Lana Del Rey and TAP Management talk to Music Week (June 2020)

[Roll With me 5,640]

TAP Management are in the cover of Music Week's new issue. They talk to Ben and Ed about their company, their future and also talk to their clients including Lana Del Rey, Dua Lipa, Ellie Goulding, etc... Specifically about Lana, they talk about how they met, her use of social media and their work ethics.

 

The interview is way long, I'll basically add the excerpts where Ben and Ed talk specifically about Lana and Lana's whole interview

 

Ben and Ed's part:

 

 

 

 

You seem to specialise in the type of artist development that was once reserved for labels…

 

EM: “When we started with Lana, it was right at that point where piracy was killing labels. So the thing they really pulled away from was spending money on artist development. They were moving the goalposts further and further away, so it was a necessity at the time. But it was also where our passion was and is. We’ve seen so many times where artists are “developed” at a label where there are too many people with too many opinions on an artist who isn’t yet sure of who they are or what they’re doing… They get watered down because they listen to all those opinions. For us, it’s always about building something that allows artists to stay out of that system for as long as possible, figure out who they want to be, get as good musically as they can be, get their proposition sorted and work with a small, focused team that could deliver that. And then when they enter that system, you take from it what you really want, which is global infrastructure, money and marketing spend. That’s been the core of our business.”

 

Lana has had issues on social media lately. How did you deal with that?

 

BM: “She handled it. She made a statement, and there was maybe a better way she could have written it… She’s quite spontaneous on social media, let’s put it that way, she doesn’t run her quotes past us and she was, I think, unfairly treated. The key accusation [of racial insensitivity] was ridiculous to be honest. Maybe she should have phrased her original statement better but social media is a pretty crazy place at the moment.”

 

Do you wish she did run things by you?

 

BM: “It doesn’t really matter either way. Lana’s Lana and we love her for that. She’s never run anything past us on that front. If she does, we give our opinion, but our opinions aren’t always right either.”

 

Are you friends with your artists?

 

BM: “Generally, we’re good friends. Lana’s like a member of the family, we’ve known her so long. Dua too, we all get on well. You’ve got to. It makes the job much harder when you’re not friends with them and you can’t have a friendly chat.”

 

EM: “Ultimately, you’re intertwined with their life and what they want to do, and their career success is invariably connected with their personal and emotional successes. There’s so much of your emotional well-being and personal time involved that you want them to win. You want your friends to win, don’t you? I can’t imagine not liking an artist and wanting to work with them for very long.”

 

 

 

Lana's interview about TAP Management:

 

 

 

I: How and when did you first meet Ben and Ed, and what were your first impressions of them?

 

Lana: I met Ben in October 2009 at a CMJ festival slot I was lucky enough to get somewhere in Chinatown [New York]. I think I got to play for 30 minutes. I had super-platinum hair and was there with my older boyfriend and Ben came in and was like, ‘I think if you come to England with me people will understand your music there’. Princess Superstar was kind enough to introduce us, and I moved to London a few weeks later. Maybe a year or more later I met Ed, who Ben had been speaking about really highly. He was super-funny, really young – they were both really young – and I was even younger. We just had such a good rapport together, all three of us. I thought, ‘Wow, these two young guys are totally what I’ve been waiting for to help me carry my music further’.”

 

I: With hindsight, in what ways do you feel Tap Music has most helped you during the course of your career?

 

  “Where do I even begin to pinpoint how they’ve most helped me? I think the way they’ve primarily helped me the most is by seeing me as a real person with unique challenges and unique gifts. They’ve understood that I have a real sensitivity about me and that that’s what makes the music pretty, but it’s what makes certain processes more challenging.”

 

I: There are two interconnected yet different sides of the music industry, art and business, and often their respective needs are very much opposed. What’s been the key to being so successful at making that balance work together?

 

Lana:I think the thing that makes us work – probably in the same way a marriage works best – is that we all have a naturalness about us. We have experienced highs and lows together, mostly me having anxiety! But, of course, everybody’s life is happening in between the records. I’m the godmother to Ben’s first child and love Ed’s family dearly and I know it’s the same way with them towards my family, so we honestly live pretty day-to-day and know that things could change on a dime and they often do! They’re so go-with-the-flow about it, if I decide I can’t do something they just are right on board with me.

 

I: What do you admire most about Ben and Ed?

 

Lana: How strong they are. How they never waiver in the talent that they choose to support. And they are rarely tired. I love telling the story of the night I saw Ben fall asleep with a Blackberry in each hand with his arms crossed on his chest.

 

I: Are there any times where they’ve really gone above and beyond for you as a manager?

 

Lana: Honestly, weekly. My challenges have never involved creating a record or putting out music or how to do that. I need them as much for emotional support as I do for a career guidance.”

 

I: Finally, on a personal level, how have you been adjusting to life as an artist during the ongoing coronavirus pandemic?

 

Lana:

In any crazy situation like this it would always be a time for me to be inward rather than outward. I think it’s great if the pandemic brings out the performance in a person. That would never be the case for me because I have so much work to do internally. I always consider myself the person who does the least on the stage, but the most in my backyard, in the garden. For me, home is where I root and create the fruits of my labour – there with my close group of girlfriends and family. That being said, I’m pretty sure I played 50 shows last year so it’s not like I do nothing! It’s just that, as cheesy as it sounds, for me home is where the heart is and that will never change. Again though, my thoughts, of course, are always with every single person I’ve ever known or have never met, and I’m so sensitive to the cultural anxiety we’re all experiencing. A lot of my work and contribution is through my meditation and just an every day smile to a stranger, as simple as that sounds – or at least a smile that they can gleam through a mask.

 

 

 

 

Here's a link to the magazine issue (needed to be suscribed or at least registered to read the whole thing): https://www.musicweek.com/media/read/new-edition-of-music-week-out-now/080212

[lamms 11,603]

 

We’ve seen so many times where artists are “developed” at a label where there are too many people with too many opinions on an artist who isn’t yet sure of who they are or what they’re doing… They get watered down because they listen to all those opinions. For us, it’s always about building something that allows artists to stay out of that system for as long as possible, figure out who they want to be, get as good musically as they can be, get their proposition sorted and work with a small, focused team that could deliver that. And then when they enter that system, you take from it what you really want, which is global infrastructure, money and marketing spend

That's quite funny considering how the UV release was handled. Lana having to fight her label after an album and an EP doesn't exactly scream "support". She was a grown woman but come on. Even Dan found it weird.

Good for her that they get along so well, but at least to me it never appeared as if they've gone "above and beyond" for her. I could be completely wrong obviously, because I don't know what's going on behind the scenes. Also it might be great for her that she can do apparently the fuck she wants, but there are things they seriously need to intervene and tell her to follow through instead of going with their bullshit attitude of "wE'rE nOt AlWayS RigHt EitHEr".

The most prominent example for that is the NFR tour. I've complained about that tour before, but I don't mind repeating myself because it was the breaking point to me. Points where they should have told her to suck it up and follow through:

• Learn your fucking songs
• Refusing to sing songs from the album your tour is named after :bigbrain:
• the back track .............. enough already
• the setlist .....................
• "having to be in the mood for a show" ????

Thanks for coming to my ted talk

[Sugar Venom 9,651]

 

• Learn your fucking songs
• Refusing to sing songs from the album your tour is named after :bigbrain:
• the back track .............. enough already
• the setlist .....................
• "having to be in the mood for a show" ????

 

!!!!!!!!!

It is literally her JOB to perform, right? She made a commitment and people payed their hard earned money and some even travelled from far away and stuff, although that extra cost is their choice and their responsibility, but still. It comes off as really rude and entitled when all she does is walk around and talksing a few lines every other song while letting the backing track do 90% of the work for her, with the same old tired setlist and no new songs, only says hi to Win, vapes and damages her lungs/voice, and then leaves. Someone NEEDS to get through to her and tell her or whoever is in charge of all this that all of her fans hate it. This literally can't go on or her ticket sales will start to fall. Which is scary for obvious reasons but also I feel like whoever is in charge of this mess is clearly missing the point, so in order to compensate and make her show more "appealing" they'll just double down on what's already going on. I am so afraid 

[AKASAKA SAWAYAMA 7,725]

I always consider myself the person who does the least on the stage

some points were MADE.

[Rorman Nockwell 53,391]

Summary: Ben admits her typewritten rant was bad, she admits she's a pain in the arse, and at the end of the day, the relationship works because they let her get away with all her nonsense. 

 

Nothing new to see here. 

[American Whore 47,320]

fire them

[anwdelrey 8,964]

The way I'd probably quit if I was her manager.

[Rorman Nockwell 53,391]

The way I'd probably quit if I was her manager.

 

She must pay them really, really well

[FredRed 4,471]

Thanks for sharing this Roll With me.

[Nobody 21,278]

The way I'd probably quit if I was her manager.

 

They get paid to do nothing tho 

[Dominikx4 25,007]

thats a really sweet interview.

Ben and Ed are really good managers, the way BTD was handled and Dua Lipa is a rising star are proof enough. If Lana doesnt want them to get her promo deals and TV performances etc, then theres nothing they can do

[Casamigos 1,069]

i swear I hate this woman more with every passing day. Ben and Ed didn't know what they were getting into lol

[Creyk 11,495]

I never saw an interview where they interview the starlet's managers in this way before, it's a cool angle and I like the story about how Lana met them originally.

 

I still don't understand how does she think meditation contributes to society at large, though.

[Rorman Nockwell 53,391]

thats a really sweet interview.

Ben and Ed are really good managers, the way BTD was handled and Dua Lipa is a rising star are proof enough. If Lana doesnt want them to get her promo deals and TV performances etc, then theres nothing they can do

I mean it's a pretty sweet deal. All they have to do is yell at fans on social media occasionally, live stream a patch of grass for 10 seconds when she tours, and the rest of the time, as you say, do absolutely nothing.

 

@@Ben and @Ed if you need a secretary or some shit, lmk

[Amadeus 11,293]

That's quite funny considering how the UV release was handled. Lana having to fight her label after an album and an EP doesn't exactly scream "support". She was a grown woman but come on. Even Dan found it weird.

Good for her that they get along so well, but at least to me it never appeared as if they've gone "above and beyond" for her. I could be completely wrong obviously, because I don't know what's going on behind the scenes. Also it might be great for her that she can do apparently the fuck she wants, but there are things they seriously need to intervene and tell her to follow through instead of going with their bullshit attitude of "wE'rE nOt AlWayS RigHt EitHEr".

The most prominent example for that is the NFR tour. I've complained about that tour before, but I don't mind repeating myself because it was the breaking point to me. Points where they should have told her to suck it up and follow through:

 

• Learn your fucking songs
• Refusing to sing songs from the album your tour is named after :bigbrain:
• the back track .............. enough already
• the setlist .....................
• "having to be in the mood for a show" ????

Thanks for coming to my ted talk

UV was an issue with her label not with her management though, Dan would have no reason to lie about this.

[Amadeus 11,293]

That being said, I’m pretty sure I played 50 shows last year so it’s not like I do nothing!

nnnn did she already forget she cancelled like half of them

 

 

(it was 29, i checked)

[Rorman Nockwell 53,391]

nnnn did she already forget she cancelled like half of them

 

 

(it was 29, i checked)

And she phoned in at least 5

[Rorman Nockwell 53,391]

I still don't understand how does she think meditation contributes to society at large, though.

I'm pretty sure she doesn't, either. That entire answer is just stuff she made up

[Formation 4,106]

Dua's career is proof that Lana could get all the promo and proper grand releases if she wanted to. They let her do what she wants, so I don't see the point in bashing them too much. 

[West Coast 44,779]

• Learn your fucking songs
• Refusing to sing songs from the album your tour is named after :bigbrain:
• the back track .............. enough already
• the setlist .....................
• "having to be in the mood for a show" ????

Thanks for coming to my ted talk

 

All of these are true, but the last one irritates me the most. It's obvious sometimes she's not in the mood and she's just not super energetic on stage (granted she's not usually the most energetic performer) and it comes across as lazy.

 

It's just awkward to watch her perform, especially at a festival when not everyone is a fan of hers to begin with. Like Lanz you can do better.