Thank you for checking out The Industry According To. Every Wednesday, we speak with a different expert or leader from somewhere in the vast music industry — label executives, artist managers, programmers, talent, artists, consultants, and beyond. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we sit down with Chris Nilsson, President of 10th Street Entertainment, one of the music industry’s leading global artist management and marketing companies.
Chris has spent more than two decades in the music business and became President of 10th Street in 2014. He has served as a primary manager for Mötley Crüe and Nikki Sixx while helping guide the growth and development of artists including Five Finger Death Punch, Ice Nine Kills, Bailey Zimmerman, Breaking Benjamin, Papa Roach, Dorothy, Bad Wolves, Hollywood Undead and In Flames.
His route into management began inside radio. After working in a station promotions department, Chris attended a music convention, read David Geffen’s biography and decided artist management was where he belonged. He later earned an MBA from USC’s Marshall School of Business while building his career at 10th Street.
Today, the company operates across artist management, touring, marketing, merchandising, brand development, books and film. Its work has helped transform artists into global businesses, turn The Dirt into another major chapter for Mötley Crüe and build Ice Nine Kills’ horror mythology across music, merchandise, conventions and film development.
Chris brings a global view of the music industry — from what it takes to break a new artist to how careers are extended across decades and businesses are built far beyond the music itself.
So, let’s dive in.
*Editor’s Note: Answers have been edited for clarity and length.*
From Banner Hanger to President
Keith: Your music industry journey started in a radio promotions department, and now you’re president of a global artist management and marketing company. Was there one defining lucky break — and what’s the elevator pitch on how you went from radio promotions to running a company like 10th Street?
Chris: I think anyone in my position is the product of lucky break after lucky break. I was born to educated parents who instilled in me a curiosity about the world, the value of education and a work ethic. I went to a good college with other people who helped me get my first job in the music business. I was fortunate enough to get a job at a young age with a company like 10th Street Entertainment, where I had the opportunity to learn the ropes with several globally successful artists. I could list 100 more examples like this. And I’m not even the luckiest of the bunch. There are many managers and label execs whose parents were, or still are, in the industry and laid all the tracks for their kids. I didn’t come from that world. I grew up in Omaha, Nebraska, and had to figure out how to get to one of the coasts so I could do the job I’d always wanted to do. But anyone who says they are solely the product of their own intelligence and/or savvy is fooling themselves.
My best advice to anyone is to immerse yourself fully in the culture and the industry in which you wish to participate. There is no substitute for getting out there, getting off the computer and phone, and building trust with the folks with whom you wish to do business.
The Most Important Job
Keith: An artist manager’s day can include everything from bailing a guitarist out of jail to negotiating a stadium tour, avoiding bad press or developing a partnership with Pepsi. Strip away the emergencies and one-offs: What should a great manager spend more time doing each day than anything else?
Chris: The best managers know how to spin straw into gold. That is our only job beyond the day-to-day machinations you mention in your question. If you don’t create opportunities for your artists that lead to growth, you won’t remain their manager for very long. Shep Gordon is a great example of this. He was constantly thinking about how to get more attention for his clients. He was constantly coming up with stunts to cut through the clutter. He recognized which elements of the artist needed cultivation and exploitation, much like a great sports coach. I suggest that every young manager I work with read Supermensch, because if there were ever a bible whose primary message is “this is what a good manager does,” it’s that book.
Most managers aren’t very good ones because they don’t have a vision that extends beyond answering emails and saying “no.” But the best ones get off their phones and laptops and consistently answer the question, “What have I done today to make a difference in my client’s business?”
Building From Zero
Keith: Great music may get an artist’s demo onto your desk, but it clearly isn’t enough to build a career. When 10th Street considers taking on a developing act, what else are you looking for before signing them to the roster?
Chris: I think we have been far too conditioned to look at numbers when evaluating new artists to sign. And while numbers can be a useful metric for determining whether an artist can find an audience, they are often misleading. An artist must have something to say. The job of the artist is literally to tell the world how they feel, so those thoughts must be conveyed with some novelty and carry meaning that resonates with people. The internet, American Idol and all the other singing competition shows have convinced the public that anyone can be a successful musician. And that may be true for some — Kelly Clarkson has a hell of a voice. But I suppose I’m a little old school when I say that an artist had better be able to play instruments, write music, write lyrics and sing well if we’re going to have success with them. It takes a long time to develop a career, and as a management company, it costs a lot to invest in an artist. I believe in stacking the deck when it comes to the overall talent profile of our clients.
Radio’s Real Value
Keith: Much of 10th Street’s roster operates in rock, where stations have become increasingly conservative with new music. In a manager’s business plan today, how important is radio — and if radio stopped playing currents tomorrow, how much would it hurt the artists you manage?
Chris: Radio will have value until the last listener turns it off. As long as there are people listening who want to hear music, it will be a benefit to artists and the industry. And because people are still listening, our artists would suffer were it not an available part of the mix.
Is Music Now the Marketing?
Keith: The funnel has flipped: album sales were once the center of the artist’s economic world, with touring and merchandise built around it. Today, artists are much more reliant upon tickets, merch and partnerships. Has the music itself become the marketing engine for a much larger artist business?
Chris: I don’t think it’s a zero-sum game. For some artists who have big careers, I’m sure the music is still their biggest source of revenue. But I do think the music CAN be the engine for a more comprehensive business with other revenue streams. I was at Nordstrom the other day, trying to buy pajamas for my five-year-old, and I walked by the cosmetics section. What stuck out most was how every model for every product was recognizable. That didn’t exist at this level in the ’90s, when I was in high school and college. Plus, successful music careers have now been parlayed into this weird investment/Silicon Valley culture where musicians flex about how early they were on X, Y or Z tech company. All that makes me slightly nauseous, even though I understand the appeal and would make the same decision were I in that position. But I also think it distracts from the primary goal of the artist, which is to check the culture on its values, provide a lens into what works and what doesn’t in our society, and show how we might change it for the better. We just saw this with Ed Sheeran and the Robert Kraft debacle. When you’re on the take, your role as a mouthpiece for our culture is diminished or destroyed, if it even existed in the first place. I can tell you one thing — Bob Dylan, Neil Young and Joni Mitchell would’ve told Robert Kraft to go back to the massage parlor from whence he came and stick Gillette Stadium up his ass.
Paying Streaming Dues
Keith: Are streaming services fairly compensating artists — or are artists getting ripped off? Explain how you see the economics.
Chris: I think you can find examples that support both arguments. I know a lot more middle-class artists today who would never have been able to make a living before streaming. I also know a lot of really successful artists who look at their statements and say, “How am I getting paid so little?” But I started in this industry listening to its death rattle. I wrote my economics thesis on Napster. The iTunes Store was a relief, but it certainly didn’t save the industry. I think the streaming platforms have breathed new life and democracy into the artist business. Before, artists HAD to get their product into stores. They had to get it manufactured. They had to sit on inventory if it didn’t sell. The consumer couldn’t sample the product they were being asked to pay $18.99 for, except for the song they heard on the radio. Do we still have to figure some things out with the streaming model to make it fairer to artists? Absolutely. But I am also a big believer in it, both for artists and for the consumer. It ultimately gives everyone more choices and removes gatekeepers. That can only be a good thing.
Touring’s New Math
Keith: Touring costs have skyrocketed, making it very challenging for newer artists. They need to be on the road to build an audience, but being on the road can bankrupt them. How do you approach touring in 2026 when an artist needs the exposure but can’t afford to lose money indefinitely?
Chris: The cost of touring has increased dramatically for all artists, not just new ones. There isn’t one system or philosophy we employ for all artists, as they are all different, but in many cases we try to maximize the income they make from merchandise sales and VIP offerings, for example. But merchandise and VIP programs have no value if fans haven’t bought into the artist yet, so we try to build some kind of fanbase or community before going on the road, even as a support act. Apropos of the last question, I think streaming has really made this possible — building demand before slugging it out in a van and in sweaty clubs. So I suppose the method we employ is: a) let’s try to cultivate some fans first; b) let’s try to go where those fans are; and c) if we do tour, let’s maximize the income from every performance so the artist doesn’t lose their shirt.
Which Is Better?
Keith: All three are great, but if you can choose only one #1 for one week, which do you choose and why?
- #1 video on TikTok
- #1 song on a major streaming platform
- #1 song at the artist’s radio format
Chris: I think we’ve seen a lot of evidence that a #1 video on TikTok would be the biggest driver, to the point that I think #2 and #3 are often byproducts of a successful short-form video campaign.
Which Is Harder?
Keith: Which is harder: keeping a legacy band relevant or breaking a new one — and why?
Chris: They each have their challenges and barriers. With legacy bands, age can throw a wrench into the activities that go into staying top of mind. Older artists have spouses and kids at home, so touring is often competing with those demands. Older artists have more vocal and other health challenges. Older fans aren’t as engaged on the social media platforms that drive consumption and relevance. Older fans don’t care as much about a legacy artist’s new music. I could list many more.
Breaking new artists is challenging in an entirely different way. There is so much competition these days, and not just among musicians. Artists must compete with EVERYTHING on the internet — news, cat videos, Real Housewives fighting in the comment section of a particular post, ads for James Talarico. It takes a lot to cut through all that noise and get someone to listen. Oftentimes I want my wife to listen to a new song, and I can’t get her attention, and she LIVES IN MY HOUSE. I’m sure some other married people can relate.
The Missing Middle
Keith: The music business seems divided between artists doing enormous business and talented acts struggling to make ends meet. Is the industry losing its middle class? If so, why — and what would create a more viable path from a struggling side hustle to a sustainable career?
Chris: I have no idea what the data show, but I know more middle-class musicians today than I did 20 years ago. And these are musicians who can make and record music in Fond du Lac, Wisconsin, put it online, have it consumed and get a larger paycheck than if they worked at Alliance Laundry Systems (this is a real corporation in Fond du Lac, Wisconsin — I googled it). But again, only the data will tell us the real story, and I have no idea what it says, so my perspective is entirely anecdotal. As for what would create a more viable path, I think the marketplace rewards those who create things of value to that marketplace. That means the artist must say something unique yet universal. There are obviously examples over the years of artists we think tick those boxes who were ultimately ignored, but I also think that succeeding in any industry requires some degree of excellence, and most folks trying to make it in music are simply not excellent in the same way most people who play basketball are not LeBron James.
Do Artists Still Need Labels?
Keith: Artists can record, distribute, market and sell directly to fans without a traditional record company. Looking into 2027 and beyond, when does an artist genuinely need a label — and when might that merely be signing over some control and cash without adding enough value?
Chris: Every artist is different. Some need labels and some don’t. One client of ours did a distribution-only deal on their last record and hit it out of the park. But they couldn’t have done that without a management company such as ours, as we provide a lot of the in-house services one might get at a record company. Other artists need the A&R, passion and manpower some labels provide. I do believe the music business is still a very human business, as success is often dictated by the level of passion of the actual people at the organization. The most successful label relationships I’ve had have been with organizations that are well run, that have a clear vision and that have a leader who is respected by the staff. If that doesn’t exist, you’re toast.
Country and pop appear to be the genres most reliant on the traditional label system. Those formats are still highly radio-dependent, and when you have hit artists with massive global footprints, the manpower of the traditional label becomes crucial to spreading the artist’s music into every corner of the globe.
The Band or the Brand
Keith: Ice Nine Kills has essentially built its own horror franchise — a master class in authentic brand extension. Most artists now want similar extensions and partnerships, but fans can smell a forced deal immediately. How does 10th Street ensure that any brand extensions are beneficial for an artist’s long-term career rather than merely creating next month’s paycheck?
Chris: The misconception is that a brand can be extended like Ice Nine Kills’ with the wave of a wand. Spencer Charnas (of Ice Nine Kills) loves horror movies. Horror movies and the surrounding culture are as much a part of him as his arms and legs. He is also one of the hardest-working people I have ever met. It is absolutely incredible to watch. He wakes up early, goes all day and all night, and repeats that process the next day. If he has a weekend off, he goes to a horror convention and meets fans and signs autographs for three days straight. He tours constantly. He has great ideas and never tires of coming up with them. This is what it takes to do what he has done with Ice Nine Kills. As a management company, we have bought in 100% to his vision and have built systems and infrastructure to support that vision. Through that marriage, Ice Nine Kills has successfully expanded its brand into many different and lucrative areas, but this cannot be done with just any artist. And it MUST start with the artist and their vision, or it will smell inauthentic. We are a pretty forward-thinking and effective artist management company, but the seeds must be there in the artist or we cannot do our job.
What’s Keeping You Up at Night?
Keith: 10th Street represents a lot of artists and employs a lot of people, while the music industry remains volatile. What’s keeping you up at night, business-wise?
Chris: Interest rates, the AI bubble, oil prices, tech company overlords, oligarchs and our employees’ cost of living.
Crisis Moments
Keith: You can keep names out of it if necessary, but what’s the toughest moment you ever had to manage an artist through — and how’d you do it?
Chris: I don’t know if it’s the toughest, as I’ve blacked out many of them, but we had a big tour out in Europe when the Bataclan terrorist attacks in Paris happened. We were slated to play the next night when the hacker group Anonymous published a list it had intercepted from ISIS operatives that named our show in Milan as one of the next targets. Many crew members and one of the acts refused to stick around, and the tour’s insurance conveniently excluded terrorist “threats,” as opposed to terrorist “attacks,” from coverage. So the tour was in serious danger of bleeding out. I don’t recall a lot of the specifics of how we solved the many problems, but I do recall being up for about three days over a long weekend. The only way to deal with something as serious as that is to remain as calm as you can, gather all the facts, identify the options and present them logically. Managers are not magicians in this sense, but any crisis requires immediate leadership — someone who knows how to conduct the orchestra. You’re dealing with business managers, agents, insurance brokers, crew members, lawyers and, of course, your client(s), so somebody needs to be the one to wrangle everyone, keep them informed, get their opinions and information, analyze everything and make decisions. Without that, you just have a lot of people milling about, unsure what to do next, which is a death sentence in a fast-moving, highly volatile situation.
The Blank Slate
Keith: Last question — blank slate. Say anything you want to any sector of the industry. What do you want them to hear?
Chris: Art has never been more important in our society than it is today. There is so much information, most of it garbage, and great artists can help humanity sift through the bullshit to find the truth. Support artists. Support art. It is necessary for our survival as a species.
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