Industry Profile: Ian Hogarth

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Ian Hogarth, CEO and co-founder of Songkick.

Songkick, In essence, places info on 100,000 concerts, and a personalized local concert calendar for your favorite artists and bands, in your pocket.

The site aggregates artist, concert, festival, venue, and ticket information from across 30 countries. Music fans receive personalized alerts for upcoming shows in their cities, and they can find the cheapest tickets for shows, using data collected from Songkick's database of 100,000 concert listings worldwide.

Songkick indexes 139 different ticket vendors, venue websites and local newspapers to create its database.

The site generates revenue from a cut of ticket sales through its platform that enables users to purchase tickets for artists they are tracking through alerts and links to ticketing platforms. Songkick reportedly takes a 2%-10% cut from each sale with the larger fees generally coming from secondary vendors.

Fans can use Songkick to share concerts on other social networks, and add photos, set lists, and reviews of a show. Songkick information is distributed across a network of partners including YouTube, Vevo, and The Hype Machine through their API.

For example, YouTube integrates Songkick's concert listings into its music page, and Yahoo! adds them to its search results.

Songkick recently launched its iPhone app that scans the music stored on any iPhone to which it has been downloaded; and then creates a custom calendar of nearby upcoming concerts by any artist represented. Users can scroll through the artists stored in their iPhone to check out the ones who are touring, or just track their favorite artists.

The app also supports the ability to search for concerts in any given city, and sets up alerts for when new dates are added, or for when friends book plans to attend a concert.

In May, London, UK-based Songkick concluded a deal with Warner Music Group to integrate its live event and ticketing platform into the company’s artist websites. Rather than each band manager or label marketing representative updating information about tour dates, venue information or links to buy tickets on a case-by-case basis, Songkick now does it across-the-board, including with websites, mobile sites, and mobile apps.

Ian Hogarth, CEO and co-founder of Songkick, studied engineering at Cambridge University while being employed as a club DJ. After graduating with a Masters degree in machine learning in 2005, he worked with the consulting firm Bain & Co. in Singapore, and Silicon Valley, specializing in technology strategy. He left Bain & Co. to co-found Songkick in 2007 with friends, Michelle You and Pete Smith.

In May 2011, The New York Times profiled Songkick as, "the go-to web site for live music."

According to comScore, Songkick’s monthly traffic has surpassed all live music sites, excepting Ticketmaster and Live Nation.

Has the mass rioting this week in London affected your business operations there at all?

Yes, the police came to our office this afternoon, and asked us to send everyone home early. I’m not sure how much longer it will last but there is a disruption for most people working in any industry in London right now.

How many employees does Songkick have?

We have 22.

How many markets does Songkick cover?

Off the top of my head, about 30 plus.

What are the responsibilities of the three partners?

Well, it has evolved over time. In the early days, we all did a bit of everything. Then, as the company has grown, we have tried to have a cleaner division of responsibility. I tend to take care of the overall strategy for the business, and most of our outward facing stuff: hiring, raising money, partnerships or industry interactions, press etc. Michelle (You) is responsible (as chief product manager) for the product which is, ultimately, the most important piece of the business. We live or die on the quality of our product. Peter (Smith) is responsible for the operational side of the business (as COO).

You were friends with Peter in university, and you met Michelle in Beijing?

That’s right. I have been going to China since I was 18. I spent quite a time learning Mandarin (Chinese). I speak Mandarin. Michelle and I met studying Mandarin in Beijing. In general, we have a very international outlook with our staff. Most of our team is based in London, and we have a satellite office in San Francisco. A third of our team are from outside of the U.K.--everywhere from Brazil to South Africa to New Zealand to Germany.

What revenue will Songkick generate in ticket sales and related business in 2011?

We don’t disclose that. As a small private company, we get to stay under the radar in certain cases.

Well, Songkick’s traffic grew by five fold in 2010. What do you expect for this year? Pretty explosive growth due to the introduction of your iPhone app?

Yeah, really explosive. Last year’s (growth) was very exciting. I think that we improved the product to a point where (our business) just started exploding. We had something like 8X growth between Q1 2010, and Q1 2011. What was particularly exciting was that we started to get to a level of scale where we could feel that we were reaching a significant percentage of live music fans. We became, essentially, the second most trafficked concert service after

Last year was really about getting to a level of scale where we were a bit more significant. We had proven that the product was desirable to a large number of music fans. This year, my hope is that we can blow the doors off that record. There is a bunch of new stuff that we are investing in, and this year we’ve also started to integrate a lot more with mobile platforms.

The iPhone app really opens doors for you.

It does. We rolled that out in June (2011), and it has exploded since we launched. In the first two weeks, we had 100,000 downloads. We have had some fantastic inbound interest from all sorts of partners in the music industry as a result of it. The thing that I am most proud about is the level of word-of-mouth uptake from fans. In every single market that we have launched it in, it has been hovering between 4 1/2 and five stars in the apps reviews which are really high for a music app. I am very proud of that. I am also very excited about all the new things that we are going to be bringing out over the next few months.

What will you be adding to the service? One thing I know pending is alerting consumers to when tickets go on sale. There are other things as well?

There are. We are going to do whatever we think will improve the experience of going to a concert as much as possible from the fan’s perspective. On-sale alerts are definitely a part of that; and supporting other mobile platforms like Android is clearly part of that. We have some pretty big ideas and plans on the social side of things in terms of making it easier to go to concerts with your friends.

When will you roll out the Android app?

Later this year.

Why did it take so long to launch your iPhone app?

Part of it was about trying to get the product right. A lot of people have released iPhone apps for concert going over the past couple of years. There has probably been 200 applications released around concerts. None of them have really exploded—from applications developed by ticket vendors to start-ups. Most of those applications have languished in the one to three star range in (Apple’s) App Store. We were really focused on figuring out exactly what we had to do to create a product that would be compelling to consumers and would satisfy what they were looking for in a mobile context.

Of course, the smart phone market has opened things up, and is creating a new type of user experience, and new types of revenue opportunities.

The reason that we waited was that we wanted to make something fantastic. I think it is all about re-thinking your proposition for a mobile context with a different form factor, with a different set of use cases, and doing enough user research to understand what a compelling product will look like.

You come from an academic and technology background. What do you think about this live music business you are now part of?

It has been largely ignored by entrepreneurs. There are a lot of challenges in scaling a business in this space because you are essentially dealing with data--a lot of it. So having an academic background in computer science and machine learning--and building a team that has real strength in those areas--has been a great asset to us because we are dealing with hundreds of thousands of concerts in all the different markets around the world. Essentially, it’s a large data business. We are helping consumers make sense of all that data.

What you are seeking to do really is to centralize concert data for varied usage.

Centralization we have in many ways done. Centralizing, personalizing and distributing that concert data (are goals). Centralizing it in one place so that the fan only has one place to worry about to find this stuff; personalizing it by only showing them the concerts that are interesting to them; and then distributing it by tying concerts into every other musical experience on the web---whether it’s a video on YouTube or a track on SoundCloud or an artist with a personal web page so that concert information has maximum visibility in the fans’ eyes and more people go to shows.

That is how we will judge our success in the long run. Do we get more fans and more shows? The thing that I have been so excited about is that the first piece of research that we’ve done into the behavior of our user base showed that fans go to 70% more concerts after using Songkick. That’s not because we changed their appetite for live music, but because we make it so much easier (for them) to go, and so they go to more shows.

[Live Nation Entertainment made a profit in the second quarter of 2011, reversing a loss from a year ago, as concert attendance went up in North America.

The results announced Aug. 8, 2011 beat analyst expectations for a break-even quarter.

Live Nation put on 4,243 shows in North America during the quarter---16% more than a year earlier. Attendance grew 13% to 8.9 million. Spending on ancillary items, including food and parking, grew 3% to $19.21 per concertgoer.

Outside North America, Live Nation held 16% fewer shows at 1,591, and attendance fell 6% to 4.2 million.

Overall, attendance grew 6% to 13 million.

"We are seeing the global ticketing business stabilize and concert business grow year-over-year," said Live Nation CEO Michael Rapino in a statement.]

With Songkick, fans don’t have to hunt through the internet or various media for concert information.

Exactly. We try to make it as easy (for them) to go to a concert as it is to go to a movie on a Friday night. It should be that easy but, historically, this industry hasn’t been focused on using technology to help the fan.

Really, what we’ve done is stepped back and said, “We believe that if you made it easier to go to concerts, more people would go.” It might (result in) twice as many concert tickets sold; it might be three times; it might be more than that. We don’t know. But we are going to systematically solve every problem that the fan has in going to concerts, and get to the point where the experience of finding out about, and going to a concert, is as delightful as it can be. That is when we will feel that we have really made an impact.

Ralph Simon (CEO, Mobilium) and I recently spoke about how mobile is enabling consumers to use music in a cultural way. As a social activity, and as identifier with their friends.

Certainly. Ralph is one of the smartest thinkers on the intersection of mobile, computing, and the music industry. He’s given me some great advice over the past couple of years.

The iPhone is one of the most disruptive pieces of technology for music. It gives you access to either a huge amount of music catalog or a huge amount of data in your pocket. It has enabled us to take 100,000 pieces of information from our concerts, and just put them in your pocket. So wherever you are in the world, you can pull out your iPhone, and you will have every local concert at your fingertips which--to me--is an incredibly exciting thing. Traveling, and having people on holidays experiencing live music outside of the typical context that they find themselves in.

I agree with you that the social pieces are very exciting, especially with concerts because the average fan goes to concerts with their friends. It’s very rare to go to concerts by yourself. The average number of tickets for Songkick over two tickets per transaction is something like 2 1/2 to three tickets per transaction. (Concert going) is an inherently social experience to start out with. We’re working hard on tighter integration with Facebook.

If a fan likes a band, they want to tell all their friends.

Absolutely. But even more to the point—‘cuz there are bands that I discover that I don’t share with my friends--but it is incredibly rare that I go to a concert by myself. So concert going is almost more social than listening to music.

With Spotify, SoundCloud, and Songkick, Europe seems to be a center for music-related technology companies. That’s interesting.

I think it is. There are a few reasons for that. The first is that the most natural place to base a technology company focused on the music industry is in a market that is very much a cultural capital, somewhere like New York--London, Berlin Tokyo or Austin (Texas) even. The kind of place where there is also an incredibly rich music scene.

Why pick London for your headquarters?

London has more concerts per year than any other city in the world. It is a very natural place for us to be based. Berlin has one of the most innovative audio scenes, so it’s a very natural place for SoundCloud to be based. Part of the reason that you are seeing a wave of music companies being built in Europe is because there are some incredible cultural capitals that are very aligned with the proposition of the product. That certainly does not mean a lack of engagement with Silicon Valley or indeed the U.S. in general.

You launched Songkick in the U.S.

We founded the company in the United States, and we raised our first capital in the United States. I spend most of my time on airplanes flying between San Francisco, London, L.A., New York and Nashville. To me, the challenge (was) to be based in a cultural capital, somewhere like New York or London or Berlin, but to be close enough to the core technology platforms, like Facebook, Apple and Google that exist in Silicon Valley.

You have done well in acquiring investment capital for Songkick. Are investors now coming back into the music business?

My view is that the investment that you are seeing flowing into the music industry is a function of the investment flowing into the technology industry, in general. I don’t think that the appetite to invest in music companies has grown faster than the appetite for investment in other forms of technology companies. There is a big up-swell in the past six months of capital flowing into technology start-ups.

[Songkick has been funded by “angels” and VCs from the technology and music industries. Published reports indicate that Songkick raised $5 million to launch. It first landed a $15,000 investment from Y Combinator, and later received investments from SoftTech VC, The Accelerator Group, Index Ventures, and Betaworks (and has support of such high-fliers as Alex Zubillaga, Jeff Clavier, Stefan Glaenzer, Peter Read, and Dan Porter). In Feb. 2011, Songkick raised $1.9 million of a $2 million funding round.]

The new link between mobile, and music distribution might interest some investors.

I’m not sure that (rights) challenges have fundamentally gone away. If you are building a company that requires access to recorded music, you still have significant logistical challenges in working with the content owners to find a product definition that matches both sides’ expectations. Just look at Spotify. It took two years for them to get deals in place to let them launch in the States. That kind of (rights) challenge still exists. That personally is what I find so impressive about entrepreneurs like Daniel (Ek) and Martin (Lorentzon) at Spotify--that they are still trying, despite all of the challenges. In many ways, they invested more time and energy on the legal side of things than typically a technology company would.

In many ways, you’ve taken on a sector of the music industry that has traditionally tried to do little more with than sell tickets. Certainly, it has done very little to retain its customers until recently.

Yeah, I think that’s a very elegant way of putting it. If you look at the evolution of technology and concerts, there were some pretty massive innovations back in the day---with amplification that enabled a band to go from playing to 20 people in a room to 100,000 people at a festival. That is an example where technology really benefited the fan. You could argue that the airplane benefited the fan because it meant that they could see their favorite bands even if they didn’t live in the same geography. But, in terms of the past 20 years, all of the innovation has been focused on the venue. Ticketmaster, essentially, has entirely been focused on the venue from when Fred Rosen built it (30 years ago) all the way through to now, really.

[In a New York Times profile of Fred Rosen published June 11, 2011, Janet Morrissey wrote, “Mr. Rosen shook up the ticketing industry by allying himself with venues and promoters. They were his customers — not the fans, and not the performers. He rolled out a centralized distribution system that let people buy tickets over the phone, through retail outlets and later, online, saving them the trouble of having to line up at a box office.

He bet that arena owners and promoters would sign up in droves if they were offered a percentage of every ticket that was sold using a “convenience” or “service” charge, and he was right.”]

Fred Rosen secured exclusive contracts that made Ticketmaster the only game in town for tickets at many venues. Meanwhile, there was little research into how to sell tickets, or even where to sell tickets. Today, ticketing companies and concert promoters know that they are in need of data.

Yes. The problem with focusing so hard on the venues, and optimizing around the venue’s interests was that the fan was ignored for many years. What Songkick is trying to do is champion the fan in concert going, and make it so easy for fans to go to concerts, and discover great shows so that they go to more shows.

Songkick wasn’t welcomed by many in the concert business. AEG Live’s Rob Hallett (president of international touring) said he wouldn’t support a service referring consumers to ticket resellers. He told Andre Paine in (March 13, 2010), "The last thing our industry needs is another third party trying to make money on the back of our risk.”

Yeah. Well, that was a good while ago, right? There was a degree of misunderstanding about what we were doing when we first launched. Some of the parties saw us as being another middleman. What we are actually doing is solving a problem that all of these guys complain about--that is that tickets are going unsold. They will tell you that if you ask fans why they didn’t go to a show that it is not that it was priced too much or because they couldn’t get a babysitter. It is because they didn’t know the show was happening in the first place.

Have attitudes toward Songkick changed?

Once people realized that the fundamental thing that we are doing is increasing attendance at shows, we have had a universal positive reaction from the industry, whether it’s with ticket vendors like Ticketmaster, and AEG--with the new stuff that they are doing with Access—and with Ticketfly and smaller players or agencies, venues, managers, and promoters. It’s been pretty much universal that we have been welcomed once people realized what we were actually doing.

Primary ticket vendors and some promoters were furious about Songkick referring consumers to ticket re-sellers.

In general, middlemen are not very keen middlemen. If you are a middleman like a ticket vendor (working) between bands, artists and venues, then you tend to view new middlemen as a negative thing until you understand if they are positive or negative for your business. We have sort of proven to these guys that we are driving incremental ticket sales. As a result, they seem very excited about that.

Songkick still generates sales for ticket re-sellers.

We try to make sure that the fans buy the cheapest, and the best ticket. Our view is that we want to be a neutral aggregator of everything available. So if there are fans who want to know what the availability is in secondary (ticket) markets, we will show them. We list everything from pre-selling of inventory to on-sale prime inventory to secondary inventory to distressed inventory.

We try to make sure that every time we rank (a ticket that it is) in order of the attractiveness to the fan. So pre-sale comes first, then primary, and then secondary. We also clearly display the brand so that (fans) will know who they are linking out to; and we display the price of the ticket. So we just make (everything) very transparent to the fan. They know what they are getting into when they go out to a particular vendor.

The ticket market itself is fragmenting with the emergence of ticketing companies like Ticketfly, and Eventbrite, as well as Crowdsurge, Bandcamp, and Topspin that are also servicing the sector with social marketing platforms.

I think that’s right. What’s interesting is that it is fragmenting on multiple dimensions. Historically, you had an incredibly monopolized market that was very much focused around ticketing, and that was optimized for the venue’s experience in ticketing--the Ticketmaster model that Fred Rosen built. Ticketmaster was, obviously, very much a monopoly in the U.S. Outside, of the U.S. has always been more fragmented because there have been less exclusive deals.

Now, in the U.S., there are multiple dimensions of fragmentation. The first dimension is on long tail ticketing. Companies like Eventbrite have been growing explosively, bringing a market of ticketing that has historically been offline, online. Secondly, you have the players that are competing directly with TicketMaster for their core business--venue-centric ticketing people like Ticketfly. Thirdly, there is a new dimension of artist-centric ticketing where the ticketing experience is very much optimized around what the artist needs rather than what the venue needs. There you have companies like CloudSearch, Crowdsurge and Topspin which have been growing like gangbusters as well.

There’s a fourth category of disruption which is the model that Fred Rosen is sort of introducing with his new Outbox Enterprises product that is a lot less focused on the ticketing company being its own consumer brand and more focused on the ticketing company being a facilitator for all the different players in the eco-system.

[Outbox Enterprises is comprised of Rosen, AEG, Outbox Technology, and Cirque Du Soleil. Outbox's white label ticketing solution has presented itself as a rival to Ticketmaster's centralized system, and an increased white label approach is what Rosen sees as the industry's not-too-distant future. "There's no room for a third party anymore, for a middle man," Rosen said in his July 15th (2011) keynote speech at Ticket Summit in Las Vegas. "The building is a brand, every team is a ideally what they want is a direct relationship with the consumer."]

Is Songkick now sharing data with bands so they don’t have to update tour information on a case-by-case basis? So Songkick can do it for bands across-the-board.

It is actually. That was a new development for us last year when bands (reps) started to approach us saying, “I manage five to 10 public profiles on the web--from Facebook to MySpace to Twitter to YouTube to SoundCloud, and Bandcamp; all of these different places. I have to type in our 40 tour dates six times. It’s a lot of manual work. Keeping those dates updated is a lot of work. You guys already have all this data. Could you automate that process?”

So over the past year, we have spent a bunch of time doing partnerships with the leading artist services companies, like SoundCloud, Bandcamp, Topspin, FanBridge, and Root Music. In the process of doing that, and with YouTube, we made it possible to automatically have their tour dates syndicated across all their various profiles, on all of these different sites. So they only have to enter the date once with Songkick, and we will manage the syndication for them.

We are working closer and closer with bands, their management companies, and with their labels and agencies to stream and to simplify that process. So the band can spend more time making music and less time doing data entry.

[Songkick has partnerships with Bandcamp, Crowdsurge, FanBridge, Topspin, SoundCloud and Ning. By allowing these companies to use Songkick's API, artists can use Songkick to propagate concert listings and ticket links at the partner services without any additional manual data entry.

Also, once installed, Songkick’s Facebook app pulls an artist's concert info from Songkick and places it on the artist's Facebook page under a concert tab that is marked by the Songkick logo.]

In May, Songkick landed a deal to integrate its live event and ticketing platform into Warner Music Group’s artist websites.

Warner Music Group is an example of an entire label embracing that approach. They said, “Look, we’re managing tour dates for hundreds of acts at a given point in time. It doesn’t make sense for us to be doing this huge volume of manual data entry. Let’s partner with the leading concert aggregator,” which was us.

[The deal to integrate Songkick’s live event and ticketing platform into Warner Music Group’s artist websites is specific to Atlantic Records, and Warner Bros. Records.]

Does Songkick trawl through info from music blog aggregators for concert information?

We actually don’t. We have a partnership with The Hype Machine where we syndicate our concert data to them. So if you are listening to songs by White Denim on The Hype Machine, alongside that experience, it will show you that White Denim is playing a concert near you. This basically increases exposure of that band’s tour dates.

Many fans will champion a band until they become big. People often prefer bands below the radar. With music-based sites like Songkick, it’s becoming harder for a band to stay below the radar.

Yeah. That’s a really good point. I sort of wonder if we may see a subgenre of bands emerge that deliberately will keep themselves off the internet because they don’t want that exposure in the early days. They don’t want to grow up as fast. But the mainstream of bands are very keen to find as many new fans as possible. They embrace the internet as a great distribution platform for their music, and as a great way of attracting a larger audience.

The internet has certainly overturned that traditional cycle of a band taking two or three albums to break. That cycle is down to 60 to 90 days in some cases.

I agree with you, and I don’t think that cycle is just for bands. That is for any form of content that can be distributed on the web. Historically, it wasn’t possible to grow services as rapidly as it is now. It is crazy that our app went from zero users to 100,000 users in two weeks with no marketing. That was not possible a few years ago. You can say the same thing about other product launches, and other things that have occurred on the web. That is just a general trend of the web accelerating adoption of high quality content. However, there is another side to the point that you are making which is that if your stuff isn’t good, it is even harder to find an audience because you don’t have any highly concentrated media channels that you can pump it through. So, although good things are blowing up faster, I think that it is much harder for something that is not that good to get to a large audience.

There is something to be said for a band spending 18 months or more touring clubs and building an audience. Today, an act can be well known but not have the live experience to back them up.

Everything that you are saying resonates with me. The big challenge is that if you make something really extraordinary that stands out, that consumers are very excited about, then it will spread faster than it has ever spread before. There is a real challenge in (a band) managing that growth, and developing their proficiency in playing live, and their ability at making records alongside that. That’s the new reality. It is as much of a challenge for technology companies growing up fast to musicians growing up fast. The only way to break that cycle is to try to throttle the amount of distribution you seek from the web.

Were you a music fan growing up?

Yeah, always. It’s been one of my biggest passions since I was a kid. I used to sing in a choir, and I played a bunch of instruments. I was DJing when I was in school. I have been DJing ever since---mainly hip hop and funk. Some of my best memories have been at concerts, and at festivals. I have always been a huge music fan. it’s always been part of my core interests.

You were raised in London?

South East London. The place I grew is about 15 minutes south-east of Brixton. That was a great thing for me growing up. There were amazing venues nearby because I was so close to Brixton. I could go to the Brixton Academy, and I could go to (such clubs as) The Fridge and The Dogstar there. I had some fantastic live music on my doorstep growing up. As a result, I got into music early.

You attended Cambridge University, home to the amateur theatrical club Footlights, famed for having such members as Hugh Laurie, Peter Cooke, Stephen Fry, Sacha Baron Cohen, and members of Monty Python.

I was a member of Footlights at Cambridge. I did quite a bit of improvisational comedy when I was at university. That was one of my passions when I was at school. I don’t think Cambridge has been that famous for DJs, but I tried.

After university, you went to Beijing, and later worked for Bain & Company in Singapore.

I had this huge passion for China, and I wanted to get my Mandarin to a level where it was better than it was. I spent awhile in Beijing. I was studying Mandarin Chinese and I was DJing hip hop. The reason I worked for Bain was that I felt that it would be a useful introduction to business--that it would help give me a rapid education in some of the mechanics of running a business successfully. Also because they were going to give me the opportunity to work in both Asia and Silicon Valley, two places that are dear to my heart. So I worked for Bain in Singapore--which is their Asian hub--and then I worked for them in Silicon Valley as well.

When you started Songkick, was it difficult recruiting staff? One of your first hirings was Phil Cowans, who was then working at Microsoft Research. Persuading him to quit his job to join your new company must have been challenging.

You are right. That is always going to be one of the biggest challenges for starting a business, especially if it’s your first business because you don’t have any credibility. You don’t have that much traction. Phil was a friend of a friend of a friend. We reached out to him, and said, “We are starting this company, we want you to be our first hire on the technology side.” He said he wasn’t that interested. He had a good thing going on (at Microsoft Research).

I just said, “Can you spare half an hour for coffee?” Over that coffee, Phil went from being luke-warm on the idea to being really excited by the idea. We sort of took it from there. Most of our key hires have had some element of that experience. Every time you hire someone, you sort of are punching above your weight. You are trying to bring in people who are more experienced than you are, and that can help you scale the vision for the business. So you are always in the process of punching above your weight, and getting people to take a risk.

Songkick recently hired some senior management.

We brought in (technologist) Dan Crow who was formerly at Apple, and Google--a very senior hire. We hired Mike Harkey who ran music (and books) at eBay, and was general manager of Imageshack (the mobile photo sharing service) that does about 50 million unique (visitors) a month, as our U.S. general manager. We hired Sheryl Seitz (as VP Communications) who used to run communications for Apple in Europe.

So we have been making fairly senior experienced hires. And, every time there’s been that, “let’s get a coffee moment.”

[Dan Crow, a former Tech Lead/Manager at Google for search and mobile, has a particularly impressive CV. He’s a PhD in Machine Learning, worked at Apple, and was a co-founder of three start-ups in Silicon Valley, including Blurb. He then did six years at Google in New York and London.

Crow worked on Google Mobile Apps, developing Google’s search applications for Android, iOS, Blackberry and Windows Phone 7, as well as Google Ads Professionals, and Rich Media Dynamic Ads. He founded and launched the Google Squared project.

Mike Harkey joined Songkick from ImageShack, where he was GM for sites totaling over 60 million monthly visitors. Previously, he worked at start-ups and led the music and books businesses for eBay. He’s authored over 20 academic case studies for Stanford University, where he received his MBA.]

You are looking to hire someone in L.A. to work with the music industry?

We are going to be hiring one person on the ground in Los Angeles to work on industry and artist relations. They will be working with all of the key artist management companies, all of the key (booking) agencies, and all the labels to make sure that we are doing everything we can to help those guys; and making sure that they are aware of all of the technology that we have built that can potentially help them sell more tickets on the next tour.

You don’t allow your employees to receive free tickets from venues or promoters.

The reason that I made that rule is that I observed a lot of the guys that worked at labels and ticket vendors--they don’t buy tickets. So they forget about the pain of the on-sale. They forget about the pain of being at their desk at 9 A.M., and sitting in this queue, and having their browser crash. All sorts of stuff. We could be on the list for every show we want to be on now given the reach we have, and the amount of fans that we drive to the industry. But I feel that if we start to do that, we will lose sense of what it means to be an average fan who is queuing up at 9 A.M. for the on-sale. I was watching my CTO (Dan Crow) and Michelle buy tickets for a Pulp concert the other day. Both of them got into the office at 9 A.M. for the on-sale. Both of them were cursing when they were trying to get a ticket. I know that (type of) experience will continue to improve our product.

You do give employees an allowance to go to concerts.

Yeah, we do. We give everybody a £25 stipend for buying concert tickets. So we aren’t completely heartless in helping our employees benefit from being a bit closer to the live music industry. There is a group of people here who are fantastic programmers, and who are passionate about music--who are really excited to combine those two passions. That is very much my background. I am a massive music fan, but I am also a huge fan of technology as well. I am particularly passionate about going to see live shows. We built a team in London that is, arguably, one the strongest development teams of any start-up in the U.K. We will continue to do that because we believe that the user experience and quality of technology is a huge part of our success.

How many concerts a year do you go to?

Well, it kind of varies. I travel a lot so I am typically on the road all of the time. When I am in another city, it is a bit harder to (go to concerts) because I wouldn’t have been able to get tickets to the show that I want to go to. Often, I will book tickets in London, and then I will have to be in New York or in San Francisco. So I will end up missing out on the show. I will go to 10 to 30 concerts, depending on the 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.”


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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