Industry Profile: Sean Goulding

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Sean Goulding, agent, The Agency Group in London, England.

Neil Warnock launched The Agency Group in 1981 after his purchase of the Bron Agency, where he had been managing director for nearly a decade.

Previously, Warnock, who is chairman of The Agency Group today, had been a director at NEMS Enterprises. In his teens, he had operated South Bank Artists which handled college and university bookings for Pink Floyd, Donovan, and Tyrannosaurus Rex in and around London.

In 2005, The Agency Group underwent major shift. A refurbished North American management structure was put in place coupled with buy-outs of the Kork Agency, and Roth Talent Associates.

The restructuring was a reaction to The Agency Group's accelerated expansion in recent years, as well as a reaction to facing mounting competition for acquiring new acts, and keeping existing ones within a fiercely-contested new, global booking environment.

To further bolster its international business, The Agency Group recruited Sean Goulding from the William Morris Agency in Beverly Hills in 2006.

A native New Yorker, Goulding has a Bachelors of Music at Berklee College of Music in Boston. After Berklee, he had moved to California in 2000, and had soon landed a job at the William Morris Agency working in the mail room. Then, moving up through the ranks as an agent, he was responsible for booking the agency’s developing artist roster internationally.

At The Agency Group in London, England, Goulding currently oversees global bookings for Awolnation, Dispatch, Seether, Young Guns, State Radio, glassjaw, Yellowcard, Anti-Flag, the Blackout, Kids in Glass Houses, Killer Mike, Everlast, Doomtree, Juliette Lewis, Rebelution, Kongos, Arcane Roots, and others.

The Agency Group has offices in London, New York, Los Angeles, Toronto, Nashville, and Malmo, Sweden.

You report to Geoff Meall?

Yes. Geoff is our managing director. Geoff has the task of managing a bunch of bratty agents whining all of the time. I can’t imagine how much of a job that is. He’s an amazing boss. His door is always open. I’m always going in there asking questions, and usually getting answers to things that I didn’t even ask him. Geoff basically hired me, along with Neil (Warnock).

At The Agency Group, you represent acts as a responsible agent not on a geographical basis?

Yeah, especially internationally. I think that’s the only way that it could really work. We do teams in-house where we will sign acts together as responsible agents but, as far as the booking process, this way is the best way. I have to manage 40 countries for each individual artist. If I do a pan-European tour, I’m looking at 20 countries or so. To divvy that up, I don’t know how you would do that. I think it’s best this way for me. It works. I’m the first person that speaks to every promoter. I’ve got the first-hand knowledge (of individual markets).

Does that include handling America directly as well?

For most of my acts I work on a global basis, excluding North America which is, in most cases, handled bymy colleagues there. That’s what works for us. Then we know, and our managers know the person that is selling the artist. At the end of the day, it’s about time management, and getting the most opportunities for the artist in any country. For international, there are a lot of different opportunities. There’s a lot of opportunities in each country, and having one person managing all that is what is works for me.

With The Agency Group, you obviously can also consult agents in the other offices.

Just in our office, we have inter-office calls that are usually genre specific. Then there are overviews. We have a few agents in this office that specifically do rock acts. Paul Ryan does a lot of metal stuff, and there’s Beckie Sugden, and Ross Warnock, Tom Taaffe, and Geoff as well. Then we have Tobbe (senior VP Tobbe Lorentz) in our office in Sweden. Between all of us, there’s probably 50 acts coming through March/April/May. It’s a busy time frame for us because a lot of acts in that (rock) genre will come over here for a few opportunities. So we were (recently) all sitting down in a room saying, “You’ve got 10 acts, and I have 10 acts. Let’s package this up. Let’s not compete with each other.” We just do that in-house.

So there’s considerable in-house communication?

On Mondays usually (excepting summer months when it’s Tuesday due to agents being at festivals) we have a kind of around the horn discussion with all of the agents here—and with any visiting agents—of what everybody is working on, and the issues that are coming up. We check in with one another. There’s a good camaraderie in this office, and there’s a lot of teamwork with our agents signing up acts together. But we are all individual businesses, entrepreneurs. But we are all working together just in this office. Then outside this company, there are relationships that we all have to put more relationships together.

You’ve got a pretty impressive roster.

I am trying to build up something that is diverse. A lot of my artists are very independent types of artists.

Well, you do oversee bookings for Dispatch.

I’ve got a few artists that are on majors, but with Dispatch, they did everything pretty well on their own. Most people probably don’t know how successful this band is. That took a process of educating people overseas to what was happening with them in the States. This is a band who sold out three Madison Square Garden; played to 100,000 people; and did a free show in Boston.

All independently.

We put up a tour in March (2012) and we had the capacity to sell up to 1,500 to 2000 tickets in London, Cologne, Berlin and few other markets that the band has never been abroad to in their history. That’s an exciting project for me. I get to take something, work with it, put it on sale in a certain way, educate promoters, deal with my managers, and coordinate something. We are also using a lot of social networking capacity. We put up the (full) current tour on Cyber Monday (the marketing term for the Monday immediately following Black Friday, the Friday following Thanksgiving Day in the U.S.).

[With the release of “Circles Around The Sun,” Dispatch’s first full-length album in 12 years, the band is touring the world. A North American tour kicks off Sept. 20th in Vancouver, British, Columbia. Further shows are slated through mid-October with stops in Seattle, Hollywood, Minneapolis, Chicago, New York, Boston, Toronto, Washington, D.C., and Atlanta. European shows are booked for early 2013 including dates in Vienna (Jan. 23), Stuttgart (24), Berlin (26), Copenhagen (28), Frankfurt (30), Zurich (Feb. 1), Amsterdam (2) and Dortmund (4).]

You also book one of my favorite bands, Yellowcard.

On their last album cycle, they did a world tour. They did South East Asia, Australia, and parts of Europe that they had never touched before, all the while doing it smartly. They teamed up with All Time Low who are also on Hopeless Records. They were able to package up, and benefit from that (billing) but also they could go out and headline, and do festivals as well.

So when it came around to this album (“Southern Air”) in the (United) States, they did the Warped tour. They could have done it a few years ago, but it wasn’t the right time for them. They did really well on Warped tour this year because it was the right time. Their music is being supported internationally, if you look at the charts.

I had the opportunity with their manager Missy Worth, to be able to carve out their schedule, and get them in Europe when the record was coming out. I had them playing festivals in Germany, Italy and places where we saw potential. And we had real good chart positions over here for the (album’s) first week. The first week it was #10 on the Billboard chart. But it wasn’t just in America.

One doesn’t expect to see a big-time agent at the annual Oppikoppi festival (Aug. 9-11, 2012) in rural South Africa; where we met and saw Seether perform. Do you often travel that afar?

Well, I try to be there for the important gigs. I go out. I see venues. I meet people. Then you see what happens. I have only been working with this band for this album cycle. I like to know everything about my artists. Going to their home market was important for me.

Shaun (Morgan) and Dale (Stewart) are from South Africa. Shaun grew up just outside of Durban which was the first date on that tour. When we were originally talking about this tour, it was just going to be Oppikoppi. The guys knew what Oppikoppi is, and that it had been growing. Fortunately, for the band, this year was the biggest year Oppikoppi has had with over 20,000 people (attending).

What took place before their performance at Oppikoppi on the final night?

Flew into Durban, and Seether played an outdoors show at the Wave House in a tent adjacent to a hotel/shopping mall. There’s also, around this venue, half pipes for skate-boarding, and an outdoor surfing pavilion where you can surf on wave pools. The next day I had a 5 A.M. lobby call after being out late. I had just flown into South Africa the day before.

Then you flew to Cape Town.

They had a show that night at the (Grand West) casino (in the Grand Arena,) which was part of the deal with Oppikoppi. They were going to do kind of a miniature version of what was going to happen at Oppikoppi for an indoor show in Cape Town. So they took Seether, Bullet For My Valentine, Kongos, Eagles of Death Metal, Enter Shikari, and Can Coke Cartel. I got to see Cape Town. Misha (Loots), who’s the organizer, took me out, and I met with some of the labels that were there. I got to see the Kirstenbosch National Botanical Garden (one of the great botanic gardens of the world) where Shaun played an acoustic show a few years ago at a 5,000 capacity outdoor (venue) adjacent to the Rhodes University campus where they do shows in the summertime

From there, we went to Johannesburg and they took us out to Sun City. That’s where we stayed for three days. Then we went to see the bush that is Oppikoppi.

I’ve never experienced a music festival like Oppikoppi.

Ah, no. It’s tough to describe to someone who has not been there. You know where it is. You see pictures of the location. The main stage is a permanent thatched roof structure. It’s kind of like its own pyramid stage that Glastonbury has but it has a different look. The first person that greets you on arriving is Misha. He’s in a 3-piece suit but he has a bandana over his mouth because of the dust that is around. It’s sort of like this outlaw guy in a 3-piece suit saying, “Welcome to Oppikoppi.” Yeah, it’s nothing that you have ever seen.

You now work with Kongos who consist of the Kongos brothers, Johnny, Jesse, Dylan and Daniel who are the sons of celebrated South African singer/songwriter, John Kongos.

I do. That came about after you and I saw them onstage (at Oppikoppi). That was the first time I’d seen the band. I heard the musicianship, and saw how they handled everything. I saw how the songs translated (with audiences). Then I met with their label, Just Music (South Africa's leading independent music company,) which is Karl Anderson. He handles XL (label) so he handles Adele. I had started working with him on (American electronic rock band) Awolnation who went down there for the first time in March. Since then “Sail” has been dominating airplay there. They are on their second single down there. He also handles Kongos. I met with him, and got an understanding on where that band was at as far as that market. Then I sat down with their dad and the guys at the hotel. We talked about ideas and their goals and what they want to look at and what we can offer them as The Agency Group. We signed up on the spot. They are all living in America. Their dad obviously has experience there.

Kongos plays rock with a rather unique twist.

There’s a lot of different ingredients in what they are doing. That’s what drew me to them and having the interest. That band is on their, what, fourth Top 40 single in South Africa? South Africa is not New York. It’s not the UK. Some people might not think that it’s a major market but it’s a good market. If you look at what is resonating there, if you look at the Top 40 charts there, you see very international playlists. But also the talent coming out of South Africa is a bit different.

About two years ago, you took part in a BBC Radio One panel titled “How can we support UK rock music?” What was that about?

With Radio One, I think that there is a mandate to support every genre. They were looking at a structure on how to do that (with rock music).

There seems to be a bullish attitude in the UK music industry toward music, particularly rock; a renewed optimism in developing more domestic acts as the music industry continues to retool.

At the beginning of the past two years, I would see the annual (sales) figures and see press releases or hear discussions that “This genre is selling well” or “This genre is not selling well.” That sort of stuff. I have noticed that in the last couple of years people saying that, “Rock is not selling as well as this (genre). How do we correct that on a long-term basis?” That’s probably what was happening with Radio One. They were bringing people in from the rock community, and asking, “What should we do?” I think in the end it came down to looking at the acts that are being developed on our home turf, and looking at what is coming in from abroad. “How do we give those acts a space? There’s only so much airplay in a day. Who gets what?”

As far as rock music, I guess it’s all in cycles. These days, everybody is talking about electronic dance music. However, you still you see Adele, and Amy McDonald over here. Those kinds of (pop) artists that reach into many age demographics. Look, rock bands take longer to develop with touring. Record sales are usually less than a pop act but there are still a lot of successes in that world. Just in-house here we have (Welsh heavy metal band) Bullet For My Valentine. They sold out at Wembley Arena last year. There are still acts that are being developed on the live circuit which is still healthy for rock acts. It is just that it takes a bit longer sometimes if you compare it to pop or what not.

It’s considerably tougher to break a rock act globally.

In the late ‘80s, and early ‘90s, you had the Seattle sound. You had all of these bands that were able to incubate in their own home markets. They were playing gigs. They were getting better, and bigger. You had A&R folks that would come into it (the local scene). You had that whole process happening.

These days, artists coming through in the UK, can put something up on YouTube. They can have their music out on a global scale. What has changed dramatically over the past 10 years is the mechanics of how artists develop.

With a UK-based artist, what do they do to break into America? What do they do to break into Canada? Or vice-versa. How do you find a band that’s in South Africa, and how do you export them? If they have a local following, what are the mechanics where you have a worldwide (booking) agency or a label that is connected with international departments?

You have all of the technology that is available to artists and to labels and teams to work with. It is an interesting time for the industry. You’ve got a lot of capacity for technology to be used for artists to go beyond borders and have careers outside of their own countries. That’s interesting.

Do you have managers of developing bands expecting to play the Reading Festival or the Van Warped tour out of the gate?

The managers I deal with are great managers. I tell them what I think. Then we banter back-and-forth. As far as a developing artist, I say, “This is what I think we need to do.” You have to depend on who the artist has employed to give them advice. That this is where we have our expertise. If I am developing a certain type of artist; whether it’s Awolnation which is more on the alternative side to Tonight Alive which is a pop punk band from Sydney, Australia on Sony, that goes through Raw Power Management’s label, Search & Destroy Records; their touring cycle is going to be much different than Dispatch. It’s up to me to educate a manager or a manager to educate me on something that I don’t know. But we’ve got the expertise to offer that (career advice).

Of course, we love for our bands to play Reading. We know what that does for our bands. We’d love for a band to play Glastonbury in the UK or Rock Am Ring/Rock Im Park in Germany, and now Oppikoppi in South Africa. There are all those (festivals) but they are not the be-all, and end-all for artists. These days, there are more festivals than ever. Playing a festival, that’s not going to break a band. It will help, but you have to put the work in. It always comes back to putting the work in, and being ready for that (opportunity) slot. Don’t expect for a festival to break your artists (in Europe). You’ve got to come over here, and do a lot of things.

You seem optimistic about rock music’s future.

As I said, there’s different tastes for everybody. There’s all different cycles going on. Of course, pop is going to sell. For me, I was a musician. I was a drummer. This is the stuff that I listened to. That’s why it resonates for me. Working for rock bands is one thing but I can relate to it. For me, working with a rock band is a no brainer. As far as what’s out there in the industry, and what’s working, well yeah rock bands work. It’s just taking a bit longer. You may not have a ton of singles being sold all at once. But Young Guns, for example, they are on their second record ("Bones”), and they are going to sell 2,000 tickets in London (at O2 Shepherd's Bush Empire on Oct. 16, 2012). They have just released a record in America. This is a two year progression for a band.

Before playing the opening slot on the main stage at the Reading Festival in 2010, Young Guns had already sold out The Garage, and The Barfly in London, and had done a national Kerrang! tour. They were ready for the main stage at Reading.

A manager once told me when I first started in this business,” You have to get to that first 100 gigs to really know what you are doing onstage.” Some bands have some of that when you first start working with them; and some learn it by trade. Young Guns did that Kerrang! Tour (in 2010) Kerrang! is the biggest selling (music) monthly here in the UK. It’s established. It’s an annual tour in which they do 3,000 to 5,000 tickets a night. It is promoted by SJM Concerts. It’s an annuity. Every year, they have some artists that they want to support and then they have some established headliners. So Young Guns on that tour, they were ready for it.

Gus (Gustav Wood) is a very charismatic frontman. He’s great talking to the press. They kind of tick all of those boxes. Then take it another step. They were able to get into the festival circuit. That helps in the development of artists. Then they played Reading main stage. That was the next step for them. This past summer they headlined the stage at Reading and, again, they were ready for that. At this stage, they already had singles at Radio One. When they played a hit single (“Bones”) which was the closing of the set, every kid in the tent was singing along. That’s sort of a culmination of the work that they have done on this record; what the label has done on this record; the work that we’ve done on the touring side; and management. There’s also been press for them. You live and die by press in this country.

Music press plays a more pivotal role in the UK.

That brings me back to my point that I try to go around to every country that’s new (booking bands). I’ve been to Russia. I’ve been to Poland recently. I went down to South Africa to see what’s developing down there. Every country has its specific mechanics for things to work. What works in one country might not in another country. What you hear a lot is some (American) artists saying, “Just because I have a big following in the north-east in the States, in New York or Chicago, that will translate in the UK.” And it doesn’t. You have to put in the work wherever you go.

It sort of goes back to my point earlier about technology. If you put a song up on the internet, people know about it around the world. There are a lot of countries to develop on a touring basis. Like with Awolnation, we’ve got 15 or 20 countries in Europe (with activity) online on the touring side, but there’s also radio, TV and everything else in those markets. That comes from coming here, doing the work; coming back; doing the headline tours, festivals and support dates; and having a press agent and having TV and radio pluggers. All of them engaged with the label, and everybody talking. That’s more and more what I’m doing on a week-to-week basis with artists, and their teams. Getting on phone calls and talking about things. It’s about collecting information, and making things work.

In the past 18 months, the dust has settled in the music industry. People are far more optimistic. Rather than bitching about developing acts, people are doing it.

The business models have corrected themselves. Overheads have been brought down. Things are more streamlined. A lot of that goes back to technology and what’s available. Just down the road from our office in Islington are all these (offices of) upstarts like Songkick, SoundCloud, and Mobile Roadie which me and Greg Lowe, who does dance stuff like Chromatics, have been dealing with.

[An estimated 5,000 technology-based companies are located in east London—lauded as Silicon Roundabout—employing over 10,000 people.]

These are businesses that are already involved (in the music industry). There are a lot of ideas out there. A lot of new companies. A lot of entrepreneurial stuff that you are able to activate pretty quickly. We put a tour on sale last week and talked to SoundCloud. They are doing a lot of different things with different artists. It’s all very DIY. You can basically do something pretty DIY, put it out there instantaneously, and link that to all different PR that you are doing; or just put it out there.

Ten years ago, you’d probably look at SoundScan, and see what acts were selling (before a tour). Today, there’s so much more information to get and make decisions on how to center artists. Awolnation is a good example. They are one of the top artists on Spotify, for example, in Sweden. They are getting something like 30,000 spins a day. It’s about educating a promoter about that. There are markets that we should be exploring on the live side and it’s something to develop, and we have. It’s about being informed. That’s how I work. We work with teams of people, including with promoters and each artist has their own different fan base in each country, and it’s about how to reach that.

A decade ago, an agent or manager would analyze SoundScan figures to figure out where to tour a band. Today, there’s new technology-driven sites and Spotify and other things. It’s now about figuring out how to utilize data.

And you can go to them direct. There’s no governing body that you have to wait for in order for statistics to come. I can go to Songkick and say, “I’ve got this artist glassjaw. Very niche hard core band that doesn’t tour much. They do special engagements and they usually sell out." I want to send glassjaw to Spain or Portugal. I can bounce glassjaw off Songkick. They are not going to give me precise data but they can tell me where this artist has a direct following. These are active users.

The mobile phone is having a similar impact on music that the transistor radio did.

For me, I feel that I am pretty good with technology. I’m interested in all of these new technologies that come. I only got an iPhone six months ago. In those six months, I probably have bought more music than I have in the past six years. It’s that immediacy where you hear some music, you buy it. Also there’s discovering stuff. I started listening to SoundCloud more on my phone. You can buy tickets.

So much entertainment is going to be localized on our phones.

That (mobile) technology is already being used for tickets. Even currency. People are getting used to not bringing cash with them. You and I were at Oppikoppi which has that RFID wrist band technology as currency. Oppikoppi used the technology as part of their currency-less festival environment. I first had the chance to see it at the Eurosonic Festival in Holland earlier this year. It was used for entrance to venues.

People are getting more used to doing that.

This is a whole new generation that is going to be buying in a different way than when I was growing up and when you were growing up. Going to buy a concert ticket when I was going to school, I would have to go down to Tower Records and line up and queue to buy tickets, get a wrist band and all of that sort of stuff. Now you wouldn’t think twice of putting information out there, registering for something, and having (monies) immediately deducted from your account. All that. This is a whole new generation coming up that is using this technology; that has no taboos or restrictions on it in their minds. It’s just a natural thing.

So when you go to a festival, and you have a wrist band that has $200 credit, you don’t have to worry about anything. It’s a safety factor. It might be a bit weird for some people on a Big Brother side of things, but the technology is there for people to use. That is just one example.

What factors led you to make the jump from the William Morris Agency to The Agency Group in 2006?

At the time I was working at William Morris, I was working in their international department. At the time, William Morris didn’t have a London office. I think that there was talk about it at the time, but there wasn’t any option (for me) there. I was working in the international department, which was Rob Markus, Tony Goldring, and Akiko Rogers. I had also been working with John Marx, and Marc Geiger. They suggested that I go into international.

You had already considered re-locating to London?

I had in my mind that I wanted to, I did some traveling like I do. I met some people along the way. I met Geoff and Neil, and they said a lot of things to me that made sense.

If I was going to do this international thing, it’s achievable from LA, but to wake up at five in the morning, and already have half of my day having taken place for a lifestyle didn’t make sense in my head. I thought that if I was going to do it (international)—whether it was temporarily or a permanent thing—that I wanted to live in the UK. To really get into the international commerce, and business of what I saw was happening six or seven years ago. I saw all of these artists that had started to reach into these emerging markets in Eastern Europe. There was a lot of work to be done. From my career (perspective) I thought it was the best to go over to London. There are other agents doing (international) from the States like Chris Dalston, Rob Markus and Tony Goldring, whom are originally from the UK and/or have spent time in the market. They all had experience from living abroad overseas. I just felt like that was something that I needed to do. Geoff and Neil provided that opportunity for me.

Was one attraction in joining The Agency Group that you could be more entrepreneurial?

I started in the mailroom at William Morris, and worked my way through the system there. There was a lot of opportunity for me to learn in that environment. I had access to working with a number of different artists, and people that were in the business for a long time. It was a great opportunity for me to get into the business.

The Agency Group, I guess the way to put it, is there as the entrepreneurial shift. You have your own business within a business. That is what appealed to me. You have to do the same thing at William Morris. You have to make your numbers and all that kind of stuff. What Neil and Geoff were saying to me that just resonated with me. Basically, I was going to move to London; move to a foreign country—just that alone is a challenge—but come over here and build a roster from scratch for the most part. That was a challenge that they were willing to support, and that they continue to support.

They bring on people here who fit into that mind-set or that (entrepreneurial) culture and that they have formed. At least here (in the UK office). I did work in the LA office and in New York before I moved here while waiting for my immigration papers and there’s a similar culture but I can speak more about the culture here and the team that they have built here. There is that spirit and that is what Neil and Geoff and, especially, Neil wants to continue.

Traditional industry lore has working in the mailroom at William Morris being a rough gig.

I’m sure it’s a little bit different now. There’s been books that have sensationalized the experience (from years ago). Books like (Fred Goodman’s) “The Mansion On The Hill” and (David Rensin’s) “The Mailroom” talk about that (earlier) era, but it is a very competitive place. It’s basically like a MBA for people in the music business. It’s very competitive. You have access to different resources, and you meet other people. I am still friends with a lot of the guys that I started with in the mailroom, like Kirk Sommer, who is still at WME, working with Adele, and the Killers; and Adam Harrison at Career Artist Management working with Maroon 5. You meet people along the way.

While in the mailroom, did you want to be in the music department there?

When I moved out to LA in 2000, I had offers to get into the record side of the business. I’ve got a music background. That’s the reason that I got in there. Did I see myself working international, the first day I got into that company? Not really but I was in a place where that opportunity could present itself. That, I guess, is what it’s about. You get into a place where the possibilities are huge, and what you take from that, and put into it is up to you.

You grew up in New York?

Yeah. Long Island originally.

Since you were a drummer at eight, you must have played in bands as a teen.

Yeah, I was in a few bands. Messing around. There are a lot of musicians in my family. The reason I started playing drums at eight was that my uncle John Morena owned (with drummer Bob Grauso) a drum company called Fibes. Growing up I got exposed to a lot of clients that he had. When I was growing up, he had already sold the company to C.F. Martin (C.F. Martin Organization), and it sort of moved on.

Meanwhile, I got to learn about Buddy Rich and Bill Cobham and a lot of the artists that he had using Fibes’ drums in the ‘60s and ‘70s. When I was eight, I was presented with the option of what instrument I wanted to play (for school), and in my grandparent’s basement there was a piano and a drum set sitting there. Growing up in suburban Long Island, I had a free drum kick instead of having to ask my parents to go buy one.

[After several later owners, Tommy Robertson, a 20-year veteran in percussion retailing, acquired Fibes in late 1994.]

You went on to study the Berklee College of Music in Boston.

When I was there, John Mayer was there for the first semester. A lot of my friends were more in the film school side. (Film composer) Joey Newman, who’s in the whole Newman family in film scoring, was there. A lot of the guys from (American progressive metal band) Dream Theatre came from there. A lot of clients that I come across have been alumnae. You would be surprised who are alumnae. It was an interesting place. It was a nice community of artists and people with ideas. You’re in the middle of Boston, and you have access to all sorts of stuff. There’s a great live music scene there. A great sports scene. It was a good place to go to school.

What courses did you take at Berklee?

I initially went there to be a studio musician. I was interested in doing film scoring; I eventually got the business and the arts degree. I did many different things there.

Meanwhile, you worked for several music promoters in Boston.

I don’t know if some of them exist anymore. There was Gamelan Productions, which was a boutique management, agency and promotions company. I was doing flyering and working in the office. I also did an internship in the very early days of Berklee's own record label, Heavy Rotation Records. This is prior to them getting Sony distribution. The coolest job I had while in school was a brief stint in the finance department of the Boston Bruins at the FleetCenter (renamed the TD Garden in 2009). At the time, The Boston Garden was being taken down just next door.

After school I had job offers to work in a couple agencies in New York like APA, but I decided that I was going to go out to LA. I had friends from school who had moved out to LA. There was a network of people I knew out there.

You didn’t have the William Morris position before leaving for LA in 2000?

No. I got it out there. I think it was a month and a half or so. A slot in the mail room opened up. I also had a job offer from Capitol Records out there. Do I go into the record industry or the live business? I made a good decision at that time. It could be a different decision these days because I wouldn’t mind being in the record industry. But that’s how it worked out.

Who are some of the great managers you have worked with?

Missy Worth is great. I work with her on Yellowcard and she also works with Rise Against. She’s somebody I’ve learned a lot from. When I’m working with Seether, that’s Vector Management, and Nicky Loranger. She’s been great to work with. There’s Nicky, and Jack Rovner (co-president/manager, Vector Management). Nicky is the band’s manager, and that’s who I deal with. That’s been a great experience.

Working with Craig Jennings at Raw Power Management has been interesting as well. I handle four of their bands (the Blackout, Tonight Alive, Kids in Glass Houses, and Young Guns). They are great to work with. Andy Snape and Mark James who co-manage Young Guns together are two fellas I see going far.

I work with both Steve Bursky (Foundations Artist management), and Dalton Sim (Nettwerk Management) on Dispatch. They are great people. Steve also works with Owl City, and Dalton also handles fun. Both Berko Pearce and Scott Sheldon with Awolnation are great to work with.

There’s the long standing music industry joke that managers should listen to booking agents on everything but routing.

The routing is easy (to figure out). It’s about the broader strokes. Especially with international, you have so much ground to cover. You have to set priorities in different countries. There’s different layers of development in each country, and you have to look at the touring and opportunities available. It’s not just touring (opportunities). It might be a press opportunity. I will base a tour around a few promotional opportunities.

There might be some advice from another part of the team. As the agent, yeah, it’s good to manage the whole live side (of a band), but there’s input that comes in from all parts of the team. That’s what I work with. When I work with the Play It Again Sam label on Young Guns or my new act Arcane Roots—who are finishing their debut album with (producer) Dan Austin—we are all sitting in meetings talking about ideas. There’s a back-and-forth. There’s no “My way or the highway” kind of thing.

Resentment of agents by bands builds while on the road.

I’d rather have them shouting “This is amazing” and have them playing in front of half a million people, instead of, “Fuck, this hotel sucks.” But hey, maybe, that was somebody else’s fault. Not my fault. I didn’t do it. So there!

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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