Music Industream

Welcome back! If you didn't catch my last post, I looked into the career of artist management. Included in that post is an interview I was fortunate enough to conduct with a professional, full-time artist manager. He offered a lot of invaluable insight to me, and I highly encourage you to read it if you didn't get the chance. Tonight, I'm going to be discussing the career of session musician. This is a career that I have a strong personal interest in, and it is one that I have had some experience in as well. I will again be looking at careersinmusic.com to see what their take on the job is. I will then compare what they have to say to the experiences that I have had with it. The following is how the website defines the position:  "A Session Musician backs another artist during live performances or in the studio. He or she must be able [to] sight read and to perform several different genres. Session Musicians are self-employed, so when not performing, they have

Hello again! If you caught my last post, I talked about the importance of adaptation when working in the music industry. I talked about this in two ways: by looking at what Jon Folk of Red 11 Music had to say about being a booking agent, and describing an experience I had myself during one of my sound engineering shifts at Taylor Down Under. Today, I'm going to be analyzing the position of artist manager. I'll do this based off of two sources: the testimony of Matt Phillips, a manager under the firm Silverback Artist Management (who offered his view to careersinmusic.com), and an interview that I was fortunate enough to be able to conduct for my Artist Management class here at James Madison University. The interview was with the manager of an up-and-coming but strikingly successful artist, but for privacy reasons, I will leave them anonymous. The Careers in Music website offers this summary of the position: "In general, job duties involve strategizing and creating