Surviving as a musician these days means knowing a handful of useful people:
I’ve got a US agent, I have a British agent, and I have a German agent. I have an Italian agent and a Spanish agent, and I have somebody who helps me in Norway, and I’ve got a contact in Japan, and I’ve got a couple of contacts in Australia. And there’s a man down in Uruguay [laughs] who does that for me down there, in Uruguay and Argentina. But they all speak directly to me. I have a manager who deals with the recording side, with the record company. But I book all the live shows myself. I deal directly with the agents.
Going back 30 or 40 years, the whole hierarchy in music was that you had to get a manager, and an agent, and a record company, and you’d get a publishing deal, and maybe you’d hire a publicist. And the record company would have an in-house art department, in-house publicity, all that. But people like me never quite fitted into that. In the early years I was on independent labels, and really self-managed most of the time. I got onto major labels in the late eighties and then through the nineties, and then I was back onto independent again. Most of my career has been away from major labels. What’s happened in the last 15 years, it seems to me, is that it’s just back to a series of cottage industries.