Bryce Pickett is joining Amplify as a Senior Talent Manager to build a U.S. roster around a different definition of creator success. Rather than treating creators primarily as distribution channels measured by reach and conversions, he argues the Creator Economy’s new phase will be defined differently. 

“The first foundation of the industry was built on reach,” Bryce says. “The next is built on ownership, community, creativity, and representation.” That reading shapes everything he intends to build at Amplify.

Bryce brings over six years of talent management experience to the role. He held positions at CFG and The Digital Dept., where he managed a roster with a collective reach of more than 20 million and negotiated more than 250 campaigns worth over $5 million. He entered the industry earlier than most, having begun as a brand ambassador for Express in 2020, an entry point that gave him a creator’s view of what management either provides or fails to. A Master’s degree in Sport Management and Law from the University of Florida added the contractual framework. His work throughout has centered on diverse creators and pay equity, two priorities he carries directly into this role.

Launching a decade ago in Australia, Amplify has since expanded into a global creator agency specializing in content, campaigns and full-service talent management with offices across Australia, Singapore, the Philippines, and the U.S. It operates as an agency partner of  TikTok globally. The agency maintains more staff than talent on its roster, keeping service density high. 

For Bryce, the global scale was the deciding factor. “There was a genuine opportunity to shape its presence in the U.S. rather than aligning with something that was an existing machine,” he says.

Why Not Every Campaign Should End With a Click

The fixation on conversion metrics, Bryce argues, has produced a generation of campaigns optimizing for the wrong outcomes. Brands want proof that a post drove a purchase. The more meaningful data, he believes, is harder to capture. “Some campaigns change perception,” he says. “Some build trust; some introduce communities to brands they’ve never seen themselves reflected in. Those outcomes are always harder to measure, but they are just as valuable.”

That argument has practical consequences. Bryce declines to treat every deal as a direct-response opportunity and coaches talent to do the same. Some creators are better suited to cultural positioning than to purchase conversion, and conflating the two leads brands to cast incorrectly and creators to chase the wrong metrics. “If we judge every creator solely by their immediate sale, we’re overlooking the long-term value,” he says.

The problem, in his view, often begins at the briefing stage. Brands that send overly restrictive briefs or decline to accept redlines on standard agreements are not building partnerships. They are outsourcing a line item. “You hire a creator for them to promote your product, and they should have creative freedom,” Bryce says. “It should be a collaborative process. Ultimately, it’s a partnership.”

Why Negotiating Deals Is the Smallest Part of the Job

The most common misconception Bryce encounters about talent management is that it consists primarily of deal negotiation. Before signing anyone, he spends time mapping where a creator wants to be in three to five years: whether they want to launch a company, become an investor, write a book, or pursue on-camera opportunities. Those answers shape the growth strategy. “360 across the board,” he says. “It’s not just negotiating a deal. That’s probably only a fraction of the job.”

Once a creator joins Amplify’s roster, the infrastructure expands further. Bryce coordinates content direction, pricing, and contract negotiation while Amplify’s internal brand partnerships team pitches talent outward to clients simultaneously. The agency has recently established a relationship with CAA, strengthening opportunities for creators to access literary, unscripted, and scripted divisions as they expand beyond the digital space. Talent interested in film and television are onboarded to casting platforms and matched with in-house screening agents. In-person contact, Bryce adds, is not optional. “The in-person is monumental,” he says. “That is what goes into building an equitable relationship with a client or with a partner.”

Long-term ambassadorships are among the outcomes he points to as evidence of the model. His work placing creators in the Sephora Squad, Ulta Beauty Collective, and DICK’S Varsity Team programs illustrates the logic: genuine brand affinity, consistently demonstrated, converts a one-off deal into a recurring revenue structure. Bryce argues that the connecting factor in each case is not niche match alone but real product alignment.

‘Amplify Originals’: From Campaign Talent to IP Owner

The piece of Amplify’s structure that most directly reflects Bryce’s thesis about the industry’s second chapter is “Amplify Originals,” an internal IP incubator that allows creators to pitch concepts directly to the agency for development funding and production support. If selected, Amplify covers development costs and provides creative and commercialization strategy. The creator retains all rights. “Instead of waiting for studios, networks, or streamers to commission their ideas, Amplify is going to fund them internally and then help bring those ideas to life,” Bryce says.

The formats in development include TV formats, podcasts, documentaries, scripted series, books, and licensing deals. The economic logic differs from a standard campaign. In brand partnerships, a creator amplifies someone else’s intellectual property. In ‘Originals,’ they build their own. 

“The creator becomes the architect of the idea, the creative director, and the long-term owner of the asset,” Bryce says. “The objective is no longer to maximize the next campaign; it’s to build an ecosystem around an asset that can continue generating value for years.”

Diverse Representation and the Cost of Geographic Assumptions

Bryce’s practice has consistently centered on diverse creators, and he frames it as both a professional priority and a commercial argument. Amplify’s global structure provides a tool he says is underutilized in single-market agencies: rate transparency across markets. 

By tracking how talent bill in Australia, the U.S., SEA, and the UK, the agency can benchmark pricing that is not distorted by any single market’s assumptions. “We’re able to fairly price, regardless of gender, sex, absolutely anything,” he says.

A related issue is geographic restrictions in brand casting, which he frames as one of the more persistent miscalculations brands make. Campaigns routinely specify that talent must be U.S.-based or Australia-based as a proxy for audience relevance. Bryce argues that the assumption fails in practice. “Audiences are global,” he says. “You should not limit someone from accepting an endorsement just based on their geography.” He points to the Clark family, part of Amplify’s current U.S. roster, who relocated from Australia and now work across both markets. Geographic proximity, in Bryce’s view, is logistics. It is not influence.

What Year One Is Actually Measuring

For year one, Bryce is explicit that success will not be counted by roster size. “There’s not a specific number that I have to hit,” he says. “It’s truly about making sure the talent feel right and that we can actually grow their business.” 

The ambition he articulates is more specific: platform-level relationships with Meta, TikTok, YouTube, Spotify and Snapchat, talent placements in ambassador programs like Sephora Squad and the Ulta Beauty Collective, and multi-year brand partnerships that grow in value rather than operate on a one-time basis.

The longer arc, he argues, traces to an orientation that predates his management career. He cites Ricky Simms, Rob Pelinka, and Rachelle Jean-Louis, who managed Victoria Monét, as managers whose careers demonstrated that the best representation requires vision. “Relationships compound over time in ways you can’t predict,” Bryce says. “Conviction allows you to recognize potential before everyone else does.” 

For him, sport management, entertainment management, and creator management are converging into the same discipline, defined less by the category of talent than by the depth of strategy behind the career. “Long-term success is rarely built overnight – it’s built through consistency, trust, and thoughtful execution,” Bryce says.

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