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Job outlook for artist and repertoire managers in the United States
Are artist and repertoire manager jobs in demand?
Artist and repertoire manager job and salary trends over time
Artist and repertoire manager jobs over time
Artist and repertoire manager job growth rate over time
| Year | # of jobs | % of population |
|---|---|---|
| 2021 | 199 | 0.00% |
| 2020 | 259 | 0.00% |
| 2019 | 272 | 0.00% |
| 2018 | 237 | 0.00% |
| 2017 | 246 | 0.00% |
Average artist and repertoire manager salary over time
Artist and repertoire manager salary by year
| Year | Avg. salary | Hourly rate | % Change |
|---|---|---|---|
| 2025 | $72,423 | $34.82 | +2.3% |
| 2024 | $70,810 | $34.04 | +11.7% |
| 2023 | $63,416 | $30.49 | +1.7% |
| 2022 | $62,359 | $29.98 | +4.6% |
| 2021 | $59,613 | $28.66 | --1.4% |
Artist and repertoire manager jobs by state
Most common states for artist and repertoire managers
| Rank | State | Population | # of jobs | Employment/ 1000ppl |
|---|---|---|---|---|
| 1 | Virginia | 8,470,020 | 149 | 2% |
| 2 | Maryland | 6,052,177 | 118 | 2% |
| 3 | California | 39,536,653 | 390 | 1% |
| 4 | Wisconsin | 5,795,483 | 86 | 1% |
| 5 | Washington | 7,405,743 | 86 | 1% |
| 6 | Pennsylvania | 12,805,537 | 76 | 1% |
| 7 | Illinois | 12,802,023 | 70 | 1% |
| 8 | Indiana | 6,666,818 | 46 | 1% |
| 9 | Tennessee | 6,715,984 | 34 | 1% |
| 10 | Oregon | 4,142,776 | 26 | 1% |
| 11 | Iowa | 3,145,711 | 23 | 1% |
| 12 | Connecticut | 3,588,184 | 22 | 1% |
| 13 | Utah | 3,101,833 | 22 | 1% |
| 14 | New Hampshire | 1,342,795 | 10 | 1% |
| 15 | Delaware | 961,939 | 9 | 1% |
| 16 | District of Columbia | 693,972 | 8 | 1% |
| 17 | Wyoming | 579,315 | 4 | 1% |
| 18 | Massachusetts | 6,859,819 | 22 | 0% |
| 19 | Rhode Island | 1,059,639 | 3 | 0% |
| 20 | Alaska | 739,795 | 1 | 0% |
Artist And Repertoire Manager job outlook: Expert opinions
Our panel of artist and repertoire manager experts
University of Indianapolis
Art Academy of Cincinnati
Western Illinois University
The University of Southern Mississippi
Baylor School of Music
Ohio University
Alma College
Montclair State University
Vanguard University of Southern California
Northwestern Oklahoma State University
Nathaniel Foley
Assistant Professor of Art & DesignUniversity of Indianapolis
Fine And Studio Arts
What general advice would you give to an Artist And Repertoire Manager?
Nathaniel Foley: Creatives must possess the confidence to sell and speak about themselves and their multifaceted and transferable skill sets. As creative problem-solvers, artists place themselves in a unique position to be able to engage all facets of the job market to positively contribute to today's society. Never place yourself in a mindset of only being able to function as a starving artist as you have gone through extensive training to think, take risks, communicate, and make differently than other disciplines, which sets you apart and provides you a unique opportunity to craft your own path. Do not be afraid to take risks by pursuing jobs that might not completely fit your perceived path because they will open doors and opportunities in the future.
What hard/technical skills are most important for Artist And Repertoire Managers?
Paige Williams: Students entering the creative workplace need the visual, verbal, and written vocabulary to articulate their ideas and provide meaningful and constructive criticism. Students at the AAC learn criticism methods and engage in writing across the curriculum in every studio and academic course. A rigorous capstone experience requires that students write a ten-to-twelve-page thesis that thoroughly explains what they make (subject), how they make it (form), and why it matters (content). They then are required to present their ideas in a public forum.
Learning the latest technological advances and adapting as technology evolves is important for every student entering the workforce.
Will there be an enduring impact of the coronavirus pandemic on Artist And Repertoire Managers?
Elizabeth McPherson: Yes, I think the coronavirus pandemic will have a profound impact on the dance field. Many small dance companies may find it impossible to keep paying dancers and staff. Some bigger dance companies have disbanded their second or junior companies. Virtual or outdoor performances are all that is possible right now for the most part. There is. However, some fantastic work being done in terms of dance film and online performance events. I think as the pandemic subsides eventually, that we will have live performances again, but also more virtual events. Dancers and choreographers are honing their skills with technology.
In terms of dance education, innovation is again the name of the game. One recent grad from Montclair State has just been hired to teach a 4- to 5-year-old dance class outside in someone's backyard. Many dance teachers are teaching over Zoom, and also creating videos of dance classes that people can do at their leisure, not in real time. I think this will also stay with us even after we return to teaching more classes in person. It allows for more global connection, in that I could take a dance class that is happening in Japan, for instance, through Zoom.
Tammy Killian
Chair - Department of Theatre and DanceWestern Illinois University
Drama/Theatre Arts And Stagecraft
How do you envision technology impacting Artist And Repertoire Managers in the next 5 years?
Tammy Killian: Technology has impacted the profession tremendously already and will be a springboard to the future of performing arts. We've needed to be shaken up for many years, and this pandemic has definitely done that. We will learn and adapt to technology leading us into the future.
Will there be an enduring impact of the coronavirus pandemic on Artist And Repertoire Managers?
Dr. Ashley Allen Ph.D.: In terms of employment, I hope not. Right now, there is an impact in all levels of education (PreK-higher education) because of the uncertainty of what education will "look like" in this time of COVID, and specifically what making music will look like. There are also budget issues because of lower-than-normal enrollment and the uncertainty of education in these times. I am hoping that the job market will open back up for music educators, even as early as spring 2021, but right now, we just don't know. I will say that we had great success in placing our recent music education graduates, even in these times. So it is possible to find a good job as a recent graduate, even now.
In terms of life, absolutely. We are all going through stages of grief and recovery as we navigate this new reality. We are also learning how to innovate, grow, and hopefully be more mindful of our own self-care and work-life balance. I think we are being forced to reexamine all of these things, as there are limits right now to what we can accomplish, endure, and overcome, both physically and emotionally. I think those things will last a lifetime for all of us who have lived through 2020, and will hopefully change us for the better moving forward.
Will there be an enduring impact of the coronavirus pandemic on Artist And Repertoire Managers?
Dr. Randall Bradley: I believe the impact of technology is going to increase rapidly. I believe that COVID-19 had opened up the technology box, and we are only on the cusp of seeing the growth and impact that will surely take place in the years ahead.
Dr. Dawn Wohn
Associate Professor of Violin, String Division ChairOhio University
Department of Fine Arts
Will there be an enduring impact of the coronavirus pandemic on Artist And Repertoire Managers?
Dr. Dawn Wohn: The performing arts have really taken a large hit during the pandemic. In the case of music, it means that concert halls around the world have remained closed, tours and music festivals have been canceled. As a result, much of the music industry is in the midst of a budget crisis. And with many academic institutions and public school systems instituting a hiring freeze due to budget cuts and remote learning, graduating musicians, as well as students majoring in music-related careers, are facing fewer job prospects upon graduation.
In addition, music learning and making have been traditionally experiential and social activities. Music students learn from physically making music with others. As musicians are currently not able to congregate and perform in large groups, or easily perform for live audiences, many of us are missing those experiences that are very important to us.
The silver lining of the pandemic has been that it has forced musicians to embrace technology and to look outside of traditional models. Musicians have been able to reach a larger audience, via the internet, and use their entrepreneurial skills to find creative ways to make, share, and teach music. As remote learning becomes normalized, many are also able to expand the scope of their teaching areas.
How do you envision technology impacting Artist And Repertoire Managers in the next 5 years?
Rosely Conz: The integration of technology and dance has been happening for years, with the emergence of hybrid art forms such as screendance, with artists such as Maya Deren and Merce Cunningham. The use of motion capture, projection design, movement sensors, etc. also is a reality, evidenced by the works of so many dance companies, Broadway musicals, and independent artists.
There are, of course, differences between seeing a dance piece created for the stage live or through video, and I feel like, in this case, technology cannot replace the collective experience of being in a theatre or seeing something live. However, with the limitations of the pandemic, we need to take full advantage of the possibilities in live streaming, editing software, cameras, social media, interactive platforms online, etc. Again, technology is here to help artists to achieve their aesthetic goals.
I also hope that the technological developments in the medical field start benefiting dancers as well with new methods for injury prevention and treatment, for example.
How do you envision technology impacting Artist And Repertoire Managers in the next 5 years?
Kathleen Kelley: I think dance films, live streams, and virtual performances will become significantly more important to the field, and dance companies and choreographers will be imagining new ways of bringing the performance to the audience. As of right now, the field is still figuring out how to turn that open nature of performance into financial support, but I believe it will happen. We are already seeing European choreographers who have decided to forgo flying because of the environmental impact of touring by air. They are working on other options including Zoom/Facetime rehearsals, and touring by train or electric bus with regional stops in between. Technology will help support this kind of eco-aware performance model and will allow for more virtual rehearsals and residencies. From a training perspective, technology will allow students to train with guest artists from around the world, augmenting (but not replacing) in-person training. Dance thrives in liveness, and so even though technology will help facilitate more virtual dance experiences, I believe that live performance and training will still be valued, and might even be more appreciated because of its live presence.
Lia Hansen
Associate Professor of TheatreVanguard University of Southern California
Department of Theatre Arts
Will there be an enduring impact of the coronavirus pandemic on Artist And Repertoire Managers?
Lia Hansen: I'm sure there will be. It is hard to assess at this time exactly how it will impact the entertainment industry long-term. People need theatre, so it will endure, but the form may alter in ways we can't really predict.
Will there be an enduring impact of the coronavirus pandemic on Artist And Repertoire Managers?
Kimberly Weast: I believe it will take longer for some to get employment. This is why it is so important to begin to create one's unique work.