Marianne Harris - Down For Life Music Management

“Working in music was never on my bingo card—but one video changed everything.”

Hey Marianne, welcome to Review Zoo, thanks for taking the time to share your story with us

Thanks so much for inviting me to talk about Down For Life Music. It’s always delighted and amazed me that people are interested in hearing about what I do, but it’s so awesome to have the opportunity to talk about the incredible bands I get to work with.

What got you into managing bands in the first place—was it something you always saw yourself doing, or did it happen more organically?

Working in music was not on my bingo card ever. As a pop loving mother of two little boys, I saw Linkin Park’s ‘One Step Closer’ music video in 2001, subsequently fell in love with rock, joined some label street teams, discovered live music, and then bought a point and shoot camera in 2005 so I could get into local shows for free in exchange for amateur live photos. Everything photography wise after that just happened and I went along with it.

The journey from that to DFLM has also been very organic. I became quite proactive as a photographer and journalist from around 2006/2007, networking like crazy, figuring things out as I navigated my way around the underground scene, meeting new people and getting advice, hearing about their experiences too, not realising just how much information I was taking in and retaining from spending so much time with bands and going to shows. Over time it was shaping my wider music industry knowledge, and I realised it was information that I could use to help some of the unsigned bands I liked, even if only on a casual basis.

DFLM wasn't formed until 10 years later in 2016. My friend Mike and I were already working together at a couple of independent festivals, booking bands, running stages, being part of event production teams, and both of us had bands we were ‘managing’, so I suggested joining forces and making it official. It was a great decision. I will say though, that even then I didn’t feel like a proper ‘manager’ – if anything I was a mildly connected friend and fan helping them out.

It wasn't until lockdown kicked in that DFLM became a more serious project for me. Until that point, having left a totally unrelated full time job in 2014, photography was my main source of income and I was balancing it with doing DFLM in my spare time. Suddenly photography and video jobs just stopped; everything stopped and I had no work at all. It was either finding a job in an office or do something else in music. And I was quite enjoying being my own boss. So, I made the conscious decision to put more time and energy into DFLM and actively started looking for bands to work with.

It was quite a radical move I guess, that in many ways was gently forced upon me, but having already achieved a heck of a lot with photography over 20 years I wasn’t all that mad about the rebalancing and I’m still not. I've got the best of both worlds now, and I’m very happy to have found something that I love doing as much as photography that keeps me actively involved in a music scene that I love supporting and being part of.

When you’re looking at signing a band, what separates one you’d take seriously from one that’s just not ready yet—and what should they ideally already have in place before approaching management?

For me the separation has always traditionally been less about whether I thought a band was ready for management and more about how much I loved their music and how well I connected with them on a personal level. However, the busier I’ve gotten the more difficult it’s become to dedicate the time to take on brand new bands who maybe need a lot of guidance and development, and the more I’ve therefore had to think about and consider things like whether they’re ready for a manager.

It’s an extreme example I’m aware, but I’ve been approached in the past by bands without any recorded music, who have only played shows in their hometown, with almost zero online presence. They perhaps have come to the conclusion that a manager is what they need because they don’t know what to do or how to find advice and it’s the answer to all their problems. But of course, it isn’t.

As an artist manager, I’m the person who helps guide a band’s career, acting as their primary business advisor, strategist and representative, handling the day-to-day admin, coordinating releases, negotiating deals and helping to develop and build their brand. Before approaching prospective management for the first time my advice to bands would be to consider whether they’re already well organised, with websites and social media accounts in place and active, are proactively promoting themselves, have high-quality music and professional looking visual assets and merch, good branding, a polished live set, organised finances, have a business structure or plan, and are at a point where they’ve built some momentum and need help elevating and managing what they’ve already worked hard to put in place.  If the answer is yes, then they’re ready.

From your experience, what do the majority of bands lack that would instantly make them feel more professional?

I think most bands nowadays, especially with how important being proactive and prolific on social media has become, are totally on it, so I wouldn’t say the majority, but speaking as a manager and a photographer, and because I personally think it is a big deal, IMO it instantly makes bands look more professional if they are producing and presenting top quality visual content and music.

What have been some standout moments in your career so far—those pinch-yourself moments or ones that have really hit you emotionally?

Lots of great adventures and moments have stood out, from label signings to tour offers to printed magazine features, and one of my absolute favourite things – being asked to curate or sponsor stages at festivals. but it’s usually festival appearances that are the epitome of ‘fuck yeah, this is why we all do this’. Every band wants to play music festivals and they are the best feeling of achievement. I’ve found myself getting very emotional seeing my bands up on big stages at festivals. Major proud team vibes.

Current DFLM bands have played at Download, Bloodstock, Radar Fest, Takedown and a whole bunch of awesome festivals, but there is still lots to achieve there. I think each one of my bands would bite off their leg to play in the arena at Download or Reading & Leeds, and it's really fucking hard to get offered that as an unsigned band. Events like 2000 Trees, Slam Dunk and Boomtown are all goals too, and honestly, we're all just going to keep growing and pushing and manifesting until they happen. All the brilliant adventures please!

Who’s currently on the Down For Life Music roster?

This is probably a great time to say that while DFLM was set up by two people (at one time with 3 of us working with our own rosters), for the last 2 years it’s just been me actively running things and working with the DFLM roster.  Which currently includes:

Two Year Break - a sick electronic alt-rock band from London, who I first saw at the Underworld supporting TheCityIsOurs in 2022, after discovering them on Youtube during lockdown and inviting them to come and play the show. Honestly, 30 seconds into their set I looked at Mike and was like 'I really need to work with this band’. They're infectious and energetic, and just so much fun live, and the funniest Essex lads. They sound like a cross between Don Broco and Enter Shikari ie. bloody amazing.

Waterlines - a band from Manchester/Leeds who fuse metalcore and nu-metal with EDM, and do it sooo superbly well it's quite ridiculous. They've built a very good reputation over 3 years as a solid AF live band, and it basically really sucks to be the band that follows them at a show. I'd never heard of them when they first emailed me 3 years ago, but they sent me quite an informal, slightly cheeky one, which already half got me, and then Konig did the rest of the job. I’m obviously a sucker for a bit of northern charm.

Crushed By Waves - a metalcore band from Manchester with catchy pop hooks and sing-along choruses. Again, a band with bags of northern charm who emailed me as strangers and instantly got me with their super upbeat attitude, positivity and catchy AF tunes. Arran Prime is quite possibly the bounciest and friendliest person I've ever met working in music and he's a great front man. They're a brilliant live band. Total no-brainer, and these guys are the band that have been with me the longest, at over 4 years now.

Cabin Boy Jumped Ship – electronicore from Leicester, and one of the latest bands to join DFLM. They’ve been around a while, and I’ve known Conor their vocalist for many years. When they approached me last year with brand new music after a little writing hiatus, I instantly said yep let’s do it. They’re good guys. I vibe super hard with their whole back catalogue, the new tunes are awesome and they’re also a really solid live band.

RXPTRS – a band from Bristol who could be described as a new wave British rock band, blending rock, metal and punk. They’re a bit feisty, a bit glam, got that stage presence, work hard and write banging tunes with a huge helping of rock sass. Honestly, I’m so here for it.

Royals - a rock-infused pop-punk band from Southampton/Portsmouth, who are IMO the best pop-punk band in the UK. They’re great guys who write catchy as music, are bloody awesome live and I love them. The vocalist Luke is also TYB’s guitarist, and the two bands are like brothers. Even though they’ve got a manager who isn’t that much into pop-punk, and tells them all the time haha, it makes total sense to me that they’re on DFLM, and I couldn’t be happier about it.

Overthrone - a metalcore with hardcore edges 4-piece from Birmingham. They just consistently create quality music and are an awesome live band. I already knew Joe and Luke T from previous bands they were in, and fair play, they did ask me if I'd manage them a few times before I actually said yes. It was seeing them multiple nights in a row on the DFLM New Blood Tour in 2024 that did it, because they were sick, and after that I was just manifesting them to ask me again so I could say yes.

What are some of the biggest things you’ve learnt from working in music —dealing with musicians, people in general, and the industry as a whole?

I’ve learned that the music industry is very intricately connected, that networking is one of the most vital elements for growth, that I’m excellent at organising pretty much anything haha :D, that most people are bloody splendid and not dicks (although some are, avoid them :p), that there are some formidable women in the music scene, that if you piss important people in music off they rarely forget it, that I bloody love a spreadsheet, that being supportive of everyone in your scene is super important, and that talented musicians are the people I am most envious of in the whole world, because not only do I wish I had half the talent some of the ones I know do, but I’d really love to be able to write music and experience the thrills of performing live. I’ve also discovered that I wished I’d discovered live music 10 years earlier than I did. But I’m here now 😊

In such a demanding, high-tempo role, how do you keep it fun and avoid burning out?

Well, I think it helps that I really like every person in every band on the roster; we get on famously and have a laugh even when we’re ‘working’. I’m fairly fluid with my work hours, which gives me the freedom to do family things, or chill out with a coffee and some Netflix if I want to between all the hustle and bustle, and allows me to be available to my bands when they need, usually during the times of day they’re not at work, most active online, and wanting to concentrate on band related things ie. during the evenings and weekends. I think that suits us all very well. But generally, I like and enjoy being busy, I love problem solving and I absolutely love doing admin (I know, I am slightly mad).

I have to force myself to switch off sometimes because music and DFLM are in my brain and a priority 24/7, but I actually do believe I function much better when there’s a lot of things going on at once. Mix that with all the fun things like hearing brand new music first, seeing bands play live and spending personal time with those people whether at shows and festivals, music video shoots, or in a van on tour where someone’s made us all laugh so much that tears are rolling down our faces, and it honestly does not feel like work at all. I just feel stupidly lucky to be doing a job I love so much, with the best people.

From what I’ve seen, you seem to have a really good, fun relationship with your bands—does it ever feel more like hanging out with friends than managing?

See, I feel like the expected response to this, as a professional, should be that everything is business. And while there is of course an element of that involved, because when we have business decisions to make or things to action we take it seriously and get on with it, that isn’t all I want my relationship with bands to be about. And I don’t think they’d want that either.

Connection on a personal level is important. They want being in a band to be fun and enjoyable, as well as productive, so that’s what it should be. In amongst all the serious stuff we have a laugh and piss about too. I love hanging out with everyone, and some of the DFLM group chats are 30% band business 70% banter.

Basically, it’s more like get shit done, have a laugh. Maybe that should be the new DFLM motto. But yeah, I wouldn’t have it any other way. And it’s really cool that people outside of DFLM are noticing it. 😊

What’s the biggest misconception people have about music management?

I think some of the biggest misconceptions about music management are that a manager is a magician who can instantly solve all a band’s problems and create immediate success, that having one means being able to sit back and let someone else do all the work, and that managers are booking agents.

What’s the best piece of advice you’d give to bands when they’re approaching management for the first time?

First, I’d check that the person you’re wishing to approach is relevant and suitable to your enquiry and the needs of the band. Do some research or get recommendations from other bands. Do both.

Make sure all your socials and sites are up to date and looking wicked. I would advise writing professional but friendly emails, and to not ramble on and on. Noone wants to read pages and pages of bio, so send a brief outline summary about the band and what you’ve been up to, what you’ve got in the works and the plan for that, maybe links to listen to brand new music if you’ve got some, as well as links to socials, Spotify and Youtube (Youtube links for me please), or a website, Linktree or similar as a central hub for all those links.

Address the person you’re trying to reach by name or use the company name if you don’t have that, so there’s an element of personal contact, try to avoid bcc and emailing lots of people at once (which has a tendency to scream copy and paste, I’m lazy and don’t really care about this). Inject some of your own personality into the enquiry and tell them why you think you’d both suit working together, as this helps show that you’ve done your research. And yeah, Bon Chance! You got this!

I really like the vibe you’ve built at Down For Life Music—there’s a real family feel to it. Was that intentional from day one, or did it just naturally evolve over time?

It was intentional for sure. I often refer online to the ‘DFLM Family’. It probably sounds a bit cheesy. Does it? Hopefully not too much. It more refers to the fact that I’ve always encouraged DFLM bands to connect with each other, perhaps by putting them on shows together, or making them aware of the many creative skills that other band members have that could be utilised by another band etc.

Many of the DFLM bands have played shows together, some multiple times, and become solid friends. I fucking love it. It’s great vibes. Family doesn’t just refer to the bands on the DFLM roster though, it also includes all the other people working with those bands, as well as all the fans who choose to support multiple DFLM bands and come to all the shows regardless which one is playing. Some of those fans have connected and formed their own friendship circles too. It’s awesome.

Can you tell us about the people behind the scenes who help keep the DFLM rock ’n’ roll machine rolling, and how they contribute creatively in different ways?

DFLM has musicians within the roster who are also awesome photographers, designers and producers and we have an extended family that includes multi-talented creatives and industry professionals.

Brad from Two Year Break is an amazing photographer and videographer, Simon from RXPTRS is an awesome artist and designer,  Luke from Royals is a music producer and Tom from the band is a graphic designer. Abel from Cabin Boy Jumped Ship is a sound engineer and Reece helps produce their music, Vic (@unholy.socials) from team Waterlines is a wicked photographer and video creator, and then we have people like Jamie Giberti of Rage PR who works with a number of our bands, and Oli Duncanson who makes music videos for some of them.

Members of DFLM bands are clothing company owners and established club night promoters, and most DFLM artists have photographers and sound engineers in their extended team too.  If I’ve forgotten anyone here I’m in trouble aha, but basically there’s a lot of talent flying around.

What’s something bands think really matters… that actually doesn’t?

The one I’m thinking of I know can matter a lot to a band, but I just think it shows how authentic live music is, and that’s when mistakes are made during a live performance. I think it matters more how it’s handled at the time.

I’ve been to lots of shows where someone’s played a few duff notes or got out of time or even had to stop playing entirely for a few bars, and every other person on the stage has made it overly obvious by turning to look or gesturing at them or getting cross about it. I know it can really affect those musicians’ enjoyment of the show. But that’s live music for you, it happens.

Unless it’s something overwhelmingly obvious, and yeah, it really sucks when that happens, most people in the audience probably wouldn’t even notice if it wasn’t pointed out. My favourite thing is when the band just totally owns it and goes “yep we fucked that one up”, has a laugh about it and then just gets right back on with it.

What can we add to our diaries and keep an eye out for from Down For Life Music and your bands over the coming months—any releases, tours, or plans coming up?

Oooh there’s always something going on. There are shows happening all year round, a few festivals here and there. I think most of the DFLM bands are writing or have new music written or recorded ready to go, which is honestly so exciting. Royals have recently released their debut album (check it out, it’s sick). The best place to keep up with all of that is downforlifemusic.co.uk or @downforlifemusic on socials, or via each bands’ social pages.

Thanks so much to anyone who supports DFLM and independent music everywhere, we appreciate every one of you <3