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FOUNDER & ARTIST MANAGER, Theory Management Hidehiko is a London based artist manager with 18 years experience. He runs Theory Management, representing Biig Piig, Bad Sounds, KAWALA, Justin Peng and LEMONSUCKR. As well as being a consultant on various music projects. |
Heritage: British - Japanese |
Location: London (UK)
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Tell us a bit about your role
I’m an artist manager and consultant, running my own management company Theory Management with Business partner Ant Crook. Theory has been running for 7 years, but I have 12 years experience prior to that in a boutique management company. We currently have a roster of 5 acts, a mix of frontline artists and writer producers.
What does your average day look like?
Really is a mix, generally I structure my weeks Monday for admin, then in the office in town Tues, Weds, Thurs and Fri I take a half day to round up and book end the week. What happens on any said day is totally dependent on where any artist is at- general meetings, calls, catch ups, new business, developing ideas, or in more ferocious times its full campaign mode with promo, video shoots, touring and working release schedules. It is important that I find time for myself too, as being self employed you need to give space for inspiration (and sometimes motivation!), so forced time away from my phone gives me space to think - for that reason I like a sauna session!
What is a common misconception about your role?
I think that a manager should do EVERYTHING for an artist. A manager is invaluable, but they stand alongside the artist. It’s the artist’s business at the end of the day, and the artist needs to be responsible for it. It’s more of a partnership, and that’s why the traditional 20% model feels very outdated and being challenged.
What is your most & least favourite part of the job?
I think the least favourite part is that its constantly ongoing, it never ends. Once you finish one phase, you are onto the next, so there really isn’t time to look back on a particular moment and celebrate it- it’s the sum of all parts, it’s momentum and it’s constantly building, growing and evolving.
Favourite part, oh there are so many. That’s why we do it! Creatively, collaboration, the freedom to do what you want - there aren’t any rules! And its unique to every single artist. I love travelling, I’ve done a lot of Europe so I love when there are opportunities to go to USA and Asia, and I want to go to new markets too. Music is a global language, so the opportunity to move around Globally really is at your fingertips.
An important skill/trait for success in your role
Honesty. And perseverance! That's 2.
What should aspiring managers look for in an artist?
I like that question, I have heard it asked the other way around SO many times, “What should an artist for look in a manager”. Actually, I prefer it this was around. A manager when looking to work with an artist, should see talent, hunger, and a human being. The artist should look for the same in their manager.
Tell us a bit about your industry journey
I started off wanting a job in a studio, as I wanted to be a producer. So I applied for any jobs in music to ‘get my foot in the door’. When I finally landed that job, I was 19, and when I left I was 31! I never got the job in the studio, but I gained 12 years management experience learning in a great team, it was a really exciting time.
Describe when you knew that you wanted to pursue a role in the music industry
I kinda always knew I would end up in music, just no idea where. I come from a musical family though in the classical music world. As a kid, within a few years I went from learning violin, to spanish guitar, to electric guitar. I think that was already showing my taste moving into more contemporary music.
How does your heritage affect your experience within the industry?
That’s a tough question as clearly I have no experience being non-asian! I don’t feel it has opened more or less doors for me, but now honestly I feel like its a superpower as it having mixed heritage I feel such a privileged position to be in, to be able to learn from my own unique mixed cultural heritage. The work that platforms like Asian Tones and ESEA Music offer, supercharges that superpower for me.
Tell us about a moment you are most proud of in your journey so far
I’m proud that I am still here, 19 years from when I first started working in music, still work in music! And really that's testament to our artists - and weathering every storm together to come out the other side stronger and wiser.
Your advice for someone entering the industry
Don’t try to do what everyone else is doing, do it your own way. There are endless books, courses, data, analytics, blah blah blah. Go with your gut with what feels right. Nobody sees your mistakes, they only see your successes. One thing that always stuck with me when I was younger was someone saying to me, as a manager ‘you are the one first to wake up and the last one to go to bed’.
Your 5 music selects from the community
There's a Japanese artist called LIZA who is super cool. A Korean band called SsingSsing who are nuts who I found on a Tiny Desk session, love how unique they are. Jojii's really great. And Rina Sawayama and Peggy Gou are icons.
