You’ll be familiar with supergroups of artists, but supergroups of managers? It’s a thing. Witness newly-launched company Upper Hand Management.
It’s been founded by four managers from the world of ‘heavy music’ – an umbrella term covering the various metal sub-genres, hardcore punk and more.
Josh Pulgarin and Scott Lee from SL Management are teaming up with Jackie Andersen and Ryan ‘Dog’ Nelson from Good Fight Management for the new venture.
The founders also have chops in other areas of the industry: Lee and Nelson in merch and ticketing, for example, while Andersen runs independent label SharpTone Records.
They see Upper Hand Management as a way to up the level of support and services they offer to artists, at a time when heavy music is enjoying its latest flush of success – this one driven by streaming as well as hyper-engaged fan communities online and offline.
“The passion and fans have always been there. What’s changed is that the evolution of digital platforms has naturally amplified what made the genre so special in the first place,” Pulgarin told Music Ally.
“This has always been built on community, word of mouth, and deep rooted fans. Streaming, social media, and digital discovery just allow those same qualities to reach more people more quickly.”
“Every artist’s breakthrough creates another doorway into the genre, and because heavy music fans tend to explore beyond a single artist, that creates a momentum that strengthens the entire ecosystem,” he added.
“It feels healthier today because it stopped asking for permission. Artists have learned that they don’t need mainstream validation to build meaningful careers with their fans.”
SL Management’s roster included the likes of Currents, Kublai Khan TX and Bodysnatcher, with the announcement of the new venture noting that its roster has grown “from hundreds of streams to more than 1.5 million”. What are those artists – and the new acts that Upper Hand Management hopes to attract – looking for in 2026?
“Sustainability is the priority. The goal isn’t to have the biggest year of your career. It’s to build a career that can thrive for decades,” said Pulgarin.
“Independence isn’t necessarily the goal for artists and our team. The goal is building the right team around the artists. Strong partnerships with the right management, label, agents, lawyers, and more to creative opportunities that no one can build alone.”
Streaming is increasingly key to that sustainability: not just in the pure royalties it generates for heavy artists, but also in the launchpad it provides for their touring and fandoms.
At times in the past, artists and labels in the heavy-music world have complained that the support they receive from streaming services could be better, both in terms of editorial playlisting and algorithmic-recommendations juice. However, Pulgarin takes a positive view.
“I think we’re in one of the greatest periods of opportunity heavy music has ever seen. It’s easy to focus on what streaming does or doesn’t do, or wondering whether the genre gets enough support. But I think that misses the big picture here,” he said.
“With the combination of streaming, algorithm discovery, social media, and direct to fan platforms, it’s created more ways than ever for artists to find an audience.”
“You can always find reasons to be pessimistic about the music industry, but I don’t think that’s the reality we live in. For artists and teams that are willing to work, adapt, and build genuine relationships, I think we’re in a remarkable window of opportunity,” he added.
“The tools that are available today are unlike anything that we’ve seen before. It’s our responsibility to recognise the opportunity, embrace it, and make the most of it.”
