Inside the Mind of an Artist Manager: The Blueprint for Success in the Indian Music Industry

What does it take to manage top artists and build lasting careers? In this exclusive interview, Abhijeet from Big Bad Wolf breaks down the hustle, strategy, and key lessons every artist should know.

Q) Artist managers play a huge role in an artist’s career, yet many people don’t fully understand what they do. How would you break down your role in the simplest way?

Abhijeet: I make sure the artist can focus on making music while I handle everything else—planning, shows, brand deals, contracts, finances, and overall career growth. You can think of me as the link between the artist and the outside world. My job is to turn their ideas into reality. It’s a mix of business, problem-solving, and ensuring they are always where they need to be.

Q) What inspired you to become an artist manager? Was there a specific moment or experience that made you realise this was your path?

Abhijeet: I never grew up thinking, “I want to manage artists.” But looking back, it feels like everything was leading me here.

In school, I was the one organising everything—sports events, annual days, stage shows—keeping things running smoothly. I thrived in the pressure and the behind-the-scenes hustle.

And while all that was happening, music was my constant. It kept me sane, kept me grounded. I knew I wasn’t gonna be the one making music, but I also knew I wanted to live in that world, be a part of it, contribute to it in my own way.

One day, I casually helped a friend with a gig—handling stage time, dealing with the venue, making sure the artist was chill. At the end of the night, they said, “Bro, I’ve never felt this taken care of.”

That’s when it clicked. I realised I loved being the one who holds everything together so the artist can focus on creating, vibing, and performing. That rush, that responsibility, that magic backstage—it felt right. And I haven’t looked back since.

Q) You manage Indian Ocean, Naalayak, and Smoke—three artists with distinct styles and from different generations. How do you tailor your management approach to each of them?

Abhijeet: I love this question haha

Indian Ocean has a rich legacy. My focus is on keeping their cultural impact alive while introducing their music to a younger audience. It’s a lot about telling their story well, protecting their history, and planning long-term. I work on creating meaningful experiences and special projects that honour both their past and their present.
Naalayak is full of raw, honest energy. He knows exactly what he stands for, and his fans really connect with that. My job is to keep that energy going strong making sure every show, every release, every brand tie-up feels true to him. I give him the space to create freely, while also managing things behind the scenes like schedules, branding, and growth without losing that independent, no-filter vibe.
Smoke is in a very emotional and thoughtful phase with his music. He’s exploring new sounds and ideas quickly. With him, I’m more involved creatively. We spend time shaping his world, from the visuals to the strategy. It’s about finding the right balance between pushing forward and giving him space when he needs it.

Every artist needs a different approach, but the one thing I always do first? I listen. That’s the foundation of real management.

Q) When considering an artist to work with, what qualities do you look for? And in such a saturated industry, how do you help them break through the noise?

Abhijeet: When I’m considering working with an artist, I’m not just looking at talent. That’s basic, what really matters to me is:

Authenticity – Are they making art that truly means something to them?
Vision – Even if it’s still raw or evolving, do they have a sense of who they are?
Work ethic – Are they willing to put in the hours? Because talent without consistency is just potential.
Self-awareness – Can they take feedback, adapt, and grow?

I also ask: Do they even need a manager?

Have they already been booking their own gigs, reaching out to labels, or making moves on their own?

Are they earning enough to afford a manager or are they at least building something that looks like it could grow?

If they’ve taken initiative, that’s a huge green flag. I’m not here to build something from zero. I’m here to amplify, refine, and scale what’s already in motion.

The industry is loud, but real art, clear vision, and smart hustle cut through. My job is to help them do it—louder and smarter—while staying true to themselves.

Q) What are some of the biggest mistakes artists make when managing their own distribution?

Abhijeet: One of the biggest mistakes artists make while handling their own distribution is thinking it ends at uploading. Like, cool, you’ve put your song on Spotify—but now what? Distribution isn’t just delivery, it’s strategy.

Here are a few common slip-ups:

No Release Strategy – They drop the track with zero buildup, no teasers, no story, no timeline. In today’s world, attention is currency. If you’re not building anticipation, you’re already behind.
Wrong Metadata – Artists sometimes enter incorrect or incomplete info credits, lyrics, genres, moods. This stuff affects play-listing and discoverability. You’re basically giving the algorithm no reason to care.
Skipping Pre-Save / Pre-Ad Campaigns – These tools are free, easy, and powerful. They help build momentum and signal the platforms that your release has demand. Ignoring them is a missed opportunity.
Not Claiming Artist Profiles – Your bio, images, and featured playlists are your storefront. Treat it like one.
Poor Planning Around Dates – Dropping a track on a crowded date (major releases, festivals, holidays) without a plan is like whispering in a concert hall. You’ll get drowned out.
No follow-up content – The release isn’t the end—it’s the start. Keep the track alive with visuals, BTS, live versions, reels for at least a few weeks.
Relying Only on Organic Reach – Sometimes you need that little paid push whether it’s playlist pitching, ads, influencer seeding, whatever fits the budget. Distribution isn’t just where you place your music, it’s how you deliver the experience.

Distribution isn’t “set it and forget it.” It’s a rollout. Treat it like a launch, not just a drop.

Q) From a legal standpoint, what are some of the most common missteps artists make early in their careers?

Abhijeet: Most artists mess up legally by skipping the basics like:

Skipping split sheets – This leads to major fights later.
Signing contracts without understanding them – Long-term regret.
No written agreements for collaborations – Always get things in writing.
Not registering songs with IPRS – Lost royalties.
Using uncleared samples – Legal nightmare.
Not trademarking their name/logo – Risking their brand identity.

And trusting friends instead of setting terms properly? Big mistake.

Legal stuff might feel boring, but it protects your art, money, and relationships. Handle the boring now, avoid the drama later. If you’re serious about your music, get serious about the paperwork too.

Q) Artists are deeply passionate about their work, while managers often have to make tough business decisions. How do you balance creative freedom and commercial success?

Abhijeet: It all comes down to trust. Art comes first—if it’s not real, it won’t connect.

But I also remind artists of the bigger picture: timelines, budgets, audience growth. Sometimes I push for strategy, sometimes I step back to protect their creative space. It’s never about choosing between art and business—it’s about aligning them. When there’s trust, that’s when the magic happens. Commercial success hits differently when it’s rooted in something real.

Q) Touring can be unpredictable. Do you have any memorable road stories—either something that went completely sideways or an unforgettable moment?

Abhijeet: Touring’s full of curveballs, but one that stands out is a show at IISER Mohali. The production guy took the money and vanished—poof. Total chaos. But something I’ve learned from Indian Ocean and Big Bad Wolf is: the show must happen.

I called every vendor I knew, pulled every favour possible, and rebuilt a full setup in three hours (what normally takes six). The energy was so high, the band ended up playing for over three hours instead of 90 minutes. That night, chaos turned into magic. It’s moments like that which make you love this life.

Q) With streaming, social media, and now AI reshaping the industry, how do you see the role of an artist manager evolving?

Abhijeet: The artist manager’s role is shifting from just “handler” to creative strategist, tech navigator, and brand architect. With streaming, social, and now AI in the mix, we’re guiding artists through a fast-changing landscape. AI is here to stay, but so is regulation.

Human beings still want human music. AI will enhance creativity, not replace it. As managers, we have to understand the tools, protect artists’ rights, and help them stay authentic while adapting smartly. The job is evolving, but the heart of it remains the same.

Q) Looking back at your journey, what’s a moment in your career that made you feel, “This is why I do this”?

Abhijeet: During Indian Ocean’s 35th anniversary tour, I watched a packed venue—three generations in the crowd—singing every word. I stood off-stage, taking it all in. That was the moment I realized: This is why I do this.

All the madness, sleepless nights, and problem-solving led to that pure connection between artist and audience. That’s the real high. That’s the magic. And every time I feel that spark again, it keeps me going.

Success in music isn’t just about talent—it’s about vision, discipline, and strategy.

Whether you’re an artist trying to break through or someone looking to enter the world of artist management, the lessons from this conversation are invaluable.

A huge thank you to Abhijeet for sharing his insights and experience.

Desi Renaissance