Rachel Whitford
27 Music
Roster: Teenage Joans, Mariae Cassandra, Purée, Bukowski, The Tullamarines, TOWNS
State/Territory: SA
Listen: Rachel’s Manager Of The Month Playlist
A Pivotal Moment
One of the most pivotal moments in my career was in 2019. I’d just left the company I was working for, had gone through a breakup, and was living in Melbourne away from family and just feeling really disconnected. I remember sitting alone in my room, asking myself, “What’s next?” I didn’t feel like going back to Sydney, but Melbourne didn’t feel right anymore either. At that point, most of the artists I was working with were Adelaide-based, so I thought, “Why not Adelaide?” I told myself I’d give it a crack for a year and see what happened.
A couple of weeks after I moved, the country went into lockdown. In a strange way, it made the transition easier because no one was really going anywhere or doing anything - everyone was stuck at home. But when the borders opened back up and live music returned, I was hit with the reality of how isolating it can be trying to exist and grow in this industry from Adelaide. It made me realise how centralised the Australian music industry still is, and how easy it is to feel left out of the conversation when you're not in Sydney or Melbourne.
That experience has really shaped the way I manage. I’ve become more intentional about building community and support networks - not just for my artists, but for myself too. It’s pushed me to advocate harder for regional and emerging scenes, and to create opportunities rather than wait for them. It also made me more aware of the importance of being present and connected, even from a distance, and how crucial it is to build something sustainable no matter where you are.
Advice I’d Give My Younger Self In Artist Management
I’d tell myself that working in the music industry is a marathon, not a sprint. When I landed my first full-time job in music at 21, everything felt like it was moving so fast - my artists were gaining momentum, doors were opening, and I was convinced I was going to be this young, successful artist manager in just a couple of years. I was ambitious and eager, but I was also still learning how to navigate life as a young adult. I made mistakes. I was hot-headed. I definitely started a few wars I probably didn’t need to.
Looking back, I wish I could tell myself that it’s okay to slow down. That you don’t need to have it all figured out straight away. That the best artist–manager relationships, the most meaningful wins, and the strongest careers all take time to build. I’ve learned that longevity in this industry comes from patience, growth, and surrounding yourself with people you genuinely believe in - and who believe in you, too.
Inspiration and Motivation
My journey into artist management started from being in a pop-punk band in the early 2010s. I wasn’t the best guitarist, and I’ll never forget the moment my bandmates told me I wasn’t cutting it musically - but they did say I was great at everything else. I was the one booking shows, handling all the logistics, running our socials - basically managing the band without even realising it. At the time, I told them to go screw themselves haha, but it definitely planted the seed. It got me thinking about where my real strengths were and opened my eyes to the world of artist management.
What keeps me going in this role is honestly a mix of things. There’s definitely a fire in me to prove - to others, but more importantly to myself - that I belong in this industry and that I’ve earned my seat at the table. I’ve been told 'no' more times than I can count, and every time just adds fuel to the fire. That drive is a huge part of what pushes me to keep growing and advocating for the artists I work with.
At the same time, my love for the alternative music scene runs deep. It’s the music I grew up on, the scene I’ve always dreamed of being part of. There’s something incredibly special about supporting artists in this space - watching them evolve, helping them reach new audiences, and being a part of their creative and professional journey. It’s the kind of work that never feels like work. That passion, combined with that inner drive, is what keeps me showing up every day.
Approach to Management
It’s not actually advice I received from someone in the industry - it’s a quote from The Office, of all places! Andy Bernard says: “I wish there was a way to know you're in the good old days before you've actually left them.” That line hit me hard and has really stuck with me over the years.
Early in my career, I was always focused on the next thing - getting the next show, hitting the next milestone, pushing my artists forward. The industry moves so fast, and I was constantly thinking ahead, sometimes to the point where I’d be side stage at a major festival, watching one of my artists play to a huge crowd, and instead of taking it in, I’d be wondering who was in the room, if the right people were watching, or what came next. I look back now and wish I’d just let myself enjoy those moments more.
That quote has become a bit of a mantra for me. It’s helped shift my mindset to slow down, celebrate the wins - no matter how small - and be more present with the people I work with. Even the things that felt like burdens at the time, like the endless long drives, actually became the foundation for some of the strongest relationships I have now. Learning to practice gratitude and stay in the moment has made me a better manager, and honestly, a happier person.
Dream Industry Initiative
If I could create my dream initiative, it would be something that helps rebuild and revitalise the alternative and pop punk/ punk scene in Australia - because honestly, I miss it. I was chatting recently with someone from one of my all-time favourite record labels about how alive that scene felt when I was first getting started. You had bands like Trophy Eyes, Between You & Me, Columbus, Stand Atlantic, With Confidence - heaps of them getting signed, getting consistent airplay on triple j, and playing sold-out all-ages shows in regional towns. There were camping festivals, mini fests, a real sense of community. That’s the industry I wanted to be part of.
Now, we’re lucky if an Australian band in that space gets a radio add every few weeks. We’ve got a couple of festivals, ticket sales are tough even in major cities, and there's such a small pool of industry actively working in this genre. Trying to break these artists internationally feels harder than ever.
So we started imagining: what if there was a way to bring that community back together - like they did in the US, where they’d throw parties or events that became the nucleus of the scene? What if we did something similar here? Maybe it could happen at BIGSOUND or as a travelling event - something that brings together emerging bands, managers, labels, agents, publicists, and fans who genuinely care about this music. A space to connect, build relationships, and create a proper support system around this scene again.
The idea is pretty loose, but the dream is to create something that makes people want to be part of this genre again - where more managers are picking up punk bands, more agents are signing them, more artists are starting them, and we start seeing that energy reflected in media, radio, and touring opportunities.
I'd love to see a thriving punk and alternative scene in Australia again - so I don’t have to leave to find it haha. But seriously, I just want to help create a space where this community can not only survive, but grow.