Digital Image
Logo, typography, color, covers, thumbnails, photography, social templates and platform presentation.
Creates recognition before the audience presses play.01 / THE STARTING POINT
What is already working
BIG SIS is not an early-stage project. The duo has already built the parts that usually take years: a real live identity, an organic audience, recognizable humor, sync history, press, collaborations and proof that people will buy tickets.
The problem is not a lack of activity. The problem is that strong activity is still happening in separate lanes.
Music, live, content, sync, collaborations, label activity and business opportunities need to operate as one system.
Right now, a strong song can create streams, a show can sell tickets and a viral clip can create attention. The next stage is making each one strengthen the others. A release should support live demand. A show should create content and audience data. A collaboration should change market perception. A sync placement should create new discovery and catalog value.
THE POINT Before we expand the project, we make sure the project can carry expansion.
This document defines the management system we can begin building immediately and the questions that need to be answered during the first 90 days. The full roadmap comes after reviewing the album, contracts, budgets, rights, analytics and team workflow.
02 / ADMIN + OPERATIONS
What management changes
The first value of management is not a new campaign idea. It is control of the moving parts.
The immediate job is to understand who owns each decision, where information lives, what deadlines are approaching and which opportunities require follow-up.
During the first month, we build one central project dashboard covering releases, live, content, partnerships, finances, rights and team responsibilities.
AREA
WHAT NEEDS TO BE CLOSED
IMMEDIATE OUTPUT
Rights + contracts
Collect label, distribution, publishing, producer, collaboration, sync and booking agreements. Confirm ownership, approvals, options, recoupment and delivery obligations.
Rights map + contract calendar
Music + releases
Confirm album status, masters, features, clearances, artwork, delivery requirements and release windows.
Master release tracker
Live
Map dates, holds, routing, guarantees, expenses, settlement history and future target markets.
Live calendar + deal history
Content + assets
Centralize photos, video, artwork, logos, press files, raw footage and approved copy.
Shared asset library
Finance + reporting
Confirm income sources, royalty statements, invoices, receivables, show settlements and budgets.
Revenue tracker + monthly report
Team workflow
Define who handles label, booking, legal, publicity, content, production and approvals.
Responsibility map
This work is not glamorous, but it prevents missed money, late releases, unclear approvals and repeated work. It also gives the artists more creative space.
03 / POSITIONING + BRAND BIBLE
Make the project easy to understand
BIG SIS already has a brand. What is missing is a documented system that lets the identity stay consistent as more people enter the project.
One of the first strategic tasks is finding the sentence that explains BIG SIS in five seconds. “Cheeky dance-pop duo” is a useful category, but it does not yet communicate the cultural role, emotional promise or live experience.
We should develop this together. The result needs to be simple enough for a promoter, journalist or new listener to repeat, and specific enough that it could not describe ten other acts.
Overall Image
Who BIG SIS is, what the duo represents, the emotional promise, the sibling dynamic and the boundaries of the brand.
Keeps the identity clear across music, interviews, partnerships and press.Surrounding Image
Stage world, recurring objects, locations, styling logic, supporting characters, collaborators and visual references.
Turns separate visuals into a world people remember.Kinetic Image
How they move, speak, joke, perform, react and interact on camera and onstage.
Protects the strongest asset: personality in motion.A strong brand does not make the artists less spontaneous. It gives spontaneity a recognizable frame.
04 / RELEASE BUSINESS
Every release has a job
The upcoming album should be managed as a business cycle that starts before the first single and continues after the album release.
First, we audit the full music pool. Each track is evaluated for artistic strength, audience potential, live value, collaboration value, sync value, visual potential and the role it can play in the album story.
The “best song” is not automatically the right first single. The right first single is the song that solves the first business problem.
Bring new listeners into BIG SIS quickly and clearly.
New listeners, saves, follows, creator use, paid conversionMake the positioning and personality unmistakable.
Comments, shares, press language, fan-created contentIncrease ticket demand and give the show a new moment.
Ticket clicks, city demand, set response, repeat attendanceOpen another audience or market.
Cross-audience growth, partner conversion, new pressCreate strong use cases for ads, games, TV, fashion or sports.
Briefs, pitches, holds, placements, licensing incomeReward existing fans and keep the catalog moving.
Completion, repeat streams, catalog lift, community response12–16 WEEKS
Purpose, budget, ownership, assets, clearance, DSP and sync plan
8–10 WEEKS
Content production, creator list, paid media testing, press and partnership outreach
4–6 WEEKS
Pre-release story, live integration, audience capture and asset distribution
RELEASE WEEK
Concentrated conversion across streaming, content, live and owned audience
WEEKS 2–8
Performance content, alternate assets, remixes, sync follow-up, playlists and live proof
POST-CYCLE
Review against the assigned job, not one generic benchmark
Paid promotion is part of the system, not a separate promise. We test, learn and scale; we do not spend simply because a release date exists.
05 / LIVE BUSINESS
The strongest engine
BIG SIS already performs at a level that creates a stronger impression than the current digital footprint alone.
That is an advantage. Live is not just one revenue line; it is where the brand, music, humor and community become undeniable.
The first task is a complete deal and performance review: guarantees, ticket history, capacities, sell-through, expenses, routing, merch per head, repeat markets, strongest support pairings and promoter relationships.
SUPPORT TOUR DECISION EXAMPLE
A support offer for a larger act is not automatically a yes. In North America, where BIG SIS already has proof and headline potential, the better move may be selected festivals and focused headline rooms. In a new European market, the same support slot may be valuable because it introduces the project to the right audience and promoters.
The decision depends on market, cost, audience fit, billing, routing and what happens after the tour.
Live already proves that people care. Management turns that proof into a larger business.
06 / AUDIENCE MANAGEMENT + CONTENT
Turn attention into owned demand
Discovery is not the finish line. The real value is conversion, retention and repeat behavior.
The task is understanding how people enter the project, why they stay and how they move from a casual view to a stream, ticket purchase, repeat show and long-term fan relationship.
01DISCOVERY
Clip, collaboration, press moment, playlist or live recommendation
02ENGAGEMENT
Watches more, saves, comments, follows or streams
03CONVERSION
Buys a ticket, joins a list, pre-saves or purchases a drop
04RETENTION
Returns between releases and follows the project story
05ADVOCACY
Brings friends, posts clips, creates memes and returns to shows
06VALUE
Buys repeatedly and increases the strength of the project
Visual proof and partner-facing storefront
TikTok
Fastest discovery and personality channel
YouTube
Performance, longer content, live storytelling and searchable catalog
Email + SMS
Owned audience infrastructure for tickets, releases and limited drops
Streaming
Convert attention into repeat listening and catalog depth
AUDIENCE RESEARCH DELIVERABLES
Market + city map Top-performing content patterns Ticket-buyer + repeat-attendance analysis Platform role + KPI document Owned audience capture plan 07 / PARTNERSHIP PIPELINE + EXPANSION
Build opportunities before they are needed
A pipeline means the team knows which relationships matter, why they matter, who owns the outreach, what asset is needed and when the timing is right.
BIG SIS already has proof that the project can work with other artists, brands and sync partners. The next step is turning occasional opportunities into a managed pipeline.
Build a short list by purpose: audience expansion, credibility, live connection, songwriting or market entry.
Promoter map, target goals, market priorities, follow-up calendar and offer criteria.
Categories that fit the brand, partner deck, usage rules and campaign concepts.
Metadata, stems, use-case mapping, supervisor relationships and follow-up.
Press targets, visual hooks, story angles, event opportunities and cultural moments.
Local partners, release timing, live entry plans, media and audience proof by market.
REFERENCE POINTS, NOT A WISH LIST
Sofi Tukker and Confidence Man are useful reference points, but they should not replace strategy. The first question is what type of relationship creates the most value: collaboration, support tour, remix, shared festival billing, writing session or social crossover.
Experience with Little Big as a direct management client and with Sofi Tukker from the label side at Sony Music is useful here because both projects show how identity, live performance and international relationships can reinforce each other.
08 / REVENUE + RIGHTS + CATALOG
Build value beyond streams
Streaming matters, but it cannot carry the full business.
Management should review every current and potential revenue line, confirm that money is being collected correctly and decide which areas deserve active development during the next 12–24 months.
Review settlements, guarantees, expenses, routing and merch per head.
Larger headline rooms, festivals, better guarantees, repeat markets, VIP where appropriateConfirm registrations, splits, administrator and statement flow.
Writing sessions, cuts, co-writes, catalog pitching and international collectionConfirm performer and master registrations in all relevant territories.
Recover unclaimed income and maintain correct registrationsOrganize metadata, stems, clean versions, one-stop status and approvals.
Ads, games, TV, fashion, sports and trailersDefine categories, pricing, usage rights and approval boundaries.
Paid campaigns, events, content partnerships and ambassadorsReview current sales, margins, inventory and show performance.
Limited drops tied to real moments; no permanent generic storeIdentify logo, music, image and content rights that can be licensed safely.
Selective licensing without losing control of the core brandReview ownership, performance, playlists, video assets and inactive tracks.
Reactivations, remixes, live versions, sync and anniversariesImprove documentation, rights clarity, audience growth and recurring income.
A cleaner and more valuable long-term assetEvery right should be registered. Every income stream should be visible. Every asset should have a plan.
09 / DECISION FRAMEWORK
How we choose what to do
Growth creates more opportunities, not more time.
Every major offer, collaboration, release idea, tour, brand deal or expense should be evaluated against the same questions.
Single choice
We do not choose the next single only by personal preference. We define whether it needs to open the album, sell tickets, attract a collaborator, create a sync lane or deepen the brand. Then we choose the record that does that job best.
Tour offer
We do not accept because the headliner is bigger. We evaluate market entry, audience fit, cost, billing, data capture and what we can build after the tour.
Brand deal
We do not accept because the fee is available. We review product fit, usage rights, exclusivity, creative control, audience value and whether the campaign makes BIG SIS more recognizable.
The objective is not to do more. The objective is to make each move create more value.
10 / WEEKLY OPERATING RHYTHM
What management looks like in practice
The manager owns follow-through. The artists stay in control of the decisions that affect their identity and career.
The artists do not need to chase every person, remember every deadline or rebuild context in every meeting.
Priorities, decisions, creative status, deadlines, opportunities and problems
Every open task, owner, deadline and approval across label, booking, content, legal and finance
Streaming, content, ticketing, paid results, city demand and catalog movement
Masters, clearances, delivery, DSP, press, paid media, content, sync and sustain
Partnership outreach, collaborations, sync follow-up, brands and international relationships
Offers, holds, routing, settlements, budgets, promoter follow-up and audience capture
Income, receivables, expenses, budgets, statements and revenue by category
Compare results with KPIs and decide what stops, continues or scales
CORE MANAGEMENT DOCUMENTS
Master calendar + deadline tracker · Release dashboard + budget · Rights + contract map · Live deal + settlement history · Partnership + sync CRM · Content + asset library · Audience + market dashboard · Monthly financial + KPI report · Decision log
11 / FIRST 90 DAYS
What we can build together
The goal is not to promise every outcome in 90 days. The goal is to gain full visibility, close operational gaps, set the direction and begin executing the highest-priority work.
The first three months should be a focused management engagement around the album, live business and audience growth.
01
Control + clarity
- Review contracts, rights, royalties, responsibilities and commitments
- Hear the album and audit catalog, unreleased music and collaboration material
- Review streaming, social, ticketing, sales and market analytics
- Build the project dashboard, calendar, budget view and weekly rhythm
- Start Brand Bible and positioning work
- Identify urgent gaps and unpaid income
02
Architecture + pipelines
- Build album and release architecture
- Define content roles, asset production and paid media testing
- Build live market priorities
- Launch collaboration, brand, sync and international pipelines
- Complete the first Brand Bible version
- Set KPIs, reporting and decision criteria
03
Execution + proof
- Begin execution of the first approved release and audience priorities
- Start targeted outreach across partnerships, sync, touring and media
- Implement audience capture around shows and releases
- Review early performance, budget efficiency and team capacity
- Deliver the next 9–12 month roadmap
- Agree on the long-term management structure
WHAT I NEED FROM THE TEAM
Full access to music, analytics, contracts, budgets, statements, calendars, live history and current partner conversations; honest visibility into capacity and priorities; one clear approval process; and a willingness to make decisions based on the agreed direction rather than restarting the strategy every week.
After 90 days, BIG SIS should not simply have more ideas. The project should have control, priorities, operating tools, active pipelines and a roadmap the full team can execute.
