Rob Putsinwork is no stranger to hustle. Sitting down for an exclusive interview on Boston’s Big Four Podcast, the CEO of PUTINWORKTV, Robert “ROB” Kelley-Morgan, spoke on his come-up, his mindset, and what fuels his relentless drive.
“A lot of people see the success, but they don’t see the grind that comes before it,” Rob said, reflecting on his journey. “I had to put in long nights, early mornings, and make sacrifices just to get here.”
From Artist Management to Media Powerhouse
Rob’s career in music began over a decade ago with a management company called STUPEFYE , working with artists like Most High Kingdom and $ean Wire. Over time, he evolved from managing talent to building his own brand, PUTINWORK, which started as a studio on Blue Hill Ave and is expanding in a full fledge conglomerate. Today, PUTINWORKTV is a growing publication focused on New England’s music culture, covering regional artists, curating playlists, and fueling independent content creation.
Born and raised in an environment where persistence was key, Rob made it clear that his work ethic is unmatched. “I wasn’t handed anything. I had to figure things out, make connections, and stay consistent,” he explained. “There were moments where I questioned everything, but I always reminded myself—if you stop now, you’ll never know how far you could go.”
Rob currently manages two rising stars, SeeFour and GIB DJ, both nominated for Boston Music Awards and one featured on hit Netflix show Rhythmn and Flow. He’s also earned 40 industry certifications across Billboard, RIAA, iTunes, and Spotify—via his talent management.
Business Philosophy: Hustle Smarter, Not Harder
Beyond the music, Rob also touched on his business moves and vision for the future. “It’s more than just making music. I want to create opportunities, build something that lasts,” he shared. “Ownership is everything. I’m making sure I leave a legacy that goes beyond just the records.”
With a sharp business mind, Rob approaches management with a balance of structure and adaptability. He emphasizes learning from experience before going public-facing, tailoring his approach to each artist’s needs. While he won’t work for free, he’s open to equity deals that ensure long-term success for both parties. He’s worked with top industry engineers, including Scott Taylor Jr., who contributed to Travis Scott’s Utopia album.
Rob has also been behind groundbreaking initiatives, such as organizing drive-in concerts during the pandemic, producing over 100 hours of music, and generating 10,000+ pieces of content for PUTINWORKTV. He studies major media companies like BuzzFeed, aiming to create content that resonates with Gen Z and Gen Alpha while ensuring sustainable growth.
The Harsh Realities of Artist Management
Having worked with six-figure budgets since his early twenties and operating internationally across Germany, Italy, Amsterdam, and Tokyo, Rob understands the complexities of the industry. He speaks candidly about the struggles of artist management—investing years into talent with little to no return, often being the last to be thanked and the first to be blamed.
His shift from managing individual artists to working with organizations and startups reflects a strategic pivot toward ventures with more immediate returns. He stresses the importance of intellectual property and residual income, advising artists to think beyond upfront checks and focus on long-term equity.
The Digital Age: Opportunities & Risks
In the ever-evolving music industry, digital platforms can be both a blessing and a trap. Rob and the Boston’s Big Four team discuss the illusion of social media metrics, emphasizing that a large following doesn’t always translate to real-world success. Citing platforms like MySpace and Friendster, they highlight the dangers of putting all one’s resources into digital spaces that artists don’t control.
The conversation shifts to blockchain technology and its potential in music licensing. While blockchain’s transparency could revolutionize rights management, there’s concern over automation stripping the industry of its human elements—much like how automated traffic enforcement lacks the nuance of a human officer’s judgment.
Navigating the Business of Music
Rob pulls back the curtain on record label tactics, explaining how labels wine and dine artists, then recoup those expenses from their budgets. “No matter where you come from, if you really want it, you gotta put in the work—no excuses,” he said. “At the end of the day, the results will speak for themselves.”
He warns about predatory deals, urging artists to have solid legal representation. He also breaks down the economics of management, arguing that the standard 10% commission is unsustainable for smaller artists, advocating for at least 20% to make the business viable.
He recounts experiences managing music video budgets, uncovering how labels inflate production costs while using salaried staff, reinforcing the need for artists to audit their expenses.
Vision for the Future
Beyond music, Rob has ventured into branding and merchandise, starting with EMBODIED GREATNESS, a hat manufacturing brand. Looking ahead, he envisions PUTINWORKTV as a cultural hub and a space for discovery, discussion, and innovation. He remains committed to elevating Boston’s music scene and ensuring artists have the knowledge and resources to navigate an often ruthless industry.
