Signing a new artist: due diligence and the first 90 days
Signing an artist is the biggest decision an agency makes. Each new name on the roster takes time, reputation and attention from the artists already there. A careful signing process protects all of them. This guide covers the questions to ask before signing, what the agreement must settle, and how to use the first 90 days.
Start with fit, not talent alone
Many talented artists would not be right for your agency. Before you think about contracts, ask:
- Do we have presenters who would engage this artist now, or within a season or two?
- Does the artist fit our roster, or compete directly with someone we already represent? (roster strategy)
- Can we add value: introductions, career planning, negotiation, logistics?
- Do we share a view of where the career should go?
- Do we have capacity to represent them properly?
If the honest answer to the first question is no, signing will frustrate both sides.
Due diligence
| Area | Questions |
|---|---|
| Current representation | Is the artist under contract with another manager? Any notice periods or post-term commission owed? |
| Engagements in progress | What is already contracted or under option? Who negotiated it? |
| Materials | Are recordings, photos and biographies current and usable? |
| Repertoire | Which roles or works are ready, and which are in preparation? |
| Reputation | What do conductors, coaches and presenters you trust say? |
| Practicalities | Nationality, work permits, where the artist lives, languages |
Ask about existing commitments in detail. Engagements booked by a previous manager may carry post-term commission to that manager, as the ISM notes in its advice on management contracts under after-term payments. You need to know before you plan the season.
Talk about expectations openly
Before signing, discuss how often you will communicate, how decisions are made, which territories you cover, how fees flow and how often statements arrive. Misaligned expectations are a common reason relationships end early. Write the important points down.
The agreement
The management agreement must settle scope, territory, exclusivity, term, commission and its base, expenses, collection of fees, statements, audit and termination. Our management agreement template goes clause by clause, and the IMMF guidelines are a useful reference. Have the agreement reviewed by a lawyer, and encourage the artist to take independent advice too.
Handling engagements from before you
Make a list of every engagement the artist brings: confirmed, under option, or in discussion. For each, record who negotiated it, whether you will administer it, and whether you or a previous manager is entitled to commission. Agree this in writing. Then enter all of them on the artist's calendar.
The first 90 days
Days 1–30: set up
- Complete onboarding: profile, materials, calendar, iCal feed, agreement terms in the system (onboarding checklist).
- Agree the communication rhythm.
- Review all existing engagements and options.
- Refresh materials if needed (EPK guide).
Days 31–60: plan
- Agree career goals for the next two or three seasons.
- Identify open periods (season calendar).
- Build a target list of presenters (contacts database).
Days 61–90: launch
- Announce the signing to relevant presenters (email campaigns).
- Begin targeted pitches (pitching guide).
- Hold a review with the artist: what is working, what needs to change.
Announcing the signing
Coordinate with any previous manager so the announcement is gracious. Update your website and directories such as your Operabase agency page (managing your Operabase page). Send a short note to presenters who know the artist.
Track the new relationship in your CRM
In ArtistHub, a new artist is a roster record with materials, agreement terms, calendar and contacts from day one, so the first pitch already draws on accurate data (Run the roster).
Common mistakes
- Signing on talent alone without a realistic plan for engagements.
- Not checking existing representation and post-term commission.
- Skipping the conversation about expectations.
- Announcing the signing before the agreement is signed.
- Letting the first three months pass without a review.
Questions to ask the artist directly
Before signing, a frank conversation saves a lot of trouble later. Useful questions include: what did you value in previous representation, and what was missing? Which engagements in the next two seasons matter most to you? Which presenters do you already have relationships with? How do you prefer to be consulted on offers? Are there territories or types of work you want to grow, or to avoid? How do you feel about covers, ensemble contracts or concert work alongside opera? The answers tell you whether your agency can deliver what the artist actually wants, and they become the first entries in the artist's career plan.
Signing developing artists
Signing an early-career artist is an investment. Commission will be small at first, and much of the work is planning, coaching contacts, audition strategy and materials. Be explicit about what you will do in the first two seasons and how you will review progress together. Some agencies agree a shorter initial term for developing artists so both sides can reassess. Whatever you decide, write it into the agreement.
FAQ
What should I check before signing an artist?
Existing representation and commitments, engagements in progress, materials, repertoire, reputation and practical matters such as work permits.
Who gets commission on engagements booked by a previous manager?
It depends on the previous agreement's post-term provisions. Find out and agree it in writing before you start.
Run your roster in ArtistHub
ArtistHub is a CRM built for classical and opera artist management: castings, contracts, the season calendar, logistics, invoices and the opera database in one place.