Creative management portfolio for KIYARA MASSY

This creative portfolio outlines a strategic release plan designed to position KIYARA MASSY within the UK independent contemporary R&B/Pop market as an emerging singer-songwriter.

Artist Genre and Context 

KIYARA MASSY’s genre is within the contemporary R&B, pop space, a genre that has seen a rise in recent years (BG Falcon Media, 2025). Her sound rests at the intersection of pop and contemporary R&B, which reflects a broader shift in the music industry towards genre fluidity (McCann, 2024). The contemporary R&B/ pop space has been increasingly prominent in recent years, largely due to the fact that sustained influence of British artists who have come to dominate the global music industry. This dominance is especially evident across streaming and TikTok, where British artists like Olivia Dean, Sienna Spiro and Raye are receiving high levels of visibility, engagement and cultural impact (Youngs, 2025). Additionally, the fusion of R&B and pop elements within the UK music industry reflects a bigger shift in audience preferences, suggesting the genre is adaptable and has the capacity to resonate with diverse and digitally connected audiences. The artist aligns with emerging UK acts within the contemporary R&B scene whilst maintaining focus on authenticity. In comparison to mainstream artists, KIYARA MASSY adopts a relatable, authentic, raw and emotionally charged approach. Currently, KIYARA MASSy can be grouped as an emerging, unsigned artist functioning within a developmental stage of her career. As a conservatoire student, she has access to creative resources and collaborative networks while building her artistic presence. We can leverage these networks and resources to expand her audience reach, promote collaborations, supporting a sustainable growth of her career. 

    The growth of streaming Platforms like Spotify has immensely influenced the rise of genre blending artist through music discovery features. Short-form content platforms like TikTok created opportunities for visibility and engagement, favouring creators who can cultivate direct relationships with their audiences. KIYARA MASSY aligns with a new generation of artists who prioritise authenticity and relatability (Hall, 2024) and personality over traditional industry polish. Her image positions her between grassroots authenticity and mainstream accessibility, allowing her to appeal to niche audiences and maintain potential for a more commercial reach. KIYARA MASSY’s overall positioning and artistic identity place her within a growing sector of the music industry, which offers both creative flexibility and strong potential for greater audience growth and reach.  

Target Market 

The target market for KIYARA MASSy is primarily digitally engaged listeners who value authenticity, relatability, and emotional connection in music.

The primary audience consists of individuals within the 16-24-year-old Gen Z demographic. When the artist was asked, she said she wanted to make music for the “girls and the gays”, suggesting a deliberate positioning of her work toward an audience who have played a role in shaping a sustaining pop and R&B cultures. Listeners within this group usually engage with music as part of their daily lifestyle, integrating it into routines. In regard to psychographics, the target audience will demonstrate an interest in lifestyle content, visual aestetics and personal identity and are highly responsive to artists who present a cohesive visual brand alongside their output. Platforms such as TikTok, cpotify and Instagram play an integral role in both artist and music discovery and fan engagement. Short-form video content on tiktok in particular, is important in driving exposure and audience growth (Pregent, 2025). This audience consumes music largely through streaming, favouring curated playlists and algorithm-driven recommendations over traditional album listening (Miers Jones, 2024). In the current maret there is a strong preference for emotionally resonant tracks that can be easily shared or repurposed within social media content (GlobalPlayer, 2025). Fan engagement is primarily digital (Andrews, 2023), with fans and audiences being more likely to engage through likes, shares and comments rather than attending live performances in the early stages of an artist’s career. However, there is as groing demand for more intimate localised live eventsthat reinforce a sense of personal connection with the artist. Leeds alone has experienced an increase in the demand within the gig economy, with yorkshire evening post reporting a 662% year on year increase in live gigs ( Toal, 2025). Additionally, a secondary audience may include slightly older listeners from the 25-30b year old demographic who engage with similar artists. They may have stronger spending behaviour, especially in relation to live events and merchandise.

     Our focus geographically is likely to be UK-based, within student cities like Leeds, while maintaining potential for a broader reach through streaming. KIYARA MASSY’s Portuguese background supports opportunities to connect with European and global niches, potentially. Understanding her audience is critical in shaping a digital-first release strategy that prioritises social media engagement and consistent content output. By considering the habits, preferencesna and behaviours of this demographic in our marketing approach, we can maximise reach, engagement and long-term development.

Post Release Phase

After the release, the focus will be shifted towards sustaining momentum and extending the lifecycle of the EP, including releasing additional content like acoustic versions as well as sharing audience-generated content, if any. Encourage live performances, particularly intimate local shows, to build a stronger fanbase and further increase visibility.

Ultimately, this multi-phase approach creates a consistent build-up of engagement and increases both the initial impact and longterm growth. The timeline supports a realistic and effective release strategy, which aligns with audience behaviour and industry practices.

Artist Management Agreement

A formal artists management has been created to establish a professional partnership between me and KIYARA MASSY. This ensures clarity in roles and responsibilities between both parties. The agreement is set for an initial term of 3 years, which provides time to develop the artist’s career and establish a market presence. The contract states that within this period, the agreement may be terminated by either party with a minimum of 3 months’ notice. Within this agreement, there is an exclusivity clause that appoints me ( the manager) as the exclusive representative of the artist. However, the artist is allowed to hire a third-party agent for things like acting or film. The agreement aslo make the managers’ and artists’ responsibilities clear. The manager is required to act in “good faith”, and the artist is expected to communicate and disclose income generated through her activities. The agreement also includes a sunset clause which protects the manager. However, it’s longer than usual and seems to work more in the manager’s favour, allowing the manager to be entitle of a commission og 20% 5 years after the termination of the agreement and 10% in years 6 to 10 from the termination of the agreement. The agreement confirms that intellectual property rights will remain with the artist, which is beneficial for the artist, allowing long-term control over their music catalogue. The agreement also includes clear termination clauses and has a key man clause for the protection nd benefit of both parties.

 For the most part, the agreement establishes a balanced and professional legal framework that supports the artist’s development while protecting her creative and financial interests. Though balance it is important that the artists have separate legal council form the manager to look through the agreement.

Online Marketing Strategy

A targeted online strategy is essential for building KIYARA MASSY’s Audience and ensuring the successful release of her EP within a digital-first music industry. The strategy focuses on consistent content creation and audience engagement to increase reach and visibility.

The strategy will leverage social platforms like TikTok and Instagram as both are integral to form for discovery and engagement. TikTok will be used as a primary discovery tool with a heavy focus on short-form relatable content aimed at maximising algorithmic reach. Closer to the release of the EP, the artist will post daily on TikTok. This approach aims to increase reach and encourage user-generated content. Instagram will be used to develop a visual identity on this platform. She will post pictures that align with her brand and image. Additionally, content will include reels and behind-the-scenes footage to align with a relatable but aspirational brand, regular engagement through comments polls, and knives will help her build a stronger fan connection. A structured content calendar will be Incorporated ensuring consistent posting in the lead-up and following the EP release. This strategy aligns closely with the behaviour of the artists’ target audience, ensuring engagement, discoverability and promoting long-term growth.

Reference list

Andrews, S. (2023). Digital Discourse: The future of social media and fan engagement. [online] www.musicweek.com. Available at: https://www.musicweek.com/opinion/read/digital-discourse-the-future-of-social-media-and-fan-engagement/087711.

BG Falcon Media (2025). The Rise of UK R&B: Artists Shaping the Genre Today. [online] BG Falcon Media. Available at: https://bgfalconmedia.com/166295/partners/the-rise-of-uk-rb-artists-shaping-the-genre-today/.

GlobalPlayer (2025). How Sienna Spiro went from TikTok breakout to ‘Die On This Hill’ sensation! [online] Global Player. Available at: https://www.globalplayer.com/videos/2JsSdBokYxT/ [Accessed 5 May 2026].

Hall, K. (2024). Authenticity And Relatability – How To Make Social Media Work In 2024. [online] www.summitconsult.co.uk. Available at: https://www.summitconsult.co.uk/blog/authentic-and-relatable.

McCann, K. (2024). The rise of genre fluidity: Is this the death of genre as we know it? – Cherwell. [online] Cherwell. Available at: https://www.cherwell.org/2024/04/21/the-rise-of-genre-fluidity/.

Miers Jones, M. (2024). Death of an art form: does anyone listen to entire albums anymore? [online] The Courier Online. Available at: https://www.thecourieronline.co.uk/death-of-an-art-form-does-anyone-listen-to-entire-albums-anymore/.

Pregent, J. (2025). The influence of music on social media: Trends and consumer impact | DAC. [online] DAC. Available at: https://www.dacgroup.com/en-gb/insights/blog/paid-media/the-influence-of-music-on-social-media-trends-and-consumer-impact/.

Toal, F. (2025). Yorkshire Evening Post. [online] Yorkshire Evening Post. Available at: https://www.yorkshireeveningpost.co.uk/business/leeds-bars-and-pubs-see-a-sevenfold-rise-in-live-music-gigs-5208474 [Accessed 5 May 2026].

Youngs, I. (2025). K Pop, streaming, Taylor Swift: ‘Threats’ facing UK pop music in bestseller charts. BBC News. [online] 23 Feb. Available at: https://www.bbc.co.uk/news/articles/c5y23pe2v0vo.

Appendices

Appendix 1 –  How royalties are generated and distributed. (Jonathan Hibbard, 2026)

Appendix 2 – Basic Marketing Strategy and budget for EP creation.

Appendix 3 – Release timeline

Appendix 4 – Content calendar leading up to release of EP

Appendix 5 – Artist brand conception poster

Appendix 6- management agreement

MANAGEMENT AGREEMENT 

Between: 

Nana Abenaa Dwomoh  of address: 21 Malpas Road, London, E81NA

hereinafter “we”/”us”/”our” 

and 

[name of the Artist] (“the Artist”)

[Address(es] 

hereinafter “you”/”your” 

[Date] 

Dear [Artist], 

Management Agreement 

We write to confirm my agreement with you as follows:- 

1. Appointment – 

You now appoint us to act and we now agree to act as your exclusive manager  throughout the world in connection with all your activities in the entertainment industry, including, but not limited to, your work in the following areas:- 

1.1 the performance of musical compositions: in concert, for or which are broadcast, via radio or television, in films, via internet broadcast, including streaming or in  any other media known now or to be developed in the future; 

1.2 The making of recordings of musical compositions for the commercial release  and/or exploitation of such recordings by means of broadcast, sale, or  otherwise in the form of records, audio‑visual devices, permanent downloads, all  other forms of digital distribution, including streaming, or otherwise (including  without limitation exploitation by way of the internet or mobile telephones); 

1.3 The composition of music and/or lyrics and the exploitation of  Compositions via any medium of publication to the general public. 

1.4 The recording of musical performances on film or on other audiovisual devices;

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1.5 merchandising, advertising, brand partnerships and sponsorship in connection  with the Artist Activities; 

1.6 Production, engineering, mixing and remixing of sound recordings  

1.7 For the avoidance of doubt, it is specifically agreed that this agreement shall  cover your activities in connection with the writing of books, novels, screenplays,  plays, scripts and dramatic acting and any other activity in the entertainment  industry that commences during the term and shall be commissionable by us  and; 

1.8 all new media, including, without limitation, computer games, interactive, cable and other similar formats and distribution of recordings via telephone, satellite or other direct transmission to consumers over the wire or through the air. 

1.9 Notwithstanding the foregoing, you shall have the right to engage the services of  a third party agent (such as by way of example a film or theatrical agent) in  respect of any of your non-musical related activities in the entertainment industry and the fee payable to such Third Party Agent shall be  subtracted from the Commission (as defined in clause 5 below) which would  otherwise have been payable to us hereunder in relation to the relevant non 

musical activity, PROVIDED THAT our Commission shall never be reduced to less than ten per cent (10%).  

2. Term – 

2.1 The term of this agreement shall commence on the date hereof and shall continue for a minimum period of 3 years, and if thereafter until either party serves at least three (3) months’ notice on the other to expire not sooner than 3 years after the date of this contract. 

3. Management Obligations – 

3.1 We agree to use all reasonable endeavours to enhance and develop your career  and render all services customarily rendered by a first-class manager in the entertainment industry and to render such services and act in all matters in good faith and in your best interest and well-being. We will have due regard to your wishes and will consult fully with you as to what you consider to be work consistent with your aspirations and (in conjunction with your legal advisors) at all stages in relation to the progress of any negotiations, the terms of any agreements and any other material business being conducted on your behalf.

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3.2 We shall be available to meet with you regularly to discuss your career and will  advise and assist you in planning your career, and advise you upon all matters  which arise for consideration and on matters which we believe should be  investigated for the purpose of obtaining engagements or generally developing  your career or enhancing your reputation 

3.3 We will take all reasonable steps where appropriate to ensure that any payment to be made to you under any agreement is collected and that, where advisable, suitable arrangements are made in advance to secure such payment. 

3.4 Except in the case of agreements relating to one-off live or other appearances first approved by you in principle, we shall not be entitled to sign any agreement on your behalf, and we hereby undertake not to hold ourselves out as having the right to do so. 

3.5 In the event that we become aware at any time of a conflict of interest or a potential conflict of interest as between ourselves and you in any matter, we will promptly and fairly inform you of such conflict in writing with a view to resolving it in good faith and to enable you to take independent legal advice. 

3.6 We shall be entitled to manage other artists and maintain other interests within the entertainment industry, provided that such management and interests do not unreasonably interfere with the timely fulfilment of my obligations under this agreement. 

4. Artist Obligations 

4.1 You will endeavour to keep us informed of your whereabouts and availability and reveal to us any income earned by you. 

5. Commission 

5.1 In consideration of our services, we shall be entitled to receive commission equal to twenty per cent (20%) of all gross monies (exclusive of VAT or other similar taxes) received by you or received by a company controlled by you or anyone else upon your behalf during the Term and arising out of the Artist Activities during the Term. 

5.2 In respect of monies earned up to five (5) years from the end of the Term, our Commission shall remain at twenty (20%). In respect of monies earned after the date five (5) years from the end of the Term, our Commission shall be reduced to ten per cent (10%). In respect of monies earned after the date ten (10) years from the end of the Term, our entitlement to Commission shall cease.

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5.3 After the end of the Term, we shall only be entitled to my Commission in respect of monies arising from exploitation of records featuring your performances first released during the Term and compositions written and first exploited during the  Term, performances undertaken during the Term (and merchandising income connected therewith). 

5.4 Notwithstanding the above:- 

5.4.1 I shall not be entitled to be paid commission on any monies advanced to you for the use of; recording costs, video costs, internet/website costs received from record or publishing companies, equipment costs, third party producers’  advances and royalties recoupable tour support, per diems paid to you,  recoupable sums paid to a third party for the purpose of independent promotion or marketing any monies received from the sale of equipment or monies due to you but not paid and received by you. 

5.4.2 In respect of live personal appearances at concerts or upon tours, our commission shall be payable upon the Net Profit from the relevant live appearance or concert or series of live performances or concerts when there is a connected series. “Net Profit” shall mean the difference between gross fees received and the total of all costs and expenses incurred reasonably attributable to the event or series of events, which for the avoidance of doubt shall include the reasonable costs of travel, accommodation and subsistence for you, stage crew,  musicians and any other mutually agreed personnel. 

5.4.3 Our commission in respect of fees from television or radio appearances or other promotional appearances shall be calculated upon the gross fee after deduction of expenses incurred in relation to such appearance. Our commission payable in respect of income from any D2C business (which, for the avoidance of doubt, shall include any website set up by you or for you) shall be calculated upon and shall mean gross income less all expenses incurred in running such operation, including, without limitation and for the avoidance of doubt, any losses previously incurred. 

5.4.4 In the event that any monies commissioned by us hereunder subsequently become repayable (including, by way of example but not limitation, merchandising advances), then we shall repay our commission in respect of such repayment upon demand.  

5.4.5 We shall not be entitled to commission your income from contracts (including, without limitation, any record, publishing, or merchandising contract) entered into between you and any company or other legal entity owned or controlled by us. 

6. Accounting 

6.1 You shall deliver to me a detailed account providing all relevant information (and after request, provide us with online access to your accounts with collection societies) within thirty (30) days after the end of every calendar quarter in respect of all monies received by you or any person, firm or company on your behalf during the preceding calendar quarter and you shall pay the commission to me at the same time as delivering such statement PROVIDED THAT you shall pay the commission on personal advances received over five thousand pounds (£5,000)  within thirty (30) days of your receipt of such advance and our approved invoice. 

6.2 You shall use reasonable endeavours to ensure that we receive copies of all royalty statements that you receive both during and after the term (until such time as we are no longer entitled to receive Commission hereunder) (including, without limitation, PRS statements) to the extent the same relate to earning commissionable hereunder. 

6.3 You shall be entitled to collect all sums arising from your Artist Activities, and you shall appoint an accountant, when you decide it is appropriate, with general experience in the entertainment industry, to collect income on your behalf. 

6.4 We shall pass to you or your accountant any income we receive on your behalf without deduction. We shall invoice in respect of our commission together with any expenses incurred on your behalf. Any such expenses incurred will only be payable to us from income generated from the Artist Activities. 

6.5 Expenses under clause 7 of this agreement will be reimbursed with the next quarterly accounting after receipt from you of a claim for such reimbursement supported by appropriate original vouchers. 

6.6 You agree during the period when we are entitled to commission hereunder, to keep (or procure that your accountant keeps) accurate books and records showing all monies received by you or on your behalf in respect of your earnings from Artist Activities. Both parties shall have the right to audit not more than once in any 12-month period. Such an audit shall require 30 days’ written notice and 

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must take place within normal office hours. If no objections are raised to an accounting statement rendered by either party within 2 years of its date, the statement will be deemed correct and binding. 

6.7 If you loan out your services to a so-called service or employment company or enter into a similar agreement with any such entity then the monies received by such company or entity shall be deemed gross monies received upon your behalf but subject thereto there shall not be a double fee so that, subject to the commission on such gross monies having been paid, We shall not be entitled to receive my fee on any monies paid by such company or entity to you where effectively such monies have already been subject to my commission. 

7. Expenses – 

7.1 We shall be solely responsible for my office expenses and general overheads, including but not limited to telephone and fax charges, email, photocopying,  postage and packaging costs. Any other expenses, reasonable and necessarily incurred by me solely in connection with the performance of my obligations under this agreement, shall be agreed between us in a written budget each quarter and then reimbursed by you in accordance with sub-clause 6.3 of this agreement and shall include reasonable travel and accommodation costs (at no more than the costs you normally incur therefor). 

7.2 We shall not be entitled to spend a sum in excess of £50 on any item or related series of items in any month, comprising a bona fide expense, without obtaining your prior written consent. 

7.3 For the avoidance of doubt, any recording, filming and/or photography costs paid for by us shall be treated as expenses hereunder and copyright and all other rights in any materials, recordings, videos and/or photographs of you made during the Term which vest in us, are hereby assigned (including by way of future assignment of future copyright) to you worldwide for the full period of copyright therein. 

7.4 We acknowledge that we shall only be able to reclaim expenses from Gross  Earnings (less deductions where applicable) hereunder, and expenses shall not be treated as a loan repayable on demand from any other moneys. 

8. Booking Agent Fees 

8.1 You agree to be responsible for any commission payable to a so-called “booking agent” appointed with your approval for your live performances during the Term.  The identity and level of commission of any booking agent or other third-party agent shall be approved by you. 

Nothing contained here shall require us to render services as a so-called  “booking agent” 

9. Termination

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9.1 You shall have the right to terminate the Term by notice in writing served on me  if:- 

9.1.1 We are in breach of any of our material obligations under this agreement and fail  to remedy the breach within (30) days following the receipt of written notice  specifying the breach and requiring us to remedy it; or 

9.1.2 We are convicted of any serious criminal offence or any offence involving fraud  or dishonesty; 

9.1.3 A receiver, administrator or liquidator is appointed of all or a substantial part of our assets or if we make or seek to make any voluntary arrangements with my creditors. 

9.2 We shall have the right to terminate the Term forthwith in writing served on you  if:- 

9.2.1 You are convicted of any serious criminal offence or any offence involving fraud  or dishonesty; 

9.2.2 You cease to perform as [Name of band]. 

10 Keyperson 

10.1 It is understood and agreed that the services of Nana Dwomoh are essential to this agreement and that the Keyperson shall personally provide day-to-day management services and supervise your career as provided in this agreement during the Term. The Keyperson is allowed to delegate a reasonable amount of the work to other staff, however, in the event that the Keyperson is unavailable due to death, disability or permanent disablement or by his/her own choice to provide day to day management services and supervise your career,  allowing for reasonable periods of sickness and holidays not to exceed three (3)  consecutive nor six (6) weeks in total, in any calendar year, then you shall have the right to terminate the Term forthwith by service of written notice. 

11. Assignment 

11.1 We shall not be entitled to assign this agreement or the benefit or burden of this agreement to any third party without your prior written consent, which may be withheld at your absolute discretion. 

12. Notices 

12.1 Notices to be served under this agreement shall be in writing and shall be properly served if sent by hand, prepaid registered or recorded post or email, to the party to be served at their address set out above or any subsequent address as may be notified. The date of delivery (if by hand), the date of posting (if by post), and the next business day after transmission (if by email) shall be deemed to be the date of service of the notice. 

13. Confidentiality

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13.1 Neither party shall disclose, whether during or after the Term (and shall ensure any employees, associates, affiliates or anyone acting by or through the party in question) do not disclose to the public, press or any other media, anything relating to the events, conversations, documents, financial or other arrangements, nor the other party’s general behaviour or personal life. 

14. Law 

14.1 This agreement shall be governed by English law, and the English courts shall be the sole courts of competent jurisdiction. 

15. Miscellaneous 

15.1 Nothing in this agreement shall be construed so as to create a partnership between us. 

15.2 No variation of or amendment to this agreement shall be binding unless it is in writing and signed by both parties. 

15.3 No waiver of any term or condition of this agreement or of any breach of this agreement shall be deemed a waiver of any other terms or conditions or of any later breach of this agreement. 

15.4 A person who is not a party to this Agreement shall have no rights under the  Contracts (Rights of Third Parties) Act 1999 to enforce any term of this  Agreement. 

If the above correctly reflects your understanding of our agreement, please sign where indicated below. By signing, you confirm that you have been advised by us and have also taken independent legal advice from an entertainment industry lawyer. 

Note: Before signing this agreement, you must ensure that the above statement is factually correct. 

Yours sincerely, 

……………………………… 

Manager 

Accepted and Agreed 

……………………………… 

Artist

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