Thank you for checking out The Industry According To… This series runs each Tuesday and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we jump over to the artist management side of the industry and talk with someone whose walls are lined with accolades, his body covered in figurative scars, and his pockets jammed with receipts — to say he’s been there and done that would be an understatement: Peter Katsis.
His resume includes managing many mega artists over the years, including Korn, Jane’s Addiction, Audioslave, Backstreet Boys, Limp Bizkit, The Smashing Pumpkins, and Morrissey, while still finding time to work with cutting-edge talents like The Cramps, Ministry, Fever 333, and Death Grips. Peter spent years as one of the co-founders of The Firm and Prospect Park, and is currently working with clients including Bush, Ice Cube, Liz Phair, and The Church.
*Editor’s Note: Answers have been edited for clarity and length.*
Peter’s Time Machine
Keith: You hop into your time machine — you can keep it locked in “park” or slam it back to any year or span of time you’ve been an artist manager. Which do you choose, and why?
Peter: I bet most people, including myself, would like another shot at things. In a lot of ways, a lot of it was going by so fast it was impossible to do anything but go along for the ride. The start of House and Industrial, while growing up in Chicago, was amazing. But fresh out of college in those days, I was just learning the biz when I should have been looking to find a way to control a bigger piece of those genres for the future.
Plus, some of those early trips to NYC, Manchester, London, and Ibiza to cover shows in the early ’80s were simply mind-blowing. The nights at the Paradise Garage in NYC or the Warehouse in Chicago were simply legendary. Who wouldn’t want to re-live that again?
That got me out of Chicago, into the spotlight a bit early, and opened my eyes to a world of possibilities.
There are always regrets. I’d like another shot at some things I worked on — projects and people that were very important to me. I’m sure it’s not hard to imagine: Morrissey, Jane’s Addiction, etc.
Cross Genre
Keith: From Ice Cube to Ministry to Morrissey — having managed artists across completely different genres and eras — what’s the common thread? The one thing every successful artist has in their DNA?
Peter: The true artists and legendary bands all have a unique vision. It might be shaped from their influences, but their vision usually stands apart and recognizes and emphasizes important aspects about their social impact on the world and/or the world of music. Of course, there are many successful artists and groups that are also great at following the times and capitalizing on trends. Nothing wrong with that either, really.
The Manager’s Burden
Keith: Managers often carry the emotional weight of the entire operation — the artist, the team, the expectations and outcomes you can’t fully control yourself. What’s the part of the job nobody sees that takes the biggest toll?
Peter: The key lies in staying true to the music. All your work and creative ideas should stem from the art itself. The other thing that is required is total dedication to pursue the inspiration of both your client and their audience. No one “sees you” inspiring your artist, and it is probably somewhat thankless and best done one-on-one anyway. But you can really get physically and emotionally drained over pursuing these goals for them.
Crisis Moments
Keith: It’s OK to keep names out of it if needed, but what’s the toughest moment you ever had to manage an artist through?
Peter: We were in Havana, Cuba with Audioslave, performing the first large show ever by a U.S. artist in Cuba. 100,000 people attended the free show in downtown Havana at the José Martí Anti-Imperialist Plaza. It was probably one of my biggest accomplishments to pull that event off. We set it up as a “Cultural Exchange” between the two countries.
We had to get permission from President Bush and his State Department’s approval, which was no small feat. After months of advancing every detail needed on our rider with the Cuban Production Manager and the Cuban Army, we get there for soundcheck — and there is no barricade. We were having issues explaining that this was an urgent safety issue and that the band could not play without a barricade. They assured us that the barricade was coming and that they had a large army detail that would be there behind the barricade as support. Also, they were telling us the fans would listen to them and keep things safe. They had no idea what a Rage Against the Machine mosh pit was about.
So after soundcheck, we went back to the hotel for a break, fully expecting a barricade was on the way for the gig later that night. When we got back to the venue, we saw that the barricade they brought in was simply a heavy-duty bike rack.
We had no idea what to do. Our concerns went to the fans’ safety first, but the idea of pulling the show — after all it took to put together and all it meant to those fans — seemed unthinkable, and would possibly have been an even bigger safety issue.
After screaming at the Cuban Army for 30 minutes, we had to act quickly. I got them to provide soldiers to stand behind the bike rack, ready for the push from the pit. We pulled off the show in the end with no real severe issues. But, the bike rack looked like twisted metal rope by the time the show was over.
I ended up getting out there myself to help hold up the barricade and give instructions to the soldiers as to when the key moments were coming. I’ll never forget Cornell joking about it onstage into the mic. The band got a kick out of watching me trying to hold on to this bike rack for my life and keep it in place with those soldiers. They just kept rocking. Amazing, really.
I probably have hundreds of these crisis moments, but that one might take the cake.
Keeping the Wheel
Keith: You’ve managed some massive personalities — what’s the key to managing very strong and independent creative types without drifting off course and losing control of the ship?
Peter: You have to constantly remind yourself of what your job is and what your current goals are — as well as your long-term goals — for that artist and their career. Often, reminding them is all that is needed. If you run into a more stubborn situation or time period with that artist, you’ll often have to look for alternative ways to make your point — getting team members to help, or sending data and examples rather than dictating or acting controlling. Getting angry rarely helps, but sometimes they need to feel your strength too. It’s mostly instinctual. You can feel when that is needed.
TikTok’s Role
Keith: Any artist would want a hit to be born within 24 hours on TikTok. It’s what a lot of artists now focus on — but that’s still a little like winning the lottery. Is the potential upside of platforms like TikTok more of a distraction, or a race worth running?
Peter: TikTok’s role can still be extremely helpful to any artist or group of any age. The key is in the content you make. Is it fun enough or interesting enough to create social activity and awareness for new releases or new projects? Does it show your artist to be unique and connect to modern culture? Does it show an inside story from behind the scenes that fans will find interesting? But then again, that is true of all the big social platforms. Even though they are not quite as reactive as TikTok — Instagram, X, and even the old standby Facebook can be effective. A consistent pattern of releasing strong content, backed by a sincere connection to the artist’s music, will always have some impact on creating and maintaining an audience. So yes, it’s still worth it. And when you see that pitch coming — swing for the fence!
Labels
Keith: It’s cliché to say some artists don’t need labels anymore. But when it comes to big successes, there’s a wide gap between artists with a label and those without. If an artist of yours is shopping for a label, what’s most important in determining which may be the best home?
Peter: I would say the most important thing is: does the label or distribution plan involve a team on board that loves the music? Then ask yourself if you have all the other pieces in place — the right budget and the right staff for your particular project, etc. If not, you will need to make a plan to fill the gaps, and it’s best not to get started before you have all that in place. Otherwise, you are headed into the inferno of competition blindfolded and wasting your time.
Mentoring Managers
Keith: Becoming a great artist manager doesn’t come from a YouTube video or a class in school. It requires living it, making mistakes, learning, and real-world experience. What’s the most important advice you can give a young manager looking to develop a long career like yours?
Peter: Follow your instincts. Don’t be afraid to take chances. But don’t skip asking opinions and doing your homework. Learn what you can from veterans and the data available.
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Keith Cunningham is a music industry and Rock/Alternative columnist for Barrett Media and the founder of Black Box Group, a modern-modeled creative & strategic consultancy built for brands that need strategies with teeth. He’s the former Master of Mayhem at 95.5 KLOS-FM in Los Angeles for over a decade, a nationwide consultant, and has been repeatedly voted one of America’s top Program Directors and strategic thinkers. Keith has built his career by taking multi-million-dollar brands from worst to first and leading Marconi & Gracie award winners along the way. A data nerd with a rock-and-roll heart, he is an advisory council member for St. Jude fundraising, a fantasy football champion, and lover of his daughters & dogs. Reach him at keithblackboxgroup@gmail.com or on LinkedIn or X.
