🌅 Horizon Future Leaders - Sam White

As part of our Horizon Future Leaders series of interviews, we are connecting with the music industry’s next generation of leaders to gather candid advice and insights into their career journeys. 

This week, we caught up with Sam White - Day-To-Day Manager at SB3 Artist Management, where he works across the careers of Katie Melua, The Boxer Rebellion, PJ Harvey (in partnership with ATC) and songwriter Nathan Nicholson. 

Whether he’s booking promo trips, handling A&R conversations or navigating the less visible logistics behind a tour or session, Sam’s work is a reminder of how many gears keep an artist’s world turning.

Sam’s journey began ten years ago in the DIY corners of Cornwall, playing in a local band, booking shows and selling merch to tourist crowds. This gave him early insight into the mechanics of being an artist; experience he’s been scaling up ever since. From grassroots DJ nights to his first label opportunity through a cold email, Sam has always followed his instincts and found ways to get involved.

Now, with a solid footing in both the artist and songwriter worlds, he’s part of a new wave of managers embracing the shifting digital landscape - balancing fan engagement, content planning and long-term strategy, without getting lost in the noise.

👇 Read on for Sam’s thoughts on building a career from the ground up, the power of reaching out and why curiosity might be your most valuable asset.

What’s your current role in the music industry?

I’m currently a Day-To-Day Manager at SB3 Artist Management. We represent Katie Melua, The Boxer Rebellion, PJ Harvey (in partnership with ATC Management) and songwriter Nathan Nicholson.

What does your general day-to-day look like?

I usually start my day by going through emails and responding to anything that needs immediate attention. After that, it really depends on what projects are active at the time.

The work varies massively - especially since we manage both artists and songwriters. One day I might be working on an upcoming artist tour, which might involve booking promo trips or liaising with merch partners and tour managers. The next day I could be more focused on the songwriting side of my job - handling contracts and invoicing, speaking with A&Rs, or booking sessions.

People often say management involves a lot of plate-spinning and my role is no different!

What steps did you take early in your career to gain experience and build skills to get you where you are now?

When I was a teenager - about ten years ago - I played in a band that mainly performed for the tourist crowd in Cornwall. 

While it wasn’t exactly a ‘career move’, it gave me a basic insight into the business side of being an artist. We booked our own gigs, negotiated fees with venue owners, produced and sold merch, and kept our YouTube and Facebook pages up to date. It’s all stuff I work on now - just on a smaller scale back then.

Around the same time, I also got into DJing and started putting on events in my local town. Again, it was pretty DIY, but those early experiences gave me valuable insight. They also gave me something concrete to talk about in job interviews.

Having ways to show you’re genuinely interested in music, beyond just being a fan, can make a big difference.

What opportunities did you explore early on that were particularly valuable?

My first industry opportunity was with a small independent label called Three Sign Records, around five years ago. I got the role by reaching out to an artist and producer I was a fan of called MAX RAD. He released music for a small roster of artists through the label, as well as his own material.

This gave me the chance to brainstorm ideas for promoting music, work with social media, streaming platforms and distribution partners. But most importantly, it allowed me to connect with artists, managers and creatives across the industry.

I’m massively grateful to Max for replying to my email and giving me the time of day!

Has the opportunity landscape changed since then?

There are more tools and platforms than ever available for artists to grow their audience. That said, it also means a lot more graft for them. But with that shift, there are more opportunities for people on the business side to step in and help lighten the load.

For example, content creation is often the bane of most emerging artists’ lives. Being able to support artists with that - or with strategy, release planning or fan engagement - can make you a valuable part of their team. 

Opportunities are no longer confined to big music companies. For people trying to break in, the landscape is less structured but more accessible. There’s no single “right” route anymore - it’s really in your own hands. In many ways, that’s great because you can forge your own path, but it can be hard to know where to start without some guidance.

What advice do you have for building and leveraging a professional network in the music industry?

Don’t be afraid to reach out and start conversations. When you’re early in your career, you don’t have much to lose. Whether it’s industry professionals or artists you like, just send a polite message introducing yourself and ask if they’d be open to a quick chat or meeting. 

Most people won’t respond, but the ones that do can become valuable contacts. At the very least, these meetings will give you practice speaking to industry professionals and help you build your confidence. 

How has the evolving digital landscape impacted your role, and where do you focus to stay ahead?

It goes without saying that social media has massively changed how artists engage with their audiences, and keeping those audiences engaged is crucial. I spend a fair amount of my time making sure our artists are connecting with fans effectively across the various platforms.

However, content can easily become a bit of a hamster wheel, so it’s important to be efficient in how you roll it out - making sure it doesn’t come at the expense of other priorities. That means planning ahead, using content wisely and not trying to do everything at once.

To stay ahead, I keep an eye on what’s working across the digital space, but without chasing trends for the sake of it. I try to be intentional and consistent, while staying mindful of where our efforts will have the most impact for each artist. It’s a fine balance.

What trends or changes do you see on the horizon for the music industry, and how can early career professionals prepare for them?

There are parts of the music industry that are hard to fully grasp, even for seasoned professionals. Areas like the role of AI in music creation and distribution, or the evolving landscape of royalties, neighbouring rights and rights data management, are complex and constantly shifting as technology develops.

These aren’t the most glamorous sides of the business, but they’re important and increasingly relevant. I think if you can get your head around this stuff by reading up, staying on top of industry developments or even just building a basic understanding, you’ll set yourself apart.

What’s the one piece of advice you wish someone had given you at the start of your career?

To stay curious. The music industry is vast and constantly evolving. No one knows everything, and that’s okay. Try to stay engaged, ask questions and be open to learning, even in areas outside your immediate role. I think that takes people a long way.