MBW’s World’s Greatest Managers series profiles the best artist managers in the global business. In this feature, we interview the Pet Shop Boys’ Manager Angela Becker about the duo’s 40th anniversary, working with Madonna and more. World’s Greatest Managers is supported by Centtrip, a specialist in intelligent treasury, payments and foreign exchange – created with the music industry and its needs in mind.
If Angela Becker was one of those perfect one-word Pet Shop Boys album titles, it would be Reluctant.
At least when it comes to this interview. There are plenty of other single words that would far better describe her attitude towards the many duties and aspects of managing the legendary British pop duo, some (but not all) of which would fit neatly into their long-playing oeuvre: Determined (maybe), Passionate (doubtful), Collaborative (maybe a compilation), Successful (another compilation), Ambitious (yep) and Curious (definitely).
But when it comes to the media spotlight being trained on her – only the R-word will do.
When MBW informs her that she’s a very frustrating Google, she can’t hide her satisfaction. It’s not because she doesn’t have an interesting story to tell, insights to share and opinions to proffer (they’re all coming up), and once she green lights the process, she’s generous with her time and a pleasure to talk to – it’s certainly clear how and why she is the longest-serving manager of a duo imbued with taste and erudition in a way that, perhaps [redacted] are not.
It’s just that she thinks everything should be about Neil Tennant and Chris Lowe, the musical partners who put out their first single, West End Girls (No.1 in the UK and US) 40 years ago.
And that’s where and why Reluctant gives way to Yes (produced by Xenomania, released in 2009 and, coincidentally, the first record released by PSB after Becker became their manager).
It is a significant anniversary and it is the key to convincing their US-born manager that now is a good time to talk about her time with the band.
If nothing else, our argument goes, she deserves to be part of the celebration of a unique British duo who have released 15 studio albums, all of which have gone Top 10, including the latest, Nonetheless, which was held off the top spot only by the queen of holding other artists off the top spot, Taylor Swift.
Part of the celebration is an ongoing European tour, culminating in five sold-out nights at London’s Royal Opera House – something which, to quote the chaps themselves, is Very (1993, UK No. 1, US Top 20).
All of which means, after some persuasion (another cracking title, tbf), Becker is ready to sit down and talk about her route into the business, her time with Madonna and, primarily, always most happily, the Pet Shop Boys…
What made you want to work in music – and what was your breakthrough?
Working in music was never planned, it just happened. I started my career at UTA, working in the agent trainee programme in the film division. I worked for the Head of the Talent Department, Tracey Jacobs, who was a fierce teacher and mentor. The days were long and rewarding. I learned more about my work ethic and the creative industries in that year than I ever imagined possible.
But I found the scale of being an agent unsustainable, so I gave my notice after one year and thought I would go into academia. I wanted to be a literature professor, but a few weeks after I left the agency, Madonna’s film agent called and said she was looking for an assistant, so I agreed to meet her and was offered the job.
I was reluctant to accept the role at first, as I felt like I had done my time with pioneering women – but in the end, I felt I’d always wonder what life would be like if I didn’t say yes, and so I agreed to do it for a year – which turned into many more and landed me firmly in the music business.
What were the most important lessons you learned in your first years in the business – and did you have any mentors?
Observe. Be discreet. Don’t be afraid to ask questions. I wouldn’t be here today without the wonderful influence, inspiration and education of several people who became mentors: Larry Shire and David Toraya at Grubman, Shire, Meiselas & Sacks, who were incredibly generous with their time and taught me the foundations of the music business and the art of negotiation; Arthur Fogel educated me on the nuance and challenges of the live touring business; Guy Oseary taught me about label culture and how to release a record.
“Never let anyone talk you into taking someone else’s path.”
And, of course, the artists who I’ve been fortunate to call clients over the past two decades, whose curiosity and refusal to conform are a reminder that there are many roads to success, so never let anyone talk you into taking someone else’s path.
What attracted you to management in particular?
The depth of relationship you can develop with your clients. My business model has been somewhat unique. By that, I mean that I don’t like to work with people in the same category, so it means that I have only represented one music act at a time, one producer at a time, one designer, etc.
I like that no two careers are the same and, by working closely and with depth, you can hopefully deliver something differentiated for your clients.
How did you come to manage Madonna and what was that like?
You asked me about my ‘breakthrough’ before and it was in 2004 when Madonna and her former manager, Caresse Henry, decided to part ways.
Madonna wasn’t sure if she wanted another manager, so she asked if I would run her companies. From there, one thing led to another and I managed her in all areas – and Guy and I co-managed her in music.
Guy and I were the perfect foils for one another, as we balanced each other’s strengths and interests so naturally. We had a strong working relationship, so we decided to expand the way we worked and co-managed her in all areas until 2008.
What were the highlights during your time in Team Madonna?
Live 8 [2005]. We had less than a month to prepare, so it was a steep education and it was incredibly high stakes. In addition to traditional broadcast, Kevin Wall had the ambition for it to be the largest livestream ever – I think the viewership was around 1.5-2 billion people, which was exhilarating.
Plus the entire Confessions On A Dance Floor campaign. Stuart [Price, producer] and Madonna made a career re-defining album, which meant we had phenomenal music as our starting point, and from there everything just lined up: the music, the styling, the artwork, the videos, the collaborators and the commercial and critical reception to the album.
The Live Nation 360 deal that we negotiated for Madonna. At the time, it was a new style deal that highlighted the respective approaches Guy and I supported, with an innovative artist willing to challenge the norm. The deal would not have been realised without the absolute trust we had in Arthur as a promoter and partner.
And what did you learn from being part of her world?
To be fearless. And how effective it can be to say no.
Did you know the Pet Shop Boys before you managed them? Did you have a view on their music/career/image?
I did. I had met them socially and I found them interesting and effortless company. I was aware of their music broadly from a cultural impact perspective, but I didn’t have any in-depth perspective.
I grew up in a small town in Northern California where the prevailing musical sensibility was more jam bands than electronic pop. But I had an older sister who had Introspective on cassette, which I always thought was exotic and memorable. So they had imprinted on my formative years.
How did you come to manage them?
After I had our first daughter, I stopped managing Madonna and wasn’t sure if I wanted to continue in the music business, as touring was not consistent with having a young family.
But Barbara Charone, a dear friend and former colleague, called one day out of the blue and said, ‘Ang, you’re going back to work; go meet Neil and Chris.’
We met and almost instantaneously agreed to work together. I was aware of how measured Neil and Chris were, and they were supportive of me not being on the road, so I felt it was possible to continue working with a global act in spite of their touring demands.
What objectives did the three of you set when you took over?
They were scheduled to perform at and receive a Lifetime Achievement Award at the BRITs [2009] – and release Yes, the Xenomania-produced album. Again, I had a very strong starting point.
We aimed to realise their highest charting album in over a decade, which we achieved, and to continue to grow their relevance to a wider demographic, which has been our agenda since the start.
What is the dynamic between Neil and Chris in terms of strategy and decisions – and how do you fit into that dynamic?
I’m not sure if there is a defined strategy between Neil and Chris, but my observation is that they always yield to whoever has the stronger opinion.
It’s a remarkable quality as it means that they never try to force their opinions on each other, which demonstrates a profound respect for the other. In terms of ‘our’ dynamic, it’s very collaborative. Neil and Chris welcome other’s views and they are both incredible listeners.
“They are incredible listeners, I can’t remember them ever talking over anyone.”
I can’t remember them ever talking over anyone. Ever. They listen with intent to understand, not to refute another’s point of view. When it comes to decision-making, we talk through everything in detail in our weekly management meetings, so the process is very collaborative.
I am proud to see Charlie Coletta take a more substantive role in their day-to-day management, having worked with me for many years. Strategically and practically, the Pet Shop Boys brand is very defined, and as such, it’s easy to make choices that are consistent with and authentic to who they are as artists.
Why do you think they have sustained success over such a long period of time?
Curiosity. Consistency. Connection to the street. They never stop innovating. They never look back.
What achievements are you proudest of during your time as manager?
That I’ve been able to support the people I’ve worked with in bringing their ideas to reality. Through Neil and Chris I met [artist and stage designer] Es Devlin, someone with whom I formed an exceedingly productive working relationship, which relates to not only music but encompasses art and design.
The expansion of her career, and therefore mine, has been exciting and I’m proud to have strategically advised and managed her during such a prolific period. It is a reminder to any artist, creative, representative or executive that a career should not remain static. It’s a boundary-pushing philosophy has always been applied to any client I’ve worked with.
What have been the biggest challenges in that time?
The changing business and adapting to new monetisation models whilst servicing an artist’s idea of what worked in the past, all while educating them to evolve.
In 2012, you left Parlophone and formed the PSB’s own label, x2, which went through Kobalt via a Label Services deal – what prompted that?
Parlophone, as well as the industry at large, was in a period of transition at that time. EMI had recently been put into administration after Terra Firma’s ill-fated ownership, so the label was facing another sea-change during a five-year period marked by changing CEOs and variable strategic objectives.
In parallel, during that period, we were growing our live fanbase and headlining some of the biggest festivals globally. However, our recorded music wasn’t being marketed in an exciting way, so it was our belief that, if we took control of our releases, we could inject more creativity into our strategy and ignite the recorded sector with what we were seeing in the live one.
All three albums [released after the split, Electric, Super, Hotspot] were bigger than the previous six. We achieved our objectives.
What prompted your return to Parlophone with this record?
There were some practical reasons, but mainly it came down to the team from Max [Lousada] to Tony [Harlow] to Jen [Ivory]. They were excited about working with Pet Shop Boys, with esteem commensurate with their 40-year career, so it felt like the right moment to return. I’ve been so impressed with Jen Ivory. Her enthusiasm is a great hybrid of an artist-centric mentality that also gives the label side what they need to commercially deliver results.
She is a real champion of the artist and also very clear about if something doesn’t or won’t work, so it’s a healthy, balanced relationship. She has assembled a phenomenal team at Parlophone: Victor Aroldoss, Paul Baines, Imran Malik. We also have key ‘old Parlophone’ team members who have their own companies now, like Murray Chalmers (PR) and Kevin McCabe (radio), who’ve worked with the Boys nearly the entirety of the career. As well as our live agent, Pete Nash, who has been with them from the beginning. Neil and Chris are the type of artists who engender loyalty.
What’s the best and most fun thing about working with Neil and Chris?
Everything. They are fun! They enjoy life and are serious thinkers who exhibit such curiosity about life and culture that every meeting is an education as well as entertaining. And they never take themselves too seriously.
Was there any disappointment over not getting to No. 1 with Nonetheless, or are chart positions not so important at this stage of the career?
We were never trying to compete with Taylor Swift, so we’re thrilled with the result we achieved. Nonetheless is PSB’s highest-charting album since 1993.
What are the plans for Team PSB once the current tour is finished?
We are always working across platforms and on a variety of projects with music at their core: a film, a new TV series, a theatre project…
Do the chaps ever discuss The End, or do you think that they enjoy it so much (and they’re so ever-changing) that they’ll keep going forever – or at least as long as possible?
Never. They don’t worry about the past or the future. Everything they do is with complete focus in the moment.
What advice would you give to a young manager starting out today?
Seek clients who have a strong sense of who they are, because the chorus of opinions comes hard and fast, particularly in periods of success. The instinctiveness with which an artist thinks is something to be learned from – don’t let data undermine it.
What single thing would you change about the music industry today?
I would emphasise creativity over commerce. Great and lasting art is only made without constraint. Giving someone the room to fail must be encouraged.
Appreciating that the landscape of the business is now statistically delivered is a challenge which promotes caution, but all our greatest successes come from sustained belief and support in those that we choose to work with.
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