Celebrity Access’ Larry LeBlanc had a nice long chat with our very own Adam Lewis — they covered everything from SXSW to touring internationally, to staying loyal to the team that got you signed.
A common mistake is that many artists figure they don’t need someone like you once they are signed by a label.
Yeah. I never understand why a manager doesn’t insist on keeping the team that got them to the point that a major label is interested. Obviously, if a publicist screws up, then of course, move on. But if everything has gone well, and the publicist has done everything that you want, the artist should want to build on that.
Too many artists won’t fight their U.S. or Canadian label to keep their team intact. They don’t realize that labels are working with half the staff of a decade ago, and that their label person is probably dealing with 50 other acts. It’s different in the U.K. where the hiring of publicists and radio trackers is entrenched.
It’s definitely true. It is especially true with overseas artists because they don’t want to rock the boat. They are so grateful to have an American deal that they are often very afraid. But it makes no sense. The team that got them there knows where the bodies are buried. They know how to pitch the act. They know all of the history. They know where they can go. Also they have ownership. You take ownership in that artist. We will do anything for Courtney. We want to grow with her. For us, it’s important that she continues to grow. Labels can be great, but they are often overworked, and personnel also come and go. The turnover is really high. I’m not going anywhere. I’m going to be there the whole time with the artist, and we will try to do everything that we possibly can.