WMV first met Martin Kierszenbaum two years ago over dinner with Shaggy at Blue Ribbon Sushi in New York. What stood out was his rare ability to bridge the creative and business sides of music.
As Shaggy’s manager and founder of Cherrytree Music Company, Martin has successfully navigated the industry’s evolution from CDs and radio to streaming and AI by combining artistic instinct with executive vision.
Raised across three continents, he developed a global outlook that helped him identify talent long before the industry fully embraced international artists, including an early belief in Lady Gaga. Today, he continues to guide established stars and emerging talent alike.
World Music Views caught up with the top artist manager earlier this week for a conversation and Kierszenbaum reflects on the lessons that shaped his career, the realities facing artists today, and why, despite constant disruption, the essence of music remains unchanged.
You’ve had a front-row seat to multiple eras of the music business, from physical sales to streaming. What’s the biggest difference between making and marketing music today versus when you first started?
I started taking piano and music theory lessons from a young age. I still use all that I learned then and since to this day so, in many ways, and at its core, making music is still the same: expressing an emotion and connecting with other humans.
In terms of technology and access to professional recording resources, it’s changed a lot. The path from creation to publication is much more accessible to artists than when I started. I think that’s an amazing thing.
In terms of methods of marketing and ways of consumption, things have changed too, of course, but they’re always changing. I have to stay nimble and adapt. The music business is dynamic and, in that aspect, it’s always been the same.
What do you consider your single biggest lesson that led to professional success?
I think failing and trying again is key. The folks that we see succeeding actually fail a lot. They just learn from the experience and try and try again.
What do artists need now more than ever?
Artists need space and time to hone their craft. It’s hard. It takes commitment and resilience. Sometimes they have to do other things to keep the lights on while pursuing their musical aspirations. It can be painful.
Creating a quality proposition takes time and consistency. Skills take effort to develop, but they become essential in attracting an audience and securing long-term support.
I love musicians. I am one myself. I grew up with my sister, who is one. I love being around other musicians and trying to help them however I can.
Cherrytree became known for identifying global talent before much of the industry embraced international artists. How did you develop that perspective?
I was lucky in that I grew up on three continents. I was exposed to different languages, cultures and all types of music from an early age.
My parents brought a very wide array of music into the house and my ear developed in a genre-agnostic way. Moving a lot also made me comfortable with crossing borders and, when I got into A&R, I was happy to travel to learn more about an exciting musical movement or meet a unique artist no matter where they were based.
With AI rapidly changing creative industries, how do you think artificial intelligence will impact songwriting, artist development and music marketing over the next decade?
It’s a good question and a personal decision for everyone.
For me, I love to play guitar, keyboards and bass, so I don’t use AI to do those things. That’s the fun part for me, so why would I abdicate that function?
My tactile playing is also idiosyncratic to me, so I feel like it helps make my productions original.
Have you seen how AI has taken over the Afrobeats Billboard chart and the Reggae iTunes chart? What do you think of that?
As I said, it’s a personal choice. People can choose to consume music created in different ways.
My personal goal as a songwriter and musician is to make music that’s authentic to me and accurately express the emotion I’m trying to convey. Similarly, in my capacity as artist manager, label head and publisher, I strive to help the artists with whom I work realise their specific visions.
AI is out there and it’s not going to stay specific to any genre. It’s something to contend with everywhere.
Do you use AI in any way?
Maybe I’ve inadvertently used it if it’s been embedded in a search engine and I haven’t realised it, but I haven’t used it to make music because I love to write, arrange, perform and produce music myself. These are some of my favourite things to do.
I also enjoy composing letters, press releases and emails, so I’m not interested in using it for that either.
If you were launching a brand-new artist today on a limited budget, what would your strategy look like?
I am launching new artists and I love it.
I gravitate towards musicians with a unique point of view and who can be self-sustaining in the creative areas. I manage Sophie Grey, for instance. She’s a classically trained pianist who writes, plays, produces and engineers everything herself. She creates her own stage clothing and edits her own videos.
Marketing her music is firmly based on showcasing her talent as a songwriter, singer, producer and live performer. Everything always starts and ends with the music.
My management client Chance Emerson is also a one-person wrecking crew. He has a glorious voice and writes and produces his own material. He can captivate on his own on stage or front a band with authority.
With both artists, consistent touring, regular quality releases and complete immersion in their craft are at the core of the marketing approach.
Growing up across different countries and cultures, how did those experiences shape your musical tastes and your approach to discovering talent?
It forged my musical taste into a very broad proposition. It exposed me to different ways to approach life. It opened up my brain linguistically and culturally. It allowed me to make dear friends around the world.
For all of that, I am extremely grateful.
Was there a particular person who had a major influence on your love of music, creativity or entrepreneurship?
I have been fortunate to be around some extraordinary people in my life, starting with my parents, who are both very musical and adventurous.
My piano teacher, Mrs Green, insisted I study music theory alongside piano technique. My sister Marina, an accomplished violinist, pianist and harpist, was my musical best friend as we moved around the world.
My wife Heather, who grew up in the music business, has generously and tirelessly given me invaluable advice. My children, who are all involved in music, continue to inspire and encourage me.
Artists including Sting, Shaggy, Trevor Horn, Mylène Farmer and Kev Nish have taught me a great deal. There are many others as well, and I remain deeply thankful to all of them.
What has fatherhood taught you?
Too many things to list. It’s the most important and rewarding job I’ve ever been lucky enough to have.
Are you happy with the modern music industry?
The music business is always changing. It can be challenging.
I love music. That is at the core of what gives me the fuel to face those challenges and continue to enjoy the adventures.
What do you want to be remembered for?
I don’t think about that. I think about doing the best I can for those around me today.
Who are your top five favourite artists?
That’s the toughest question you’ve asked, JR. Here are my top five artists at this very moment. I reserve the right to change the list 30 seconds from now.
- Sting
- Celia Cruz
- Kate Bush
- James Brown
- Charly García
What are your thoughts on the Grammys?
Musicians being recognised by other musicians is always nice. It’s not the only metric by which a musician can gauge success, of course.
Making music is its own reward. Getting to write music, help other musicians amplify their art, and connect with people across languages and borders through music are all great honours.
Getting to make a living making music is a profound privilege.
