Dan Gonzalez on guiding Artists through Money, Rights, and Structure

When listeners think of management, they often picture tour schedules, marketing, and public appearances. Dan Gonzalez made it clear in his interview on The Manager’s Playbook that a business manager’s responsibilities are different but just as critical. “An artist manager is focused on the career,” he said, “but the business manager is focused on the money that supports the career.” That work ranges from taxes to entity formation to making sure every royalty check is accounted for. Gonzalez stressed that the business manager has to look ahead, not just react to the present.

Gonzalez emphasized that the role has evolved far beyond doing taxes once a year. “Artists today have publishing, touring, merch, intellectual property, all flowing at the same time,” he explained. Without a clear structure, earnings can vanish into confusion or poor planning. He argued that the modern business manager is part strategist and part teacher, making sure artists understand how money flows in their own careers. His message was that artists who respect the role are better positioned to succeed long term.

He also explained that building trust is the most important step. “A lot of artists come to me after a bad experience,” Gonzalez said. “My job is to show them exactly where their money is going.” By setting up transparent systems, he said, clients move from fear and suspicion to confidence. In his words, the job is as much about building belief as it is about building spreadsheets.

Beyond the technical responsibilities, Gonzalez said the role comes with an obligation to protect creativity. “If artists are stressed about money, they cannot focus on the music,” he noted. He said a good business manager removes distractions so artists can create freely. In his view, stability and structure are not just financial tools, they are creative enablers.

Building financial structures for artists

One of Gonzalez’s recurring themes was the need for artists to separate their revenue streams. “Too often everything runs through one account,” he said, “and it turns into chaos at tax time.” He recommends that artists create LLCs for different aspects of their business, from touring to publishing. The goal is not to overcomplicate, but to give clarity on where the money is made and how it should be taxed. That separation also helps protect the artist if one area runs into legal or financial problems.

He pointed out that holding companies and trusts are also useful tools. “If you care about control and you care about family, you need to think about trusts,” Gonzalez said. These entities can give artists long term control of their music and intellectual property. He described these structures as safety nets that let artists focus on their craft without constant financial anxiety. “A strong structure today saves headaches for years to come,” he added.

According to Gonzalez, many artists underestimate the importance of clarity. They think of their careers as creative journeys, but he wants them to also see themselves as business owners. “When artists realize a tour is basically a separate company, they make different decisions,” he said. That shift in mindset is what allows stars to turn short bursts of fame into long term financial health.

He added that the earlier these structures are created, the better. “If you wait until you are already making millions, it is harder to untangle everything,” Gonzalez explained. He said young artists should set up entities as soon as they begin to generate income, even if the checks are small. That way, the system grows with them and they avoid major cleanups later.

Common money mistakes and tax planning

Gonzalez described the mistakes he sees most often when artists come to him for help. The biggest issue is failing to set aside money for taxes. “An advance is not a gift,” he said. “It is income, and income comes with taxes.” Advances and big checks often feel like winnings, but without proper planning, artists can find themselves owing more than they have. His advice is simple: treat taxes like an unavoidable bill and plan for them with every check.

Another frequent problem is assuming that every purchase can be written off as a business expense. “People think if you buy a chain, you can write it off,” Gonzalez said. “The IRS doesn’t see it that way.” While some expenses can be deducted, others invite scrutiny and risk. He warned that artists who push too far often end up in disputes with the IRS that cost more than the deductions were worth. He encouraged listeners to think of write offs as tools, not loopholes.

He also discussed the need for professional bookkeeping. “Your cousin keeping receipts in a shoebox is not accounting,” he said. Too many artists rely on informal methods or hand off receipts to friends who are not trained. Gonzalez said this leads to errors that compound over time. By the time an accountant reviews the books, it can be too late to make corrections without large costs. His message was that careful tracking is not glamorous, but it is one of the surest ways to keep wealth from slipping away.

To illustrate the stakes, Gonzalez recalled a case where a client ignored taxes for three years. “By the time I got there, the IRS was already at the door,” he said. The artist had to go on tour simply to pay off back taxes, turning what should have been profit into debt service. Gonzalez used the story as a warning: financial missteps can control your career if they are not corrected early.

Royalties, publishing, and rights management

The conversation then turned to royalties and publishing, areas Gonzalez described as complicated but critical. “Every song has two sides, the master and the publishing,” he explained. He reminded listeners that many artists understand their masters but neglect the publishing side, leaving money uncollected. Gonzalez said that performance royalties, neighboring rights, and publishing income can be left behind if artists are not paying attention. “There are millions of dollars every year that just never reach the artist because no one filed the paperwork,” he said.

He stressed that artists need to know the basics of who collects what. “If you do not know the difference between BMI, ASCAP, and SoundExchange, you are probably leaving money on the table,” Gonzalez said. He noted that global royalties are even more complicated, with different societies in each country. Without a team that understands international collection, Gonzalez said, artists may only be getting half of what they are owed. He compared it to writing half of a paycheck and never cashing it.

Gonzalez also encouraged artists to invest in publishing administration. He said that publishing can be one of the most valuable long term assets for a songwriter. “Your masters may expire,” he explained, “but your publishing checks can feed your family for generations.” He added that publishing catalogs are now being sold for huge sums, which should remind artists of the value of protecting their songs from the beginning.

He also highlighted how rights management can create independence. “If you are collecting every dollar you are owed, you do not have to run back to a label just to survive,” Gonzalez said. He told listeners that artists who manage rights well often have more leverage in negotiations. In his view, publishing is not only money but also bargaining power.

How royalty audits work and why they matter

Another subject Gonzalez addressed was royalty audits. He said that labels and distributors often make errors, sometimes intentional, sometimes by accident. “The only way to know is to audit,” Gonzalez explained. He said audits can uncover unpaid royalties, incorrect splits, or accounting practices that disadvantage the artist. “I have seen artists recover millions of dollars just from doing an audit,” he said.

He acknowledged that audits are expensive and not always possible for younger acts. “An audit can cost six figures,” he said, “so it is usually only the bigger artists who do them.” Still, he said even mid level artists should at least understand the process. He recommended that every artist keep careful records of splits, statements, and contracts so that if an audit is needed later, the groundwork is already in place. “Documentation is power,” Gonzalez reminded the audience.

Gonzalez also explained that the threat of an audit can sometimes lead to settlements without going to court. “Labels do not want the bad press that comes with an audit,” he said. That leverage means that even knowing your rights can help an artist get paid. He added that collective action is important, since if more artists push back, the industry has to adapt. “One artist yelling might be ignored,” Gonzalez said, “but a hundred artists doing audits changes the business.”

As an example, Gonzalez shared that he once reviewed statements for a client and discovered underreporting across several quarters. “When we confronted the distributor, they cut a check immediately,” he said. “They knew they were caught.” For Gonzalez, stories like that prove why artists cannot afford to ignore audits.

Contracts, label deals, and protecting intellectual property

Gonzalez was candid about the risks of signing contracts without strong legal and business advice. “A record deal is not free money,” he said. “It is a loan, and the label expects to make back every dollar.” He said that many young artists do not understand recoupment and end up shocked when royalties are withheld. “You might sell out a tour and still not see cash if your advance has not been recouped,” Gonzalez explained.

He discussed clauses like “commercial satisfaction,” which let a label decide if a delivered album is good enough to release. “That is a dangerous clause,” he warned. “You could turn in your best work, and the label says it does not meet commercial satisfaction.” He encouraged artists to negotiate or remove those terms when possible. He said the goal is always to protect the right to release music rather than leave it at the mercy of a label.

Protecting intellectual property was another priority. Gonzalez said artists should fight to keep ownership or at least maintain leverage. “If you do not own your masters, you should at least own your publishing,” he said. He also stressed the importance of trademarking names, logos, and even catchphrases. “If you are building a brand, you need to own every piece of it,” Gonzalez explained. He said the cost of trademarking is small compared to the cost of fighting over stolen branding later.

He added that contracts are not only about restrictions but also opportunities. “A good contract can protect you just as much as a bad one can hurt you,” he said. He told artists to think about clauses that guarantee creative control, release timelines, or tour support. In his view, negotiating for positive terms is just as important as avoiding negative ones.

Gonzalez’s path into business management

The interview also gave listeners a look into Gonzalez’s own journey. He said he started working with artists in Canada, helping them apply for grants that supported early projects. “I was obsessed with the process,” he said. “I wanted to know why some people got funded and some did not.” That curiosity led him into accounting and management, where he realized many artists were struggling with money issues beyond just budgets.

He explained that he built his career on simplifying complex deals. “I like taking the mess and making it clean,” Gonzalez said. He said that many artists feel overwhelmed by contracts, taxes, and rights, and his role is to make it understandable. “If you can explain something in plain language, then the artist can make real decisions,” he said. Gonzalez said that he takes pride in giving artists not just answers, but the confidence to make choices on their own.

He also reflected on the culture of business management. “This is not the glamorous side of the music industry,” he said. “But it is the side that makes sure artists actually keep what they earn.” He described his work as equal parts advisor, teacher, and safety net. Gonzalez ended the interview by stressing that his job is not to control artists, but to equip them. “At the end of the day, it is their career,” he said. “I am just here to make sure the money part is working so the music can thrive.”

Looking back, Gonzalez said that every client he has worked with taught him something. “The music industry changes fast, and if you do not adapt, you fall behind,” he said. He believes his success comes from staying curious and willing to learn from artists as much as they learn from him. His advice to young professionals was simple: stay humble, stay organized, and always remember why you started in the first place.