I call myself an artist counsel, because that's genuinely the job: part lawyer, part A&R, part the person who decides what the stage actually looks like.
The legal side is real training, not a label I picked up for the CV: my LL.M. thesis digs into copyright, sampling, and how authorship holds up against generative AI, and I spent a year inside Warner Music Italia's Legal & Business Affairs team drafting and negotiating contracts for releases that actually shipped.
That same year put me close to A&R decisions most people only see from the outside — which artist gets signed, which track goes to Sanremo, what a release actually needs before an audience hears a single second of it. It's where I learned that a good deal and a good ear aren't different skills; you need both at the same table.
And then there's the part I built myself: founding and directing SIDERA Festival from a blank page, managing emerging artists day to day, making the two-in-the-morning calls that turn a lineup on paper into a room full of people feeling the same song. That's the part that keeps the other two honest.
