Tim Riley reveals what working in the music industry is really like

GLITZ, glamour and awesome parties. That might be part of life in the music industry but here are 11 unknown realities — from someone who has been there and done it.

WHEN I left school and moved to California to start my career in the music industry, working for the artists and repertoire (A&R) department of a music label, people would often say to me, “Wow, you get to travel the globe and see bands? What a great job you have!”

Then, once I left the label side to develop the music department at game developer Activision, I was blessed to stay involved with music and also work in another love of mine. I heard even more people tell me how great my job was and how lucky I am. While this is indeed all true (I have been very fortunate in my career), it’s not all fun and games.

It’s taken years and years of hard work, and the glitz and glamour are a very small portion of the reality of my job. So, if you’re thinking about pursuing a career in the music industry, I’d like to do you the favour of giving you a dose of reality so you know what you’re getting yourself into. Here are 11 unknown realities about working in the music industry — both good and bad.

TOO MUCH OF A GOOD THING IS JUST THAT

While I can get backstage at any concert with a simple phone call (which is something I had always dreamt of being able to do), I usually opt out nowadays and decide to stay home (especially if it’s on a weekday).

I often spend all day listening to music, and once the day is over, I just can’t wait to get home where it’s quiet. Other times, I’ll need to get up at 8am the following morning to join a conference call with a developer overseas and I just cannot stay out so late the night before. I still love going to concerts — but in moderation.

EMBRACE MUSIC GENRES YOU WOULD NORMALLY NEVER LISTEN TO

As a former A&R guy, one of the tricks I learned was to listen to “distinct” or “new” genres of music, just to keep myself from going insane. After weeks of seeing shows and reviewing demos, I found myself listening to music that I may have never enjoyed before, like jazz, blues or even classical. There is something cleansing about pursuing other musical avenues and opening your ears to different sounds.

IT’S NOT JUST ABOUT THE ART

In certain industry positions, you may find yourself operating as the liaison between art and commerce. Even though the initial spirit of most deals or partnerships begins with good intentions, some people forget about the art and begin to focus only on the deal, money and commitments.

In my role, I often become the middleman in arrangements and perform the difficult task of making sure both sides get what they want, without compromising either the art or benefit for either side. Some of these deals are between huge brands, so this can be a very difficult job to perform, but in the end it has to be done — and done right!

THE BUSINESS SIDE OF THE JOB MIGHT NOT BE FUN

The business end of the deals can be complex and far less “sexy” than one may believe. From sorting out the ownership of a song and juggling publishing splits, royalty rates, unlicensed samples and censorship issues, music supervision goes far beyond just creatively finding the right song for visual media.

It’s a very lengthy process that has as much to do with budgets and clearances as it does the art. Song licensing deals vary and can be intricate, dealing with things like non-exclusive buyout arrangements, penny-rate royalties, streaming rates, satellite radio, digital jukeboxes, and more. You’ll need to understand the whole spectrum in order to be able to perform these important tasks.

COMPETITION FOR JOBS HAS INCREASED

When I first started doing A&R in 1994, there were six major labels (WMG, EMI, BMG, Sony, PolyGram, and Universal), giving a wider range of career opportunities.

Nowadays, there are only three major labels (WMG, Sony and Universal). Plus, since 2000 (around the time when Napster and other peer-to-peer file sharing platforms impacted the industry) people lost jobs within the companies, resulting in fewer opportunities for an increased number of unemployed jobseekers.

YOUR TASTE IN MUSIC DOESN’T MATTER

Sad, yet true. Back when I first started, I was told by a very successful friend in A&R to “leave my personal music taste at home.” The music business is just that — a business! Record companies and music publishers are in the business of signing acts that sell, so if you’re not willing or able to seek out the next big pop act, major-label A&R may not be for you.

The same goes for music supervision — whether it’s for a TV show, commercial, film or video game, the right song is the right song, regardless of whether it’s your personal favourite song or genre. Take yourself out of it all and think about what the general population may like instead.

YOU’D BETTER ENJOY TRAVELLING

From meetings with managers, live shows, music conferences and more, developers spread all over the U.S. and internationally. And it’s often exhausting.

Just last year, I was asked to travel to the London area for 24 hours. I spent more time on flights from LAX to Heathrow than I did on the ground. A few years before that, I flew to Perth to meet with a manager for only two days. The best part is that I’ve amassed nearly THREE million air miles — and travelled well over that number.

YOU’D BETTER ENJOY READING

When you’re in the office, you’re typically reading contracts and red-lining deals. Contracts and terms are the instructions to the deal once it’s negotiated, so every detail counts. From a straightforward song licence to a multifaceted brand partnership, it all depends on the specific wording, so be prepared to ensure the agreement is 100% correct.

BE PREPARED TO BE ON CALL 24/7

You’ll be expected to take phone calls and answer emails or texts at all hours of the day, plus nights, weekends, holidays and birthdays. A real music executive never truly has a day “off.”

WORK YOUR WAY UP

Most executives, including legends like David Geffen and Irving Azoff, started at the bottom. From mailroom to receptionist positions, it’s great for you to get your foot in the door.

I would also recommend working at an independent label. The indies were adaptors to the early internet days and quickly learned how to use the digital era to their advantage. That music scene is healthy, with a lot of great artists on their rosters.

MUSIC EXECS DON’T LIVE THE LAVISH LIFESTYLE YOU THINK THEY DO

Although an executive’s chance of financial success may actually outweigh that of the artist (who surprisingly, but statistically, struggle more times than not to make a living), I would highly suggest you to pursue this industry because of your passion and love of music, not for the desire for fame and money. Otherwise, you may be quickly disappointed.

To conclude, I don’t want to discourage anyone with this list. My real intention is to advise those interested in this industry and help you recognise that it is paramount to find balance and be prepared to make adjustments in an ever-changing landscape. I believe executive success comes easiest when you’re informed about what you’re getting into and understand what’s most important to you and your values — these are some of the few things you can actually control.

I didn’t begin working in the music industry with the hopes that someone would validate my career decision with a compliment, but when I do get them, it’s a nice reminder that I truly am blessed to wake up every day and work in a career that I sincerely enjoy. I hope that you will also feel that way in your life.

Now, after working with the same company for numerous years, I am making a change to focus my career more on the art and branding side, and less on the licensing and contractual side. Myself and two partners are starting a “music and marketing collective” called Westies, where we will focus on merging music, message and medium to create bespoke consumer experiences for like-minded brands.

This article was originally published on AskMen and was reproduced here with permission.