Manager of the Year: Inside Brandon Creed’s Good World

There’s definitely been moments where I wished I could be in two places at the same time,” says Brandon Creed, reflecting on a year filled with culture-defining moments across his company’s roster. He’s gotten close — in early March, he had to be on separate coasts within 48 hours.

On March 8, Ariana Grande released her critically praised seventh album, Eternal Sunshine. On March 9, she was the musical guest on Saturday Night Live in New York — Creed was there. On March 10, Grande presented an Oscar at the 96th annual Academy Awards in Los Angeles, where client Mark Ronson was also performing in the night’s biggest spectacle: a star-studded live debut of Ryan Gosling’s Barbie song “I’m Just Ken” — Creed was there, too.

“It was definitely a tiring weekend,” says Creed, 47. “Thankfully, I think my relationship with all my artists is such that we have a great team so they’re always supported wherever they are.”

His Good World team is a tight-knit group of savvy managers — including Dani Russin and Tyler Reymore, both of whom have been by his side for over a decade, along with Anika Capozza, Chris Pepe and Emma Anderson (among others). In 2023, when Creed left his position at Full Stop, the superstar management firm his own Creed Company merged with in 2017, his crew followed. After six years, Creed craved the kind of company he had launched his management career with when he had founded Creed Company in 2010 and set out to create the newer, more matured version of exactly that.

In August 2023, Creed established Good World Management with a high-­profile roster including Charli xcx (co-managed with Sam Pringle and Twiggy Rowley), Troye Sivan, Ronson and Tame Impala (co-managed with Jodie Regan). His first new signing was Demi Lovato, followed by Grande.

“I was excited by the challenge of it, honestly,” he says of launching a new venture. “Creed Company was born out of [necessity] — I was an executive at a record company and started managing on the side.” With Good World, Creed has much more experience, but the same drive. “We’re trying to keep it familial and small and build accordingly, based on what we need.”

Creed got his start in the industry as music executive Tom Corson’s assistant before becoming one of the first employees of Clive Davis’ J Records, which he describes as “like going to grad school.” From there, he says, “management found me” when he met Bruno Mars and his writing partner, Philip Lawrence. “I watched Clive launch Alicia Keys and position superstars,” Creed says. “What he did and what he looked for, I took it and applied it as best I could.”

Since its beginning, Good World has celebrated one industry-rattling moment after another, from Charli graduating to arena headliner with her and Sivan’s in-demand Sweat Tour to Grande conquering new territory with Wicked. Such year-defining victories have helped Creed and Good World earn Billboard’s first Manager of the Year honor. Here, he and his team reflect on what Creed calls “the longest fastest year.”

When you think back to launching Good World, what stands out?

Brandon Creed: We were in the midst of Barbie summer with Mark, and that was an amazing experience. And Troye had just [released the single] “Rush.”

Dani Russin: It was a show-must-go-on sort of thing. We didn’t have the luxury of pausing. We were grateful that essentially our whole roster came with us, so we just had to keep working. This was a really welcomed exclamation point on the summer.

Anika Capozza: We’ve always been really small and mighty, so when we moved over here, it was all hands on deck on every level. Like, “What snacks are we getting?” Things that you don’t think about at a big company when you walk in and everything is all set up. But it made it fun.

Tyler Reymore: Coming back into a house and it feeling so warm and cozy and down to earth, you take a big breath. That was what Creed Company was years ago.

Russin: In a lot of ways, it feels like we were getting back to how we started.

Dani, you’ve worked with Brandon the longest, since 2009. What drew you to his management style?

Russin: Brandon is very keen. He can read people, he’s a great decision-­maker, and he has a very diplomatic management style. In this office, and in every office we’ve worked in, it’s definitely like good ideas can come from anywhere. We’ve always fostered an environment where we promote within. And we don’t really have ranks, but to the extent that we do, it’s been somebody that’s interned with us.

Chris Pepe: I’d actually left management for a bit and was the one person who didn’t come along, and I always looked from afar like, “If I were to ever get back into management, this is the team I’d want to be on.” There’s a lot of trust here.

Capozza: I started as a receptionist and then was an assistant and then a manager, and I’ve really been with Brandon my entire career in the music industry. What drew me the most is it didn’t feel like there was ever a ceiling for any of us. He allows us the ability to grow and take charge and be assertive and have a presence in the room.

Emma Anderson: I started as his assistant and always felt like he trusted me, so that gave me confidence. When we were leaving Full Stop, a lot of my friends were like, “This is a huge risk.” And I was like, “Not really.” I never have felt like I’ve been put in a box here.

Reymore: Brandon has always exuded such a quiet confidence, and it’s something I’ve always admired. When I first started working with him at Creed Company, he was in the living room with the other managers. It makes you want to work harder for someone who really values and sees you peer to peer.

You named the company Good World. What’s a moment this year where, commercial success aside, you felt the positive impact?

All: Sweat.

Creed: It was a scary proposition at first because it’s two of our artists; if it doesn’t go right, that’s high stakes. But they have so much respect for each other, they wanted to build and create something really unique. They dove in and did that.

Russin: Brandon had the idea for Sweat, and it was definitely like, “Avengers, assemble…”

Creed: With some resistance. It took us a while…

Russin: Listen, you said it, not me.

Where was the resistance coming from?

Creed: It was an idea over the last few years [that] just never lined up. And then when we were planning Troye’s tour and talking about Charli’s, we pitched it and…

Russin: It was now or never.

Creed: And there was a lot of blind faith. Each artist questioned whether it was the right thing for them to do in this moment, and rightfully so. We had to move some things and plotted it out and gave the tour time to sell and then everything kicked in with Brat Summer, and it really took off.

Russin: And then how that impacted in the real world, when we would go to these shows and watch [our] friends, their friends, the wider industry enjoy themselves…

Pepe: I remember that video you sent in our group chat. The lights were on after the show ended and the energy on the floor of the crowd beaming, dancing, still having a party. It was one of those “Oh, this is why we do this” moments.

Creed: That’s another thread, and it might be corny, but there is so much positivity and light, especially now when we really need it. It’s an honor to help get that into the world. I mean, Mark on the Oscars. I remember Steven Spielberg walking into the room after and he was like, “I’ve never seen anything like that on this stage.”

How has it felt to watch Charli enjoy her biggest year?

Creed: We’ve been working with Charli since 2018. I remember going to see her at a rave in London and it was like a smack in the face. It was coming off the Pop 2 era, and then we went right into the Charli phase. But to see her grow, it’s so gratifying — and slightly vindicating, just because we knew it. To see the world jump in on this has been a career highlight for me because she deserves it, and to be doing it so unapologetically is just incredible.

Ariana Grande also had a major 2024. When you start working with an artist who is already a superstar, how do you find your rhythm?

Creed: We definitely hold and make space for that. We’re not [a company that’s] going to come in and be like, “This is how we do it,” and change everything. Right before [signing Grande] we had just signed Demi [Lovato], another huge artist that has been around for a long time with a lot of success. It’s really turning on the empath and figuring out how they work and how you fit in and just watching and learning. And Ariana had an existing team around her: Justin Adams, Ray Rock and Grace Segundo. I just fit myself in there and took cues from her and them and we got into a rhythm, but it takes a minute.

Will Good World sign more talent?

Creed: We are extremely discerning with any artists at this stage. We have room, don’t get me wrong, for the right thing, and we would build accordingly. I think the developing-artist space is extremely challenging right now, especially for managers. Especially for a young manager, it’s hard to make money. So our focus is definitely on the more established artists and ones that have built an audience. But, you know, there are no rules.

Would you sign actors to the roster?

Creed: I would ­absolutely be interested in that. It’s about the person. It’s about being inspired by what they want to do. What we love is all of our artists want to do more than be an artist. Most of them act; Mark is scoring soundtracks and writing a book. [Ariana] got a Golden Globe nomination. That [was] amazing to see her get recognized. Troye and Demi have their own acting credits. I do particularly love the film and TV space. Charli’s pursuing that with a lot of success right now. That is exciting and inspiring to me, getting to be in all these different scenarios.

How do you prepare an artist, and yourselves, for their biggest year?

Russin: We have an extreme amount of patience when it comes to not skipping steps and [having the] “This could take 10 years” conversation. We’re prepared for that. And I don’t know that we feel that there’s as much gratification in the instant moment. We really try to set things up so that we’re building the road to get there along the way. So when it comes, they’ve done their 10,000 hours — as have we.

What challenges do managers face today?

Creed: It’s really hard for young managers. Artists are looking around at what others have and what others are doing, and they’re under a tremendous amount of pressure themselves. So when they feel that, they put the pressure on their person that’s right there — and that’s their manager. So I do think malleability is important and understanding how to shape teams around each artist and support them. And [more] humility and less ego is important.

Pepe: I work across Demi and she’s working on her album right now, and a key thing of our process has been allowing her to take that time that she needed and even encouraging it, because she is used to an industry that wants more and more and more. Encouraging that patience and investment in art, that has been honored this year in a big way after the pendulum swing of TikTok short form.

Creed: Impatience is a real challenge. One of our biggest challenges as well is the toxicity of fandom now. I feel like half the time we are being told how to do our jobs by [social media], and that is an exercise of our patience because our artists are also seeing it — not saying they react to it, but it’s a challenge across the board.

Russin: The sense of ownership over an artist’s body, their being…

Creed: Their decisions… Look, we are grateful for the fans; that’s why we’re all here. But there are boundaries that I think get broken quite often.

What would you tell someone wanting to enter artist management?

Russin: The barrier of entry is actually quite fuzzy. If you want to be a manager, you manage somebody. I’m not saying you’re a good manager… It’s a lot of head down, fly on the wall, behind the scenes, unglamorous, ungratifying work at first. If you don’t have a desire to be of service, this is probably not the area for you.

Reymore: As long as you are focusing on supporting artists and music that you care so deeply about, that’s going to make the late nights and the weekends feel like joy.

Pepe: [Get] as much hands-on experience as you can, even if it’s an artist that is local to your community, especially if you’re talking about someone in high school or college who’s wanting to do this. I didn’t have any connections. I started by working at CAA, and that led me to meeting managers, and that led me to my first management job. Our mindsets these days are quick payoffs. But it’s a lot like, “What are the first things you can do to get to where you want to be?”

Capozza: It’s the same philosophy we use for artists, I’m realizing: not skipping steps.

Creed: I was an intern, I was an assistant. I say this to every intern that comes here: Cultivate relationships with your peers because that’s who you’re going to grow up in the business with. They’re the ones that will be head of the label one day or whatever direction the person goes.

Russin: The assistant mafia… Don’t burn bridges, because everyone sticks around.

Creed: It is real, and you don’t think that when you’re trying to get into the business. You think you got to get to the top man or woman, but it’s really the support group that is going to let you enter — or you find a genius artist and grab on.

Capozza: I remember you saying that when I started: Don’t look up. Look around you.

Looking ahead, what goals do you have for yourself and the company?

Creed: Ariana’s [year] is pretty mapped out. We know where she is going to be and what she’s going to be doing for the majority of the year. Same with Charli; Brat Summer, Fall, Winter is going to continue. Troye is going to be in a creative year, hopefully making his next record. We’re in the planning stages for Tame Impala. Demi hopefully will be starting her next era midway through the year. Mark’s going to hopefully kick off a new artist era; hopefully the book he’s been writing will come out. Nothing is planned, but everyone’s going to be busy. And then we’ll map out 2026… The goal is to continue doing what we’re doing. I’ve been really fortunate to have a breadth of experiences over the years with such incredible artists and artistry and moments in time — that makes it fun. And there’s been times where it hasn’t been fun and I’m like, “Maybe I need to do something else.” And then something clicks and I get reengaged, and that’s what’s happened this year.

This story appears in the Jan. 11, 2025, issue of Billboard.

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