Chappell Roan manager Nick Bobetsky: An Interview
Chappell Roan manager Nick Bobetsky offers insights into his career, from starting to managing top artists. He shares his most significant risks, upcoming projects, and advice for aspiring managers and artists.
Interview with Chappell Roan manager Nick Bobetsky
by Assistants vs. Agents of The AVA Connection
Bobetsky: I went to college in Upstate NY and moved to LA for Ithaca College’s LA program. I did my final semester in LA interning for indie label Milan Records as well as Universal Music Group. When I graduated, Milan hired me as their marketing manager. I cut my teeth running our marketing campaigns for arthouse film soundtracks alongside various film studios, launched our catalog digitally (this was a long time ago, 2002), and thrived there with a lot of autonomy. It was an Indie label through Major distribution so I learned how to build music momentum with indie budgets and resources, but surrounded by major label infrastructure.
Over 8 years I touched all parts of the label business – a&r, marketing, sales, distribution, publicity, sync licensing, and then began managing some artists I signed. It was clear to me that management was where my heart belonged. I’d been playing, writing, and performing guitar since I was 7 years old and I knew that there was no place closer to the music, the artist, and their vision than being a manager. I discovered it was the truest partnership with the people I felt the closest to – the artist.
AvA: You manage Artists like Chappell Roan, Em Beihold, LP, Livingston and more. What are your main areas of focus when working across your roster?
Bobetsky: As manager, I consider myself the top-level partner to the artist. This can be a variety of things depending on the artist, but I consider myself the extension of the artist to advocate and represent their vision, goals, and strategy to achieve them. I am deeply passionate and invested in all areas of their career. From creative and a&r, to deal making, to overseeing all the team members, and beyond. I help find, partner, and communicate with everyone from record labels to publishers, attorneys, business managers, publicists, – truly everyone in the artist’s world.
I have a fantastic team of day to day managers who support me in all of this, but the short of it is I lend my expertise to all things across an artist’s career with both a bird’s eye view, as well as constant attention to the minutia. I take it all very seriously because at the end of the day, it’s my job and responsibility to make sure that every element of the artist’s world is dialed.
Credit: Lollapalooza / Chappell Roan’s crowd at Lolla (The largest in its history)
AvA: Chappell Roan has burst onto the scene this year after a successful run opening for Olivia Rodrigo, and iconic performances at festivals like Coachella, Lollapalooza, and Gov Ball. Can you talk about your strategy when approaching support slots on tours as well as festival bookings?
Bobetsky: Chappell Roan has always been about building and expressing her truest vision. We’ve always found more meaning in momentum rather than moments. Because of that, when we started having big moments like the Olivia tour, NPR’s Tiny Desk, late night TV, and then festivals, her universe was already built. She’s so committed to her music, her touring, and to only doing things that feel true to her core, that the universe was already compelling, way before big moments started to happen.
My biggest strategy and contribution with Chappell Roan, and for all my artists, is to believe in them, help create a lane for them to define themselves, and when we can do that, it allows success to come because their greatness has already been defined and there are no sacrifices to their vision.
AvA: What was the biggest professional risk you’ve ever taken, and do you think taking risks is a necessary evil for growing in our industry?
Bobetsky: I left my record label to manage independently. I wasn’t sitting on a bunch of money, had to take consulting jobs to stay afloat, but I knew I needed to go for it. I didn’t join a management company right away, I didn’t go work for another manager, I just focused on building a few artists I felt passionate about and had blind trust that it’d work out. I had 8 years of experience under my belt and I always focused on provings things rather than hyping them. I pride myself on being a builder, at any level.
To me, building within the music industry has less to do with the industry, and more to do with an artist as a person, a creative force. The deal making, money, commercial elements come, sure – but the real build starts on a human level. Build that, respect that, and have a shared vision – once I felt confident in my ability to do that, I left my job and went all in.
AvA: What are a few projects you’re working on right now that you’re excited about?
Bobetsky: I’m excited about all of my artists right now. Big, small, at every turn is an opportunity for us to embrace what each artist is the best at, be open minded to what evolution is ahead for them, and be a great partner for them to take a step forward. Every new song, new album, new tour, new partnership is a new beginning. I’m excited for what’s ahead for Chappell Roan, for LP who is writing the best music of their career, for Livingston who had a massive level of growth over the past 6 months and is writing life-changing music, for Debbii Dawson who I recently signed that feels so inspired and exciting to help shape her vision – she’s incredible, for Em Beihold who is writing new music and embracing her truest self – it’s all exciting to me! I don’t work with anything that doesn’t make my heart pound with excitement.
AvA: One piece of advice for someone aspiring to be a talent manager?
Bobetsky: Lead with passion at all times. I don’t think I’m capable of stopping at just one piece… surround yourself with people who make you smarter and better. Worry less about the industry “dance,” and more about doing the best work for your artist as possible. Study the industry of the past, embrace those timeless elements, but keep your focus squarely on the future. The old music industry guard used to be focused on control, fear, leverage and power. Some of that still tries to exist, especially in the highest levels of mainstream music, but it’s losing steam. Music is now democratic, fans are power, the gatekeepers do not exist, great songs and artists find their way based on their own level of greatness. It’s a really inspiring time.
