Climbing The Music Business Ladder - with Godwin Tom

This is Climbing the Music Business Ladder, a weekly series where I speak to music business professionals who’ve carved a niche for themselves over the years. Here, we get a glimpse of their inspirations, experiences, philosophies, processes etc. As there are several other jobs to explore in the music business that is just as cool as being a manager or A&R. This series also spotlights other  career opportunities there are in the music business, many of which are unbeknownst to young music business players and enthusiasts in Nigeria and across Africa.

What did you want to be when growing up? 

I wanted to be many things. First, a lawyer but my dad wanted me to be an engineer. Then, I wanted to do Mass Communications and be in the media but I ended up doing Business Administration. Being a science student in high school, I went through the entire process of trying to figure out what I wanted to do.

How did you move from Sciences in high school to Business Administration in Uni, giving the subject requirement before admission?

My dad wanted me to be a science student and study Engineering. I’d aced my NECO exams in SS2 just to prove to my father that I wasn’t dull but I wasn’t interested in pursuing engineering. Out of rebellion, I intentionally failed my WAEC in SS3 then went back to my alma mater to teach SS1 class Government studies and JSS3 class English language. I juggled this alongside after-school lessons for Commerce and Literature. So, for the next exam, I’d sorted the required subject combination.

Now, that’s really strong-willed…

It was; I was living in a triangle whereby I wake in the morning, study for the class I’ll be teaching before going to teach. That was my best way of learning. Afterwards, I go for my lessons, then straight to some car-washing job I did at the time. I was also a waiter somewhere else. I really had no life at that point.

You have come a long way indeed. Lumping these experiences, how relevant are they to what you do today?

Quite. One of the things you learn being a manager in the music business is that you’re forced to interact with people from these fields I mentioned. You can go from speaking to someone at NLNG for a gig to being in conversation with lawyers about contracts for your client or you’re engaging the media for some reason. I’ve been forced to learn about these things regardless especially media relations and legal as they’ve been useful in executing this job properly.

Though many know you as an artist manager but truly, you wear different hats. For clarity, what does your designation as an Entertainment Business Consultant entail?

First, it lumps everything into one. I work with artists as a talent manager to help develop their brand. As a business consultant, I help labels develop solutions, and also assist companies on how best to utilize celebrities and artists to market their product. As a consultant, I’m able to advise and tutor other people on their career path.

What do you reckon has kept you going to now?

I think it's by doing the work; there’s really no shortcut. The Godwin Tom people see today took 12 years and before those 12 years, he was an artist for 6 years. I was label mates with Kel circa 2003. One of the things I mentioned in my e-book, Why Are You Here; find something that you’re good at, excel in it and it’ll open your mind to multiple opportunities within that space. Whatever you do, you have to deliver because that's how people begin to trust or build trust for your name. It's not like Godwin Tom has been 100% successful,  there are clients that I’ve failed or we didn't particularly work well or meet certain targets for whatever reason but because I’ve won more times than I’ve lost, a lot of time, those losses are not used to define me. The process of building to where I am now took about 18 years, so it's a thing of consistent growth, development, and not being comfortable. I’m a legacy thinker; I’m always thinking years ahead but it doesn't just happen. It takes time and process. 

Walk us through what a typical work day is like

Actually, there’s really no specific process in terms of outlining the days. Presently, my day has revolved around me doing a lot of night shifts since my son came, so that my wife can rest. Between carrying the baby, changing diapers, those 1-2 hours period where he sleeps, I do some work. I send notes, finish up proposals, review plans etc. I just make a list of activities and cross them out as quickly as I can. For instance, the Music Business Academy; I constantly tweak the plan, budget and curriculum for the program. Then there are proposals being sent to clients and some being reviewed on behalf of the talents I manage like Zoro, SDC etc.

By morning, I hand over to my wife, go to bed, wake at about 12-2pm and begin my day, following up meetings, emails etc. There’s no fixed process because of the job that we do. Also, now, I’m doing a 4-day bootcamp that began at the end of January where I’m focusing on specific things each day. I’m doing Management, Record Label & Label Services, Composers, Performers - I want to show people how each of these elements work and how you can actually build a career in them. There’s also having to touch base with my graphics, legal team to ensure whatever info I’m putting out is right. There are a lot of things, so on a typical day, I’m busy throughout.

You make it look easy...

I think I’ve gotten used to it. It might be a lot to some but I’ve just gotten used to shutting down certain things at certain times and doing the needful when needed. I also make an effort not to show up late for anything. I don't care who, even if it's someone who wants to ask me a question. If I say that you can ask me at 1:00PM, that's it. It helps me get things out of the way, so that I can focus on others. 

Do your parents/siblings understand what you do for a living?

They didn't initially. I remember when I first told my dad I was a talent manager, his first question was “what does that mean?”. My mom was so worried, she asked me to take up a job and let this go. I think at that time, any parent - educated or not - will struggle to allow their child to do certain things. To get my parents off my back, I just delivered success. I showed them that not only do I earn more on this job than many they proffered, but I’m creating relevance and meeting interesting people.

Now, I help young people convince their parents. For one of my staff, I had to sit with her parents to explain what I do, so they can be comfortable with their daughter working with me.

 What do you love most about your job?

I love the ability to create opportunities for the artist; being able to take an artist from one point to the other. When I started managing Wande Coal, I was told that was the biggest mistake I’ll be making in my life. For me, it was a challenge to fix whatever that was and when things took off a few years in our plan, people couldn’t say much. Another thing is, being able to share my knowledge. I reckon the true test of power is in its distribution. I have since trained people who now work at radio, music companies, agencies etc. Kola, who manages Teni, and Ore were a part of my program. They have since set up a boutique creative company where they cater for multiple artists. Kola has even given me business before. So, it's fulfilling being able to help people discover their path because the more powerful these young people get, the more powerful I get.

…and the part you dislike?

That you can’t control people and their temperament; emotions tend to get the best of them, especially creatives. As a businessperson, you can foresee the chaos but you cannot force a grown person to do things. Then, when it hits the fan, it affects you because you have to fix it. Another - which is one of the reasons I’m into education - is, the frustration in dealing with people that are not trying to develop. Many came into this industry with an intention of it being a means to an end but there’s no knowledge of the business or system. Many managers don’t know why or can’t justify the fee they charge for shows. So, when somebody calls for a gig and you say your fee is N5m and they’re like “we’ll pay you 1.5m” and you’re like “bring it”, you’ve totally damaged opportunities for other people and that's often because you don't understand your pricing strategy.

For instance, if I manage a female artist, part of my pricing strategy is - what does it cost you to perform? Do you play a live band? How much does it cost? How much is hotel/accommodation for the band? How much is your hair, makeup, styling? All those expenses are essential to giving a great performance. They’re not taxed, so you get them out of the way before saying this is what it’d cost. If my total expense is N1m, and my service is N2m, I’ll charge N3m. So, whatever I’m negotiating is along the lines of that N2m - which is my take-home. The other money is standard and fixed unless the client is saying I’ll cover those costs then we can reach some sort of agreement  but most people don't have a pricing strategy, they don't know why they charge. That lack of education is frustrating but its what I’m trying to fix. 

Lastly, there are people in the corporate setting that have no clue how certain things work while part of their job is engaging the music industry on a regular basis. So, it's frustrating when you’re having conversations with these people and they try to force ideologies that don’t even work because they’re probably in a position where they can give you money or manage an artist you have to interact with.

I’m curious; What do you say to your younger self?

There was a point where I started being a bit afraid and I became too analytical around things because I failed. I was one of those guys that if I think something, I go on to execute and it got to a point that I had failed so many times that it depressed me. So, that forced me to stop for a moment in my mid 20s, a period where I should’ve been a little more aggressive. If I could tell my younger self anything, it would be that I shouldn't have stopped. I had to pick it up again in my late 20s and push harder to get to this point but if I had done so consistently earlier, it would've been nice. It's why I tell a lot of young guys I teach, to not stop learning or trying because in your 30s, it seems a lot more difficult to do. 

What trait best suits someone for this job?

First thing is humility; people are talking to you because they want to reach your artist. If the artist steps away from you, it's about the end of whatever conversation they have with you. Second is being teachable - continuing to learn, develop yourself, be 5-10 steps ahead of your artist at every point either with information or solutions. I remember someone asking Wande Coal why I don’t always hang out with them - because to many, the manager’s job is to hangout with the artist. Meanwhile, that period, I’d been meeting with Live Nation on how to get Wande Coal to perform at the Ends Festival and it clicked. Third is, constant assessment of self. When an artist walks away from a manager, sometimes, it's because the artist believes the manager cannot offer them anything. Self-assessment helps you determine if it's worth your time chasing the artist, being angry with the artist or if you need to level up. Lastly Patience, because you’ll get many NOs. If my artists knew how many NOs I get before a YES, they’ll probably feel sorry. It's a lot of basic life skills honestly.

Do you have any future ambition you’d like to kick off?

I already have, it's just following through and seeing it happen. I think every year, the music business training morphs into something new. Right now, it's the academy and it's a deliberate transition from a training program to an academy because of the next phase of what it's going to be. 

If given a magic wand, what’s one thing you’d like to see change about the music industry?

Legislation. As it stands now, the way legislation works doesn't allow the industry to grow. We’ve literally had to fight our way through everything. Part of the reasons why investors are not coming in as they should is because there's not enough legislation that would support/secure their investments. Education is also essential, though that's to an extent deliberate.

What are you reading and watching that you can recommend to help music business enthusiasts stay on course?

Read about Godwin Tom in my eBook. Read about older managers in the business like Tom Parker, Peter Grant; sadly there’s not enough resources for Africa.  I’ve read Artist Management for the Music Industry. Right now, I’m reading This is Marketing by Seth Godin. For visuals, I recommend The Black Godfather on Netflix.

Who would you like to read talk about Climbing the Music Business Ladder?

Efe Omoregbe and Sunday Are. They’ve dealt with different generations of the music industry and I think people have a lot to learn from their journey; what were their challenges when there was no social media or internet? Now we have email, download links, TV stations etc., how did they do it back then? These are conversations I want to have.

This read will be available at 8:00am WAT every Wednesday. Please, DM me here or email [email protected] if there’s anyone you’d love to be featured here.