Career Highlights
I’m going to be super cheesy and say that just starting Pretty Good Thanks, evolving Queer Club, and building a roster of incredible women with undeniable talent is a career highlight in itself. Attending SXSW, Bigsound, working and touring with MANE, seeing Naomi Keyte release her sophomore album after years of dedication, watching Eliza Hull land a support slot on Sarah Blasko’s regional tour—these are the moments that remind me why I do this. Becoming a Women in Music mentee, a Robert Stigwood Fellow, and being nominated as Best Manager at the SA Music Awards—it all feels surreal. Working with so many fantastic artists across South Australia and nationally has been an incredible journey, and I constantly pinch myself knowing that this is my reality. And the best part? There’s still so much more ahead of me.
Inspiration to become an artist manager
I started Pretty Good Thanks in 2022 after returning from SXSW in Austin, Texas, where I was touring with MANE—my first real experience in the music industry. That trip deepened my love for music exponentially. Watching artists from around the world pour everything into their performances, feeling the electricity of the crowds, and discovering incredible new music at every turn—I never wanted to come home. One moment that really stuck with me was the Saddest Factory showcase, hosted by Phoebe Bridgers’ record label. Every artist on the lineup was queer, and the energy in that space was unreal. It was more than just a show; it was a celebration of identity, artistry, and community. That night planted a seed in my mind: There isn’t enough queer music being uplifted in my local scene. What can I do about that? That’s how Queer Club was born—an annual event I founded that’s now in its fourth year, creating a vibrant, inclusive space for LGBTQIA+ artists and audiences. Accessibility is a huge focus for us, and each year, we push to make the event even more inclusive than before. As Queer Club grew, so did my desire to support artists beyond live events. That’s when Pretty Good Thanks evolved into something much bigger, a platform dedicated to artist management, publicity, and more. My journey into artist management has been driven by my love for music and my deep connection to the artists around me. So many of my friends are musicians, and I’ve seen firsthand how tough it can be to navigate the industry as an independent artist. I wanted to be the person who helps bridge that gap—offering strategic guidance, creating opportunities, and advocating for artists so they can focus on their craft and push their creativity to the next level. What keeps me motivated is seeing the impact of that work. The moment an artist lands their dream support slot, secures funding for a long-awaited project, or gains recognition from industry leaders—it’s the best feeling. Watching artists like Eliza Hull, Naomi Keyte, and MANE grow, evolve, and connect with audiences who truly take in their music is absolute magic.
Proudest Moments in Management
Each artist I work with has a really strong artistic identity and a clear sense of purpose in their music, not only that but they are the nicest and kindest people. Eliza Hull is not only an incredible songwriter but also a fierce advocate for accessibility in the music industry, pushing for real systemic change. Naomi Keyte has a unique ability to craft intimate, deeply moving songs that connect with audiences in such a special way—watching her do that in real time is mesmerising. MANE has such a powerful, dynamic presence, and seeing her evolve as an artist and push herself creatively has been amazing. All these women have at one point or another have self-managed their careers and have been the reason that they are where they are today. I'm proud to be a part of their journeys.
Improving Industry Support for Managers and Artists
A fundamental shift needs to happen in how the industry values and compensates both artists and managers. So much of what we do—especially at the grassroots and emerging level—is built on passion, but passion doesn’t pay the bills. Artists and their teams pour everything into their craft, yet sustainable income often feels just out of reach. We need more structured financial support, like transparent revenue models, long-term investment in artist development, and better funding access for independent artists and managers. There should also be a greater push for industry-wide education on the realities of artist management—so many people outside the bubble don’t realise how much groundwork goes into breaking an artist. If we want a thriving, diverse, and artist-friendly music industry, we need to stop romanticising the struggle and start creating real pathways for long-term careers—for both artists and the people who champion them.
Dream Music Industry Initiative
In 2020 when I was dealing with quite a serious issue where I felt like I was being gas-lit as a young manager by someone in the industry (spoiler alert, I was) I received incredible support from the AAM team. They immediately got on the phone with me, took me seriously and gave me excellent advice on dealing with the situation, which was invaluable at that point in my career. Being an independent manager, especially one based in regional WA, can be so incredibly isolating and having the AAM to lean on has always been a huge help. Through the AAM I have also found a kick-ass community of independent female managers who are my daily go-to for advice, inspiration or just a general rant at the state of the industry. They have definitely kept me sane over the past 12 months! Finally, the funding that AAM have provided to assist managers in attending international conferences over the past few years has had a huge impact on myself and Great Gable. Being able to attend these conferences at a point where the band is now touring primarily overseas has definitely been a game-changer for our careers. For whatever reason, most funding is not set up to accommodate or include managers, despite the importance that a manager has on an artists’ career. I believe that managers having access to this international conference funding is going to have a massive flow-on effect in the coming years on young Australian artists breaking on an international level.