Not every lawyer is your lawyer. A general business attorney will miss things an entertainment lawyer catches in their sleep — 360 clauses, controlled composition, recoupment traps. But you don’t need a $600-an-hour firm when you’re unsigned with one single out. Match the lawyer to your career stage: early on, a sharp independent entertainment attorney who charges flat fees for contract reviews is exactly right.
Ask the right questions before you hire. What artists at my level have you represented? Will you review a one-page deal on a flat fee? Do you negotiate, or just review? A good entertainment lawyer explains your deal in plain language and tells you what to push back on — a bad one just bills you and says “looks standard.” You want a translator and a fighter, not a rubber stamp.
Watch how they handle your first deal, because that tells you everything. If they rush you to sign, walk away. If they explain the term, the recoupment, and the exit clause without you asking twice, keep them. Your lawyer should be the person in your corner who has no financial interest in the deal itself — unlike a manager or label, their only job is protecting you.
As you grow, your legal needs grow with you. Publishing deals, label offers, sample clearances, touring contracts — each one deserves real review. Keep one lawyer who knows your whole catalog and history rather than shopping every deal to a stranger. Get everything in an engagement letter before work begins: scope, fees, and how either side ends the relationship. Clear terms up front prevent ugly breakups later.
About the Author – Ruben Burgos: Ruben Burgos brings over 25 years of music expertise and more than 15 years of model guidance to the table. He is the indie major pinnacle to retaining credits for musicians and helping them navigate this wicked industry without the fuckery.