Industry Profile: Mike Snider

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Mike Snider, co-head/agent Paradigm Talent Agency Nashville.

When Paradigm Talent Agency snapped up Christian music booking entity Third Coast Artists Agency in 2009, TCAA’s co-owner Mike Snider knew the deal exactly fitted the pattern of Paradigm’s acquisition of Monterey Peninsula Artists and Little Big Man, a few years earlier.

Paradigm deftly incorporated TCAA’s roster and 10 employees into its Nashville office, and provided Snider, now co-head, with Curt Motley, and Greg Janese, with increased duties.

In 1999, Snider and his future wife Lisa Jones had purchased Vanguard Entertainment from Chuck Tilley, and launched Third Coast Entertainment.

After just two years, signing the likes of MercyMe, Jeremy Camp, and Bebo Norman, TCAA went from being a boutique shop to one of the premier booking agencies in America.

Meanwhile, TCAA’s sister company Third Coast Sports had developed Faith Nights, popular with hundreds of sports teams around the country. In 2001, Snider had approached the Nashville Sounds about taking its church night, and building the event around a Christian recording artist. This was the foundation of Faith Nights. With three years of success with the Nashville Sounds under its belt, Third Coast Sports took Faith Nights national in 2005.

Snider grew up as a star football, basketball and baseball player in Portland, Oregon. In high school, he won the Oregon State Football Championship as a quarterback while earning all-league honors that earned him a football scholarship to Oregon State University.

Following college, Snider continued in his father’s footsteps, and worked in construction as a contractor. In 1996, he came to Nashville to manage the career of younger sibling, singer/songwriter Todd Snider.

Paradigm was formed in 1992 by chairman Sam Gores as an independent film, TV and literary agency after the Gores/Fields Agency merged with STE Representations, Robinson, Weintraub, Gross & Associates, and Shorr, Stille & Associates.

Over the past decade, Paradigm has expanded through a series of strategic acquisitions, starting with its 2004 purchases of two boutique literary agencies, Genesis and Writers & Artists Group International.

Paradigm significantly boosted its music division with several key deals, particularly the purchase of Monterey Peninsula Artists; its buy-out of Little Big Man Booking; and signing up Matt Galle and Andrew Ellis, both principals in Ellis Industries, to work out of Paradigm's New York office.

Today, with offices in Los Angeles, New York, Monterey, and Nashville, Paradigm provides representation to clients across its motion picture, television, music, comedy, personal appearances, theater, books, new media, commercial and physical production departments.

As the Christian/gospel genre copes with the same sales challenges as the broader music market, a greater focus on touring and nontraditional promotional platforms has enabled Paradigm’s artists, including Red, Kirk Franklin and Mary Mary, to impact in the mainstream pop market, and to land appearances on NBC's "The Tonight Show With Jay Leno," and Conan O'Brien's late-night talk show on TBS.

Paradigm now has a significant lead in the Christian/gospel market with the immense popularity of the artists above as well as such artists as Francesca Battistelli, MercyMe, Thousand Foot Krutch, Committed and others.

The Paradigm Nashville office also books Toby Keith, Gillian Welch, the Eli Young Band, Mike Farris, Jack Ingram, Nanci Griffith, Junior Brown, Kasey Chambers, Sixpence None the Richer, Jeff Foxworthy, Carter’s Chord, Bucky Covington, Radney Foster, and others.

Under Snider, Paradigm Nashville has signed former Trick Pony frontwoman Heidi Newfield, rising country singer JT Hodges, and Canadian country act Emerson Drive for booking representation.

Was the reason for the merger with Paradigm because it would offer TCAA clients greater services? Was that a factor?

Without question. The fair business that we do with our Christian clients right now, it has quadruped. We didn’t do a lot of fairs (at TCAA). I had been able to have performing arts tours booked for MercyMe, but I didn’t have those (fair) connections at the time. I don’t even book them (now). The New York office does, and they are excited to have it. So yeah, that was a factor.

Not only that, but on the general market side, I had lost bands like Skillet and Thousand Krutch. Lisa and I built Skillet. They were doing over 1,000 seats (venues) when they left. They left because they had a general market partner, and they needed general market help. I lost Thousand Foot Krutch. They went to CAA (Creative Artists Agency) and they came back. They came back because of this relationship. We took them up for nothing, but they were active rock and they were fearful that we couldn’t do the job. I understood it. I don’t run in those worlds. Now, I’ve partnered them with Larry Webman out of our New York office. He and I are doing Thousand Foot Krutch now.

[Skillet has had an enormous year. Its album "Awake" has remained on the Billboard 200 for over a year. It has had success with such singles as "Forgiven," "Awake & Alive," and "Hero"—the last of which was used on "Sunday Night Football," in NFL Kickoff Weekend promos, and for ESPN's college sports coverage.]

You had also been impressed with Paradigm’s purchase of Monterey Peninsula in 2005?

When Lisa and I decided to do Third Coast, we said, “What do we want to be like?” It was clear that the agency that we wanted to be like in the Christian market was Monterey. We felt that it was really an organic and smart business (with) artist development, and being artist friendly, and tour based. So we kind copied Fred and Dan (Monterey Peninsula founders Dan Weiner, and Fred Bohlander. They were our heroes. I had known them for a long time. They had booked my brother (Todd Snider), and I really liked the way that they did things.

Paradigm wasn’t the only big agency to knock on your door.

CAA and The Agency Group came after us and, one time prior, Paradigm came after us, it just didn’t work. When they came back the second time, it was just the right thing to do because they were like us.

Who came after you from Paradigm?

(Paradigm agent) Steve Dahl called and said that Fred Bohlander was coming to town, and he wanted me to take a meeting. Of course, I knew who Fred was. I had never met him. I said that I would be glad to. He’s one of my heroes from afar, so it started there. And then, I did have a meeting with Curt Motley (co-head of Paradigm's Nashville office) Steve, and Fred the first time.

Fred and you could relate to each other, given the merger of his agency with Paradigm.

What I liked most about Paradigm is that they acquired this amazing agency of self-starting entrepreneurs with artist-friendly rosters including Monterey with Dan Weiner and Fred Bohlander, with Marty (Diamond) and Larry (Webman) with Little Big Man Booking, and even Ellis Industries.

Paradigm needed each of them and vice versa.

Yes, they needed each other. (The other agencies) needed TV and film (that Paradigm had). All the things that I didn’t have—that Fred and Dan didn’t have. And a lot of the reasons why (the boutique agencies) did what they did were that they didn’t want to lose any more clients that were being enticed away because of TV and film placements. They knew how to grow a business. I can now call any of them on the phone, at anytime. It’s not this hierarchy of craziness here. These are guys that have built companies. These are reputable great guys that care of their artists, and think like I do.

Who do you report to?

I report to Fred Bohlander. At the end of last year, (Paradigm) made me a co-head of this (Nashville) office and put me in charge of kind of running the office. The other heads are Curt Motley and Greg Janese. It’s kind of a three-headed monster.

What is your mandate?

My mandate is to grow the Nashville division. It’s a priority in Paradigm right now. The (immediate) goal is to grow the contemporary top 40 country (sector). We have to sign and build acts. We have to get more in that game; where it’s a William Morris (Endeavor)/CAA town. The majority of the relationships with the managers and labels are with CAA and William Morris. My mandate is to change that.

In country music, we dominate with the non-commercial stuff. With (agents) Bobby Cudd and Jeffery Hasson here (booking) Gillian Welch, Ricky Skaggs and Old Crowd Medicine Show, we do really well in that non-commercial world. We also book Garrison Keillor.

We do really well in the Texas world with (agent) Brian Hill and a lot of his acts, including Kevin Fowler, the Eli Young Band, Jack Ingram, and Roger Creager—all of these guys. They just own Texas. We pull a lot of money out of there. It’s a world of its own. It’s been fun to watch Eli and Jack break out.

But the mandate is to get out and sign (country) artists like JT Hodges, Dean Alexander, and bring Heidi (Newfield) over from another agency. We also signed Emerson Drive.

Have you raided acts or agents from Nashville’s big dogs, CAA and William Morris Endeavor?

Not yet. So far they are fighting with each other. I think that if any artist left one of those two agencies they would be happy if they didn’t go to the other one and came here. It excites me what we’re doing here. I like to be the go-to guy. I’m a team builder guy. I’m a builder guy. I like to make things.

Of course, you have a great staff of Christian and gospel agents, and a great roster in that genre.

We were able to expand more into gospel with Kirk Franklin, Mary Mary and Committed. We have some of the top gospel acts.

Given that Red, Kirk Franklin and Mary Mary each released albums this year that enjoyed top 10 debuts on the Billboard 200, these are acts can now be pitched to major TV and film contacts.

That right. And, I could never have signed Kirk Franklin at Third Coast, but Paradigm is so heavy on the branding side, and on the TV and film side. We already have Kirk a movie deal (on a project with) with Dolly Parton and Queen Latifah, and we have a book deal for him. (For the film), I got an email from the New York office saying, “We’re looking for a guy who fits this description.” I’m like, “That’s Kirk Franklin. Let’s go get it.” And we went and got it. I could never have done that before. The fact that Kirk Franklin in eight weeks sold 225,000 copies (of "Hello Fear") is crazy. Nobody is doing that anymore. He is really hot right now.

[Franklin's "Hello Fear" debuted in March at #5 on the Billboard 200, and spent four consecutive weeks at #1 on the Gospel Albums chart, helped in part by his Gospel Comedy tour with comedian Steve Harvey.]

Mary Mary is now sitting down and working with our branding department on tour sponsorships and things like that.

Are those opportunities the norm in Christian and gospel?

In the Christian world, with corporations and getting on things like “Oprah” and things like that, (they) won’t do it. But you bring Mary Mary and Kirk Franklin in from the gospel world, and it’s not taboo at all. It’s just accepted as a lifestyle for that community.

Who do you mean won’t do work with Christian acts?

The media and the corporations won’t do it. The Targets don’t want to talk to MercyMe. It’s too polarizing, and scary (for them). But they will talk to Kirk Franklin because, even though he’s a gospel act singing about Jesus, he’s culturally relevant in that world. That why there’s a McDonald's Inspiration Celebration Gospel Tour every year. It’s not taboo to them.

Christian music may be mainstream, but a stigma remains with some media and advertisers. It’s a bit puzzling.

It’s really strange to me too. They are just people, and their audience is watching Jay Leno. Fortunately, MercyMe, Red, Mary Mary and others have been on those (night) shows. It’s changing a little, but it’s still scary for a lot of those folks in the media. But it has changed considerably. Amy Grant and those people hit it pretty hard years ago. They were huge.

Paradigm had a terrific night at the Dove Awards in April.

We did really well. We took a lot. I just found out that Francesca Battistelli, who is the hottest female in Christian music right now, is the first female to win a Dove Awards for Artist of the Year since Amy Grant 19 years ago. Blows my mind. She’s on fire, and we love her. She could be the next crossover. Everybody is aware of her at our agency. She potentially could break through, and cross over in the next 18 months.

[Francesca Battistelli took home three Dove Awards this year, winning artist of the year, best female vocalist, and pop/contemporary recorded song of the year for "Beautiful, Beautiful." The track appeared on her 2008 album, "My Paper Heart," which has sold 440,000 units in the U.S. Her latest album, "Hundred More Years," debuted at #16 on the Billboard 200 in March, 2011, racking up first-week sales of 70,000 units].

There’s a danger of crossing over and losing…

Your core Christian base. But that has changed a lot. Peoples’ minds have opened up to where it’s not as bad as it used to be. The lines are a little grayer. They have got to where they will sometimes root for artists. Christians are rooting for Red. They want them out there. I think that will happen with Francesca. They (Christian artists) are not going to change who they are. A lot of them want (crossover) but not as bad as they used to. If it happens, it happens.

The attitudes toward Christian artists in the live music industry have changed too.

We are getting calls from clubs and performing arts centers looking for other avenues to make dollars (with Christian music). They are coming after us because they see the numbers that we are doing. They are not as scared of (Christian artists) as they were. Their attitude is, ”It’s okay that there’s a little niche we can go after, and fill our rooms up.”

With tougher economic times, there are increased opportunities for Christian artists at secondary and tertiary markets.

Well, without question there are. I know that we get responses back from the street shows in these little communities. They will bring in Jeremy Camp or MercyMe and the numbers that they do are comparable to when they bring in one of these huge country acts that they have to pay $150,000 for, when they can pay $50,000 for one of ours, and the numbers are the same.

Without question, (promoters) are looking at us being an opportunity. As far as the tertiary markets, we really have targeted that marketplace. Those folks don’t get a lot, and they come out of the woodworks to see these artists that don’t often come through there. So we are trying to be smart about working in those markets, but we obviously aren’t the only ones doing it. Country is trying to do that too. But we have made a living of going to Davenport, Iowa, and places like that, where people are like, “MercyMe is coming to Davenport, Iowa? Wow.” It’s a big deal, and the guys can make good money there, and broaden their fan base as well.

How do you develop a Christian act when there’s such limited radio and TV support?

It goes back to why I was so intrigued with Monterey in the first place. They had a lot of acts that didn’t have huge radio success. They were touring acts like Phish. I loved that. So (at TCAA), we stole a lot of those things—how you repeat markets—being specific when you are coming, and when you are going to play.

Of course, we all want to go to the major radio markets, but there are not a lot of them there (for Christian music). We are not waiting around for the single to hit so we can go to work. We have to work a little bit cheaper at first, and we have to great managers, and have a plan in place when we go to places. Having smart bands and smart managers and people willing to work to a long term plan.

You have put your own tours together.

We will send a bunch of rock bands out; and put out all of the posters, radio spots and fliers. We will send what we call “promoter in the box” (packages) to promoters. So when our little bands pull into a 500 or 1,000 seat room, their fliers and posters are all over town. We have to get guerilla. But people are excited to see us when we come in. We make a bigger deal out of (playing there) than it is, because we don’t have radio. It always helps to have radio. When those bands get radio, it just fuels it. They are already so far along.

With shrinking CD sales, all acts want to be on the road more.

It really has crowded the marketplace. Where bands used to make money off publishing and record sales, now they are not making the money they once made. So everybody wants to work more now. Third Coast was a touring based agency. We were the only ones out there working all of the time, and building careers. Now everybody is trying to do that, so it has really glutted up the market. Everybody is out working the market. We have to be really careful about where we are going, and when we are going (with our Christians acts). You just can’t do 10 shows in Nashville a month or six shows a month in Nashville with Christian artists.

Do you book territorially or non-territorially?

It’s different. I am a big fan of the territorial (approach), and I know some people aren’t. Most agencies are run that way. We’re mixed throughout our agency. And that’s partly by acquiring different people.

A lot of what we are trying to figure out is because we have three (former) agencies. And we book so much of everybody else’s roster out of this office. We are set up in territories here. Marty and those (New York) guys are not. Marty and those guys are so used to having their own stable of artists that they book. We don’t do it that way here. The Monterey office is kind of half and half. Some of the bookings, they will handle on their own.

It would be difficult for the other Paradigm offices to book some of the Christian and gospel artists.

It’s hard. They just couldn’t do it. But with the fairs, that’s easy. We just give them what it is. The same with performing artists centers. If there’s a Christmas tour, they can do it, but they couldn’t book (the acts) all of the time. It just would be too hard and, honestly, I have what I feel are the best agents on the Christian side here. I also believe I have the best agents on the country side.

With country, you prefer working territorially?

It’s better to build a team, and book in territories. I like signing things together as a team, and working things together as a team. I am just not a big fan of, ”Hey guys, guess who I signed today? Book it.” I’d rather say, “Guess who I signed today? And I’m going to go and book it.” The honky tonks, and the country rooms are different than what Marty and those guys are booking. It’s a lot more specific. So I like to have a guy in the south east who knows all of those country rooms, has relationships with those guys, and has won and lost with those guys—built a trust with those guys. If I’m booking Heidi Newfield, there’s a sense of trust and knowing (with the promoter). It is just not a random guy guying saying, “I have this artist coming through. You don’t know them.” Then, (promoters) are calling around to check on the artist.

You excelled in sports in your younger years. Did you think you were going to be a professional athlete?

I did. I really did. And just like every artist who comes in here and sits down and thinks they are going to be in an arena some day, I thought I had a real shot. I realized really quickly at Oregon State (University) that I didn’t have the chops for the next level. I got in, and it was so much faster.

You dominate in high school where everything moves really slowly. You get up on next level...

I remember the first snap that I took, I just freaked out. I didn’t freak out like anybody could see, but it was, “Oh my gosh. These guys are huge, and they are coming at me.” The “pop” from the first snap was just unbelievable. So I knew that I would give (football) a shot, but I also knew that (my dreams) were dashed. Even to think about going up to the pros now. To think about the percentage of kids who go from college to pros and how much better the level of play that must be... Those guys in the N.F.L. are just unbelievable athletes.

Was not going to the pros a hard pill to swallow?

Yes. I had invested so much of my life in (sports). It was a hard pill to swallow that I wasn’t as good as maybe I thought I was. I had pretty much invested my whole childhood in that. I thought that was probably my ticket. It is something that I speak (about with) my son Levi now who is 12. He talks about sports, football and baseball. He is now also immersed in music because of what I do, and because of his uncle. He really wants to be in a band. He talks about being an actor and being in a band. “Teach me how to play guitar, dad.” Hopefully, he’s going to be more grounded than I was. Although, he’s a good athlete. “Dad, I want to play football in college. Do you think I could play pros?” He’s talking like that. Hopefully, I can guide him through all of that, and say, “Well those are good things, but we need to be well-rounded.”

What things in sports were you able to bring into your life in entertainment?

Wow, good question. So much that I learned...I was a jock. I grew up a jock. That was my world, but I was always into music. The friends that I ran around with in high school were into music as well. We weren’t listening to what the other kids were. It wasn’t traditional Top 40 stuff. We were way into Southern rock, and some cool rock stuff—getting into the (Grateful) Dead, and the Who. Todd was also way into music too. But I was a jock. A lot of the things that I learned were from coaches—about building a business and just being competitive—really, leadership roles. I was quarterback for most of my time (in sports). I played basketball and baseball, but I was a football guy, so I thrive on the pressure. I thrive on the leadership side of things. I like to be in control, although I don’t consider myself a control freak.

C’mon you’re a control freak. You were a quarterback.

Oh, I might be. But I am a little bit competitive, and I like to be in charge. Not necessarily controlling, but in charge. I thrive that way. Hopefully, I learn to make decisions, and make decisions quickly. Little things that I learned from coaches. You want to be the athlete that when you are playing shortstop, it’s the bottom of the ninth with three guys on (base) with a full count, and you are saying, “Hit the ball to me. Hit the ball to me.” That’s what I learned from sports. Not, “Don’t hit the ball to me.”

The importance of teamwork is key to both sports and what you are doing today.

Very much so. For sure, building a team, building camaraderie in a team, getting people to believe in themselves. I can say that’s been a huge part of my motivation for being here, and building the agency that we built—the agency that I built with my wife. Things that came from sports. That was what I did. I was an okay student, and I was a good athlete. I really thrived on (sports). I am still into sports.

Your sports background gives you the ability to see deeper into celebrityism. You came from a world where athletes only have so many years.

(Success) is very temporal. You’ve got a shot. You’ve got a moment, and it won’t be there forever. (As an agent,) you always step back, and try and figure out the (artists) that can make it for the long haul. (As an artist), you have to be thoughtful of the decisions you make today; and how they are effective three, five or 10 years down the road. Man, if you can make it as an artist for 10 years, you’ve got it made. When I wanted to be in a band, there was no shot for a jock in Oregon. What Todd did was amazing, but he did it a bit later in life, and he’s making a living doing it. I just think he’s the most talented singer/songwriter in entertainment.

I am drawn to toward that kind of (long-term) artist. When I got into music, I was really passionate about drawing from some of the things that I had learned from athletics and trying to work with these artists and help them to do (music) for the long haul, knowing that it is short-lived.

Before coming to Nashville, you worked in construction, which was your father’s trade.

I gave it a shot for a couple of years, but it just never felt right for me. It got extended because my father passed away. It was a hard time. Todd was starting to do his thing. My father had (earlier) moved to Austin. When I left Oregon, I had moved to San Marcos, Texas to really just jack around. San Marcos is a little party town. I played rugby there. I wasn’t even enrolled in school, but I got another kid’s I.D., and played rugby there for a couple of years.

Todd graduated high school, spent a minute at a junior college in California, moved in with me, and started learning how to play guitar there. After my dad moved to Memphis, I followed him there. I was broke, and I was a kid.

You were trying to figure out what you were going to do for a living?

Dad had this (construction) business, so I started doing that. He was a boomtown guy. He was developing some property in Biloxi, Mississippi following the casinos down there. When he passed away in ’94, he had a couple of projects that were ongoing. So I moved down there. When he passed away, it was just before Todd’s first record came out. It was a really hard time for me and the family.

My dad was just such a powerful part of our family. Good and bad. Your father is such a big part of your life. Consequently, when he died, It was almost an inspiring thing where I was set free to be my own man. I realized that, “I don’t have to do this.” I did go down and finish his developments for him, which was an experience. He had some developments. One on a golf course and another, kind of in the middle of nowhere. I built all of those homes, and finished that up. Then, I had a decision to make. At that point, Todd had gone through a couple of managers. We got to talking. I said, "If I ever am going to do this (work in music), now is the time." So, Todd hired me to manage part of his career. He hadn’t put out a second record yet. I moved to Nashville, and I managed Todd out of the Margaritaville Records’ office. He was signed to Margaritaville (in 1994) so they gave me a space in there. I got here and met some people and did all of that. I spent a lot of time on the road.

What is the difference in age between you and Todd?

I’m two years older. He sometimes looks a little older than me. He’s a little more road-worn than me. I get to sleep more in my bed than he does. I just could not do (the road) like he does.

[Todd Snider was also a jock as a kid. His song "Ballad of the Kingsmen" has references to a rock star being "tired of getting beat up by the pulling guard." In a blog, he explained the football reference. “i played with ex-NFL star Anthony Newman in high school, and i wasn’t bad. My family was very into sports, but i never liked practicing and wasn’t ever really [going to] go to a good college like my brother. i kinda rebelled against scoreboards and sports for a while but then learned the joys of drinking and gambling and now enjoy sports more than ever. watching them that is.”]

How did it first feel working in Nashville?

I was a kid. I wasn’t even 30. I felt like I was starting all over, but I felt good about it. It felt right. It was a total zig from anything I had done.

How did you come to work at Vanguard Entertainment?

I was in a house right down from the street from Monterey’s office, which booked Todd. I started talking to Steve Haver, who was Todd’s agent at the time at Monterey. I said, “I’d really be interested in becoming an agent, and getting more into it” I was doing a lot of booking. Besides Todd, I was managing the Bottle Rockets out of St. Louis, and a little band called Mount Pilot out of Chicago, which is no longer a band. So I was just trying to figure it all out. Making money off of when people worked kind of sucked. It was like, “We’re going to take the summer off.” For me it was, “That is kind of going to suck for me.” And, “Okay, how do I make my money?” I didn’t really have any established acts; I had working acts and that included Todd.

I’m a Christian guy, and I had started to hear about this Christian music business, and I was really intrigued by with the Christian stuff. Steve said, “You need to call (Vanguard Entertainment owner) Chuck Tilley.” There was sort of a handshake deal between Vanguard and Monterey (in booking Christian artists). “Go out and meet with him.” So I reached out to Chuck. I also signed a Christian artist Nancy Allen Kane, who had a record on Pioneer Records. I walked into Vanguard’s office, and Lisa was this girl’s agent. That’s how I met her.

Eventually, you moved into Vanguard’s offices.

This is how I got started into booking. But I didn’t work for Chuck. They had an extra office there, and I rented that space, and managed clients, non-Christian stuff, except for Nancy Allen. Then one of their agents left to work at another agency. They asked me if I would help out. We had become friends, so I did. It was one of those moments of, “I will make some extra cash. I will get on the phone for you.” I didn’t know anything about what I was doing as far as that (Christian) marketplace. Calling pastors—the terminology was different. They were asking, “What’s the honorarium?” I’m like, “Why would you call it an honorarium?” They just called things different, and I had to call and talk to them.

The Christian market is a tough field to learn about booking.

It was not easy, but I really enjoyed it, I did really well at it. And they (the agency) were paying me. I cut a deal for what they would have to pay me (part-time) and, instantly, they regretted it, because I started kicking ass. They thought they were paying me too much.

In 1998, Chuck Tilley decided to sell Vanguard Entertainment.

I probably wasn’t doing this (booking job) for three months, honestly, when Lisa came to me and asked, “Would you consider being an agent full-time? Chuck is selling his company. I will be the president, and I will need another agent. Would you consider it?" I said that I would. I cut my deal with the new folks. The day (the sale) was supposed to close (the buyers) backed out. Lisa wouldn’t sign a non-compete (clause); and I wouldn’t either. So they backed out at the last minute. Lisa called, and said, “Well it all fell through.” I said, “Let’s buy it.”

You and Lisa bought the company and changed its name to Third Coast Artist Agency.

We borrowed some money and took whatever little we had lying around and we bought the company, changed the name, moved down to the Convent (Place) Building in Nashville and set up this great shop. Took some doors from the basement, cleaned them up and made desks out of them. Got an intern from MTSU (Middle Tennessee State University in Murfreesboro) and used his school discount to buy our computers.

Were you and Lisa married by then?

No, we were not married. It was probably a year into owning the business when we started to date. It was inevitable. There was connection. Then we stopped dating. We thought, “We are starting to do really well here. We don’t want to mess this up.” So we stopped. I have some employees that still work here, and they laugh about it. The whole relationship in the office thing, and the courting. It was difficult at times, so we stopped. We just really worked well together. We were a really good team, and we were really scared that (the relationship) would screw it all up. But it was just inevitable that it was going to happen. We were in love, and we got married.

Lisa had the background in the Christian world; you had experience with clubs.

I was the club guy, and I had a (specific) approach to booking and working with clients. I added something that the artists really dug. I was able to go in and sign artists and talk to artists. Because of growing up with my brother I knew the personalities of artists, I learned that from being with him. I knew how to talk to them. I knew what they wanted. I knew the ins and outs (of their lives). The neurotic side and the talented side from the practical side. I could really relate to them. Plus, I had a different approach. I came from a different world. Something that they weren’t used to. They really liked that. I was able to befriend and sign these artists. So I was successful right away.

[Today, Lisa Jones Snider is home schooling and has a side business called Otis and Ettie. She makes barn wood frames, and sells exclusively in two shops, one in Franklin and one in Brentwood.]

In 1999, you launched Third Coast Sports, and started the Faith Nights with Brent…

With Brent High. I wanted to start going to the (Nashville Sounds) baseball games. It was before Brent was there (as VP of sales). The first year that we did it, I set up a meeting, and I said, “Have you considered doing church nights?” They said they did do them. They sent out a fax to the churches. I said that I had done this a couple of times with bands. I suggested that we do these Faith Nights where we get a band to perform, and that I would walk them through the promotions. That went pretty well the first year. Then Brent High and I amped it up. We got to where we were doing seven Faith Nights at the Nashville Sounds games. Of the seven, I think that five of them in the first couple years were the highest attended games of the year. The crowds that came were great, and pretty well behaved.

All you wanted out of it originally was free seats.

I said, I just wanted tickets. So they gave me four tickets for I don’t know for how many years. I had the best tickets in the ball park.

There was a huge gap in the market for those families being raised with Christian values.

Without question. It just took off. The teams were way into it, and the crowds that they we were able to draw were huge. It was a niche that was wanted. It works so well for the teams because they are able to further attract the church, which is mom and pop Christian values, to go to the ball park. It fits perfectly with the ballparks.

The hookup with sports also provides much needed work for Christian artists.

What we struggle with in Christian music is that we don’t really have much to do in the summer like they do in country and other genres. There are the major Christian festivals but other than that, there’s not much. Youth groups are inactive in the summertime; and vacations are in the summer.

For Third Coast Artists, it was an opportunity to take one of our bands and put them out a 30-city tour carrying a stage around. We would have all of these major festivals on the weekends, and I could actually route them to do the Fort Wayne Tin Caps on a Tuesday night on their way to a festival in Chicago. I was able to keep them on the road in the summer where there wasn’t work.

On the major league side, I am able to find some of the bigger acts pay days in big venues. If there’s 25 festivals between late May and September, this is a lot of work spread between our whole industry. So there isn’t a lot there. So it actually filled a void for my artists too. Artists were attracted to me as an agency, because we were creative and we were creating opportunities for artists outside of just what was there. It was a win for everybody.

Though you are at Paradigm, you are still running Third Coast Sports?

I am. The Paradigm guys allowed me to keep that company. We don’t do as much as we did, but we’ll hit eight or ten major baseball games, and six or seven minor league games with our artists this year.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide: Celebrating 40 Years Of The Juno Awards.


Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
Jeremy Lascelles & Robin Millar, Blue Raincoat Chrysalis Group 12/01/17
Joanne Abbot Green, CMJ Music Marathon and Film Festival 10/17/08
Lee Abrams, XM Satellite Radio 11/28/03
John Acquaviva, Fund Manager, DJ and Serial Entrepreneur 07/09/15
Jay Boy Adams, Roadhouse Transportation 05/04/07
Jamie Adler, Adler Entertainment Group 05/11/07
Gary Adler, National Association of Ticket Brokers 12/04/13
Rodney Afshari, Freeze Artist Management 03/01/02
JC Ahn, VU Entertainment 04/10/13
Steve Alaimo, Vision Records & Audio Vision Studios 05/26/06
Jaye Albright, Albright & O'Malley Consulting 07/19/10
Randy Alexander, Randex Communications 10/12/07
David Alexander, Sheer Publishing 07/21/16
Eva Alexiou-Reo, FATA Booking Agency 05/14/15
Marcie Allen, Mad Booking 12/14/00
Jeff Allen, Universal Attractions 08/16/02
Marcie Allen, MAC Presents 06/05/09
Marcie Allen Cardwell, MAC Presents 12/21/07
David Allgood, Bama Theatre 01/03/11
Patrick Allocco, AllGood Concerts 10/05/07
Michele Amar, French Embassy 05/26/16
Mike Amato, Rok Tours International 02/02/07
Jeff Apregan, Apregan Entertainment Group/Venue Coalition 09/30/15
Billy Atwell, AMP Studios 12/13/07
Bob Babisch, Milwaukee World Festivals Inc. 04/02/15
Tom Baggot, 05/02/03
Stephen Bailey, EPACC & Deleware Center For The Arts 02/06/04
Cary Baker, Conqueroo 05/11/11
Vince Bannon, Getty Images 07/05/11
Phil Barber, Barber & Associates 02/04/01
Camille Barbone, WineDark Records 12/09/05
Erin Barra, Musician/Producer/Educator 07/10/14
Ben Baruch, The Fox Theatre 09/27/08
Ben Baruch, By Larry LeBlanc (CelebrityAccess) 04/05/17
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Stephen Budd, Stephen Budd Management 07/13/17
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ruth Daniel, In Place of War 08/09/17
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Jennifer Lyon, MeanRed Productions 01/18/18
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Jonathan Shank, Red Light Management 12/13/17
Peter Shapiro, Ideal Entertainment 04/16/04
Peter Shapiro, Dayglo Ventures/Brooklyn Bowl 11/15/17
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Deb Suckling, SUGARRUSH Music 07/27/17
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Adam Tobey, Concert Ideas 08/24/17
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Marsha Vlasic, Artist Group International 05/31/17
Mat Vlasic, Bravado 06/28/17
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Lisa White, Pearl Street Warehouse 10/04/17
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06


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