Jonathan Dickins is the founder of September Management, which is headquartered in the UK but also runs offices in the United States.
Dickins is the manager of artists including Adele, Jamie T, and Paul Epworth.
Jonathan Dickins’ sister, Lucy Dickins, is global head of contemporary music and touring at WME, and Adele’s agent.
Jonathan Dickins: Career history
Jonathan Dickins is a British talent manager, most notably representing Adele since 2006.
Dickins comes from a family deeply rooted in the music industry.
His grandfather, Percy Dickins, cofounded the NME and created the UK’s first ever singles chart.
Jonathan’s father, Barry Dickins, is a legendary live agent and the co-founder of ITB. Barry Dickins has worked with renowned artists including Bob Dylan and Neil Young.
Jonathan’s uncle, Rob Dickins, was the Chairman of Warner Brother’s UK arm.
Jonathan Dickins got his start in the industry by working for his uncle at WEA Records UK as a junior A&R in the 1990s. As his career progressed, Jonathan went on to take a role at the Instant Karma label.
Towards the end of his stint at Warner, Dickins founded his own sub-label, Showbiz, where his signings included rapper MIA. He transitioned to management in 2003, helping secure MIA a deal with the label XL Recordings.
Dickins founded September Management in 2006 with limited funds and no employees. He launched the company out of a loft in his home.
After being referred to Adele by XL Recordings A&R exec Nick Huggett, Dickins researched her music on MySpace and invited her to the “office” for a cup of tea.
Soon after, Adele agreed to let Dickins manage her. His and September’s other clients over the years have included Paul Epworth, Tom Vek, Rex Orange County, Rick Rubin, and Jamie T, among others.
Jonathan Dickins: Professional philosophy
Speaking to Music Business Worldwide in 2017, Jonathan Dickins said: “There’s probably a balance I haven’t yet achieved between enjoying the moment and not resting on one’s laurels.
“It’s very important not to take anything for granted in this business. Once you start thinking you’ve made it, it’s dangerous.”
“I think it’s important to offer a creative opinion, even if the artists disagree with most of it – and, trust me, the good ones usually do – and remember that being overly reliant on people at labels is dangerous.”
He added: “Artists and their [management] teams need to be self-sufficient because record companies can have revolving doors.
“I think it’s important to offer a creative opinion, even if the artists disagree with most of it – and, trust me, the good ones usually do – and remember that being overly reliant on people at labels is dangerous.
“Having said that, when something’s successful, we all win – artist, management, agent, label. What you ultimately get remembered for is success or failure, and we’re all in it together.
“As my dad used to tell me: 100% of nothing is f**k all.”
Discussing the first time he saw Adele play live, in London’s now-defunct Pop club in Soho in 2006, Dickins recalled; “She did two songs and they absolutely floored me. It was so brilliant and yet so utterly unassuming.
“It was like, this girl’s going to do something – and even if she doesn’t do something, she’s still cool as f**k.”Music Business Worldwide