What are new observations/lessons you gained about the music industry from the last year? I don’t even like the word “manager” anymore. Carries so much negative connotation. It’s more about building brands as a partner now. Building multiple businesses that intersect under an artist’s “parent company” umbrella. Most artists, or at least the ones I work with, don’t live in one lane. It’s less about immediate gratification. Some businesses thrive, some die, but they are all part of the same soil.

How has the role changed? Everything in media is at a tipping point. All of it. Print, TV, radio, film, record companies. All of these lanes are no longer completely controlled by gatekeepers. The internet pulled all their pants down. I think this will be good for art, because it put all the power back in the artists’ hands. They aren’t forced to play the middle anymore. The fans decide. The best will rise to the top and become curators for all other kinds of art that wouldn’t have been seen or heard in the old system. Think about it: wouldn’t you trust Solange as a cultural reference point more than what your currently being fed? Same for Tyler and Mac and Kilo Kish. They all have their own unique individual lanes that speak across multiple demographics in different ways, and it sticks because they are honest. The trick is to build a business around it that doesn’t sacrifice any of the above.

Is it a better time than ever to be an artist manager? Not sure it’s the right question, perhaps a better question would be ‘Is it a better time than ever to be an artist?’ We don’t exist without them and can’t be successful without a demand being there for them to do what they do. I do think it’s a great time to be an artist, especially in the world of ‘experimental’ music, which I guess is loosely where I’m placed. Sales are down overall, yes, but vinyl still thrives and the opportunities to play live or DJ are still very much there and financially rewarding. Also. the line between what is considered ‘underground’ and ‘commercial’ continues to be further blurred, creating really exciting opportunities for artists that can step up and capitalize. I feel a great sense of community between managers working in similar areas of music as I do, a lot of them are close friends and it’s nice to know we’re all pulling in the same direction, trying to get our artists music heard by as many people as possible.

What are some headaches you had last year that you learned from? Some people just won’t get it, no matter how hard you try. It’s cool though, just focus on the people who do.

How did you link with Chance? I met Chance through working with the Kids These Days band in Chicago, they’re all part of the Save Money collective. Chance was their buddy, and he started doing these listening parties they they all went to, and I went and supported him, they were amazing. He released 10 Day before I was initially involved, but I was a huge fan. A week later, I was at this radio station with another artist and I saw Chance and his dad. Me and his dad spoke, and we all had a good time. I got a call the next day from his dad like “Me and Chance want you to work with us.” We met up the next day, and that was April in 2012. It’s coming up on three years.

What were some key things you learned about management in 2014? Organization was huge. For Chance especially, being an artist without the support of the label, a lot of that weight falls on the team that surrounds him. We won’t just take any opp. One good example of something we did this year, we told every festival throughout the entire year that they couldn’t live stream our set. We’re in the UK, Glastonbury, and the people are like “Everyone is doing these live streams.” It’s huge, album sales go up, it was a whole thing before our set started. We were the only people at Glastonbury who chose not to live stream. But we were saving all those live streams for Lollapalooza, which was our homecoming show. We pushed the Lolla live stream link really hard, and I found out a month after, they called us and said “You guys had the highest stream count out of anyone at the festival, with over three million streams.” Which was greater than Eminem, Rihanna, Zedd, Skrillex, Outkast, which was incredible.

How is the role of artist management different today? I think managers are so much more creative nowadays. When labels had a lot of money, they were able to hire creatives and project managers and A&Rs, third party contributors that could make something hot, which they still do. But now, when you’re a manager, a lot of the creativity, marketing, branding, social media, it comes down to how the manager and artist will do it together. It’s not just making sure business affairs are in order and the record sounds good.

How did you first connect with TDE? I don’t know if you were aware, but Top [Dawg], that’s my pops. It’s all of us, just a organic situation. Everybody just naturally form together. Our whole management team the same, Top the oldest, he just the big dog.

What are some specific things about your artist that make him unique to work with? Q was the last one to the camp. If you ever played a NBA 2K, or a Madden, in Franchise mode where you act like the coach or the owner, you gotta draft a player. Some, their overall [rating] is 70, but the potential to grow is a C. And then you draft another one, and he may be a 50 overall, but his potential is a A. Q was that draft pick where his overall was low but his potential was so high. That’s why he was able to jump up and catch up to everybody, he had those smarts to sit there and absorb everything and add it to his repertoire of music. Take pieces from Kendrick, Rock, Soul, and put that together. Q didn’t plan on being a rapper, it fell in his lap and he happened to be great at it.

How do you guys plan to win 2015? Right now, it’s all about Kendrick, off top. That’s the main focus. Every year is to keep the integrity and grow our brand. Look to add artists as well. I got a couple cats that I’m working with in the cut, just building relationships, no one officially signed or anything. Isiaiah [Rashad] brought a kid with him by the name of Kembe, I’ve been helping him more so on some mentor type of deal. But it’s about Kendrick right now. Going forward, Soul, Q, Jay Rock. Rock got some crazy music. Kendrick of course, but Rock is restructured. Wait till y’all hear Rock, it’s a whole new level.