EMMA & Partners – Association of Artist Managers in Australia Survey

Last September the Association of Artist Managers in Australia (AAM)* conducted a survey on a sample of 68 Working Artist Managers. The results indicate the expertise, skill, labour force and contribution the music industry’s artist management sector make to the music industry and the impact their work has on developing creative, successful and economically sustainable artists. The role of the manager intersects the creative development, marketing and promotion, business affairs, touring activities and human resources management. Hence, according to AAM it is critically important to recognize that artist managers are the 21st Century CEOs of the Music Industry.

This recent survey found that although artist managers are a highly educated, experienced and skilled workforce, they are underpaid and suffer a 48% wage gap compared to other professionals. They are business owners that spend 84% of their time working on the artists business, managing Australian cultural production valued >$390 million annually. Additionally, they are generous contributors of unpaid time, expertise and cash to the music industry. Survey identified economic sustainability and mental health & wellbeing as the most important issues impeding the growth and sustainability of their management business, and in turn their artists.

The AAM has identified 5 key opportunities for growth and sustainability in the next 5 years: 1) access to international markets 2) access to data, new technologies & income streams 3) access to funding, education & professional development activities 4) access to next generation management business model development 5) human resources support services. 

*The Association of Artist Managers (AAM) unites the Australian music industry’s managers providing a peak body that develops, protects and promotes the reputation and interests of music managers, and their artists. With 250+ active managers, many working globally, the AAM is the only peak body for managers of contemporary music.

EMMA & Education – MMF UK Accelerator Programme

MMF UK, in partnership with YouTube Music, have launched the Accelerator Programme for Music Managers – the first ever independent funding and professional development initiative designed solely for artist, songwriter and producer managers.

The programme includes;

•            up to £15,000 in bursary funding

•            over £3000 and 50+ hours’ worth of manager-specific education courses covering everything from advanced digital skills, negotiation techniques, managing mental health, legal skills, business management and much more.

•            free or low-cost legal advice, accounting advice and insurance services

•            mentorship from world class managers, agents and promoters

•            funding to attend a music industry conference festival within Europe.

•            a Managers weekend retreat

APMM is aimed at managers based in England and Scotland who are in full or part-time employment, looking to make the leap into full-time music management with their own company. Managers of artists, songwriters or producers whose business has a track record of proven income, could be eligible for up to £15,000 in a bursary grant.

We hope to be able to roll out a similar programme across Europe next year for EMMA dependent on available funding.

EMMA – New European Copyright Rules for Music

The discussions with the Copyright Directive in Brussels are now reaching their last stages in what is known as the ‘trialogue’ e.g. a three way discussion between the Council of Ministers (national governments), European Parliament and European Commission.  The three bodies are trying to agree the details on a final text which will go for a ‘take it or leave it’ vote for approval.  It is looking likely that due to controversies with articles 11 (press publishers) and 13 (music safe harbours e.g. YouTube licensing) this agreement may not now emerge until February and the final vote in March (pre-Brexit and European elections).  EMMA has been active in Brussels and at national level campaigning for a fair result with the Directive to benefit artists – this involves the adoption of article 13 (which shifts licensing liabilities to platforms) and also articles 14-16 which introduce the principle of fair remuneration and contract adjustment to tackle inequitable label or publishing contracts.  We are now watching the final stages closely and are in discussions with our music counterparts in the IFPI (labels) as well as songwriters (ESCA) and artists representatives (IAO).

EMMA – Training sessions

EMMA member – Keith Harris (MMF UK) undertook in October training workshops in Portugal in the cities of Lisbon, Coimbra and Porto. The seminars were organised by AMAEI – the Professional Association for Musicians and Artists independent labels and publishers in Portugal. The aim of the seminars was to provide guidance about what management involves and when an artist should be looking to get management involved, in these times of DIY releases. Each class involved about twenty managers and was driven by the questions of the participants, who were at varying stages in their careers, but who were generally keen to get an international perspective on artists’ management.

EMMA at MaMA France


EMMA representatives had an opportunity to join one of the MaMA festival’s panel discussions, focusing on how fan’s money paid to music streaming services is allocated to artists. The panel was hosted by MMF France with panelists from MMF UK, Deezer, Believe Digital and the French artists coalition GAM.

Panel was followed by Managers Mixer, where European and international Music Managers could meet and discuss, in a relaxed environment, key issues facing artist. It’s been a great networking opportunity! 

EMMA at Music & Media


EMMA representatives took part in the panel ‘The Mechanics of Music Management in 2018’, organised during Music & Media event in Finland at the beginning of Oct.

In that panel, a range of music managers from across the EU: Sweden, Poland, UK, Iceland and Finland discussed how their role is changing, what skills and knowledge do managers need in the digital age and why does an artist still need a manager in 2018 when it’s becoming increasingly easy to DIY.  We also held a joint meeting with the IMPALA Board (EU association of indie labels) and a bilateral discussion about common issues facing us at European level including mergers and acquisitions in the music sector and the Copyright Directive.

EMMA meeting with representatives of European Commission


In September, EMMA board delegates had an opportunity to meet in Brussels with representatives of the European Commission and introduce EMMA’s structure and key strategic focus points around the EU Copyright Directive, licensing & fair remuneration, public policy and education. It was also a great occasion to discuss major issues around the changing nature of music management and need for greater professionalisation and cooperation across Europe and how we could work with them on this.

EMMA – Board Elected – Chair & Vice-Chair announcement

Per Kviman & Virpi Immonen elected as Chair & Vice-Chair of EMMA

“It’s time to seize our moment and put artist’s rights at the heart of European music policy”


The European Music Managers Alliance (EMMA) has announced that Per Kviman and Virpi Immonen have been elected as the organisation’s first Chair and Vice-Chair at the new organisation’s first formal Board meeting at Reeperbahn festival.

Per is CEO of Stockholm-based Versity Music and Chair of MMF Sweden. Virpi is CEO of the Helsinki-based Fullsteam Management, Chair of MMF Finland, and music supervisor for the upcoming Moomin TV animation.

Both Per and Virpi will serve a minimum two-year term. EMMA’s inaugural Chair, Keith Harris, will stand down with immediate effect.

Speaking before a meeting of more than 50 music managers from over 20 countries such as Germany, Denmark, Poland, UK, Netherlands, Belgium, Russia, Switzerland, Canada, Palestine and Australia, Per said:

“I am honoured to serve as EMMA’s first Chair, and would like to thank Keith Harris in particular for his guidance and expertise. This organisation was established in response to some fundamental changes in our business, and to reflect the plain fact that artists and their representatives must now be at the forefront of discussions about the future of music. It’s time to seize our moment and put artist and creator rights at the heart of European music policy.”

Virpi Immonen added:

“How inspirational to be elected at Reeperbahn, surrounded by music managers from around Europe and the rest of the world. Through EMMA I look forward to building these connections, and ensuring we not only have a powerful unified voice for our artist clients, but also a pathway to greater sharing of skills, knowledge and ideas.”


A photo of Per & Virpi at Reeperbahn can be downloaded here.

Launched in April 2018, EMMA was established to ensure that creators’ representatives throughout Europe can have closer involvement in the discussions and decisions that impact future direction of the global music business.

The organisation brings together music manager representative bodies from Finland, France, Netherlands, Norway, Poland, Sweden and the UK – with links to allied manager organisations in Australia, Canada, New Zealand and South Africa.  Membership is open to individual managers in European territories. In total, EMMA will collectively represent over 800 managers across Europe, and another 600 worldwide with an initial focus is on three specific objectives:

  • Fair licensing and remuneration for artists in the digital marketplace
  • Greater input from creators’ representatives in European public policy
  • To promote information-sharing, research, training and professional networks for European music managers.

For more details on how to get involved in EMMA contact:  Agnieszka Cyganska,


About EMMA:

The European Music Managers Alliance (EMMA) brings together music manager representative bodies from the UK, France, Sweden, Netherlands, Poland, Norway and Finland – with links to similar organisations in Australia, Canada, New Zealand and South Africa. In total, EMMA will collectively represent over 800 managers across Europe, and another 600 worldwide.

About Per:

Per Kviman is the CEO of Stockholm based management Versity Music and the Chair of MMF Sweden. Versity was founded in 2003, with UK manger Andy Farrow as one of the partners – the company currently represents Watain, Backyard Babies, Takida, Entombed AD, Stiftelsen and Norwegian Shining.

Prior to founding Versity, Per ran Wire Records with Harry Magee (Modest! Management) in the 1980s, Scandinavia’s first alternative label with complete European distribution set up for Swedish artists

In the 1990s Per managed MVG Records, before joining RCA Records in London as A&R where he signed acts such as HIM, Waterboys, Skindred and Johnny Borrell (Razorlight).

About Virpi:

Virpi Immonen is the CEO of the Helsinki-based artist management company Fullsteam Management, as well as music supervisor for the upcoming Moomin TV-animation. She is also the Chair of the board of Music Managers Forum Finland and was winner of the prestigious Finnish Industry Awards’ Manager of the Year in 2011, 2012 & 2013. Fullsteam Management represents a wide variety of artists ranging from Finland’s biggest pop and rock acts, to some of the country’s most interesting indie and alternative bands.

EMMA at Reeperbahn – 20th Sept, 4pm – 6pm CET

We are very pleased to invite you to a special managers only open meeting and gathering of the new European Music Managers Alliance (EMMA) at this year’s Reeperbahn festival in Hamburg, followed by drinks with friends of EMMA.

WHEN: Thursday 20th September, 4pm – 6pm CET
WHERE: East Hotel, Conference Room ‘Ginger’ 1st Floor, Simon-von-Utrecht-Straße, 20359, Hamburg, Germany
Sponsored by;
Claim & manage your artists herePublish tour dates, and message your fans for free, on the world’s largest concert discovery platform.
We are so looking forward to seeing you there. Please RSVP here

Artists are “rights holders” too – their representatives must be involved in European policy discussions

Per Kviman, Chair MMF Sweden

Artists are “rights holders” too – their representatives must be involved in European policy discussions

Traditionally, the battle for Europe’s music policy has been fought between the major record labels – the “rights holders” – and the major tech corporations. Those who actually write, perform and produce the music we love, and those who represent them, are frequently absent in this debate.

In a world where artists and creators are increasingly rights holders and small independent businesses in their own right, this clearly needs to change. Traditional relationships and power structures within the business are being uprooted at a phenomenal rate. Our lobbying and political activities need to reflect that.

Last month I, along with other music managers from Finland, Norway, Poland, The Netherlands, the UK and France, was involved in the creation of a new organisation – the European Music Managers Alliance (EMMA). Our goal is to ensure that creators’ representatives can have, on behalf of our clients, a closer involvement in all discussions and decisions that impact future direction of the global music business.

This concept of collaboration is standard practice in Sweden and across the Nordic territories. With MMF Sweden, who represent 50 managers including Marie Dimberg (Roxette) Anders Johansson (Veronica Maggio) Anders Larsson (Lars Winnerbäck) – as well as the artists that I manage like Backyard Babies and Watain – we have been cooperating more closely in the Nordic countries over recent years, pooling our expertise and resources through initiatives like NOMEX and through showcase platforms such as Ja Ja Ja.

We now aim to do something similar within the music management community.

The role of the music manager has changed over the past decade as the business of music has entered a new phase of streaming-based evolution and relationships between artists and labels have adapted. It is vital that such fundamental changes are reflected in licensing negotiations, and that commercial partnerships with Digital Service Providers are as transparent and modern as possible. Unfair commercial terms which may have seemed relevant in the days of physical music such as packaging and TV advertising deductions are no longer pertinent and should not apply to digital music consumption.

We want to see a modern European and Global music industry with contracts that are fair and reflect the lower-costs in accessing a digital market.

Digital consumption have enabled labels rich on catalogue to make all the repertoire they control available at a very low cost. And with little financial risk.

So when we see net margins of 70-90% in the labels favour from streaming of digital catalogue, it feels not only obscene, but also an issue that should be addressed by the European Commission. Activating recoupment debts that existed from before streaming revenues existed also feels unethical and unlikely to encourage fruitful partnerships in the future. The new music business needs to be constructed on more equitable lines.

My personal belief is that streaming income for catalogue needs to be set a more “midprice” level, and that we should look to reverse the current split of revenue between artist and labels. This can only be done by collaborative works between the EU commission and by negotiating with mangers through organizations like EMMA.

If we are to join the recorded business in lobbying on issues like Safe Harbours and the Value Gap, and for the payment of higher royalties from the likes of Google and YouTube, then it is essential that we also recalibrate how these revenues will be accounted for.

In parallel to these commercial developments, European legal frameworks and policy discussions must also involve greater participation from artists and their representatives – including debates on Intellectual Property, taxation, collection society reform and Brexit. As EMMA, we want to ensure restrictions to European touring are reduced, and that young artists should be supported – not punished – with unfair taxes across Europe. We can only influence these discussions by sharing evidence, coming up with solutions and working together.

Finally, in many countries such as Sweden, our community of music managers is relatively small in a global context. We benefit hugely from pooling our resources for education and research. Through EMMA, we are now developing a common code of practice and hope to provide increased opportunities for professional development for our membership through mentoring and exchanging knowledge.

These are early days, we clearly have a lot to do, but this moment at Midem – appropriately the most international of music conferences – marks an first important step on our journey towards a fairer and more dynamic industry.