The European Music Managers Alliance (EMMA), the umbrella body for 18 national music manager organisations throughout Europe, has published the findings of a new comprehensive survey of music managers.
DOWNLOAD THE REPORT HERE
The European Music Managers Alliance (EMMA), the umbrella body for 18 national music manager organisations throughout Europe, has published the findings of a new comprehensive survey of music managers.
Previewed initially to delegates at the ESNS (Eurosonic Noorderslag) conference last month, the findings present responses from 330 music managers from over 30 countries, detailing their thoughts on the professional realities of what the role of music management entails in 2025 – covering areas including business models, income structures and skills requirements, and presenting a highly skilled but structurally fragile profession shaped by income volatility, touring risk, access-to-finance barriers, and growing wellbeing pressures.
The vast majority of these individuals have significant professional experience – with 64% of respondents claiming more than five years in management, and 42.4% more than ten years.
Jess Partridge, Executive Director, EMMA:
“Managers are at the forefront of an emerging artist-centric music business, and they play a crucial role in developing and sustaining new talent. However, as the results of our pan-European survey demonstrate, they are often holding the fort in the most challenging of circumstances – working long hours, investing their own money and at significant personal risk. Managers are not service providers, they are creative and entrepreneurial business builders, and they need greater support if the European music market wishes to compete at the highest level.”
Tessy Schulz, Chair, EMMA:
“It’s clear from these responses that the role that we play as managers is extremely dynamic, requiring an ever-expanding skill-set and remains at the cutting edge of music. It’s a truly exciting time. However, as other parts of the music industry retract, we are also painfully aware that many managers need assistance to build and robust resilient businesses. We hope these findings will help push forward some of those conversations, and a reevaluation of what our sector provides.”
Annabella Coldrick, Chief Executive, Music Managers Forum (UK)
“The MMF UK is pleased to contribute to this important pan-European research from EMMA. The findings reinforce the previous research we’ve undertaken in the UK, highlighting the multiple roles played by managers in the new music economy and their importance as talent developers and investors. Whilst most of the challenges (and solutions) are shared across Europe, it’s interesting there is also evidence that touring in the UK disproportionately struggles to be profitable, which has led to us working with the FAC to set up the Artist Touring Fund to address this in 2026.”
The final report can be downloaded here
Key findings include:
Managers are playing a key role in developing the next wave of European talent – but they’re doing it from their own (limited) pockets.
56.3% of respondents cited personal savings and income as the dominant source of investment in their client’s careers. 26.2% said their clients received no investment, while 10% had access to public or private grants. Investment remains mostly small-scale, with almost half of managers (49.2%) accessing less than €10k.
When investment is secured, it is being used predominantly for artistic creation and live performance – with 32.5% going into recording/writing, and 18.2% into touring. Other significant investment priorities are PR & marketing (12.9%) and video/branding (10.9%).
Most managers operate micro-entreprises – relying on freelancers and paying for a wide range of professional services. They also work long hours and represent a wide diversity of roster sizes.
A substantial number of music managers (24.7%) claim to work more than 49 hours per week – and while the majority oversee relatively small rosters (34.2% manage 1-2 clients), 25.5% of respondents manage between 5 and 9 artists, and 12.1% represent between 10 and 20 acts.
Earnings are also widely spread – but bottom-weighted
Although almost half of respondents (49.1%) earned less than €20k through management, a significant percentage (24.8%) earned more than €50k. However, the livelihood of managers is directly tied to artist revenues and creative cycles – resulting in structural fragilities with business models. The majority of managers (56%) rely on commission-based earnings, although a significant percentage (22%) charge consultancy fees.
These inherent fragilities are exemplified by live touring – an erratic, labour-intensive, cost-heavy, unpredictable activity – being the most important revenue engine for artists
Across Europe, managers describe a revenue mix, with live income remaining the main pillar.
51.9% said touring / ticket sales were a “very” or “significant” overall source of client revenue – compared to 17% for streaming, 14.4 % for merchandise sale / D2C and 5.6% for sync.
While 60.9% of tours were described as “typically” profitable, there does appear to be strong regional variations. In the UK, for instance, where there are fewer public subsidies for live performance, less than half of tours (45.9%) were reported as profitable.
As multi-skilled entrepreneurs, managers are already spinning a growing number of plates – but they want business skills support to overcome barriers to growth
Across Europe, managers exhibit a blend of hands-on and people-centred skills – with the following rated as very important to the role:
- Live events & tour management (70.2%)
- Negotiation (66.0%)
- Managing vulnerability/health/wellbeing (55.6%)
- Marketing (50.2%)
- Accounting & financial planning (49.1%)
However, there is also recognition of fundamental skills gaps, with respondents identifying early-career finance for artists (79%), early-career finance for managers (74.9%) and growth investment for managers (74.6%) as key areas of concern. 72.9% also identified “better transparency across the industry as a significant structural blocker.
The report is bookended by a series of eight recommendations, including a need to develop alternative working practices that help better reflect the realities of running a commissioned-based micro-enterprise (for example, by providing access to low-bureaucracy bridge finance or touring risk guarantees) and to address long-term challenges to the sustainability of live touring (such as overhauling the out-dated regime of withholding tax and other administrative burdens).
The findings integrate data from two overlapping surveys – one undertaken by EMMA of managers based in Western & South Europe, the Nordics, CEE & Baltics, and Ukraine; and one by the UK’s MMF of their membership.