Welcome to The Manager’s Playbook, my personal newsletter where I share insights from Music Executives and Artists for aspiring and emerging music managers, executives and artists on how to navigate the music industry. This newsletter is brought to you by Mauricio Ruiz.

THE MANAGER’S PLAYBOOK PODCAST

(FEAT. Didier Morais)

There’s a misconception that PR starts when you hire a publicist.

It doesn’t.

PR starts the moment someone asks, “So… who are you?”

And you don’t have a clean answer.

I sat down recently with Didier Morais, the founder of Vital Versatility and PR specialist with a journalism background, and one thing became painfully clear:

Most artists don’t struggle with press because they don’t have access. They struggle because they don’t have context.

Before there’s a rollout, there’s a story.

Before there’s a headline, there’s a human.

Before there’s a publicist, there’s you.

And if you don’t know how to talk about yourself beyond “I make music,” the media definitely won’t know what to do with you.

PR Is Not Press Runs (And That’s Where Artists Get Lost)

One of the biggest takeaways from my conversation with Didier is this:

PR today is not about chasing interviews. It’s about building narrative infrastructure.

Most indie artists think PR equals blogs, interviews, playlist mentions and “exposure.”

But real PR, the kind that actually moves careers, is about:

• Storytelling

• Positioning

• Brand protection

• Strategy

Or as Didier would put it: PR is offence and defence.

If all you’re doing is dropping songs and hoping someone notices, you’re playing offence with no protection. And the internet is undefeated.

Your hobbies matter more than you think.

This might sound small, but it’s not.

Didier talks a lot about asking artists one simple question before agreeing to work with them:

“What are you into outside of music?”

And most artists freeze. Why? Because they’ve been conditioned to think the music has to do all the talking.

It doesn’t.

If you like anime, sports, fashion, gaming, real estate, fitness, cooking, cars; that’s not “extra.” That’s context. That’s how stories get written. That’s how journalists decide where you belong, not just what you sound like.

Your hobbies don’t distract from your music.
They anchor it.

This is how artists end up performing national anthems, sitting on panels, crossing into business press, sports media, lifestyle outlets; all things that look like “big PR wins” later, but start as small personal truths early.

How to Handle PR Before You Have a Publicist

(A Practical Indie Playbook)

If you’re independent and not ready for a publicist yet, here’s what you should be doing right now:

1. Write Your Own One-Paragraph Narrative

Not a bio but a narrative.

Answer this:

• Where are you from?

• What do you care about?

• Why do you make music now?

• What makes you different from the 10,000 artists who sound like you?

If you can’t explain this clearly, no one else will.

2. Stop Thinking Like an Artist, Start Thinking Like Media

Journalists don’t wake up looking to “support your drop.”

They’re looking for:

• A timely angle

• Cultural relevance

• A human story

• Something their audience cares about

Your job is to make it easy for them.

This is where Didier’s journalism background matters. He understands how editors and journalists think because he was one. Indie artists should study that mindset early instead of waiting for someone else to do it for them.

3. Document, Don’t Perform

You don’t need a “content strategy” if you don’t even have a life strategy.

PR-ready artists are:

• Showing up consistently

• Sharing their process

• Letting people in on their interests

• Building familiarity, not virality

This becomes your press trail before press even exists.

4. Protect Your Brand Before It’s Tested

PR isn’t just about amplification. It’s about protection.

What do you stand for?
What won’t you align with?
What narratives are you okay being attached to?

Artists who don’t answer these questions early end up being defined by moments they didn’t plan for.

That’s where careers crack.

Adaptation Is the Real Skill

One of the most telling moments we talked about was how a high-profile conference with former clients Meek Mill and Michael Rubin about prison reform ended up pivoting to a Wawa parking lot.

It wasn’t a gimmick. It was out of necessity.

That moment perfectly sums up where the industry is right now.

The artists, managers, and executives who win moving forward aren’t the ones clinging to how things used to look. They’re the ones willing to meet the audience where they actually are.

PR didn’t die. It just moved locations.

The Goal Isn’t Independence Forever

It’s leverage.

Here’s the final thing artists get wrong.

Being independent doesn’t mean being anti-industry. It means being prepared.

Didier is clear about this. The best partners are the ones who show up when an artist already understands their story, their audience, and their positioning.

That’s how you avoid being mishandled.

And avoid bad deals.

That’s how you build teams that actually work.

PR isn’t something you outsource. It’s something you graduate into.

And when you do it right early, even without a publicist, you don’t just get attention.

You get options.

Watch Episode 52 with Didier Morais LIVE NOW

1:1 CONSULTATIONS WITH RUIZ

I’m offering private 1-on-1 sessions for artists, managers, and execs who want real, practical advice on how to move their careers forward.

With 16 years in the music business and experience working with some of the biggest artists and executives in the world, I can share insights, strategy and ways to execute the pain points in your career as it currently stands.

Book your private consultation below.

Bio

I’m Mauricio Ruiz, the host and creator of The Manager’s Playbook podcast, dedicated to demystifying the world of music management, and Founder/CEO of 8 Til Faint, an Artist Management company with over 5 billion audio streams worldwide. Our past and current clients include Grammy nominated, Juno Award winning multi-instrumentalist and singer/songwriter Jessie Reyez, Skratch Bastid and more.

I am also the Co-Founder of Mad Ruk Entertainment, a content agency with over 3 billion long form video streams worldwide. Our client list includes The Weeknd, Eminem, and Celine Dion, along with renowned brands like Nike, Pernod Ricard and the NBA.

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