NAMM YP I BY CHRIS DICORPO Navigating a Multi-Faceted Career in the Music Industry
L ike most people in the music industry, “What do you do for work?” is not an easy question to answer. I’m a national accounts manager for an audiovisual equipment distributor. I run my own production company, touring internation- ally as a front-of-house engineer. And I still find time to freelance as a sound and backline technician for other companies. Wearing multiple hats in this industry has never been just about hustling to get ahead. It’s about staying involved on multiple levels:
ADVICE FOR YOUNG PROFESSIONALS To anyone just starting out: Don’t feel like you have to choose one lane forever. The beauty of this industry is its ecosystem. You might start behind a console, end up in product development and someday launch your own brand. Every skill you pick up — whether it’s tuning a P.A. system or navigating corporate dynamics — adds to your toolkit. The key is to say “yes” to op- portunities, even if they feel outside your comfort zone. Be curious. Be useful. Show up early, stay late, lis- ten and ask questions. But most importantly, be a “good hang.” The music industry is very interpersonal, with so much time spent around the same group of people. If you aren’t pleasant to have around, you won’t be kept around, plain and simple. LOOKING AHEAD The industry is changing faster than ever thanks to tech and a new generation of professionals who refuse to be boxed in. That excites me. I see more hybrid roles emerging. More respect for versatility over specializa- tion. Personally, I want to keep building bridges between the field and the boardroom, and between legacy brands and new talent. And I hope to keep shar- ing what I’ve learned with those coming up behind me. Because at the end of the day, this is a people-first business. MI Chris DiCorpo, wears, well, many hats. He serves as a national accounts manager for an audiovisual equipment distributor, runs his own production company, and freelances as a sound and backline technician for other companies. He’s also a member of NAMM YP.
from the tech who’s up late at night loading a truck, to the sales rep designing a venue installation the next morning. Each of my roles feeds into the others. They keep me grounded, informed and adaptable — which, in today’s music industry, is everything. FROM THE STAGE TO THE SALES PITCH My live sound and production background fundamen- tally shapes how I approach my sales role. I’ve been the guy in the field, using the gear, dealing with the stress and making it work. So, when I’m pitching a solution to a client, I’m not just thinking in terms of brands and margins. I’m thinking: “Will this actually meet their needs? Is this the right product for the job?” That real-world experience builds trust. Custom- ers know I’m not guessing, I’ve been there. And that
gives me an edge when it comes to creating meaningful partnerships and advocating for better solutions, not just more SKUs. BALANCING THE ROLES People talk a lot about “work-life balance.” When your weekdays in an office and your weekends on the road are all within the same industry, it’s hard to draw a line between “work” and “life.” Sometimes it all feels like one and the same. They will overlap, whether it’s a customer email on a Saturday morning or advancing next week’s festival set on a Wednesday afternoon,
“Be a ‘good hang.’ The music industry is very interpersonal, with so much time spent around the same group of people.”
so I try to find ways to break the pattern. Take advantage of those days off. You might need some time for rest and chores, but try to find moments to participate in another hobby or try something new. Get outside and enjoy nature, or spend time with friends and family. If you’re on the road, don’t waste the days off eating fast food in your hotel room. Try a local restaurant or visit some place cool. Talk to locals. And treat yourself to that ice cream. The email can wait, it’s not going anywhere, but your free time is, so don’t waste it.
28 I MUSIC INC. I SEPTEMBER 2025
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