Industry Profile: Jordan Kurland

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Jordan Kurland, owner, Zeitgeist Artist Management.

With much of his roster touring (some behind new albums), and planning an upcoming annual festival, Jordan Kurland’s life is in overdrive.

Kurland is the owner of Zeitgeist Artist Management, which has offices in San Francisco, and New York.

The boutique artist management company, founded by Kurland at the end of 1998, focuses on developing long-term careers for independently-minded artists.

Its small, dedicated staff of six lives, breathes and absolutely believes in music; and believes in taking a grassroots approach to career development in the expectation that its clients will be able to continue creating music for years to come.

Zeitgeist's robust roster includes: Death Cab for Cutie, the Postal Service, She & Him, Bob Mould, Matt Nathanson, Rogue Wave, French Kicks, the Head and the Heart, the New Pornographers, Release the Sunbird, Say Anything, Surfer Blood, Thao & Mirah, Thao With the Get Down Stay Down, Jimmy Tamborello, and Chris Walla.

Jordan is also a partner in two established and notable local festivals: the Noise Pop Music Festival, and the Treasure Island Music Festival.

Noise Pop Music Festival has been running since 1993. In 1997, Kurland offered its founder Kevin Arnold help in keeping track of logistical matters. He has been co-producer of the event since.

Noise Pop 2011 took place Feb. 22-27, 2011 and featured such acts as Best Coast, Wavves, No Age, Yo La Tengo, Dan Deacon, Ted Leo, the Concretes, and others.

This year Treasure Island Music Festival, presented by Noise Pop, and San Francisco promoter Another Planet Entertainment, will take place Oct. 15th and 16th.

Among the acts that will be presented are: Death Cab For Cutie, Empire of the Sun, Cut Copy, Explosions in the Sky, Beach House, Death From Above 1979, Stephen Malkmus & the Jicks, Chromeo, the Head and the Heart, the Hold Steady, Dizzee Rascal, Flying Lotus, Weekend, St. Vincent and more.

This celebrated two-day, outdoor event has sold out the past two years. Over its year year history, it has presented a wide range of acts, including MGMT, Flaming Lips, M.I.A., Modest Mouse, the Raconteurs, Justice, Spoon, Thievery Corporation, Vampire Weekend, Girl Talk, MSTRKRFT and the Decemberists.

Treasure Island Music Festival organizers have been enormously savvy in their bookings, catching many of the acts on their way up, which has kept the talent budget reasonable.

Raised just outside of Chicago, Jordan came to San Francisco in the mid-‘90s in order to work at David Lefkowitz/Figurehead Management. He spent four years there, handling business for such acts as Primus, Charlie Hunter, and the Melvins.

When Zeitgeist launched in 1998, Kurland first shared an office with a friend, and only had a single staffer working for him, part-time. At the time, he was managing the bands Creeper Lagoon, Beulah, and Crumb as well his friend Matt Nathanson whom he went to college with.

Kurland met Death Cab For Cutie the same year, just after its first record “Something About Airplanes” was released by Josh Rosenfeld’s Barsuk Records.

Kurland was attending the North By Northwest Music Conference in Portland, Oregon. He went to see them play at a club. He missed the show, but bought a CD.

Two months later, Death Cab For Cutie toured with Crumb, and Kurland and Death Cab members became friends.

Barsuk had done a fantastic job of nurturing Death Cab For Cutie, and building their huge indie fan base. As a result, major labels began calling them since 1998, but the band wasn’t interested until releasing "Transatlanticism” in 2003, which appealed to far more people than anything else they had released previously. Recorded for $15,000, the album sold over 300,000 copies on Barsuk.

Band members were all pretty much all blown away by Atlantic Record’s offer of a long-term, worldwide deal in the Fall of 2004. This was largely due to Kurland being able to negotiate considerable creative freedom for the band because it had had so much success as an indie act.

Barsuk continues to issue vinyl versions of Death Cab For Cutie’s Atlantic releases. Their new album “Codes and Keys” comes as a double-LP with an 11"x11" double-sided LP insert with complete lyrics and liner notes, all wrapped in an elaborate gatefold jacket.

How have you picked bands to work with?

I would never work with something that I didn’t love, and believe in. There are different levels of belief, or I should say, that I think that they might have varying levels of success. But, for me, it has always been that I’ve always wanted to work with something that I could wake up to, and listen to before I go to sleep.

That’s why I wanted to be a manager. It gave me more freedom than any other job than I can think of as far as working on things that I’m only passionate about.

Certainly that criterion has changed a lot in last few years because I have staff and I make sure that the things that I work with are going to have a certain level of potential. That doesn’t mean that everything I work on has the potential to be pop stars. But I just feel like it has a potential to be successful, and then support it. That certainly has become more of a factor over the years. But really, it has been (based on) what I love, and what I believe will connect with people.

It was a coup for your company when the folk band, the Head and the Heart, was the cover story of Billboard recently. That surprised me.

It surprised all of us when we got that opportunity. But nothing should surprise me with that band. It’s been amazing. It’s almost one of those things that you don’t want to think about too much because you’ll screw it up. We felt like that on the first She & Him record (“Volume One” in 2008); where you have an artist that rides that wave, that inexplicable thing like that happens, and then you just let it keep happening.

[By the time the Head and the Heart signed with Sub Pop Records in Nov. 2010, the group had sold nearly 8,000 copies of its self-named 9-song debut which had been released in June, 2009.The band signed with the Seattle indie label reportedly following interest from such majors as Warner Bros. and RCA as well as from the indie Glassnote Records. The remastered, expanded album was re-released on Sub Pop Records on April 16, 2011, and has sold 50,000 units.]

How does your company operate?

There are five of us in San Francisco, and Matt Shay in New York. Matt, I have been friends with for a long time. He was at J Records and RCA Records (as VP of A&R and marketing at both) for about 10 years.

We have it set up so Joe (Goldberg) and Justin (Little) do the day-to-day of management. They assist Matt and I. Matt and I co-manage the Head and the Heart, and he has picked up Kathleen Hanna (of Le Tigre and Bikini Kill fame). We just started working on Surfer Blood together. Joe also does some managing. He and I co-manage the New Pornographers, and just picked an artist from the Bay Area, Thao Nguyen, who is great.

Jaime (Nabrynski) handles our web stuff. If a client wants to build a new website, she project manages it, and ensures that their Facebook and MySpace pages are up to date etc. Leslie (Connolly Blakeman) is my assistant, and office manager.

The growth has been really exciting. It’s been a little overwhelming because for a long time we were not picking up a lot of artists, and we picked up four acts in the past year. So it’s been a lot of integration. Frankly, we need to hire somebody in a month or two because it’s just getting really, really busy. But we keep (the company) lean, and it’s very family oriented. We just try to be as effective as possible.

In growing the roster and putting the staff under greater pressure, have you had to make adjustments yourself as a team leader?

Yeah, absolutely. It has certainly been a huge adjustment balancing the management of artists with balancing a staff. In an ideal world, I would have someone to manage the staff, but we aren’t that big of a company, so it is hard. Especially the vortex that you get pulled into when you manage acts. Just trying to keep the ship on course, so to speak. Fortunately, my staff knows that they have to bug me sometimes.

Is it advantageous being in San Francisco, and not in such music industry centers as New York or Los Angeles?

It is and it isn’t. When the technology thing started happening, it was a justification for my existence to stay up here. But, overall, I don’t think that I would have the company that I have, or I would have built it the way that I have built it, if I wasn’t here, if I was in New York or L.A. I would have had different pressures.

You operate a bit differently being in San Francisco.

I agree, and I dig that. Sometimes I miss the energy being more centered in the industry, but it has worked out really well for me here. What I don’t like is the travel. I would have to travel if I lived in L.A. or New York certainly, but living here means I have to be in L.A. or New York. That adds probably 30% or 40% of travel to my schedule.

How close are you with other managers?

It depends on the manager. Managers, in general, tend to operate in their own world. They get so pulled into the world of their clients. I have some very close friends that are managers.

Who do you feel a kinship with?

There are a lot of them. There are a lot of young managers right now. I was recently hanging out with Jason Colton (of Red Light Management) at Outside Lands. Jason manages the Decemberists, and works with Phish etc. I have always been very fortunate that more experienced managers have always been helpful. Pat Magnarella has been a really great supporter, long before I had anything going on. I have become friendly with John Silva in the past few years, and he’s been really great.

Your schedule is packed. Several of your acts, including Death Cab For Cutie, have new CDs, and you have two festivals this year. Are you crazy?

Yeah, I am beginning to think so. I am definitely beginning to think so. It’s a delicate balance between when things are going so well that you want to build on them, but you also don’t want your eyes to be much wider than your stomach. That’s why I feel like it’s a challenge. We are not selling as many records as a business; acts aren’t touring as much as they did a few years ago because of the economy; you just have to figure out that balance of keeping an active roster along with being able to do your work properly.

It’s one thing to be working with an active roster; and another thing to be working on two festivals in the year as well.

Yes, that is true. But, to be fair, I’m not as involved as I was with Noise Pop. I am still involved but it’s not at the same level of engagement that I had a few years back. I just don’t have the time for it.

Treasure Island Music Festival is a big event.

With Treasure Island, we partner with Another Planet Entertainment which just finished up with Outside Lands (Aug. 12-14). It is definitely a huge undertaking. As far as my energy and focus between the two festivals, it is certainly more on Treasure Island than on Noise Pop these days.

[Treasure Island lies just off the coast of Yerba Buena Island in the San Francisco Bay. When the Treasure Island Music Festival began in 2007, it soon became one of the prime music events of California’s live music scene. In its five years, Treasure Island Music Festival has never repeated an act.]

Does your staff oversee Treasure Island Music Festival or do you bring in a separate staff?

The Zeitgeist Artist Management staff is basically a Treasure Island staff. Noise Pop is owned by myself and Kevin Arnold. Kevin, himself is an extremely busy guy. He runs IODA (Independent Online Distribution Alliance), which Sony owns half of.

So it is a separate staff. Zeitgeist’s management is one staff, and Noise Pop is a separate staff that works on Treasure Island. With Treasure Island, we are also partners with Another Planet, which has an even larger staff.

[Computer programmer Kevin Arnold worked at the database technology company Oracle, and then at the online music company before he founded Online Distribution Alliance (or IODA), the digital distribution company for the global independent music community, in 2003.]

What’s your participation in Treasure Island? Do you help pick bands?

Yeah, absolutely. It’s a little bit like a committee; myself, and Allen Scott and Bryan Duquette from Another Planet, and also Kevin Arnold—we do the primary selection of the acts for the festival. It works out really well.

Treasure island has had sellouts for the past two years.

Yep, correct. With Treasure Island, we really are a boutique festival. We don’t try to compete in that large space of going up against Outside Lands, or Lollapalooza. We sell 14,000 or 15,000 tickets a day, and we are more than happy. It’s much more a mixed audience that wants the festival feel. The same way that Noise Pop has always been about presenting somewhat intimate shows, we want Treasure Island to feel like an intimate festival. We definitely have achieved that.

The Noise Pop Festival started in 1993 when Kevin Arnold booked five bands into a small club and called the event Noise Pop. In 1997, you came in to help keep track of the logistics. Since then you have co-produced an event, which became more ambitious, including introducing the film festival and educational series in 2000.

This will be my 15th Noise Pop. That just makes me feel old.

In 2000 and 2001, you and Kevin presented Noise Pop Chicago with the booking agency, The Billions Corporation. Why didn’t that continue?

What happened was that the economy fell out. It was sort of that period. Noise Pop, because of the nature of how we structure the festival, is very sponsore-driven in terms of our ability to do it. The internet bubble burst in 2001. In 2000, we did very well with (Noise Pop Chicago) but in 2001 we lost some money, and frankly I was getting busier and Kevin was getting busier. It didn’t make sense to go on.

A big stress doing something long-distance as well?

For sure. We had partnered with The Billions Corporation and Tom Windish was at Billions at that point. So it was the four of us (Tom, Kevin, myself and David (“Boche”) Viecelli) doing it. But yeah, it was hard. Noise Pop (in San Francisco) would wrap up at the ending of February or the beginning of March, and we had this other festival to look to in May. If Kevin and I didn’t have “day jobs” outside of Noise Pop, it would have been easier to achieve. But it was exhausting.

Many people do think of Noise Pop as being quintessential San Francisco.

Yep. I think that is what we figured out when we went to Chicago. I had grown up outside of Chicago so it was nice to do something there, and also I felt that Chicago was a market that was underserved. Chicago has such a great music community—and this was pre-Pitch Fork Fest and pre-Lollapalooza. So it felt like there was a real opportunity to do it but, frankly, Kevin and I just didn’t have the people power.

Noise Pop, although thankfully well respected and established, has largely been a hobby for the two of us. I think hobby is, perhaps, the wrong word…we moonlight, because we have always had other day jobs.

Money doesn’t seem to be the prime motivator behind either Noise Pop or the Treasure Island Music Festival.

No it’s not. Treasure Island, frankly, is a much more profitable endeavor. That is because of the size of it. Outdoor festivals are a lot sexier for sponsors, and you can do well on that. Noise Pop, we really enjoy doing, and it has become such an integral part of the San Francisco music community—and (of) independent music on a national level—that we have kept going.

Overseeing Noise Pop must have been a great networking tool for you as a manager early on.

For sure. Part of the reason I was in touch with Death Cab for the five years that they were self-managed was Noise Pop. They played it three times. It wasn’t ever in my mind that “I am going to do Noise Pop because it’s going to land me bands” but it has helped in that regard.

You came up primarily through the independent sector. How do you view the changes in the music industry over the past few years?

It’s (now) challenging, and it’s exciting. As a manager, you have an ability to connect with fans in such a different way than you had been able to before, but it is really challenging. It is also more expensive running a management company because you are now staffed in a different way. I don’t think that the roster that I have would have achieved the success that it has without the connectivity of the internet. On the one hand I ask, “How in hell am I only selling this amount of Death Cab records with the exposure that we’ve had?” Yes, it’s obvious that people are downloading it and they are fans, but the reality is that Death Cab is the type of artist that would have never gotten anywhere to where they are without the connectivity that the internet provides.

Before leaving Barsuk Records for Atlantic Records in 2004, Death Cab for Cutie had been courted by numerous labels. Around this time, there was a sizable migration of bands from indies to majors including: Le Tigre (from Mr. Lady to Strummer/Universal), Hot Hot Heat (SubPop to Sire/Warner Bros.), and Yeah Yeah Yeahs (Touch & Go to Interscope).

Few could imagine Bright Eyes landing at #10 on The Billboard 200 the next year with "I'm Wide Awake, It's Morning," released on Omaha, Nebraska—based indie Saddle Creek.

Definitely not. There had been interest from majors off and on for years for Death Cab—from pretty much when the band started. When I got onboard, when they hired me, it was about six or eight weeks before "Transatlanticism” (in 2003) came out. That record, unsurprisingly, garnered a lot of attention because it is such a great record. But they didn’t feel a real need to go to a major. Then the record just performed so well, and it opened up so many doors, and there was the success Modest Mouse was having (with the 2004 platinum-selling “Good News for People Who Love Bad News” after moving from Up Records to Epic Records in 2000), it felt like that was a window open to jump through.

Death Cab for Cutie never showcased for labels?

No, of course not. People would come out and see them. There was interest. As soon as people started hearing the band through that record ("Transatlanticism”) there was a lot of interest. Then we met with a (major) label and more labels came knocking. The record just kept going. It was a year after the record came out that they signed their deal with Atlantic. We talked to labels for pretty much a year straight.

You were able to negotiate a lot of creative freedom because Death Cab had had so much success before doing the deal. Do you think you’d get the same type of deal from a major today?

No, I don’t think that we would. We got things I don’t think you could get today—just because the business has changed so much over the last seven years. But I do feel that it has been a very positive relationship for us. (Atlantic) lets Death Cab do what they do. There’s no real pressure (for them) to be something that they aren’t. Of course, there are some opportunities that come that we don’t feel are appropriate, and there’s a little bit of a tug-of-war. But in terms of making records, touring and everything else, there’s not much in the way of interference.

How does management set up an album’s release today with a label?

It is much more of a collaborative thing. It depends on the band. It depends on the label. It depends on the management company, ultimately. Bands know their audience better than anybody. They are the ones out there playing in front of audiences every night, interacting with them, and seeing the T-shirts that they are wearing. You have to be proactive as a manager. You have to really go in there. There is no template anymore. That’s the thing. For certain types of artists, it’s more contingent on radio but, for most bands these days, you have to be doing everything. You have to take every opportunity. With this Death Cab record (“Codes and Keys” released on May 31, 2011) Atlantic came to us and said, “How do we create urgency? It’s the seventh record.”

You do get to a point that no matter how good a record is that people are going to look at their (music) collection and are wondering if they need to own another Death Cab record.

We needed to be very creative in terms of how we build up the record. We did the live video (for “You Are A Tourist”), which worked out super well in bringing attention to the release. But it’s hard (to keep momentum) other than the things you do. You tour; you make another video; you service another song to radio. You ask, “What else could we be doing?” As a manager, I think that one of the biggest challenges we have is to figure out how to maintain the presence of a record, and maintain the presence of an artist after a record comes out. You get that initial burst around release, but how do you make sure that people still know the record exists three, four or six months later?

The next record might be two years later.

Absolutely. You really do sit down with a calendar, and work out what you are doing each week and each month to maintain presence. I don’t believe that releasing a record is just a marketing tool for a tour. I don’t think that’s the case. It’s all tied together. I want the record to be as successful as it can be. I want the tour to be as success as it can be. But that challenge (to keep a presence) is such a challenge to creators to maintain.

[During a recent co-interview with, the Flaming Lips' Wayne Coyne, and Death Cab for Cutie's Ben Gibbard hinted at collaboration between the two bands.

Coyne was first to mention the project saying, "So we should find a way to do a Flaming Lips/Death Cab three or four-song EP."

Gibbard replied, "Let's do it."

Coyne asked Gibbard if he had any tracks that could be used. Gibbard named "American Waltz" and "Aimless Intellectual" from Cutie's “Codes and Keys” sessions.]

Then there are international demands.

Oh absolutely. And people today are just getting hit from so many different sources in terms of any entertainment. I think that is what has been so fantastic about the internet but also that it hurts artists. People have more options that they have ever had.

Ian Hogarth, CEO of Songkick, and I recently discussed how people discover bands and move away from them so quickly after they have been discovered on the internet.

That you don’t have the ownership of it as you once had. I think that we have all had that experience.

Ian suggested a subgenre of bands might avoid the internet in the future in order to grow at their own pace.

That’s interesting. Death Cab have had it said a lot that they are one of the last bands to break pre-internet. They learned how to sleep in the van. They learned how to play shows every night. Whereas certain artists get so much attention before they are ready for that attention, and it hurts them. Clap Your Hands Say Yeah is a great band that got so much attention on that first record (a self-named release in 2005 that garnered considerable press) and they’re weren’t actually ready to back it up. That hurt them, ultimately. You just said it. It‘s nice that people can learn about your music so quickly, but it can be really damaging too.

New bands want to play Coachella right out of the box. Many don’t realize that they have to strategize a career.

Absolutely, you do. You do have to look at those big posts, festivals. With the Head and the Heart, we turned down a Coachella offer this year because we felt that it would be much better ahead in 2012. Death Cab, looking at festivals (this year), we didn’t do a lot. We wanted to do our hard ticket plays (this year), and then do soft tickets next summer.

There are so many interesting services coming out. Spotify launched in the U.S., and Pandora went public recently.

My feeling about Spotify and subscription—and I am certainly not alone in this—but I have felt that subscription is the future of what monetization is going to be about. I think that it’s going to be a hybrid for a long time; maybe forever with the option of owning versus streaming. But I do think that it is going to be about streaming and…cable TV is the best model. I’m the guy that has all of the premium channels.

I think that as a mass monetization, it has to be subscription whether it’s tacking on a fee to the ISPs or it’s getting people onboard with Spotify or Mog or any other streaming services. I will always be selling lifestyle but I don’t think that my 3 1/2-year-old son will particularly need to own anything entertainment-related like that by the time that he is digesting a lot of music.

You aren’t a native of San Francisco. What attracted you to the city?

When I moved here it was to work for a management company. I came up here to work with David Lefkowitz (at David Lefkowitz/Figurehead Management). Primus was his big client at the time. Chris Cuevas worked there who I also assisted. At that point, (the roster) was Primus, the Melvins, and Charlie Hunter—a really great roster. I was a big Primus fan so I thought that it would be cool to come to San Francisco for a couple of years, check it out, and get to work in (artist) management, which I wanted to do. It was what my goal. I wasn’t even a year out of college.

Where are you from originally?

I grew up outside of Chicago, in Glencoe and Evanston where Northwestern University is.

You came out to California to attend Pitzer College in Claremont?

Yeah. My sister had gone to Pitzer College. I thought I’d go back to Chicago. I thought I wanted to go east or west, and then settle down in Chicago.

What did you study at Pitzer College?

I was a psychology major. I studied a lot of literature. I thought I wanted to be a writer, originally. When I started in music, I thought I wanted to be a music journalist. Hunter Thompson was a huge influence on me, and on my outlook in life. I grew up reading Lester Bangs, and Lawrence Ferlinghetti. I was definitely one of many people who came out here who felt a kinship to the Beat Generation that was out here. I am sure I wasn’t the only one that showed up with a copy of (Jack Kerouac’s) “On The Road” and “The Dharma Bums” in my backpack.

While at Pitzer College, you seemed to have figured out that you wanted to be in the music industry.

I started booking shows, and writing reviews for the school magazine and I started interning. I spent my summer before my senior year in New York interning at a management company and then I went back to school and I interned at a couple of record labels.

What management company?

Seriously Inc. with Jim Grant and Roger Cramer. At the time, they had Living Colour, Basehead and, while I was there, they picked up Soul Coughing. It was a good experience.

What labels?

I interned at Geffen Records in the fall of 1993 in L.A. It was a very exciting time. (Nirvana’s) “In Utero” was released (the same week) as the label released the first Counting Crows record (“August and Everything After”). Geffen had a lot going on at that point. In 1994, during the spring semester, I interned at Imago Records. They shut down later that year (in Dec. 1994, when the Bertelsmann Music Group, who was financially backing Imago, pulled funding). By the point I was there they had Henry Rollins, and Aimee Mann and a few other acts, but they ended up shuttering their doors.

You graduated in 1994. What did you immediately do?

I was kicking around L.A. I was answering phones at ASCAP.

From those early jobs you would have seen a good part of the music business. People often later describe this period as some of the most exciting times of their lives.

It was exciting. I figured I wanted to work around music, but I didn’t have any relationships. I didn’t know anybody. If I knew anybody it was like it was the fifth person removed from them. I needed to get experience. I was also commuting from college—driving from Claremont, which is only 35 miles from L.A.—but it’s a two hour commute with all of the traffic each way. The time was interesting and the energy of it was great. I was fortunate that it didn’t take me very long to find a steady job once I graduated.

Was Sunset Strip’s music scene going full tilt?

I don’t know about full-tilt. It was kind of between. There was a lot of music, but there wasn’t particularly an L.A. scene that was breaking at that point. It was pretty soon after that Rage Against The Machine and some other acts had broken. But there wasn’t anything from that era that broke large.

L.A. isn’t really a great live music town.

I would agree with that.

Why did San Francisco appeal to you?

A job opportunity at a management company came up, and it was working with a band that I really loved. And that was it. I had some good friends from college up here and I thought it would be a good opportunity. I had no idea if I was going to stay or not. At the very least, I thought it’d be here a couple of years.

Was Matt Nathanson then living in San Francisco?

No. He’s a year younger than me. He moved up here after he graduated. His girlfriend at the time, now his wife, was living up here. So he moved here as well.

Zeitgeist Artist Management began by handling Creeper Lagoon, Beulah, and Matt.

I had been working for David Lefkowitz for almost four years. I felt that it was time to branch out. I took a $10,000 loan from my dad. Creeper Lagoon had just done their publishing deal so I had a little bit of money from that. That’s how I started the company. I really struggled for a while. It wasn’t until 2003 that things got good.

Were booking agencies receptive to you when you started as a manager?

Yeah. I was fortunate. David had a lot of success so people would take my phone calls because I had been calling (before) from that office. Certainly, when I started working on Noise Pop, it allowed me to establish relations with agents that I would not have been able to establish as just a manager. So that was really helpful.

What offices did you start with?

I shared office space with a friend, Adam Werbach. He was leaving his job (as the youngest-ever national president of The Sierra Club; elected in 1996 at age 23) and he was doing some television production stuff. So the two of us had an office together. He kind of inspired me to do (management). I was thinking about it and he convinced me to do it. Then, while we were sharing an office, we ended up doing some consulting. Pretty soon after I left (the booking agency) the internet music thing started happening. We started doing some consulting in that space. That was my primary form of income for two or three years.

[Today, Adam Werbach spearheads Saatchi & Saatchi's global sustainability efforts in 80 countries.]

Doing what?

Just strategy. There were all these technology companies based around music up here, but they didn’t have people who had relationships in the music industry. So I would leverage my relationships, and strategy etc.

You also managed Crumb who toured with Death Cab.

Crumb came with me as well when I started the company. They broke up soon afterwards, but Crumb was integral in my forming my relationship with Death Cab. Death Cab’s first real tour down the West Coast was supporting Crumb. That’s how I started becoming friends with those guys.

You first missed Death Cab’s performance at the North by Northwest Music Festival in Portland in 1998.

Exactly. I drove over (to the club), and missed it. I managed to buy a CD and loved the record.

The band only had the one record out at that time?

Yeah, “Something About Aeroplanes” had just come out (on the indie label Barsuk Records).

Over the years, all managers lose acts. Is it heartbreaking to realize or to be told, “This just ain’t working out?”

Yeah, for sure. The relationship between an artist and a manager is a personal one. You don’t know how it’s going to go. Every time we go to meet with a potential new client…there have been times that I have had meetings with an artist that I have really loved, and realized that it’s just not a good fit. It’s like anything. With any relationship, there is going to be water under the bridge. Sometimes that water stays water under the bridge; sometimes it rises over the bridge. We haven’t lost a lot of acts over the years, but it does happen. It is just part of (the business).

But you have had your heart broken.

Yeah. Everybody does, I think, in this business. We have a certain style of management, and it’s not going to be right for everybody…and people change.

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.”


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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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