Industry Insider: Artist Manager Joe Buscema Discusses Artist Development, Labels & AI

If you knew anything about him as a child, then you would not be at all surprised as to why Joe Buscema chose a career in the music industry. Buscema is a highly regarded industry voice and artist manager who has been entrusted by several artists to help their careers soar. He has managed a hugely impressive list of artists, which includes Say Anything, Set It Off, Ryan Woods, Bearings, The Dangerous Summer, Like Pacific, and many more. At the age of four, he was already showing curiosity for rock n’ roll tunes his father was playing. When Creedence Clearwater Revival’s “Down on the Corner” came on the radio, he quizzed his father as to what he was hearing. By age 7, he was learning guitar, and then drums followed at 9. He started his first band at 11 and laid down his first studio recordings at 13.

Buscema grew up in the Toronto punk rock scene, working for promoters already as a teenager. He began playing in and booking bands, including Abandon All Ships, who received major label offers. By 2014, he had settled on being an artist manager and set about assembling his own roster of artists. In the decade since then, he has achieved enormous success for his acts, who all look to him as a friend and a guiding light. A jack of many trades, Buscema provides artistic, creative, business, and executive assistance to his artists. They are on their own journeys, and he makes sure to help them along in any way he can.

Joining us today for our Industry Insider interview is Buscema, who discusses the evolution of artist development, industry challenges, maintaining a passion for his career, and much more.

Joe Buscema with Late Night Drive in 2025, photo courtesy of Joe Buscema

Do you think traditional artist development is a dying art, with labels more interested in viral potential than fostering long-term careers?

Joe Buscema: “I do not believe that artist development is a dying art because I have amazing peers in the industry who are also managers, or record labels, or agents, and we share the same philosophies, morals and ethics on artist development. To give it a blanket statement that ‘artist development is dead!’ is just ignorant.

“However, there are people and companies in the industry, if they are aware of it or not, that operate in the way of ‘if it’s not viral, we don’t want it.’ ‘If they don’t go viral, we won’t pick up the option.’ I have heard people speak those words. I believe that the music business, much like any other business, is comprised of a variety of people with different belief systems, philosophies, morals, ethics, and ideas of what ‘fair treatment’ is. I have been lucky enough to have had ‘the ones who came before me’ pass on their ideals, and it is my responsibility to carry that message for the ones to come. I am grateful that I do not view artists as brands, logos, entities, or stocks. I view them as people because that is what they are. Very skilled and talented individuals who have usually had unique life experiences, who usually can only express themselves via creative outlets. So, not only are they people with the same rights as anyone else, but they are also extra special in my eyes and deserve the extra TLC.

“Last item on this point, artist development is not me telling the artist. ‘This is who you are and who you ought to be.’ More so, give them the encouragement to feel fully confident in expressing the inner workings, feelings and creativity so that I can build a creative business around it. My art is helping them find their art, connect them with other artists and explore who they are in a deeper way. The art must be authentic to the artist.”

How do you think the rise of AI-generated music will impact the careers of human musicians?

“I (would like to) believe that AI will have no impact on art and that humans are always going to seek music that has human emotion that came from a human being with their unique life experiences. However, there is a market for people who don’t care and, in my opinion, don’t value art deeply. With that being said, I believe that people are interested in investing in the story and lore of an artist, figuring out what life experiences are connected to the lyrics and feeling the emotion in the delivery of the performance. I just do not see how a robot can ever take that way. But we shall see!”

Do you think artists today need to have a deeper understanding of data analytics to succeed, or can they still rely on pure artistry?

“I don’t really believe that the artists themselves need to concern themselves too much with data, honestly. I like to explain the relationship with an artist and their consulting managers as a ‘left brain/right brain’ relationship. Leave the art to the artists and let your team chew on the data and help you make informed decisions based on data. I can’t imagine looking at stats all day and writing a great song from the depths of myself.”

What’s the biggest challenge artists face when transitioning from a regional act to a global audience?

“The biggest challenge that I have seen many artists face when taking that regional to global step is not losing the essence of who they are. A more specific example of this would be not getting caught in the crossfire of making every decision on ‘what will earn me the most money.’ Often, I have led artists to peaks of their careers and helped them earn a lot of money by making decisions that aren’t strictly profit-motivated. It’s kind of paradoxical, but the right decision to make may not always be the most profitable decision to make.

“I believe that giving the fans a great live show is super important for fans to not only continue to return, but to be burning with passion to invite their friends to the next show of that artist in their city. It’s hard when artists finally start to make money and to look at a tour budget the same way and not think, ‘Do we really need to have a lighting package on this tour? Do we really need to print on merch on premium t-shirts?,’ and so on.

“I believe that as an artist grows, it becomes increasingly harder for them to continue to see the value in investing to get to the next point in their career. Again, it is totally paradoxical, but it’s an age-old saying for a reason: ‘Spend money to make money.’”

What’s your advice to new artists considering whether to sign with a major label or stay independent?

“The question of ‘major or indie label’ is specific to the artist, their needs, and where they are at in their career. I would not advise a brand-new artist to launch on a major label in this age. However, I do believe that there is a point where an artist reaches a level where the major labels are necessary and essential. I believe that mid-level artists need indie labels, and there is a great business and career to be had in this space. However, I think that going for a major label too soon could be a detriment to the artist’s career.

“What I love about indie labels is that (typically), there is less of a revolving door for staff. Most likely, the person who discovered and signed you at an indie label will still be at the company when you are delivering your third album to the label. Your product manager will likely still be the same person, the president of the label still knows who you are, and so on. The people who cared about you and believed in your ability and vision as an artist will likely still be there to help you continue to achieve those dreams. If you are lucky enough to get there, I think everyone needs to look around and think, ‘Do we really want to change the recipe now that we got to this level?’

“I am a big fan of the ‘not broken, don’t fix’ mentality and remember that anywhere you go, you will have certain aspects that you do not love about the company you are working with. No one is perfect; everyone has their strengths, weak points, and brings something unique to the table. If it works for you and you are reaching success, there is likely no need to make a change.”

What’s the biggest mistake artists make when they first start building their team (managers, agents, publicists, etc.)?

“A common mistake that I see artists make when building a team, which kind of relates to the last question, is choosing the ‘bigger name’ and not the people with a bigger vision and belief in that specific artist. With that being said, if you have a powerhouse manager, agent and label who is ready to do whatever it takes for your career, genuinely feels like they won’t abandon you at the first hardship, low point or financial loss, then you have struck gold in an ideal situation. I am more so speaking in the general terms of ‘this major agent is interested, but this younger/less successful agent is calling me every day.’ You should probably go with the agent who is most excited.”

Joe Buscema with Bearings in 2025, photo courtesy of Joe Buscema

How has your definition of success changed over the years? Is it still about fame and financial rewards, or have other aspects become more important?

“Honestly, I am just so lucky to be turning 35 in June and still having my passion as my career. To me, that is a success. I can fund my life doing what I love. I do not have a fancy car, I do not live in a luxurious home, I do not wear Gucci (nor would I even if I could justify spending 2,000 dollars on a hoodie). However, I don’t have to stress about money, I do not have a side gig (anymore), and I love what I do. To still be able to look at other people in the music industry who were here when I walked in is a success. The further that I continue down the road, the more grateful I am to still be here and to have even more respect for the ones who are still here.

“It is hard, it is not easy, and we could all make a lot more money in other fields, but we are here because we love it, and it’s part of our life missions and purposes. For me, I used to play in bands, and I always told myself that I was going to be the manager that I wish my band had. As well, I want to play my little part in the artist’s ‘something big’ to have their music reach people who will have that music be the soundtrack of their lives. Music that will meet them during romance, heartbreak, gain, loss, joy, mourning, and everything in between.

“What a gift it is to still be serving music. How has it changed? I no longer think that I need an office overlooking Beverly Hills with a few Bentleys in the driveway of my 90210 mansion to be a success, but I also won’t say no to those things if God wants to bring my career there (laughs).”

What’s the most valuable long-term professional relationship you’ve built over your career, and how did you maintain it? What advice would you give for cultivating lasting relationships in the industry?

“I recently had to part ways with a band that I worked with for a very long time, nearly seven years. We worked together from the days of them playing DIY house shows in their hometown of Ottawa, Canada and we were together as they signed to their dream record label, getting to tour and become friends with their favourite artists, getting on an airplane to Europe for a sold-out tour, and the recording and release of one EP and three full-length albums. When we got to the fork in the road and it simply just made sense for us not to work together anymore, my biggest fear surrounding that was that I would lose the brotherhood that I had formed with the members of that band.

“I am happy to say that all five of them texted me a happy birthday the following year. I spent New Year’s with the singer and drummer, and I recently made plans to hang out with the guitarist. We lived so much life together, and I will always have all the love in my heart for them and their music. I also recently saw them perform live, and I told them with my entire heart that they played the best that I had ever seen them perform. This band is called Bearings, and I am so grateful to have met them, worked with them and can still call them my friends. Pretty much the exact same story with Ryan Woods. What a journey this has been. I am so grateful, and I think I will keep doing this another day.”