After gaining 10 years experience and being voted in to the “Top 30 under 30” music industry professionals in Australia by The Music Network, Briese Abbott is one of the most skilled artist managers in the game. She has worked with names such as The Drones, PVT, Cub Sport, Elizabeth Rose, Paul Kelly, Kate Miller-Heidke, Bec Sandridge and more! Briese is a strategic music business leader, who also has experience as a promoter a radio presenter and spent six years on the board of the Association of Artist Managers (AAM). Talk about an impressive CV!
Adding to her colossal list of expertise, Briese decided to leave full-time artist management in 2017 to pursue new challenges, and is now Director of Synchronisation, Australia and New Zealand at Kobalt – an independent music services, publishing and technology company built for artists and writers as an alternative to the traditional music business model.
Check out A Week In The Life Of Briese below and if you are intrigued by the world of music synch, why not have a look through our very own course here!
A job description in your own words
My job is to find opportunities for our artists and writers. I do that by pitching and negotiating for their music to be used in advertising and brand partnerships, TV promos, TV/episodic programs and films. I oversee Kobalt’s synchronisation department for Australia & New Zealand out of our Sydney office; managing the synch process from creative pitching and relationship management through to copyright clearance, licensing and income tracking.
A brief daily journal over a week (Monday, Tuesday, Wednesday, Thursday, Friday)
Week to week the schedule varies a lot, but in any given week I’ll generally be doing all of the following…
Each morning I review the new music and information that’s come in from our international synch and A&R teams and follow up on pending synch deals.
I spend much of my time reviewing terms and negotiating with the requester before taking proposed uses to our clients for their feedback. If approved, I communicate with the requester and do what we can to ensure the use gets confirmed, licensed and paid.
Every day I’m pitching music from our catalogue for upcoming productions. Some of this will be responding to incoming briefs, but most of it is proactive pitching to make sure supervisors, producers and networks have the music that’s relevant for their projects. Incoming briefs usually give a theme, mood, scene description, tempo, era, musical reference or other parameters which helps inform what I’ll pitch.
Meeting with music supervisors, networks and producers to play music, discuss productions they are working on or have in the pipeline.
Meet with our clients locally and abroad to hear upcoming releases, discuss their rollout plans, publishing, and synch goals.
Go to gigs, showcases, industry events and launches, often bringing supervisors along to meet with our artists.
I try to keep up to date with relevant news and trends by regularly reviewing the Screen Australia, Campaign and Best Ads sites.
Conference calls with the international synch offices to highlight music and discuss our objectives and targets.
Synch meeting with our MD Simon Moor and the team to brainstorm creative pitching ideas, review recent uses, upcoming releases and tours and potential new signings.
Challenges and accomplishments in your week
Time management can be challenging. Having come back from a (spectacular) holiday two weeks ago this week was all about catching up on emails and music that had come in while I was away.
Confirming a creative and substantial use of a song at the perfect time to help boost an artist’s release is like the holy grail of synch – I crack out the rosé when we pull that off!
Highlights of the week (pros of the job)
The 2018 ARIA awards nominations were announced today which saw some of our local artists up for awards including Tash Sultana, Dean Lewis, Rufus Du Sol, Parkway Drive and Alison Wonderland. Always exciting to see our artists being recognised.
I also get to work with very clever and motivated people which makes all the difference in the world. I’m quite proud to be a part of both our local and international synch teams. They’re very hard working, have real respect for creators and want to make a positive difference in our artists and writers careers.
Lowlights of the week (cons of the job)
Working in synch there are always a number of factors outside of our control. This week we had great use which everyone worked hard on fall through last minute due to factors unrelated to the music. Onwards and upwards!
Words of wisdom for people considering a job in your field
Put yourself in the creator’s shoes.
Get some experience in other fields within music or licensing. Understand how synchronisation fits into the bigger picture.
Know your strengths and weaknesses and join/recruit teams which compliment them.
Have a look through our WITLO archives here!