C.V.L.T. Management
Artist management and positioning. London.
THE PROBLEM WITH THE INDUSTRY
The industry waits for proof.
Playlist pitches need prior traction. A&Rs “circle back” when the numbers land. Agents want evidence. Everyone likes to claim they find artists early, but in reality do none of the heavy lifting at the start to actually develop a project from the ground.
We spot talent and make a call before there is evidence to back it up. That’s the job.
Nobody falls in love with music made for everybody.
CONVICTION Does the artist believe something specific enough to defend?
VISION Is there depth underneath the aesthetic?
LIBERATION What does this music give the listener permission to feel?
TENSION Where does the work clash with what is expected of it?
ROSTER
Jason PatelA dance project where wanting something isn't embarrassing.
Manchester, via East London.
Dance Pop
Strongest pillar: Liberation
Luc rUSHMERE
Possibly JamieWill shake ass, then consider the repercussions of shaking ass
Glasgow
Experimental Dance Pop
Strongest pillar: Tension
Music as ritual, not performance. The world has colour; he doesn't.
Cape Town
Cinematic Indie
Strongest Pillar: Vision
MEDENI An explorer who hasn't arrived yet, and won't pretend otherwise.
London, via Cardiff
Adult Contemporary
Strongest Pillar: Conviction
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Most applications are declined. If you’ve read the method and think it describes you, tell us.