Managing a single artist is hard enough but running the operations of an entire management company while managing a roster of your own is a different challenge. Few people are able to take on both roles and even fewer can do them both as well as Eric Bindman. While being a Partner and the Director of Operations at Prodigy Artists, Bindman manages a roster that includes Grammy-nominated and Gold-certified artist Audien, dance legend Valentino Khan, and rising names like Luke Alexander, Elephante, and NIIKO X SWAE. At the same time, he leads the internal operations of one of electronic music’s most established and distinguished management firms, the company behind stars like NGHTMRE, SLANDER, and Bēkon. Prodigy’s collective ticket sales surpassed 380,000 in a single year, and Bindman is the leading and critical force behind much of that growth.
Bindman’s achievements have been recognized across the industry, and his work with Audien shows exactly why. As Audien’s manager, Bindman helped Audien drive over 6,600 ticket sales in New York and more than 6,000 in Los Angeles, numbers that rank Audien among the top touring acts in dance music. Bindman also helped Audien reach two Gold-certified records and led the release of his highly acclaimed album First Love, which has gone on to collect over 101 million streams on Spotify. These are not just accomplishments for Audien’s career, they are tangible proof of what Bindman brings as a manager, and a major reason Prodigy Artists has become one of the most established and distinguished names in the space.
What makes Bindman so critical to Prodigy goes beyond his own roster. As Director of Operations, he oversees finance, accounting, legal, HR, M&A, technology, contracts, and insurance for the entire company. It is a rare dual role that has him building the infrastructure that the artists he and Prodigy manage relies on. Bindman is not only building Audien and Valentino Khan into bigger names, he is also building the systems and processes that let every manager at Prodigy do their job better, and that allow the company to keep taking on new artists without losing the level of service it is known for. That combination, a track record of artist success paired with the operational backbone of the company, is what has made Bindman a leading and critical piece of Prodigy’s continued rise.
With over 15 years in the industry, Bindman has worked nearly every corner of the business. His background spans management, touring, publishing, accounting, catalogue sales, label management, HR, social media marketing, travel logistics, and event execution, basically everything you need to know to understand how an artist’s career actually runs. Even before he managed a roster full time, he was on the road tour managing acts like Deorro, Yung Bae, and more. And before that, he was teaching himself how the industry works, booking talent as a freshman in Canada.
Bindman is known for a people-first approach. He builds lasting relationships and empowers the people around him to do their best work. It is a philosophy that fits both halves of his job, guiding his artists and supporting the managers and teams across the entire company.
In this conversation, Bindman reflects on his path from booking shows as a student to running operations at Prodigy, the artists he has helped build, and where he sees the live business heading next.
JACK ROLLINS: Let’s go back to how you started. You booked your first talent while you were a freshman at university in Canada. How did you get into that, and what did those early days teach you?
ERIC BINDMAN: I did! I was filming events and DJs at the time as a side gig and hobby, and a lot of my friends were up-and-coming DJs at the time. I just kind of organically started wearing a tour manager hat, and then that rolled into being the artist relations and production manager at some of the shows I was shooting, since there just wasn’t that role filled. And then I kind of fell into being a one-stop shop for all things, which included booking talent.
JACK ROLLINS: You moved from booking into tour managing, working the road with some big names like Deorro, Two Friends, and 3LAU. What did life on tour teach you that you couldn’t have learned anywhere else?
ERIC BINDMAN: Tour managing taught me lessons that you simply can’t learn behind a desk. When you’re on the road, every day presents a new challenge, from delays to production issues to weather. It really taught me how to stay on my toes and how to solve problems calmly and immediately, often before anyone else even knows they exist or before they flare up into bigger issues.
Working with the artists I had the pleasure of touring with also taught me that successful touring is just as much about people as it is about logistics. I learned how to anticipate problems before they happen, stay composed under pressure, and make decisions with limited information.
Most importantly, touring gave me a deep appreciation for what it takes to build and sustain an artist’s career. Seeing firsthand how every show comes together, from the promoter and venue staff to production, management, and the artist themselves, gave me a much more complete understanding of the live business. Those experiences continue to shape how I approach artist management today, because I know what it takes to support an artist not just strategically, but operationally as well.
JACK ROLLINS: Your experience spans almost every part of the business, from publishing and accounting to HR and event execution. How does having that full picture change the way you manage an artist?
ERIC BINDMAN: Having experience across so many areas of the business has taught me that no decision exists in a vacuum. Every opportunity affects multiple parts of an artist’s career, so I naturally evaluate decisions from all of those perspectives instead of focusing on just one.
That broader perspective allows me to be proactive rather than reactive. Whether we’re negotiating a deal, planning a release, building a touring strategy, or expanding a team, I’m thinking about the long-term impact, not just the immediate outcome. It also helps me communicate more effectively with everyone involved, because I understand the priorities and challenges of each department.
Ultimately, I believe the best artist management comes from connecting all of the moving pieces into one cohesive strategy. My goal is to create an environment where the artist can focus on being creative, knowing that every other aspect of their business is being managed thoughtfully, efficiently, and with their long-term career in mind.
JACK ROLLINS: Your roster includes Audien, Valentino Khan, Elephante, and more. What are you looking for when you take on an artist, and how do you approach building their career?
ERIC BINDMAN: I think it varies on a case-by-case basis. The first thing I look for is whether an artist has a clear vision and knows where they want to go. Talent is important, but it’s only one piece of the equation. The artists who build lasting careers are the ones who are constantly evolving, willing to put in the work, and committed to thinking long-term rather than chasing short-term wins. It’s important to see the forest from the trees.
When I take on an artist, I don’t believe in applying the same blueprint to everyone. Every career is different, so my approach starts with understanding what success looks like for that individual. From there, it’s about building a strategy that aligns every part of their business, from music releases and touring to partnerships, branding, and team development, so each decision supports the bigger picture.
My goal is to help artists build sustainable careers, not just successful moments. Trends come and go, but if you consistently make smart decisions, stay authentic, and invest in the right opportunities, you give yourself the best chance to have a career that lasts.
JACK ROLLINS: You drove over 6,600 tickets in New York and more than 6,000 in Los Angeles for Audien, numbers that put him among the top touring acts in dance music. Walk me through how you built that kind of demand. What went into the strategy behind those shows?
ERIC BINDMAN: The recent touring wins were the result of years of consistent work rather than one big strategy. Building demand starts with having a clear vision for where you want an artist to go, and then making sure every release, every tour, every piece of content, and every partnership is moving in the same direction.
With Audien, we were intentional about creating moments that fans genuinely wanted to be part of. We focused on delivering an exceptional live experience, being selective with the opportunities we pursued, and making each headline show feel like a mini festival rather than just another stop on a tour. Over time, that builds trust with fans, and that trust translates into ticket sales.
It’s also important to recognize that achievements like selling thousands of tickets are the result of great music, an incredible artist, and a dedicated team across management, booking, marketing, agents, promoters, labels, and production all pulling in the same direction. My role is to help align those pieces into a cohesive strategy and make sure we’re always building for the long term rather than chasing short-term wins.
JACK ROLLINS: Your role is unusual because you manage your own roster and run operations for the whole company. How do you balance the two, and what does leading Prodigy’s operations actually involve day to day?
ERIC BINDMAN: It’s definitely a unique role, but I actually think the two responsibilities complement each other. Managing artists keeps me connected to the day-to-day realities of the business, while overseeing operations gives me the ability to build the systems, processes, and infrastructure that allow both our artists and managers to succeed. Each side makes me better at the other.
On the operations side, my role touches nearly every part of the company. I oversee finance, accounting, legal, HR, M&A, technology, contracts, insurance, and internal processes, while constantly looking for ways to make the business more efficient and scalable. As we’ve grown, a big part of my job has been building the operational foundation that allows the company to support more artists without sacrificing the level of service we’re known for.
Balancing both comes down to prioritization and having a great team around me. Every day is different, but whether I’m helping an artist navigate a career decision or solving an operational challenge for the company, the objective is the same: creating an environment where everyone has the support they need to succeed.
JACK ROLLINS: You said a big part of your job has been building the operational foundation that lets Prodigy support more artists without sacrificing the level of service you’re known for. Can you give an example of something specific you’ve built or changed that made that possible?
ERIC BINDMAN: One of the biggest changes has been shifting the company away from relying on silo’d knowledge and toward building scalable systems. As we grew, I realized that if key information only lived in someone’s head, it became difficult to maintain the level of service our artists deserved. So we focused on documenting processes, standardizing workflows, and implementing systems that made the business more organized and efficient.
That has included everything from redesigning our financial reporting and budgeting processes to improving contract management, onboarding, internal communication, and the technology we use to manage information across the company. The goal wasn’t to add more process for the sake of it; it was to remove friction so our managers could spend more time doing what matters most: supporting their artists.
For me, good operations should almost be invisible. When the systems are working well, things move faster, communication improves, and the team has more time and energy to focus on delivering great results for our artists.
JACK ROLLINS: You’re known for a people-first approach. Where does that come from, and how does it shape the way you build teams and relationships?
ERIC BINDMAN: I’ve always believed that this business is built on relationships. The music industry is a small world, and dance music is even smaller. While deals, strategies, and numbers are all important, people ultimately choose to work with those they trust and enjoy being around. Life is too short to work with people you don’t want to be associated with.
That mindset shapes how I approach everything, from managing artists and working with partners to world building around an artist. I believe in being transparent, following through on my word, and creating an environment where people feel supported, valued, and empowered to do their best work. When people know you genuinely have their best interests in mind, it creates stronger partnerships and better outcomes for everyone involved. And this goes beyond the artists, it’s looking out for your promoter partners, agents, lawyers, and more. Without sounding cheesy, it’s important for it to be a big happy family, or in more corporate terms, it’s important for everything to be a well-oiled machine.
At the end of the day, careers are built over years, not months. Viral moments only get an artist so far, and it’s important to see the forest from the trees. Reputation matters, and I’ve found that treating people with respect, communicating honestly, and investing in long-term relationships is one of the most valuable things you can do in this industry.
JACK ROLLINS: Lastly, what are your goals for yourself and for Prodigy Artists over the next year?
ERIC BINDMAN: Ultimately I want to keep growing and evolving as a manager while staying true to my core values. My biggest goal is to continue growing as a manager, a leader, and a resource for the artists I have the pleasure of working with. The music industry is constantly changing, so I will continue to focus on learning, adapting, and finding better ways to create opportunities and build long-term careers.
I want to continue challenging myself to think bigger. A big part of my career has been learning how to balance the creative side of management with the operational side, and I want to keep developing that skill set.
At the end of the day, my goal is simple: continue doing meaningful work with great people, help the artists I represent reach their full potential, and keep building a life that I’m proud of while staying true to the values that have gotten me here.
From booking shows as a student in Canada to helping run one of dance music’s most distinguished management companies, Bindman has built his career on understanding every piece of the business and putting people first. His work behind Audien’s growth, from sold-out shows in New York and Los Angeles to Gold certifications and a hundred-million-stream album, is proof of what that approach can produce. As Prodigy Artists keeps scaling, Bindman remains one of its most critical pieces, staying focused on the work that rarely makes headlines but holds everything together, building the structure that lets artists reach their full potential.
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