Principles of Artist Management

When asked how she broke into the Music Row Community of “Good Old Boys,” Sharon Dennis of Dennis Management replied, “the ‘Good Old Boys’ opened doors for me when they found out I’d spent more time behind the ‘chicken wire’ than they had.” She began her professional career in Texas at twelve years old playing drums in beer joints. When asked, what kind of a father would allow his daughter to do that, Sharon said, “a father with great perspective. You see, my daddy was a beer distributor, and those were not beer joints, they were prime-retail-outlets!”

Unlike most artist managers, Sharon knows what it’s like to be a touring artist because of the time she spent “behind that chicken wire,” working as a fulltime touring musician. That experience gives her a unique perspective and desire to help artists develop their talents and find their path to success. She has established a set of principles that she feels is key to success in the management game.

“Success as a manager is based on the success of the artist,” she contends. “So it’s important to listen to the artists and work toward executing their dream. When the artist’s best interests are given priority, the manager’s best interest will follow. We work for them.  We present options, possible outcomes, and make recommendations, but the artist still has veto power.  They decide, we implement.  We can disagree behind closed doors.  When the door opens, we’re a team.”

Even though she enjoys working with established artists, such as the platinum selling country artist, Michael Peterson and gold selling artist, Jeff Carson, her inspired approach to the craft lends itself to artist development. 

“Not all managers are skilled at artist development, nor do they enjoy it.  We love the challenges and rewards associated with the process. We have always saved space on our roster for promising new artists.”

What constitutes a “promising” new artist?  “An artist with an identifiable sound in the voice, with a good sense of self who knows who he is as an artist, and one who has global, commercial appeal.”

Sharon loves the hands on work during the development process of fine-tuning an artist’s vocal skills, writing ability and stage presence.  She works with a team of professionals, such as vocal coaches, image consultants, and established songwriters to turn her hopefuls into potential stars.

Additionally, with the glut of artists on the scene, a manager “has to think out of the box, and be creative” to ensure that his or her artist rises above the pack to create a career, not a one-hit-wonder.

An example of Sharon’s out of the box thinking is the soon to be released debut project from eighteen year old Mary Sarah.  The album features vocal duets with ten of the greatest living legends in country music, including the late Ray Price.  “Bridges” introduces the young performer to longtime country fans and familiarizes young fans with the contributions made by these country greats.  Artists who participated include Dolly Parton, Willie Nelson, Merle Haggard, Ray Price, Vince Gill, Ronnie Milsap, The Oak Ridge Boys, Tanya Tucker, Lynn Anderson, and Big & Rich. There is a Bonus Track with Neil Sedaka singing “Where The Boys Are.”

“This project is unique,” says Sharon.  “There have been duet albums before, but never featuring a young up and coming talent with so many giants of the genre.”

“It’s important to think globally,” she continues, “and create a universal presence via social media and other global avenues.”

Television is one of those global avenues, and she is currently working with CMT and Leftfield Pictures on a reality show project for one of her newest clients.  “Tobacco Wars” is scheduled to air this summer, but until CMT makes the announcement, we can’t divulge the cast (sorry!!!)  Read the tidbit in Variety!

“If an artist wants to act,” she says, “I encourage it.  TV is a powerful medium. TV can take an artist to the masses and broaden the audience demographic; however, it’s important that management guards the artist as he diversifies to avoid losing momentum in his primary career. “

Sharon’s strategy is simple and straightforward.  “We are managers.  We’re not booking agents, accountants, attorneys, or business advisors.  The role of personal management is to guide and support the artist in developing, growing, and sustaining his career.  We’re aware of pitfalls, and we have access to resources that can help avoid them.  We fight to protect the artist's interests with record labels, producers, publishers, booking agents, promoters, sponsors, employees, and fans while the artist remains a friend to all.  In other words, we are a combination of co-planner, chief operating officer, resource analyst, opportunity creator, option presenter, negotiator, monitor, buffer, respite provider, truth teller, and confidante.  We are managers.”