The problem
Artist management is admin-heavy: enquiries, offers, contracts, travel, invoices, commission, releases, social logins. Spread across tools, things get missed, and the artist can’t see what’s happening without asking.
What I built
- Roster: artist profiles, press kits and audience figures.
- Bookings: a drag-and-drop pipeline from enquiry to paid, with a calendar, clash warnings and travel.
- Money: invoices, commission splits and quarterly artist statements, to the penny.
- Releases and projects: release plans with royalty splits, project timelines and a content calendar.
- Documents and vault: contracts with renewal reminders, a media library and an encrypted password vault where every reveal is logged.
- Website and mailshots: the artist’s own website and email campaigns run from the same system.
- Team access: managers see the roster, artists see only their own work, and the database enforces it.
How it fits together
Artist websiteenquiries in
→musicOSone database
→Managerswhole roster
→Artiststheir own data
From one client to a product
musicOS became the first of Archii’s “OS” systems: complete operating systems for a type of business. Each company gets its own private copy and database, set up and adapted by me to how they work. The same approach works for other industries.
What I learned
- Permissions are the product. Getting who-sees-what right, in the database itself, is what makes a team trust the system.
- Money must add up. Splits and statements are calculated to the penny, so an artist’s statement always matches the invoices.
- Replace the habit, not just the tool. The system only wins if it’s quicker than the spreadsheet it replaces.