growth if the moment is seized. If not, we might be looking at a future not unlike what occurred during the Napster period. There’s a chance to use these tools in a fun but equitable way.

Do people have misconceptions about artificial intelligence and how it’s going to change music? 

I imagined that a younger generation must be more hip to this than I am, but that doesn’t match with my experience. There’s a big mismatch between what is understood and what is happening. 

Is there any way for creators to protect their likenesses and artistic voices?

Legally, copyright has to be created by humans to be granted copyright. It doesn’t mean nonhumans aren’t capable of creativity but that it won’t be granted copyright. We’re in a place where we have to come up with personality rights. “That protects my voice, doesn’t it?” Maybe. 

The two cases that rocked the industry were Robin Thicke’s “Blurred Lines” and Katy Perry’s “Dark Horse.” Nothing to do with A.I., but they pushed the boundaries of what we thought was copyrightable or what could be argued. Now, when it comes to A.I., the question of whether you are infringing on my copyright becomes much more opaque and complex. 

What adjustments should creative people make to accommodate A.I.?

Understand and try the technologies. Experiment and see what new things you can do. 

The second part comes into the legality. Everybody’s looking toward legislation, because even with the best intentions there are unforeseeable consequences. It comes down to what we care about. The pandemic showed we care about the arts. 

And build an economic model. I know that sounds lofty, but that’s what’s necessary. 

How can music people use artificial intelligence?

Let’s take it from the musician’s point of view: 63 percent of musicians said they’re already using A.I. in some capacity. Most musicians use social media to market themselves. It’s a drag on their time. A.I. is a good way of alleviating that and creating more space for creative work. And musicians can use [A.I. programs] as new tools. Don’t read the instruction manuals; have fun with them.

From the major label side, there’s a lot to be positive about if a common appetite can be found. And I believe there can be. There’s a lot of fear, but when I start speaking about the possibility of a better future, everybody seems interested.

Do you think artificial intelligence will help artists become more creative?

It’s easy to see it as depressing and think, “What’s the point in my doing that when it can do it itself?” That’s too easy. I lean into the positive side.

Sam Dresser

Chief Innovation Officer

School of Rock

schoolofrock.com

What does a future with artificial intelligence look like? 

In the past, we’ve seen technological breakthroughs that people were scared of. The photograph didn’t replace painters; it just turned into another medium. A.I.’s going to play a similar role, but it is a little different in that generative A.I. is able to generate content on its own. So I think it’s going to have a profound impact. 

I believe the overall impact is going to be positive. At School of Rock, we’re always thinking about how we can introduce music to new people. How can we make music approachable? We have been getting more serious about songwriting. How do you go from nothing to a finished song? A.I. can help demystify that process.

We’re going to see a lot of content fully generated by A.I. And there is going to be disruption and displacement in certain spaces. There may be a hit song that has a novelty to it because it was A.I.-generated, but what people love about music is authenticity.

Do people have misconceptions about artificial intelligence and how it’s going to change music?

You see misconceptions on both ends of the spectrum. The doom and gloom folks are likely overstating the impact. And those who think it’s a passing fad are likely understating the impact. 

It’s hard to say exactly what this is going to look like. We know enough to recognize that it’s going to be transformative. We don’t know how it’s going to look down the road. I’m generally an optimist about it. 

Is there any way for creators to protect their likenesses and artistic voices?

You’re going to see a lot of developments in that space. Some of it may be legislatively enforced. There are also startups that aim to protect creators. The big companies that have billions of dollars at stake are going to duke it out with legislators and tech companies. Hopefully, it benefits content creators as well. It’s an interesting discussion around imitation versus copying. Where is that line? There are court battles being settled all the time around this topic. 

Right now, there’s not much artists can do aside from the things we know you need to do to protect yourself. Keep up as best you can on what’s happening and experiment with it. Because it’s not going anywhere, and the ones that’ll stay relevant are the ones that embrace it. I’m confident we can end up somewhere that feels fair to all parties. 

What adjustments should creative people make to accommodate A.I.?

Do what we’ve always done—create content we think is compelling. Share our stories. What did we do when synthesizers came out? What did we do when Digital Audio Workstations became the norm and things like Pro Tools? What did we do with turntables and electric drum machines? Some found new music to create from that. 

If it hooks you, then people are going to want to check it out. If it sounds interesting and has all the elements that make great music, they dig it. So make compelling stuff. And if [A.I.] is something that interests you, play around with it. 

How can music people use artificial intelligence?

There are three buckets where A.I. can be helpful. One is personal assistance, like helping you be more organized, structuring your day, coordinating meetings or completing an email. Then there are assistant things, like planning a vacation. 

And then there’s strategy. Things like, “Give me a few decision-making matrixes.” Or, “Tell me some KPIs that would mean success for this initiative.” Or, “Help me create a project plan.” Even, “Analyze this presentation and tell me if it contains the right content.”

The last [category] is what musicians care most about, which is A.I. as a content creator. We’re going to dip into each one of those at different times depending on the work being done.

Do you think artificial intelligence will help artists become more creative?

I think so. You’re always going to have those who are like, “I don’t want my creative vision influenced by A.I.” I respect that. But imagine somebody recording a melody into their phone, feeding it into an app and saying, “Turn this into a song in this style.” People are going to use A.I. to spark ideas quickly and easily. It will be used to help people be more creative. At the end of the day, the people with the most compelling visions will still win out, because they’re the ones that are going to curate what’s good and will resonate.

Ashley Irwin

President

Society of Composers & Lyricists

ashleyirwin.com

What does a future with artificial intelligence look like? 

People who don’t adapt will fade away. Those who are forced to adapt may find their work takes on a different look. While it may replace jobs in certain areas, there are always going to be people who need to feed the machine, if you like. So maybe that becomes a new job. Art is a reflection of a moment in time, and I don’t think machines can respond to what’s happening in society. So that’s where there will be jobs. 

One of the things from any new technology is the speed factor. When I started, if you wanted to re-edit a movie the editor would undo all the splices and put it back a different way. Now that it’s digital, it’s a keystroke. While that’s convenient, the people we work for realize it takes us less time. Therefore, we’re always being pushed in terms of delivery times. 

Do people have misconceptions about artificial intelligence and how it’s going to change music? 

The misconception is that everything’s going to be good. One of the reasons we as composers and songwriters are employed is because of our taste. We are the arbiters. I don’t know that a generative A.I. machine has the ability to reject bad ideas. To them, it’s an output. So, who becomes the arbiter? Who’s going to decide what is and isn’t good?

Is there any way for creators to protect their likenesses and artistic voices?

That’s the big question. The labels are trying to get a federally mandated law where it’s consistent across the country. But it’s different from state-to-state at the moment. 

One of the big fears is that, regardless of what we do in the U.S., there are going to be bad actors around the world. Just like there are offshore tax havens, there may be copyright-free places where you can create whatever you like. As it is, there are certain territories where they’re not enforcing anything. So from that aspect, I don’t know how you are going to protect copyright. We’re doing a lot of work with the copyright office to determine what should happen. 

What adjustments should creative people make to accommodate A.I.?

We’re encouraging [the SCL’s] members to put a clause into their contracts that requires not using commissioned work for generative A.I. purposes without consent. 

How can music people use artificial intelligence?

There’s a lot of stuff you have to do to keep track of metadata. A lot of that can be done with artificial intelligence. Or if you’re doing a television show and have a bunch of themes or want to get over writer’s block, you can generatively use your material to create variations that you might not otherwise have come up with. 

Do you think artificial intelligence will help artists become more creative?

Possibly. I remember this discussion when Sgt. Pepper’s was released and The Beatles started doing multi-track and all that. You sort of go, “What would’ve happened if Mozart had been able to play around in a recording studio?” People are going to find ways to use this technology that we don’t even know about and come up with interesting things. Not all of them will be listenable. But the good ones will be good and the arbiters of taste will decide which those are. 

Anshay Saboo

Head of Product

Drumify, a subsidiary of LiveOne

drumify.com

What does a future with artificial intelligence look like? 

Over the past year, we’ve seen A.I. break into many industries, but we’re on the cusp of A.I.-generated music. The entire integrity of the art comes into question. Some people are with it; some are against it. Universal [Music] is encouraging it and using that as another revenue stream. The future is going to come down to how we can make A.I. equitable. 

At Drumify, we’ve been building features that allow producers to have a vision of the song they want to make and use A.I. to bring that to life through enhanced sound discovery and A.I.-based suggestion. Right now, we’re in that phase of growing pains any time a groundbreaking technology is made available. As we figure out what works, it’ll have a positive impact. 

Do people have misconceptions about artificial intelligence and how it’s going to change music?

One misconception is that it is going to be the downfall of creativity. On the opposite end, it makes it easier than ever for people making music to elevate their work. Now, you can do it in a matter of hours. So while there are caveats, it has the potential to become one of the biggest creative jumps in history. 

Is there any way for creators to protect their likenesses and artistic voices?

The industry is working on how creators whose voices are being used in A.I. productions will be paid and how the copyright and royalty system will work. At Drumify, we’re half music publishing company and half technology company, so we do a lot of work ensuring that producers of samples and beats are protected. And that, if they end up being used, they’re paid. Broadening that idea to A.I. is a conversation the industry needs to have. In the end, it’s better to embrace this wave than trying to crush it.

What adjustments should creative people make to accommodate A.I.?

If you think we’re going to go back to normal, that’s never going to happen. So the best adjustment is to educate yourself and explore all the opportunities and tools.

It’s not a one-size-fits-all thing. Just because you are in the industry doesn’t mean you need to start working on A.I.-generated vocals or beats. But figure out how you can use those applications to optimize your workflow and creativity.

How can music people use artificial intelligence?

There are many A.I. tools that create musical ideas or even take music that’s played on one instrument and transform it into another. On the corporate side, there are tools that make it easier than ever to draw up legal contracts. 

Do you think artificial intelligence will help artists become more creative?

Not necessarily. It depends on what a musician’s creative process is. This wave of A.I.-generated music might not be for everyone, but it’s definitely something that’s worth exploring. Maybe a generative A.I. tool could help you break through and discover new sounds. 

Rachel Stilwell

Stilwell Law

rmslawoffices.com

What does a future with artificial intelligence look like? 

It’s hard to predict. But music creators should be able to use A.I. to go beyond what they normally would. And that’s exciting.

On the other hand, music is copyrightable, both the musical composition and the sound recording. We need to be careful about protecting songwriters and recording artists from misappropriation of their work. 

Do people have misconceptions about artificial intelligence and how it’s going to change music?

People have suspicions about how it will go, but we aren’t going to know until we have it being used day in and day out. People say things like, “Information wants to be free.” And they apply that to music. What they mean is there should be no copyrights. 

There are also those that say, “We need to be careful about people scraping performances, songwriting and recordings, without consent.” I feel strongly that, if you’re going to use somebody’s work to train A.I., you need the consent of the person whose work you’re copying. 

Is there any way for creators to protect their likenesses and artistic voices?

Recording artists don’t always own their masters. If you don’t own your masters, what do you do if somebody is scraping your performances? Under those circumstances, you can’t sue. 

Not every state has a right of publicity statute, but California, New York and Nevada do. Those laws protect against misappropriation of name, likeness, voice and sometimes signature. A vocalist might be able to sue to get something taken down. There is a recently introduced federal right of publicity statute called the NO FAKES Act that would federalize this right of publicity. That would be a good thing for vocalists and actors, because it’s not limited to music. 

Right now, this particular statute has a few exceptions that are too broad; it would allow a user to borrow for parody or satire. If the NO FAKES Act is amended to remove these exceptions or make them narrower, that would be a good thing.

What adjustments should creative people make to accommodate A.I.?

The burden is on the laws. There are copyright protections in place, but they’re not enough. We need a federal right of publicity statute. And if it takes a while to get, then those states that don’t have right of publicity statutes should enact one. 

Beyond that, we need to amend the federal anti-bootlegging statute to cover studio recordings and provide another tool to protect against misappropriation of recorded performances. It’s the job of those in law and policy to address the potential for misuse and not put the burden on musicians to chase down every misappropriation of their work. 

How can music people use artificial intelligence?

I don’t think A.I. should be doing the work of the artist. But if you need a tool to help edit the thing you have created, A.I. sounds great. 

Do you think artificial intelligence will help artists become more creative?

There’s a reason why I’m a lawyer instead of a guitar player. I’ve got a really good left brain. I have things to say about protecting creators. I’m good at that. •

Foundations Artist Management

Years with Company: 13

Address: 521 Gallatin Ave., Suite 8, Nashville, TN 37206

Phone: 212-366-4578

Web: foundationsmusic.com

Email: drew@foundationsmusic.com

Publicity: Jaclyn Ulman - Grandstand Media, 201-723-5018, jaclynu@grandstandhq.com

Clients: Noah Kahan, COIN, Gabe Simon, Carrie K

BACKGROUND

Drew Simmons got his first taste of the music industry while a student at Northeastern University in Boston. After graduation, he worked in The Big Apple before trekking to Nashville where he opened the Music City wing of Foundations Artist Management, the company he’s been with since 2011.

Righteous Beginnings

Ani DiFranco is a singer-songwriter from my hometown. She ran her label and a management company there. I found my way into an internship with her and then a part-time gig. That sort of set me on my course for learning what management was. 

Taking On Manhattan

I linked up with Mark Kates, who has a company called Fenway Recordings in Boston. Mark was at Geffen during the Nirvana days, and he ran Grand Royal for The Beastie Boys before starting a small label in 2004. It was a terrible time for that, so he quickly started managing artists. He was managing a band called Doves from the U.K., which I absolutely loved. I kind of sought him out and ended up being his first day-to-day manager. 

I was there for about a year-and-a-half and wanted to get out of Boston. I wanted a bigger pond and went to New York, where I met Steve Bursky. He was managing a band called Dispatch, which was exploding. I ended up working all their shows when I was working for Live Nation.

Feelin’ Good

[Bursky] was renting office space from James Brown’s management team and they were hiring. So, I ended up working with James Brown and a band from the Netherlands. I was there for about a year-and-a-half until Mr. Brown passed away. 

Building a Foundation

I ended up going to Red Light Management and was there for four-and-a-half years. I worked on O.A.R. and signed my first client, a band called The Jakes, which changed their name to Young the Giant. 

I then left Red Light to link up with Steve Bursky. I partnered with Steve, Brian Winton and Max Credinger [to create Foundations Music.] We’ve got 28 clients and 20 people in total at the company. 

Kahan Job

I moved to Nashville in 2014 to start the Nashville office. I’ve been managing Noah Kahan for eight of those years. I found him as an 18-year-old high school senior in a town of 1,000 people in Southern Vermont. A SoundCloud link piqued my interest and we signed to Republic Records about a year after. 

I co-manage Dayglow with Ryan Langlois. I also manage COIN. And then I have two producer-writer clients. Gabe Simon is Noah Kahan’s producer. And my newest signing is a producer named Carrie K, who played drums on most of Noah’s record.

Striking a Chord

I have a firm no-asshole policy. This job’s too tough and involved in people’s lives to be working with people you don’t enjoy. You have to be in the same headspace. Whether you feel there’s a marketplace for what they’re saying or how they’re saying it is critical. 

Taking Initiative and Making Change

There’s a certain self-starter nature that has to exist for an artist. They have to be multifaceted in their ability to relate with an audience. The artists I’ve most recently been working with have a real drive to either communicate with the world or evolve the music industry. That gets me excited. 

Let a Manager Find You

I subscribe to [the idea that] great music will be found. If people aren’t knocking on your door, you’re probably early in your journey. I’ve seen it time and time again. You hear about an artist and it gets spread around. Something they’re doing is standing out. 

With Noah, there was no business. He had no music in the world aside from a short SoundCloud link that no one heard. He had never played a show aside from an open mike. But I believed in him and saw the vision for what he could become. 

Learn Everything

Do everything you possibly can. I’m better prepared to advise my clients, having had a variety of experiences early on in my career, whether that be tour management or working concerts, to understand what it’s like to have artists coming through a venue, or working in marketing departments to understand what it’s like to be out there hustling. The more broad and deep your references, the better off you are. 

Uncovering Artists

We often find new artists based on suggestions from talking to friends in the business. Networking has always been critical; it’s a relationship-based business. That typically is where our artist discovery comes from. And we occasionally find things scrolling through our For You pages on TikTok. 

It’s incredibly rare where an artist reaches out blindly to a manager and that ends up being a viable solution. Usually, it’s the other way around. 

One Tough Job

I don’t think people understand how much work goes into this role, how nuanced and incredibly involved you have to be in every aspect of the artist’s career. I think it is known within the industry how important good management is and how much managers take on. But from time to time it is taken for granted, even amongst the manager community. We need to remind ourselves that we need sleep every once in a while, too. 

Changes That Benefit Artists

There are a lot of inefficiencies in the business and historically a lot of bad contracts for artists. Hopefully, those things are evolving in the artist’s favor. There are a lot of things that are out of the artist’s control in the touring space. The artist has to conform to a certain infrastructure. We have little ability to manipulate those things based on the artist’s desire. I’m looking forward to that evolving. It’s already evolving in a variety of ways on the recorded side. Artist contracts are changing for their benefit. 

Advocating for Artists

At the end of the day, the artist makes the music, develops the brand, maintains the relationship with the audience, and creates the cultural impact. It’s super-important to make sure artists and songwriters are compensated appropriately. 

Deferring to Artists

I don’t want to change an artist. I want the artist to have the desire to change or evolve as they see fit. Of course, I’m going to provide my input. But I’ll always defer to their artistic integrity. The role of the manager needs to be sidecar to the artist. It’s not about us—it’s about them.

Producer: Jason Lytle

It’s been seven years since the loss of Granddaddy bassist Kevin Garcia, but his proto-hipster compatriots have finally returned. This collection feels like a love story told in reverse, with every song a quirky contemplation on tenderness and regret. Considering Garcia’s untimely passing, perhaps a theme of sadness was inevitable. Yet who wants more reasons for weeping in a universe that’s aching for grins? Thankfully, the sorrow is laced with a lightly comic caress. – Andy Kaufmann

Producers: Rob Fleming and James Sedge

What do you get when you assemble a collection of supporting players from all eras of David Bowie’s illustrious career? An album The Thin White Duke would relish, of course! Still, this isn’t a tribute album or retread of overly familiar Ziggy Stardust tunes. It’s an entirely new band with a fresh art rock aesthetic. That said, the players have one musical foot planted firmly in the past, even as the other is stepping into the future. The group’s impeccable musicianship balances the two in intriguing harmony. – Andy Kaufmann

Producers: Cannons and Jason Evigan

Neon highways and cotton candy fever dreams are the bread and butter of this rising electropop outfit. The theme continues with their fourth full-length recording, on which the quirky songsmiths stun listeners and radio programmers alike, lead single “Loving You” topping alternative radio and quickening pulses. Although the album’s subject matter never strays from matters of love, this quality suits Heartbeat Highway––Cannons’ thumping-yet-ethereal arrangements and the rollercoaster ride of romance both trigger a similar rush of endorphins.

Manager – ARC Entertainment, Allianz Risk Consulting, Entertainment Division

Allianz Global Corporate & Specialty

Years with Company: 10+

Address: 2350 W. Empire Ave., Burbank, CA 91504

Phone: Office: 818-972-3371; Cell: 626-523-3075; Direct: 949-520-7743

Web: agcs.allianz.com

Email: kurt.miner@agcs.allianz.com

Publicity: Liam Collopy / Stanton, lcollopy@stantonprm.com, 415-517-9760

Clients: Many of the world’s leading touring entertainment, music festivals/ concerts and similar live event companies.

BACKGROUND

Performing comes with myriad threats, including theft, illness, weather, and personal injury. Insurance makes sure financial resources are available after bad things happen. As the Managing Director of the Entertainment Division at Allianz Risk Consulting, Kurt Miner provides financial safety nets for artists so the show may go on.

A History of Risk-Focused Employment

I started at Universal in the safety department back in the late 80s. From there, L.A. County Fire Department hired me as a firefighter. I subsequently worked there, as well as being a helicopter pilot. Through the time I was there, I worked in live television and events. That was my off-duty job. After my service, I came back fulltime working for Fireman’s Fund [Insurance Company] and now for Allianz. 

I was a stunt driver. I was a factory driver for Porsche and BMW. I’m also a Marine captain. All those crazy things have led me to where I am now.

Insurance for Acts Big and Small

Even for a band that’s touring out of a van, we suggest getting insurance. The policies are relatively affordable, and it can cover equipment if there is theft or failure. 

When you get into the major acts, just their stage package is a couple million dollars. For an artist touring with 30 semis, we’re getting into not only the materials but also how they’re setting up. 

Insuring Reputations

We’re looking at what [our clients’] reputational risks might be, if they’re doing something that doesn’t look good in the public eye. We’ve turned down artists that were not in alignment with the views of board members, because [the artist’s behaviors] can theoretically be a reputational risk. 

Choose a Specialist Broker

Pick a broker that has knowledge within your area. A lot of times, [artists] will have people insuring vehicles for them or maybe their homes, and they have a relationship with them. They use that person to place some of these coverages that may not be adequate. And typically they are pricier than if you went to an entertainment broker that specializes in those things.

Some policies won’t cover the actions that the insured is doing. And when it comes time to pay that claim, they find out their policy didn’t cover that. So seek out a broker that specializes in your business. 

Contingency Insurance

If you are unable to complete a show due to damage to equipment or a vehicle, or a band member becomes ill or has to take leave, there are policies that allow you to hedge that situation. You can theoretically get paid for those times. Contingency insurance can be somewhat pricey, but it can be beneficial when your tour gets cancelled and you’re not able to have that income. 

Covering the Right Risks

Does a tour consist of local dates or is it international? Where is the equipment going to be stored? How are they traveling? Is [the equipment being] traveled by van? Is it by semi? Is it by 20 semis? All of those things factor into coming up with premiums and coverages. 

Some clients like to have a lot of insurance. Some go a little leaner due to budgets and other constraints. Property insurance may cover if your stuff gets stolen out of a hotel room, but not if it’s damaged during a performance, vehicle crash or rain. 

Looking at Algorithms

We have smart individuals that do actuarial studies on claims and frequency modules to assess risks. And then we pick good risks, all the way down to the artist and their history. Some artists behave better than others. We take that into account—what kind of risks do they pose to themselves? 

Hands-On Risk Assessment

We go to about 40 to 50 festivals a year. We review the engineering schematics for stages, the exiting, whether it’s a standalone area in a field or a major stadium in a city. We’ll look at the footprints of those outlays. We are one of the only [insurers] that will field verify with production that what they’ve put on those [blueprints] is what they’ve created. 

Giving Guidance

We work with clients to value-add our services. I have brokers who call and say, “Are you coming to this festival this weekend?” And I’m saying, “You guys moved that business to another carrier.” And they’re like, “Yeah, but we still want you guys to come out,” because we help them be successful. We see a lot of things they normally wouldn’t see, so they value our services. 

Real-Time Crowd Monitoring

We partner with CCTV companies. Larger productions have the budgets to use cameras. And we give them incentives, sometimes through breaks on premiums, depending on their history and who’s running the shows. 

I am able to sit at my desk and monitor sometimes two or even three festivals. Maybe there’s a fence down. Next thing you know, people are climbing to an area they’re not supposed to be. I call their command post and say, “I’m looking at a fence and people are climbing over.” If I was on site, I wouldn’t have been able to find that. 

Social Media Data

We have systems that capture every text and picture [going to] TikTok, Instagram, and Facebook out of a festival. We’re able to look for certain words. We’ll put in “gate” or “rush” or “crowds” and a bunch of texts will pop up saying, “We’re going to bum rush Gate 5.” And you see a group of thre–hundred people getting ready to do it. We’re able to mount a crew of police or security people and that crowd disperses. 

Run the Math

Insurance is one of the best things to protect you from things that are unseen. There are large contingents that self-insure, because they’re able to hedge those risks. You kind of have to do the numbers and say, “What element of risk am I willing to take, and what’s the potential loss?” Or, “If I’m going to lose $5,000 worth of equipment but my policy premiums are more than that…” It boils down to seeing what makes the most sense. 

Be Cautious

Just because you trust your team, it doesn’t mean you don’t need to think for yourself. And if something’s not safe, you need to say, “I’m not performing.” At the end of the day, the artist’s name is the one that will be associated with an issue. It typically won’t be on ABC Production Company. It will fall back to the artist, because that’s what’s newsworthy. So look out to protect your name and brand. Use your intuition. You need to be cognizant that if someone in your audience gets injured it is going to be front-page news.

The Society of Composers & Lyricists Career Symposium took place on Saturday, Sept. 30, at Vanderbilt University’s Blair School of Music, located in the heart of Nashville. Attending were plenty of students, although people of all ages, backgrounds, and career stages took advantage. The gathering was also available to the general public, not just members of the SCL. Those present included pupils who haven’t yet entered the industry, apprentices currently working under panel participants, and an owner of an online music school. 

One attendee was Logan Bray, the ambitious singer-songwriter mentioned in our previous article. She took pleasure in meeting one of the event’s organizers, Scott McKinlay, in the flesh, but he isn’t the only connection she’s been able to forge. “I’ve met a bunch of other students and post-grads here who are engineers, producers and composers,” the bright-eyed artist reveals. She is intensely aware that there are many scenarios under which expanding her network could pay dividends in the future.

The day kicked off with opening remarks from Ashley Irwin, president of the SCL. Now that the crowd was properly welcomed, attendees had to choose which of the four presentations they most wanted to experience. This was then repeated three more times, each seminar running an hour and 15 minutes. Because of this, it was only possible to be physically present for a quarter of the 16 offerings on tap. Fortunately, each discussion was filmed so they could later be uploaded, giving members an opportunity to check out whatever they missed online.

One of the most eagerly anticipated discussions was the spot covering music for video games. On the panel were three luminaries in this exciting discipline. At the far left sat Steve Schnur, Worldwide Executive and President for Music at Electronic Arts. He’s toiled on some of the most popular games on the planet, including Battlefield, Dragon Age, Mass Effect and the recent Star Wars: Jedi Survivor.  

Next to Schnur was Pinar Toprak, the Emmy-nominated composer whose talents grace Fortnite. On her other side was Satoshi Noguchi. His resume includes interactive experiences such as the groundbreaking Elden Ring. Tom Salta moderated the chat. He, too, has a stunning CV, having created soundtracks for Halo, Prince of Persia, and Deathloop, just for starters. The open-ended discussion explored all angles of creating sound for this dynamic medium.

Present and ready to level up was Emily Cheng, known professionally as Gisula. The Taiwanese-American composer is a full-time engineer with an equal devotion to the sonic arts. Beyond releasing solo albums, she creates soundtracks for short films and interactive entertainment. Her most recent game, The Spirit & the Mouse, came out in 2022 on the Nintendo Switch and this year on PlayStation 4 and 5. Rubbing shoulders with rising stars like this is just one benefit that comes with attending an SCL symposium. 

The second block featured a master class on the art of matching sound to film according to the legendary Mark Isham. His extensive cinema credits include A River Runs Through It, Crash and Never Cry Wolf, plus many more. The time was devoted to examining his score for The Black Dahlia, a 2006 film starring Josh Hartnett and Scarlett Johansson. Chunks of the soundtrack were played, as were scenes from the film, after which people had the opportunity to ask questions. In response, Isham enlightened knowledge-seekers with tidbits about collaborating with cantankerous director Brian De Palma. Interestingly, the composer revealed that Robert Redford is his favorite filmmaker to work under, due to his actor’s perspective.

After a boxed lunch, the afternoon offered heaps more information. One seminar analyzed the challenge of creating sound on a budget. Composer Jay Weigel, who also happens to be the chair of the SCL’s Nashville steering committee, hosted this revealing session. Audience members were keyed into important topics, such as how to decide when to take a job and at what price.

In the final block, those interested in using social media as a means of self-promotion gained insight into this vital subject. One of the panelists, Emily Goglia, delivered a handful of pointed tips. The singer, actress and social media professional proposed following people on various platforms in hopes that it will cause them to notice you. This simple action alone could forge an industry hookup that significantly advances someone’s career.

The symposium was loaded with other opportunities for enlightenment about the industry’s inner workings. Sessions plumbed the delicate task of eliciting the perfect vocal performance, songwriting for sync, assembling a business team, and tending to one’s mental health while earning a living in this stressful field. Between seminars, everyone had the chance to rub shoulders with the panelists and pepper them with follow-ups.

Judging by the day’s success, it is a near certainty that the SCL will continue to offer additional learning opportunities of this nature in the coming years. Anyone who wants to create sound for visual media should consider checking out future iterations. 

Contact Jay Weigel, nashvillechair@thescl.comthescl.com

Producer: Christian Badzura

This album leaves no doubt that Roger Eno is cut from the same ethereal cloth as his brother, Brian Eno. Each sibling crafts crystalline soundscapes that explore the deepest recesses of our minds. “Strangely, I dreamt,” stands out as the sole track with vocals, here performed by cowriter/daughter Cecily Eno and ending with unexpected abruptness. Nonetheless, there’s plenty on tap here to soothe the soul, like a warm bath in audible form. - Andy Kaufmann