THE music industry has evolved over the years, musicians and their outfits now operate as fully fledged businesses that must make profit or risk sinking into oblivion.
This has resulted in most, if not all musicians, employing managers to professionally run their day-to-day operations.
With local musicians depending more on live shows for livelihood, managers have become a major component of bonds as they are responsible for bookings and the welfare of artistes on the road.
And artistes like the prolific Dendera crooner Sulumani Chimbetu even have more than one manager.
But who is a manager and what role does he play in an artiste’s career?
Many, even some of the artistes, seem not to understand what a manger is.
A manager can be an individual or organisation that takes the responsibility of the professional career of an artiste.
The existence of a manager in the career of an artiste can simply mean that he or she automatically becomes the ‘shadow’ of the performer.
Managers exist to shape an artiste socially and economically, represent him or her in various arenas, and make sure that he obtains proper deals or contracts, among other duties.
A good manager according to Nomalanga Dube, personal assistant to gospel sensation Sebastian Magacha, maintains durability of an artiste in the industry.
“Durability of an artiste in the industry means that the manager has to introduce certain changes to the image of an artiste so that he attracts even the outside world,” said Dube.
Managers can be referred to as artiste, talent, band or personal managers depending on the roles they play.
For award winner Mukudzei Mukombe professionally known as Jah Prayzah, managers are critical and he has two, one is responsible for the band and bookings while the other focuses on public relations.
To propel his career to the proverbial dizzy heights, Oliver Mtukudzi, years ago employed a manager who revamped his career.
In the 90s, he employed Debbie Metcalfe who is credited for taking Tuku’s music onto the regional and international platforms.
There is no doubt that for Mtukudzi to be recognised the world over, it took both talent and professional management.
Metcalfe remained Tuku’s manager until 2009 when she left and talented drummer Sam Mataure assumed the duties of manager.
Working as both Mtukudzi’s drummer and manager, Mataure is, arguably, one of the best managers in the business as Tuku’s brand has continued to grow.
Sungura King Alick Macheso’s manager William ‘Yellow’ Tsandukwa said the managerial role was more than a job for him as it all began as a friend helping out a friend.
“My road to being Macheso’s manager started when I helped him with a vehicle for live shows and being his driver at the same time,” he said.
Tsandukwa said it was his involvement in the transport logistics of the band that saw him being asked to be Macheso’s assistant manager, while Zachariah Zachariah was the manager.
“Those days we dealt with small issues such as rules, regulations and salaries of band members,” he said.
“But when I took over from Zachariah, I concentrated on bigger issues in the life of the artiste that included seeing that he had a house and a personal car.”
Musicians that have employed skilled managers and have respected their advice have thrived.
Bad and good managers have been the major difference between artistes.
Unfortunately some managers have abused the fame of their artistes for personal enrichment.
This has seen some artistes employing their relatives as managers usually spouses, mothers or fathers and siblings.
It is due to various problems encountered between artistes and managers that had resulted in some artistes employing their relatives as their managers.
Gospel musician, Fungisai Zvakavapano-Mashavave once had her husband, Courage Mashavave, as her manager.
Musicians that have cried foul over managers include dancehall guru Saul Masaka better known as Soul Jah Love who had a fall-out with his first manager, Courage Zikhali, whom he accused of exploiting him.
Despite providing Jah Love with a vehicle, accommodation and a monthly salary of US$1 500, Zikhali failed to be a manager that the chanter required.
As artistes’ numbers continue to grow, it remains the artiste’s responsibility to choose a manager wisely for the sake of their careers.