US Music Manager · Australia
A US music manager for Australian artists. A guide to breaking into America from Australia.
In short: a US music manager for Australian artists runs the American side of a career for an artist based in Australia, next to the artist's home label and home management. Australian artists start with an advantage most international acts do not have: they already make music in English, and US radio and US playlists do not treat an Australian accent as foreign. The harder part is distance. Every US trip is a long and costly flight, so a US campaign from Australia has to make each trip count. The clearest working model is the one K-pop used to break America: a US manager who designs the order of the campaign (TV, then radio, then collaborations, then arenas) while the home team keeps doing what it does at home. Eshy Gazit, the US managing partner for BTS during the group's American breakthrough and manager of Monsta X and Wonho, worked that model. His full record is on the international music manager page.
What a US music manager does for an international artist
- Designs the US plan and the order it runs in.
- Gets the artist on American television and works with the label on US radio.
- Sets up collaborations with American artists and producers.
- Negotiates US label, label services and distribution deals.
- Picks and leads the booking agency, the US publicist and the rest of the US team.
- Plans US touring once there is demand to sell.
- Works alongside the home label and home management, so the artist has one plan in two markets.
The order of a US campaign
The campaigns that worked did not start with a tour. They started with television. When BTS performed at the American Music Awards in November 2017, it came after an extended push into the US market that included national TV and US radio (Forbes). Television gives radio programmers a reason to add the song. Radio gives American artists a reason to collaborate. Collaborations bring a new audience. Ticket demand opens the arenas. The same order ran again with Monsta X from 2018.
For an Australian artist the order is the same, and the planning is tighter. A US campaign is built in windows: a block of weeks in America for TV, radio station visits and shows, then home. A US manager schedules those windows around the moments that matter in America, not around the Australian release calendar, and keeps the work going between trips.
Manager, agent, label: who does what in America
The manager runs the whole career and is paid a commission on the artist's income. The booking agency sells shows and is paid a commission on show income. The label invests in recordings and handles releases, marketing and radio promotion. Australian artists know these roles from home, but a hit in Australia does not carry into America by itself: an Australian label deal often covers Australia and New Zealand only, and the US rights have to be placed with a US label, a US label services partner or a distributor. A US manager decides which of those fits and who holds the US side together.
What a US manager checks first
Whether there is already demand for the artist in America. Not worldwide, America: US share of monthly listeners, the US cities where the artist streams most, US social engagement, US shows played and how they sold. One US number with a time frame says more than a page of global stats. The guide on how to pitch a US manager from abroad covers what to send, and what a US market-entry plan looks like shows the plan a manager builds from those numbers.
Questions Australian artists ask
Do I need a US label before I get a US manager?
No. The manager usually comes first and helps decide whether the US release goes through a US label, a label services deal or the home label with a US distribution partner. The guide on manager, label or label services covers the choice.
Do I need a visa to work in the US?
Yes. Performing in America takes a US work visa, usually an O-1 or a P-1 for performers, and the paperwork takes time. A US campaign plans the visa before it books the first trip.
How much time in the US does it take?
Real time. A US campaign needs the artist in the country for TV, for radio station visits and for shows. From Australia that means planned blocks of weeks in America, not one long-haul trip for a single showcase.
Eshy Gazit's record
Eshy Gazit is a US-based international music manager. He was the US managing partner for BTS from 2016 to 2018, the years of the group's US breakthrough (Music Week), and has managed Monsta X since 2018 and Wonho since 2020. Billboard named him an International Power Player in 2021 and 2022. He is a partner at Maverick Management and the founder of EG Management, Intertwine Records and the marketing agency LUSIVEX. The step-by-step record is in the K-pop US breakthrough timeline, the international music manager page and the page on US management for international artists.
For the marketing side of a US release, LUSIVEX publishes guides on how to release music in the US as an international artist and how US radio promotion works.
Guides for artists from other markets
- US music manager for artists from Southeast Asia
- US music manager for artists from the UK
- US music manager for artists from Canada
- US music manager for artists from Nigeria
- US music manager for artists from South Africa
- US music manager for artists from India
Frequently asked questions
What is a US music manager for Australian artists?
A US music manager for Australian artists is a manager based in the United States who runs the American side of a career for an artist based in Australia. The manager works alongside the artist's home label and home management, and handles US television, US radio, collaborations with American artists, US label and distribution deals and tour planning, and picks and leads the booking agency and the PR team. The home label stays the home label; the US market is the manager's side.
Do Australian artists need a US manager to break into America?
The US industry is built around separate roles: manager, booking agency, label, publicist. Television bookers, radio programmers, promoters and labels expect a US manager to call them and make decisions while the artist is on the other side of the world. An Australian artist can release music in America without one, but a sustained US career has usually needed a US manager working next to the home team.
What is the order of a US campaign for an international artist?
The order Eshy Gazit used with BTS and with Monsta X was the same: US television first, then US radio, then collaborations with American artists, then arena shows. Television gives radio stations a reason to play the song, radio gives American artists a reason to collaborate, collaborations bring a new audience, and ticket demand opens the arenas.
When should an international artist look for a US manager?
When there is already real demand in America: US listeners, US fans, US social engagement, US shows that sell. The manager is the first person a US campaign needs, before a booking agency, because agencies sign on once there are shows to sell. The artist also has to be ready to spend real time in the US, on TV, at radio stations and on stage. How to pitch a US manager from abroad
How do I choose a US music manager as an Australian artist?
Look for a record you can check: artists the manager has taken across a border into the US market, with charts, TV appearances and press coverage that link to their sources. Ask who the manager works with on the agency and PR side, how the manager works with an Australian label, and how the manager keeps the campaign moving while you are at home between US trips.
Last reviewed November 2, 2026
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