We caught up with the brilliant and insightful Adam Bauer a few weeks ago and have shared our conversation below.

Alright, Adam thanks for taking the time to share your stories and insights with us today. Can you talk to us about how you’ve thought about whether to sign with an agent or manager?

As a Talent Agent and Partner at a firm that represents over 200 clients around the world we are approached daily by artists looking for representation. Getting us to take interest in your art is a tall order.

Blind submissions generally will not work, inundating us with press will not work. Your best bet is to develop a relationship with us organically. Invite us to a show. Another way to help us find you is start doing real hard ticket business in 6-12 markets in your area. When I say real hard tickets I mean shows that aren’t free and that you are drawing at least 150-200 people. Another good way to reach us is by showcasing at conferences we will actually attend, or if you have a relationship with a some venue buyers we may or even may not necessarily work with have them put a word in to us and have them tell us how great you are.

You don’t always need a manager, and you don’t always need a record label, a lot of that stuff should and may likely come after you may start working with us, but a manager we know is another way to at least have us take more interest in your project.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

I am first and foremost a Talent Agent, representing performing artists across primarily North America but some throughout the world. My job is to procure performances for my clients with various venues that can include clubs, theaters, arenas, casinos, and virtually any other performance space you can imagine.

I graduated from Washington State University in Pullman, Washington. My degree was in Political Science with a minor in Criminal Justice. I was not looking or planning to be an agent after college, I decided to pursue this career path after being involved in putting together concerts for my Fraternity and Community.

I started as an agent for the Good Music Agency in the Northwest in 1996, right after college. working primarily an exclusive roster of clients to college buyers. From there in 1999 I accepted a postion as a agent for Fleming Artists a company based in Ann Arbor Michigan. I grew my roster and career gradually over time through hard work on behalf of my clients and a great reputation as a fair and reasonable agent for buyers. I worked at Fleming Artists for 16+ years eventually becoming a partner and the President of the company leaving in 2016.

In 2016 I joined Madison House a agency based in Boulder, CO as an agent from there I became a critical piece of the leadership team there at the agency and eventually became a partner in the agency in 2022, and eventually the managing partner. I not only oversee the touring careers of my approximately 15 clients to managing a firm of 19 employees and continuing to grow our overall business.

How about pivoting – can you share the story of a time you’ve had to pivot?

In March of 2020 Covid 19 effectively shut down the live touring industry, our jobs are based on our clients performances. When our clients don’t work, we don’t get paid. The Pandemic kept venues shut down and impacted touring for over 2 years.

In May of 2020 I decided to pivot not as much out of necessity but to find another interest, never completely knowing when and if live touring will resume, together with my family I started a Smoked Meat Company out of my backyard called Speakeasy Meats. I created new lines of brisket and pork flavors and ultimately focused on shipping my products across North America to our customers. We are paused right now figuring out the next steps of the company but prior to the pause we shipped or delivered nearly 1500 package of meat to people across appoximately 40 states and Canada, Going as far as Alaska and Puerto Rico.

In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?

Buy tickets and go to shows, stream music, buy albums, and merchandise artists sell on the road. Money artists get for releasing music now a days is limited and it is a very small percentage of artists that see significant money when they release music. Supporting them live is the best we can do to support artists and venues that our communities rely on.

Contact Info:

• Website: https://www.madisonhouseinc.com
• Instagram: https://www.instagram.com/madisonhouse/
• Facebook: https://www.facebook.com/MadisonHouseInc

Image Credits

I am the photographer