Today we’d like to introduce you to Hannah Ezratty.
Hi Hannah, so excited to have you with us today. What can you tell us about your story?
Ever since I was little, I knew I loved to sing—I just wasn’t sure where I fit in the music industry. In high school, I thought I’d pursue songwriting, but my parents encouraged me to look into music business too. Their advice stuck with me: If the path doesn’t exist, create it. That mindset led me to the Los Angeles College of Music, where I found the perfect program that allowed me to dive into both creative and business sides of the industry.
At LACM, I got hands-on experience in everything from management and publicity to sync and A&R. While in school, I started managing my first client Kenny Potter when he was just 15 (he’s 18 now). Managing him wasn’t just an assignment—it was real-world experience, and it allowed me to take everything I was learning in class and put it into action. From developing his sound to strategizing releases and marketing his music, I was fully immersed in the industry before even graduating.
Managing a young artist—especially long-distance with Kenny based in Pittsburgh—has had its challenges, but I’ve/we’ve embraced them. We’ve grown close, and every time he’s in LA or I visit for a show (which i am very soon) there is always productivity and chaos happening around us. Good chaos though.
After year one of management in the middle of it sometime I took on photography, I picked up my mom’s old Nikon and started getting photo passes and slowly started getting paid. It’s still a very slow process but I am getting there. Ever since i picked up the camera, when Kenny and I get together i am his designated person behind the camera at all times. So whenever he’s in LA or i make the rare trip to see him for shows we get him booked, I am the one behind the camera.
When I started managing Kenny, I realized how much I love helping artists develop their brands from the ground up—guiding them in shaping their vision, identity, and direction.
That inspired me to create a new role for myself. Many artists struggle with their next steps, and while you can Google everything, having someone in your corner makes all the difference. I wanted to share my knowledge and provide hands-on guidance so artists can focus on creating. I call this guidance being a Creative Support Specialist—a blend between consulting and artist management. I do this all over the phone but if someone wanted to do it in person id be more than happy to.
In addition to being a photographer, creative support specialist, and artist manager, I also work at the Intuit Dome for Clippers games and concerts, and at the Shrine/Expo Hall as part of the guest services team. These roles help me stay afloat financially while I continue to hustle and build my career in the music industry. I wish I could focus on my passion full-time, but with the cost of living these days, it’s not quite realistic—so for now, I’m doing whatever it takes to keep going.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
Not at all—my journey has been far from smooth and is still a work in progress. There have definitely been challenges along the way, from balancing multiple jobs to cover expenses, to figuring out the complexities of the music industry. Financial challenges, petty behaviors from peers, industry rejections, and the constant push to improve my craft have all played a part in my story. Despite the struggles, every setback has taught me valuable lessons and fueled my determination to keep growing and creating.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I specialize in three main areas: photography, artist management, and creative support.
In photography, I focus on capturing moments that visually tell an artist’s story—whether it’s live performance shots, behind-the-scenes glimpses, or content for social media, album covers, and Spotify artwork. I believe powerful photography can elevate an artist’s brand and deepen their connection with their audience. My goal is always to capture the energy and essence of the artist, bringing their live performances to life in a way that resonates with fans and enhances their overall narrative. I love being able to bring the photos to life and make them pop—transforming raw moments into compelling visuals that support and amplify an artist’s identity.
I’ve photographed from both the barricade and photo pit for artists like TJ Minor, Almost Monday, Luke Hemmings, Benson Boone, Cavetown, Jeremy Zucker, and many more.
As an artist manager, I guide musicians through the complexities of their careers—everything from brand development and marketing strategy to release planning and booking shows. My approach is hands-on and deeply collaborative, making sure the artists I work with feel supported both creatively and professionally.
The moment Kenny followed me, I could tell he had something special. If you listen to his early releases, you’ll hear it too—his talent was undeniable from the start. Every new melody and lyric he creates shows his growth and continued evolution as an artist.
When I found out Kenny was only 15, I immediately felt a responsibility to help him navigate the industry the right way. I didn’t want him to fall into the same traps so many young artists do—like what we’ve seen happen with people like Justin Bieber or One Direction. I wanted to give him the tools, knowledge, and freedom to grow into the kind of artist he truly wants to be, without losing creative control or being taken advantage of.
When we started working together, he had around 300 followers on TikTok. Now, he’s grown to over 10K and has built a real community of fans. His debut album End of the Story, released April 26, 2024, has over 593,000 streams. I personally invested into the campaign—working with a friend of a friend to run Instagram ads using his own organic content. That strategy played a huge role in expanding his reach and connecting him with new listeners.
Kenny isn’t the only artist I’ve managed. I’m currently still working with Kobe Jay, though things are on pause while he’s abroad in Australia for school. In the past, I’ve also worked with artists like Anokhi, Jfarr (Grammy nominated engineer, artist, record producer), and Jai Bentley (before he stepped away from music). Each experience has taught me something new and deepened my passion for artist development.
Lastly, as a Creative Support Specialist—a blend of management and consulting—I offer artists personalized guidance in branding, marketing, and creative direction. I created this role after realizing how many independent artists struggle with knowing what steps to take next. Sure, you can Google the process, but it’s not the same as having someone in your corner who truly understands the ins and outs of the industry. My support is hands-on, practical, and rooted in each artist’s unique vision.
During our sessions, I tailor a custom roadmap based on each artist’s specific goals and needs. Thanks to the detailed notes, resources, and lecture materials I’ve kept from my time in school, I’m able to provide insight and guidance across nearly every area of the industry. Whether it’s release planning, branding strategy, or creative development, I’m committed to helping artists grow with clarity and confidence. Most of my work is done remotely, but I’m always open to meeting in person when the opportunity arises.
What would you say have been one of the most important lessons you’ve learned?
Without a doubt—patience. It’s shown up in every part of my journey, whether it was managing Kenny, navigating life after college, or working toward my place in the industry. Nothing about this career path is instant. Success takes time, consistency, and resilience. If I didn’t learn how to be patient, I probably would’ve burned out or given up a long time ago. It’s a slow grind, but I’ve come to trust the process and stay committed to the long game.
Pricing:
- Creative Support Specialist work: I offer $75 – $125 per hour. I give a complimentary 15 minute consultation to ensure we’re aligned before diving in. The price depends on if the artist is needing overall help or for a project.
- Photography: The lowest would be $225 – $450. again depends on what it’s for – concert, bts shoot, Spotify cover art, album art in general.
- Management: that depends on the agreement we make.
Contact Info:
- Website: https://ezrattyphotos.net/
- Instagram: https://www.instagram.com/ezrattymusic/
- LinkedIn: https://www.linkedin.com/in/hannah-ezratty-4b069a19b
Image Credits
All the Images are taken by me.
