Welcome to “The Book” interview series on A&R Duty, where we delve into the lives of the faces shaping the future of our Industry.
This paper features Motolani Alake, former music critic who has carved his name in the history of music journalism in Nigeria and now is A&R coordinator, label and marketing manager at Virgin music. Safe to say his impact resonates within the fabric of the Nigerian music scene and in this exclusive conversation for ‘The Book’ series, Andrea Andy had a sit down with him delving into his career, journey and his vision for the future of the music industry.
The conversation began with the question of the story of how his journey in the industry started and in answering his voice was calm yet resonant. “ I’ve always been in and out of music. Music has been a constant, always there, like background noise that never quite goes away.” He recalls a teenage version of himself, always armed with headphones. “My dad would criticize me for it. ‘If you want to do music, do music. If you want to be an artist, be an artist,’ he’d say. But being an artist? Nah, that was never the plan.”
For someone who claims artistry wasn’t his calling, Motolani’s early years tell quite an interesting story. In 2008 and just starting out in the university, he discovered Fruity Loops — the production software and was intrigued by it “A friend, Dehinde, showed me Fruity Loops, and I was hooked. I didn’t even have my own laptop at the time; I was just borrowing his and tinkering with beats.”
His fascination turned into a brief, passionate stint as a music producer, eventually earning him a production deal with a Detroit-based company. But like many young dreams, it fizzled out. “My laptop crashed, I lost all my beats, and honestly, I just didn’t care anymore. It was like the universe was telling me something. I had too many ideas, too many interests. I wanted to create start-ups, do something big, but I wasn’t settled.”
The transition to media wasn’t exactly a career pivot — more of a slow, almost accidental shift. Motolani wasn’t chasing a dream in journalism; he was following his curiosity. “I’ve always been a reader, always into content. I was the editor-in-chief of my secondary school press club by age 13, but even then, I didn’t think media was my path.”
It was a series of chance encounters that led him to writing. First, there was Ayo Falusi, a friend who saw potential in Motolani’s offhand comments and musings, encouraging him to start a blog. Then came Segun Akande, a university mate who later coaxed him into contributing to a platform called Qollom. “At the time, I had a lot of opinions I wanted to rant about. And rant I did.”
But it wasn’t until 2017, during what Motolani calls the darkest period of his life, that writing became more than just a distraction. “I was depressed, didn’t know what I was doing with my life. NYSC was over, my mates were in law school, and I was stuck.” It was during this period of uncertainty that he co-founded Urban Central, a blog where he and his friends could voice their unfiltered thoughts about music and culture. “People started paying attention. For the first time, I realised that what I was saying mattered.”
It was also around this time that Motolani’s critical voice began to take shape. “Osagz found me,” he says, referring to Osagie Alonge, the influential media figure who would later recruit him to Pulse Nigeria. “Urban Central was where I started to really express myself. Osagz discovered me there, and the rest is history.”
Though his background in law seems at odds with his current profession, for Motolani, it was never about the courtroom. “I studied law not because I wanted to be a lawyer, but because I had the grades and the aptitude,” he explains, matter-of-factly. “In Nigeria, if you’re an art student and one of the best in your class, law is the default. But did I ever plan to practice? Not really.”
Even so, his legal training has left its mark on how he approaches criticism. “Law taught me how to argue, how to present facts, how to stand by my opinions with confidence.” And it’s this confidence that has defined his career as one of Nigeria’s most audacious music critics.
“I think people mistake boldness for pride,” he says. “I’ve been called proud since I was 15. But it’s not about pride. I’m just confident in my ability to critically think, and that’s what people don’t always understand.” Of course, being outspoken in an industry that thrives on relationships hasn’t been without its challenges. “There’s always backlash,” he admits. “But the truth is, I don’t write with an agenda. I don’t write to hurt anyone. I write because I believe what I’m saying is the truth, and if I think it’s the truth after weighing all the facts, then that’s what I’ll publish.”
For Motolani, the key to navigating the minefield of artist relationships is respect. “When I meet artists who I’ve criticized, they often ask, ‘Why did you say this about me?’ And I break it down for them. Most of the time, we agree to disagree, but they respect me for standing by my opinion. It’s not about making friends; it’s about maintaining integrity.”
Speaking on the thin line between critique and trolling, a line many critics have crossed, sometimes unknowingly. “Criticism is an art,” he says thoughtfully. “It’s about separating the personal from the professional. My critiques are never about the artist as a person; they’re about the music, about the work. But I understand why people sometimes take it personally. It’s their craft, their passion. I get it.”
And yet, Motolani remains unapologetic. “I’ve been blessed to have a platform where my voice is heard. I owe it to that platform, to myself, and to my readers to be honest, even if that honesty ruffles a few feathers.”
He went on in the conversation noting that music critique involves three perspectives: the critic, the fans, and the artist.
“The job of a music critic is to speak the truth,” Motolani says, emphasizing that anything outside of this would betray one’s authenticity. He acknowledges the delicate balance involved, as critics often deal with human beings, each carrying their vulnerabilities.
“A lot of us think we are good with feedback, but most of us are not,” he adds, pointing to the artists who have created hit records and received public adoration. Now, how do they handle critical feedback—does it make a difference, or does it feel like an attack on their brand?
Motolani touches on how fans also struggle with understanding criticism. “The fans are just what the artists are on steroids, right? They also don’t know how to process criticism… They think it’s an attack.” His controversies, such as with Tiwa Savage and Santi, brought this into focus. With Santi, he clarified that his commentary wasn’t an attack on wealthy kids but more about how a certain mentality can collapse good moments and….. “I frankly didn’t think the music was good.”
Regarding Tiwa Savage, Motolani reflects on the lessons learned from their disagreement and the ruckus that surrounded that particular review. “We’ve built a friendship now. We had a conversation and I apologized. I understood that she was a woman in the industry, a black woman trying to survive in a male-dominated space. She is a mother, and the reality for her is entirely different so I had to take responsibility for that.”
We touched on music journalism in Nigeria and he spoke on the fact that he believes the industry is thriving and doing well and he made sure to give accolades to quite a number of people making an impact and contributing to the growth of media.
Speaking on journalism, Motolani encourages more young people to explore the field and the possibilities of the field and how it can open them up to their purpose. He made firm on the fact that journalism would teach about life, discipline, contribution, dedication, and human behavior.
“I would like for a lot of young people to be interested in work not just the glamor and the glitz but the grit and grind.”
He expressed how he believes that part of the industry needs more investment.
“I need more people to invest in the smaller media platforms and to help them grow and scale. I need the big media platforms to also pay people well, competitive salaries some are still running on 2018 salary scales” he spoke on how while the country might be going through it economically these companies charge more and should be able to increase people’s salaries which he believes can potentially help the claim of young people not wanting to do media anymore.
Motolani’s journey as a critic shaped his career, but today, he stands at the intersection of music journalism and the music business. Currently the Label and Marketing Manager, as well as A&R Coordinator for Virgin Music, his path has been anything but linear. He entered Pulse in 2019 as a senior reporter covering pop culture, aiming to work at a DSP but unsure how to reach that goal. He faced pivotal moments throughout his career, like receiving job offers in 2020 that didn’t feel right and grappling with a sense of burnout while editor-in-chief at Pulse in 2022.
Burnout hit hard. “I was genuinely burnt out… It got to a point where I was scared to return calls.” As editor-in-chief, his focus was now more on administrative strategy and partnerships, which allowed him some respite, but in reality the passion for writing had faded. “In my final 10 months at Pulse, I don’t think I wrote more than six articles.” During this time, doors were opening—offers from social media platforms, DSPs, and other ventures came his way, but none felt like the right fit.
After stepping down from Pulse in November 2022, he briefly worked as a General Manager for Engage before moving on to Virgin Music in early 2023. For Motolani, the transition to Virgin Music was more than just a career move; it was the fulfillment of a lifelong dream. “It’s a dream come true… a privilege to work on this side.” His role at Virgin Music allows him to blend his deep experience in media with his newfound responsibilities in the music business.
Faith has been a cornerstone of Motolani’s life, and he doesn’t shy away from acknowledging it. “I don’t do anything without my God. My life is generally a miracle.” This foundation, paired with his vast knowledge of media and music, has positioned him well to thrive in the industry.
Now, as an A&R coordinator, Motolani applies the habits he honed as a music journalist. “People are familiar with the name and respect it. They know I’m going to speak the truth regardless.” While his methods of talent discovery have evolved, he still relies heavily on digital tools and emphasizes the importance of artist development.
“If you refuse to go through artist development, it’s going to show in your career, and you are not going to like it when it comes out.” Motolani speaks candidly about the lack of media training among Nigerian artists, calling it a “serious pandemic” that needs to be addressed.
Reflecting on his career, Motolani doesn’t have many regrets. “Every decision I’ve made has led me to this point.” He believes his strong relationship with Tiwa Savage today is a result of their earlier conflict in 2020. However, one thing he wishes he had done is document sound engineers, acknowledging their importance in the music industry.
Motolani’s principles guide him both personally and professionally. “God, faith, and integrity are at the core of everything I do,” he says, adding that it’s important to find something bigger than oneself. He stresses the importance of mentors, respect, passion, and building relationships. “Don’t do it for money; do it for impact. The money will come. But build relationships, nurture them, and have a group of friends you can trust.”
For emerging artists and aspiring music executives, Motolani offers valuable advice. “Emerging artists, be sure this is what you want. Put everything into it. Experiment, find your sound, and build a community rather than chasing hits.” To aspiring executives, he emphasizes starting early and honing skills at whatever level possible. “Contribute actively, and don’t wait for the big names.”
Motolani Alake’s journey is one of resilience, passion, and purpose. From navigating the challenges of music journalism to his current role at Virgin Music, he continues to forge ahead, driven by faith, the desire to impact lives, and an unshakable commitment to the truth.
Interview conducted by Andrea Andy
Written by Andrea Andy and Michelle Ejiro
The music industry has undergone significant transformations in recent years, and the role of Artists and Repertoire (A&R) representatives has become more crucial than ever. As we navigate the ever-changing landscape of 2024, here are five key reasons why A&R remains vital to the music industry:
A&R representatives are the gatekeepers of new talent. They scour the globe to uncover emerging artists, identifying potential stars and nurturing their growth. By investing time and resources into artist development, A&R reps help shape the sound of tomorrow. In 2024, with the rise of social media and streaming platforms, A&R reps must adapt to new discovery methods, leveraging data analytics and online platforms to find the next big thing.
A&R representatives provide invaluable guidance to artists, helping them navigate the complex music industry. From crafting a compelling artist vision to advising on collaborations and productions, A&R reps offer expert insight. In 2024, artists face increased pressure to constantly produce content; A&R reps help prioritize creative direction, ensuring artists stay focused on their artistic goals.
A&R representatives foster essential relationships between artists, producers, songwriters, and other industry professionals. By facilitating collaborations and introducing artists to key players, A&R reps accelerate career advancement. In 2024, strategic partnerships are critical; A&R reps must cultivate relationships with streaming platforms, labels, and management companies to secure favorable deals.
A&R representatives ensure artistic quality and coherence, working closely with artists to refine their sound. By providing constructive feedback and suggesting innovative ideas, A&R reps enhance the creative process. In 2024, with the proliferation of releases, A&R reps must maintain high standards, distinguishing exceptional artistry from the noise.
A&R representatives play a pivotal role in transforming artistic talent into commercial success. By identifying market trends and developing targeted marketing strategies, A&R reps amplify artist visibility. In 2024, with the importance of branding and visual identity, A&R reps must collaborate with artists to craft a compelling narrative, aligning music with fashion, art, and cultural movements.
As the music industry continues to evolve, A&R representatives must adapt, embracing:
– Data-driven decision-making
– Social media and streaming platform expertise
– Diversified revenue streams (e.g., sync licensing, merchandise)
– Artist-centric approaches
– Global market awareness
By recognizing the importance of A&R in 2024, the music industry can:
– Foster innovative artistry
– Drive commercial growth
– Cultivate lasting careers
– Shape the future of music
At A&R Duty, we understand the vital role A&R plays in shaping the music industry. Our expert team is dedicated to discovering, developing, and guiding emerging talent.
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In the music business, there are a lot of roles and jobs. A&R reps are one of the most important functions in the industry. So what is an A&R rep? Who is this person and what do they actually do? In this article, we will discuss what an A&R rep does, where they work, and why it’s so important to have them involved during production.
The A&R rep is the person who represents the artist.
The A&R department is responsible for signing new artists and overseeing the development of their careers. This can include recording, marketing, and promotion of an artist’s work;
coordinating with radio stations and TV networks regarding airplay; managing live performances; handling publicity matters; planning tours (if applicable); etc.
The A&R Rep is the person who finds and signs new artists to a label. They are responsible for finding new talent, getting them into the studio, and getting their music out to the public.
While this may seem like an easy job to do, it’s actually quite difficult. The A&R Rep needs to have a wide range of contacts in order to find new talent. They need to know people who are connected with musicians, producers, and songwriters so that they can get in touch with potential artists before they’re signed by other labels or managers.
A&R departments are usually at record labels, but sometimes they can be found at publishing companies or management firms.
A&R reps have a lot of power in the music industry because they’re in charge of signing new artists to their label or company, and helping develop those artists’ careers. An A&R rep will typically work one-on-one with the artist(s) they’ve signed by helping them write songs and coordinate their schedules with other musicians and producers who are working on albums with them. The job can be challenging because it requires good communication skills, patience, persistence when dealing with others who have control over what happens next (like managers), being able to see potential where others might not see it yet (this part is key!), being able to say no when necessary…the list goes on!
It’s true that A&R is a less-talked-about role in the music business. But it’s not an antiquated one, nor should it be viewed as obsolete. While we often think of A&R as meaning record label executives who scour the world for new talent, what they do today remains largely unchanged: they are responsible for finding and signing artists.
A&R reps can be found at any level of the industry – from independent artists to major labels – but their job is essentially the same regardless of how big or small their organization is. The role itself hasn’t changed much since its introduction over 150 years ago; instead, technology has allowed people to better network with one another and make connections more easily than ever before which means that opportunities exist everywhere!
The responsibilities of an A&R rep include conducting extensive research on potential talent (including listening to demos), meeting with bands/artists directly or via email/phone calls/Skype conversations, and attending live shows when possible (a great way for you both parties get comfortable with each other), forming contracts between yourself & artist(s) if appropriate…
The music business is a complicated ecosystem that requires a number of roles and positions in order to operate smoothly. The role of an A&R rep helps to ensure that the quality of the music being released is top-notch, so it’s important for them to be aware of what’s going on in their industry at all times.
A&R reps are responsible for scouting new talent and artists, as well as determining whether or not they should be signed by record labels. They also have a hand in selecting songs and albums that will be released on their record label, as well as overseeing each artist’s creative process while they’re making new music.
A&R reps are paid on commission, so they make money when they sign artists. The range of payment is between 10% and 30% of the artist’s income. The more successful an artist is, the higher percentage you’ll likely receive.
For example: if you sign a band that makes $100k/year and their album sells 1 million copies in its first year, your agent will likely get around 20% (1/5th) of those royalties—but there’s no way to guarantee that number because it depends on many factors including how much money was spent on marketing efforts such as touring and merchandising during that time period.
Music publishers are the people who help songwriters get their songs published, and then make sure that the song is used in the right way. They also get a share of the profits from the song.
In addition to helping to promote and market the song, music publishers make sure that it gets used in movies and TV shows, as well as on commercials and in video games. They negotiate deals with record labels to allow artists to record their writers’ works on those labels’ rosters.
You can do it yourself. If you have an idea and a passion, you may want to take the DIY approach. You will write your own material, manage your own career, hire your own lawyer and accountant, and perform in front of an audience on stage. In order for this to work out well for you, however, there are several things that must be considered:
A&R is a complex and challenging job, but it’s also a fun one. If you love music and want to be involved in the process of discovering new talent and signing them to labels, then this could be your dream job!
The music industry is a tough place to be. There are many ups and downs, but as an A&R you need to understand all of these rules to keep your artists happy and to make sure that they stay on track.
Honesty is the foundation of any good working relationship, and it’s a rule that applies both to you and your artists. You should be honest about your own work and goals for the project, as well as about your strengths and limitations. If you’re not sure about something, say so—and don’t be afraid to ask questions! Honesty also means being able to express opinions honestly (and diplomatically). As an A&R person, it’s your job to help guide artists on their path toward success; if they trust you enough to tell them what they need to hear instead of what they want to hear, then they’ll be better prepared when success finally comes knocking at their door.
If you want to be successful in the A&R business, it is important that you be yourself. You should never try to be someone that you are not. This can lead to many problems later on in your career, as well as making it harder for people in the industry to trust you.
This is the most important rule of all. A&R people are busy, and they don’t always have time to get back to you right away. This is especially true if you’re sending in demos or following up on an email if you aren’t a big name with a huge career history and lots of hits under your belt, it’ll take some time for anyone to take notice of what you’re doing. Keep going! Don’t let yourself get discouraged when your emails go unanswered or no one at the label calls back as soon as they said they would (this happens sometimes). No matter what happens, keep believing in yourself and working hard until someone agrees that there’s something worth pursuing here—and even then, be patient for them to figure out how exactly they want to do it before getting overly excited about things moving too fast. If everything goes well, patience will pay off big time down the road; if something doesn’t work out right away like we’d hoped but there’s still interest from another label or manager (or whatever), don’t give up hope either: just keep pushing forward until everyone finds their place in this crazy business called music!
In short: don’t rush anything unless there’s some sort of deadline looming overhead—and even then I wouldn’t recommend panicking too much just yet because deadlines are often flexible enough that we can meet them later than originally planned while still making sure everything gets done correctly first rather than rushing through anything hastily so nobody misses out on sleep 
You should be respectful of others. It’s just a way of being nice. You don’t have to be a pushover or anything, but you can still be nice even if you disagree with someone or something they’re saying.
It doesn’t matter what religion you are, or if you have one at all you should never bully anyone for their beliefs. There’s no excuse for that kind of behavior, and nobody will respect you if you do it. Don’t make fun of people either; it’s not funny and only makes things worse for everyone involved (including yourself).
Make sure to keep your personal biases out of the workplace; don’t let them affect how much effort you put into your job or how much criticism is given during meetings/critiques with other A&R staff members or artists themselves when they’re working on new material together online as well as professionally in person every day long term projects require long-term planning, not just short term goals like trying hard enough but winning awards–which are meaningless unless there’s integrity behind them too–and having good relationships built over time where trust builds up between people who know each other well enough not just strangers passing through life together briefly without knowing each other very well at all
If you need help, ask for it.
Don’t be afraid to ask for advice or a second opinion. The more people who are involved in the creative process, the better the result is likely to be, and the more fun everyone will have in the process. If you don’t know what something means and it’s not clear from your collaborator’s explanation, ask questions until you understand fully. Don’t assume that because someone agrees with an idea it must be good—ask them if they like it too!
So, in closing, I hope you’ve learned a few things about the ins and outs of A&R. As a reminder, my advice would be to keep these rules in mind whenever you’re making decisions about what music gets signed or produced. And remember that even though I’ve given them numbers here, they aren’t meant to be strictly followed – rather than having rigid guidelines for how an A&R should behave, our goal is to help guide your decision-making process so that it becomes more natural and instinctive over time!
In the music industry, A&R stands for Artists and Repertoire. An A&R executive is your ultimate guide in approaching someone from the record label. This guide will help you prepare for an A&R meeting and get your music to market.
It’s hard to get noticed when everyone is clamoring to get noticed. There are a lot of artists in the industry and they’re all competing for the attention of A&Rs and music executives. In this article, we’ll go over how to prepare for an A&R meeting so that you stand out amongst the crowd.
A&R stands for “artists and repertoire.” In this case, “repertoire” means your music, the songs you write. A&R is the department at a record label that finds new talent, signs them to the label, and works with them to polish their artistry and release music.
When you meet with an A&R person, they want to hear your best songs the ones that demonstrate what makes you special as an artist. If you’re just starting in your career as a songwriter or musician (or if someone else is pitching on behalf of your band), it’s important to prepare yourself for this meeting ahead of time so that no matter what happens during those first few minutes together (and there will be some inevitable awkward silence), it’ll go smoothly enough that everyone leaves thinking good things about each other and looking forward to working together again soon!
A&R executives are busy people. They have a lot on their plate and aren’t going to waste their time with anyone who doesn’t follow the guidelines for booking a meeting. But if you do manage to get that meeting, then you must know what to expect from an A&R exec and how best to prepare for it.
A good way to think about this is like going on a date. You don’t just show up empty-handed and hope for the best you prep! So before booking any meetings, take some time and make sure your music has been mastered by someone who knows what they’re doing. Then make sure all of your social media accounts are up-to-date and active; including links where they can find more of your work online. And finally, have some great photos taken by professionals at least three months in advance so they will be ready when they need them.
To make the most of your A&R meeting, you should be prepared to discuss how a record deal would help you. You should know precisely what you want from the recording process and how it will benefit your career. For example, if you’re an up-and-coming new artist, perhaps having more creative control over your work will allow for a greater chance at success than releasing an album through an independent label or self-publishing on SoundCloud. Or perhaps staying away from major labels is important because they may hinder your ability to pursue other interests (like touring). If either of these scenarios sounds familiar to you, it might be time for some serious soul-searching about where and how being signed would fit into your plans.
If becoming famous isn’t necessarily one of them (and let’s face it: not everyone wants that), then consider where else this could lead in terms of exposure and publicity many artists who don’t aim for chart-topping hits still find success through touring or licensing their music; these things don’t require any kind of contract with a major record label!
Once again: before meeting with anyone in person about anything related to the music business or entertainment industry careers in general–even if they say they are just interested in helping out to make sure everything feels right!
It’s also likely that you’ll be asked how many followers you have across various social media platforms, and how well your music has been received in the press. The more coverage you can demonstrate, the better. Social media metrics (number of followers across various platforms), press mentions, and streams on various services such as SoundCloud or Spotify are likely to come up.
The best thing you can do to prepare for an A&R meeting is work on your artistry your live performance and recorded music and make yourself a unique presence on social media. You should have a clear idea of where you want to go next in your career and what that would look like. Social media metrics (number of followers across various platforms), press mentions, and number of streams on various services are important factors that A&Rs consider when deciding whether or not to sign an artist.
You can only control how much you are prepared for the meeting; everything else, like the person’s feelings about your music or whether it has potential in the market, is entirely out of your control. This is why it’s so important to be ready for an A&R meeting—your preparation will show that you’re serious about getting signed and will give you something else to discuss with the label representative besides just what they think of your songs.
In the music industry, Artists and Repertoire (A&R) is the department of a record label or music publishing company that is responsible for talent scouting and overseeing the artistic development of recording artists signed to the label.
The A&R manager’s job is to find new talent to sign, budget releases, and promote and market records. A&R men were originally employed by record companies to search out promising talent and match them with producers, musicians, and arrangers. They would listen to tapes sent in by singers who wanted a career in show business. If the material was suitable for release, the A&R man would recommend it to his boss who would then arrange for an audition with the artist. The term originates from the early days of sound recording when all production roles were consolidated under a single individual called an ‘A’ list artiste or repertoire man (because he handled all performances).
A&R teams at labels typically include a head of A&R, assistant A&R managers, marketing and promotion executives, as well as interns or assistants. They are responsible for scouting new talent and signing them to record contracts with their label.
A&R teams also handle the artistic development of their artists once they’re signed. This can include everything from choosing producers and songs for an album to helping manage the artist’s image and career trajectory.
An A&R manager’s main job is scouting out talent and signing them to a record contract. The A&R Manager is also responsible for developing the style of an artist and matching them with producers, songwriters, recording studios, and clothing designers. They are instrumental in helping artists get public exposure through industry networking, performances, demos, and recordings. Often, they will also assist artists in managing their careers.
There are infinite definitions of an A&R manager. The job description primarily reflects the skill set of the manager, not the actual work involved. Some would say that an A&R Manager is in charge of identifying artists and repertoire while others believe they’re responsible for all aspects of songwriting and copyrights. Either way, certain traits make a good manager.
As an A&R, you’ll be responsible for the entire talent discovery process. This is both a challenging and rewarding role, as you’ll be working with some of the most talented individuals in your industry. Can you keep up with the ever-changing trends in music? As an A&R manager, you’ll need to have a professional manner but also act fast on new talent. This will often require negotiating terms between record labels and artists.
With an A&R career path, you will be in charge of the record label and its employees. You will make all the major decisions about what music is released for the label and will make recommendations to the executive team. These positions are as competitive as they are sought after, making this position rare but desirable.
Most high-profile music supervisors are freelancers who work on a project-by-project basis. However, music supervisors can also be employed by production companies; film, television, and video game studios; advertising companies; or even small music-supervision companies. The majority are based in Lagos Nigeria.
Unsurprisingly, work hours for music supervisors vary considerably. As they don’t necessarily need an office for their work, many works from home or do the majority of their job on the go, moving from meeting to meeting. On the other hand, music supervisors who are acting as full-time music directors for a show or movie tend to be much more involved in the filming process and almost always spend some time on location.
A&R managers are exceptionally well-organized, detail-oriented, flexible, and punctual, with impressive multitasking abilities. Signing and cultivating talented new artists requires patience, judgment, interpersonal connections, and persuasive written and spoken communication skills. In addition, managers are well served by strong leadership qualities and should possess a vision for the careers of artists under their wing.
Most A&R managers work for medium-sized to large record companies and music publishers. When hiring an A&R representative—the position which precedes working as an A&R manager—companies tend to look for work or internship experience in the music business, as well as demonstrable engagement in local and national music scenes.
Are you an aspiring A&R? Do you want to learn the ins and outs of the role, see how it fits in the industry, and how and a job? Well, you’re in luck. We’ve assembled a comprehensive breakdown of the a&r career path that will guide you from your first day on the job until your retirement and beyond. We know what happens to most of today’s great artists and songwriters—but what happens to their song ideas, unfinished recordings, and unrealized careers?
The fact is, you are going to have to work hard if you want to be a successful A&R (artist and repertoire) But who said that was an entirely bad thing? Hard work isn’t just a requisite for success; it’s also the foundation of your musical skill set while this may not be a popular idea, the truth is that all of the artists and repertoire will tell you the same thing. Consistency, determination and a willingness to do what it takes are key traits among those who reach the top. That’s not just good advice for A&R—it’s good advice for any endeavor in life. Sign up with A&R DUTY and start shooting for success today!
Written by Babatunde Makinde Williams
A&R stands for Artists and Repertoire. This is the division of a record label that is responsible for talent scouting and the artistic and commercial development of the recording artist. It also acts as a liaison between the artist and the record label. The role of A&R has three main responsibilities:
A & R can sign new or established talent to the company’s roster. They then continue to work closely with the artist, acting as their liaison to the label’s business affair department and as an advisor who will help nurture a certain sound and image Their duties include listening to demos, aligning artists with the right producer, and offering creative input. for the unsigned musician, A&R can be the gatekeepers of the industry. It is not their job to keep you out, so much as it is to find marketable music for their company. A&R reps are the musicians’ point of contact at the label during contract negotiations. They also play an important role in the development of the artist – how the band will be marketing, sometimes choosing songs for the musicians to record if they don’t write their own material, and building a basic promotional foundation for the album and the band.
According to Allison Klein of How Stuff Works, A&R is seen as the glamorous part of working in a record company:
This is because A&R is in charge of discovering new talent. A&R people work very hands-on with the artists that they “sign.” (When a record label “signs” an artist, it simply means that the artist makes an exclusive contract with that record label.) They do everything from assisting with song selection to choosing the people that will produce the album to deciding where the album will be recorded.
As you can imagine, going to clubs, scouting new talent, chatting it up with recording studios, superstar producers, and the such, makes this one of the most sought-after jobs in the recording industry.
Getting the attention of an A&R can be difficult, but there are some things you can do to increase your chances of being seen by one. An A&R is responsible for signing new artists and developing careers. Not only does this person see potential in your work, but he or she can also provide feedback on how your music will fit best in the high-profile industry it was created for.
In today’s music industry, branding can play more of a role in an artist’s success than the music they create. Artists are not merely selling their music; they’re selling an image, an experience, and a message which defines them.
An artist is defined by their brand. People will remember the name of an established musician or artist much more than a person with no brands at all. You need to build your brand to get A&R (artists and repertoire) attention. This post will help you do just that!
A&R reps take more interest in an artist with a strong fan base. Expand your fan base by:
Having an established brand can give you an edge over other brands and producers. The more momentum and excitement you can build around your brand, the more likely an A&R will take notice.
Building relationships and networking in the music industry is always helpful. Boost your chances of getting noticed by making connections. Get out and connect with people, regardless of their status. Try to meet other artists, producers, DJs, publicists, booking agents, label staff, fans, and anyone else in the music scene. These connections could lead to opportunities. But you must be professional and approach them in a way that makes you seem like a businessperson.
Music discovery websites make it easier to capture new fans, discover new music, and more. Many connect you with the right people and services to help you advance your career in the music industry… They serve a valuable role in assisting independent musicians with industries for promotion, sales, and engagement. But which sites are best? Here’s a list of my top 4 favourite music discovery websites: SubmitHub, Pitchfork, Bandcamp, SoundCloud, and ReverbNation
Marketing and promotional strategies are essential in increasing outreach and getting your music heard. An effective marketing campaign will help you increase exposure, establish credibility, and open new opportunities. There are several excellent ways to promote your music and reach new audiences. Do some research on public relations and marketing strategies for musicians. Here is a description of the five most effective strategies you can use:
The best way to build and maintain a large, successful music career is to surround yourself with people who are just as passionate about your music as you are. You may not believe it at first, but there are many pieces to the puzzle when it comes to building this foundation. There’s management (with representation), publicists, agents, and attorneys. Each of these groups has relationships with label A&R reps — meaning if you’ve already got someone representing you — then all these people have some sort of pull in the form of following-up phone calls, emails, and future discussions/parties that could help move your career forward.
You want to find an A&R song, but you don’t know where to start. Well, you’re in luck! This article will help you understand what A&R means by defining the term and explaining how you can use it as a marketer. We’ll also look at why an A&R song is important for your brand, as well as how to find one that meets your needs. So let’s dive right in!
It’s easy to find record companies with varying results. But how about finding an A&R song? I’m going to explain why it’s so difficult to find an A&R song and what it takes.
There are a number of ways to find an A&R song. You can start by searching for the right kind of artist, or you can search by genre, topic, or mood.
You’ll also want to consider what type of sound your song needs; does it need drums? Bass? Guitar? Strings? If so, make sure the instrument has the proper instruments and sounds before you commit to it.
Once you have your idea in place, start listening to artists who would be well-suited for this project. It’s important that they not only sing well but also have good writing skills!
It’s time now for us all – writers and listeners alike – to get excited about what we do because there is nothing better than hearing someone perform your creation live on stage with full orchestration behind them.”
A&R stands for Artist and Repertoire. An A&R team is often the first point of contact between a record label and new musical talent. The job of an A&R representative is to find new music artists and to evaluate their talent (and commercial viability) in view of the current market. The role involves developing and aiding the success of new talent in areas such as music production, songwriting, instrumentation, arrangement, and marketing. In addition to signing new artists, A&Rs may “sign” an artist to certain aspects of an artist’s career; for example, a contract might state that no secondary or tertiary co-publishing rights (known collectively as “mechanical rights”) are allowed without permission from the signing A&R executive.
If you’ve already written some songs but aren’t sure if they’re good enough for A&R reps yet, listen closely for similarities between your material and the kinds of artists who have been signed in recent years. You may notice patterns emerging after listening enough times maybe certain instruments or genres seem overused by new artists lately? Maybe there’s an emerging trend around certain styles or topics? By keeping up on current trends in music publishing (and by staying up on industry news), you’ll always be ahead of the curve when it comes time for an A&R meeting!
In summary, finding A&R music today is very difficult, because of the huge number of new artists arriving each year. If you’re an artist, I suggest that you have 2 or 3 great songs prepared for sending to record labels and that you send them as you find a label that shows interest in your music. You should definitely include your name and contact information on the CD-R so that labels can easily get back to you.
If you can’t find an A&R song, then you probably shouldn’t be in the music business.