Why This Site Exists
By Written by Peter McVeigh
Music Manager Resource exists because I waited decades for someone to build it and nobody did. So I did. A note from the founder on what this is, what it isn't, and why it matters.
Hi. I'm Peter McVeigh.
I want to take this opportunity to say that properly, before we get into anything else.
Hi. I'm Peter McVeigh. I've spent my career working in music - as a musician, a manager, a teacher, and someone who has spent a long time trying to figure out how this industry actually works rather than how it presents itself. I've been lucky enough to work with some of my heroes. I've become friends with musicians I admired as a teenager. I've had experiences in this industry that I never expected to have.
None of it came through knowing someone. None of it came through family connections or money or being in the right place at the right time through luck alone. It all started with a handshake and a sentence. Hi, I'm Peter McVeigh.
That's how it works, mostly. And that's part of what this site is about.
I've Been Waiting for Decades for Someone to Build This
Music Manager Resource exists because I got tired of waiting.
For years I kept thinking someone would build a genuinely useful resource for people working in or trying to break into the music industry in the UK and Ireland. Not a glossy magazine. Not a brand-sponsored platform with an obvious agenda. Something honest. Something practical. Something that covers the real mechanics of multiple roles - not just the glamorous ones, not just the ones that make good content - and gives people actual information about how to move their careers forward.
I waited. Nobody built it. So here we are.
This is partly the same reason I became a teacher. I came into that profession specifically because I felt the music education I received was lacking. Too many of my music teachers had no real-world experience to draw on, or if they did, they weren't sharing it. For some of them it was just a job. The mortgage got paid and that was the transaction. There was no passion in the room, no sense that this knowledge mattered, no urgency to actually prepare students for the world they were walking into.
I had a problem with that. I still do.
The Info Dump Problem
I should be honest about something: I have a compulsion to share knowledge.
When I learn something useful, I cannot sit on it. I need to tell people. I need to explain it, work through it out loud, find out who it might help and get it to them. This has occasionally been exhausting for people close to me. It has also, I think, made me a reasonably good teacher and mentor.
This site is partly that impulse given a permanent home.
Everything I've learned over the years - about management, about royalties, about the mechanics of touring, about contracts, about the realities of different industry roles - will end up here eventually. Some of it will be polished and carefully structured. Some of it will be raw and conversational. All of it will be genuine.
I'm not pretending to be an expert in every corner of this industry. I'm not. But I know enough about how to make a living from music to be useful, and I know enough people doing different jobs well to bring their voices into this too.
What This Will Not Be
I want to be specific about this, because I think it matters.
This will not be a platform where people come to tell you how they got their particular job. It will not be a series of talks and panels where someone sits on a stage and says, 'I just hung around a studio and eventually they gave me a role.' Or 'I was a coffee runner and worked my way up.'
I am genuinely tired of that format. I find it close to useless for most people trying to navigate this industry in 2026, because those opportunities - the informal, proximity-based routes into roles - have largely disappeared. The intern who made the tea and got promoted exists mostly in anecdote now. The music industry has changed. Access has changed. The routes in have changed.
What actually helps people is different. It is understanding the skills that are currently valued in specific roles. It is knowing what type of music is in demand right now for sync licensing. It is understanding what promoters are looking for when they're building a bill, what managers consider when they take on an artist, what the day-to-day reality of different jobs actually looks like.
That is what we will try to provide here. Practical, current, honest information from people who are doing the work.
The Forum, The Events, The Fun
One of the things I want this to be - genuinely, not just as a stated intention - is a place where real dialogue happens.
The forum exists because the best advice doesn't always come from the top down. Sometimes the most useful conversation is between two people at roughly the same stage of their careers, sharing what they've figured out. Sometimes a question asked openly gets an answer from an unexpected direction.
I want to create space for that. I'll be in there. Other professionals will be in there. The goal is an actual exchange, not a broadcast.
There will be live events too. Panels, workshops, conversations that go beyond what you can do in an article. And yes, we'll have some fun with it. This industry, for all its difficulties, is still the music industry. It is still made up of people who fell in love with something and decided to build their lives around it. That deserves to be celebrated occasionally.
I will strive to make this a space where people talk about real skills, current realities, and honest experience. If I fall short of that, tell me in the forum.
On Subscriptions and Why They Matter
I hope you enjoy the site. Please share it if you find it useful, and please consider a subscription.
I want to be straightforward about this too. The money made from subscriptions covers the costs of keeping the site running and allows me to spend more time developing content rather than doing other things to pay the bills. It is as simple as that. This is not a passive income project. It is a time investment, and subscriptions are what make that time viable.
The free content will always be genuinely free. The subscription tiers exist to go deeper - more detailed guides, more resources, more access. But the core mission, the reason this exists, is the same at every level: to be useful to musicians and music industry professionals who deserve better than what's currently available.
I built this because I needed it to exist. I hope you find it useful. And if you have questions, thoughts, or something to contribute - I mean this - come and find me in the forum.
Hi. I'm Peter McVeigh. Let's get to work.