Industry Profile: Val Denn

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Val Denn, owner, Val Denn Agency.

Renowned for her rapier wit, piercing intellect, and faith in her clients, Val Denn is nobody’s fool

The Wimberley, Texas-based booking agent—in the midst of resettling in Blandford, Nova Scotia--loves music artists--particularly singer/songwriters—and driving a fair deal in any venue negotiations for her clients.

She also loves Texas and Canada’s east coast, and the musicians in both regions. Just don’t get her started talking about all of that because the conversation will go on for days.

Opened in 1994, when she began booking iconic Texas singer/songwriter Ray Wylie Hubbard, The Val Denn Agency has made a formidable footprint in America’s folk and world music worlds.

Presently, Denn books Eliza Gilkyson, Sam Baker, Gretchen Peters, Lynn Miles, Ariana Gillis, Andru Branch, Sarah Lee Guthrie and Johnny Irion, Jaron Freeman-Fox, Marley’s Ghost, Talavya, Gordie MacKeeman & His Rhythm Boys, the Blues Broads, Red Horse, and the highly successful multi-media show, Walking Woody’s Road.

Denn started in music as a performer; working in her teens on the folk coffeehouse circuit around Westport, Connecticut. While studying jazz guitar at the Berklee School of Music in Boston, she met her husband James. After marriage in 1982, the couple toured as the Denns (and would release with four albums), and moved to Texas.

In Texas, Denn began booking Hubbard, started her agency, and oversaw a celebrated music series at the Granbury Opera House in Granbury, Texas. The year-long concert series, featured artists in-the-round, including Townes Van Zandt, Terry Allen, Guy Clark, Sara Hickman, Kevin Welch and Jimmy LaFave. She also operated a monthly coffeehouse, Susanna's Kitchen, in Wimberley for four years.

An ardent folk music activist, Denn is past president of Folk Alliance International, and was on its board as a director for four years.

You are now fully based in Blandford, Nova Scotia?

My office used to be in Austin, but, I have emigrated. I am now in Canada most of the year. Ten months of the year in Blandford outside of Halifax. We are back here (in Wimberley, near Austin) putting our house on the market. We are pretty much shutting down our U.S. American lives.

What staff do you have?

Nancy Potter and Cidny Bullens both work in admin in contracts and itineraries in the U.S. I have just hired Sharon Munson in Nova Scotia as my assistant.

You and your husband have applied for Canadian citizenship?

We’ve landed (permanent resident status), and we are now just waiting to become citizens. But we are now permanent residents of Canada.

What attracted you to Nova Scotia?

First and foremost, I found a real similar feel--believe it or not--to Austin in the ‘80s in that there is a patriotic thing, and a friendliness there. There was this thing about Texas music when we moved there, and it was built around… was (artists like) Nancy Griffith, Hal Ketchum-- Hal Michael Ketchum at the time—and Lyle Lovett. They (artists) were very lyrically-driven. There were a lot of story songs. I got up to Nova Scotia probably 14 years ago. I was first up there because of the ECMAs (East Coast Music Awards), and Shelley Nordstrom and Troy Greencorn and that little group. You would always say “Texas music.” Whereas you would never say “Toronto music,” you will say, “Music from the Maritimes.” You wouldn’t say, “Music from Ontario.”

No. In Canada, you might also say, “East Coast Music.”

East Coast music. Atlantic Canada. Music from the Maritimes. But when you say “Music from the Maritimes,” there’s a sound that you can almost conjure up in your mind like you can if someone says that it’s Texas music.

Legendary Newfoundland singer/songwriter Ron Hynes is right up there with Ian Tyson, Gordon Lightfoot, Guy Clark, and Billy Joe Shaver as one of the greats.

Absolutely. I always refer to him as the Guy Clark of Canada. I put Gretchen Peters out with him, and there was a complete love fest with them. I had to explain to each other who each was. They had never met each other. I said, “Think of him as the Guy Clark or Ray Wylie Hubbard of Canada.” He’s the troubadour from the Maritimes, but I think he goes all the way across to Vancouver Island (in popularity).

As an agent you have a reputation for being both fiercely loyal to your acts as well as being an aggressive negotiator.

I don’t think that I’m aggressive. I’m tenacious. I care about my artists, but I’d hate to hear that people think I’m obnoxious. I’m glad it hasn’t come back to me.

It’s difficult being an agent and not be run over by buyers or artists.

Because I’m a positive thinker, and I like it to be win-win, I’m going to change those (aggressive) words into assertive and tenacious. I work hard for my clients. I try to find balance in my life so that it’s not all about work. I try to work hard, and play hard. All I want to do is live a life that’s basically fair. I never want to roll over anyone, and say nasty things or be seen as being nasty. But, it is a hard business. And it was hard as a woman starting off too with my own agency in the mid-90s. There weren't many of us. I started my own business in 1994 when there were very few women who ran or owned booking agencies.

Being tagged aggressive as a woman is viewed as a negative description, but not when it’s applied to men.

Yeah. I hear more things like, “He is really on top of his game” or “Yeah, he really gets it done” or "He’s a tough negotiator."

With women you are more likely to hear, she is aggressive or she’s a bitch. I hope it is changing, but I hear it a lot. As long as I am not seen as arrogant or stupid which would crush my little heart.

Still being thought of as tough is often a badge of honor for both sexes.

I would like to be thought of as tough, and yet, wildly smart and sweet. But most important for me is to be thought of as someone with integrity. Someone who is honest. If the word aggressive was changed to tenacious or assertive, I would have to agree that I fall under that category too.

This business is very male dominated, and I learned early on that being nice and honest was always the best way to go; but that you also have to stand up for your clients’ best interests, and not be afraid to ask. That said, I will always have my client’s back, but not at the expense of a venue. There is a fine balance between doing what’s right for a client, and also keeping my relationships with the venue/buyers strong.

As an agent it is my job to be able to have an honest dialogue with both parties, and hopefully build my client’s fan base, and fill the rooms we book so we can book future dates.

“Yes” is my favorite answer, and “no” is my second favorite answer as it allows me to move on. I also rarely hear the word “no.” I hear “no” as “not now.” A festival might say “no” one year, but they may be building a vision, and my client might not be what they are looking for that year. So I tend to hear “not now” or “not this year.”

Are you, in fact, a tough negotiator?

Yes, I’m assertive in negotiating, but I’m totally and absolutely into the back-and-forth of what’s really true. I don’t want any venue to lose money on my clients. My clients will give money back. My job is to know my client’s marketability, and I try to get what I think that they are worth. And to be realistic. I do listen. When a venue says, “Last time you were in here, you sold 130 tickets in a 400 seat room,” I don’t have a leg to stand on to negotiate and be assertive.

If I keep going after the money for my client, I’m not helping them, and I am definitely not helping the venues. I am assertive in that sense, but I am definitely not aggressive in trying to get money that my client hasn’t warranted. There are times when you feel that they (buyers) have made money on your client, and we are not growing it (the audience at the venue). But if I go in there, and get the money I wanted, and my client doesn’t bring in the ticket sales that we thought then it doesn’t help anybody. There are also times when I see where the venues aren’t doing what they should be doing. If we have sent posters, and my clients goes back to get paid at the end of the night, and the posters are sitting in the tube that we sent then I’m not happy.

Do you tell a client what’s realistic, and what’s unrealistic in their career?

Absolutely. I actually have a client who wants to play solo, and they should not be playing solo. I told them that they should not be playing solo. They don’t have what it takes. I am brutally honest. My job is to be honest with my clients on all levels---even if they don’t want to hear that. The same thing for them. If they feel that I’m not doing a good job, it’s up to them to tell me where my failings are. There’s a time to be defensive, and stand up for yourself; whether it’s with your client or with a buyer.

Anybody who knows me also knows that if I have dropped the ball or if I haven’t done what I said I would do that I don’t get defensive. I will say, “I dropped the ball. I didn’t see it through.” I think that is hugely important on both sides; whether it’s a venue buyer, or an agent. We are all busy, and we are all overextended and we are tired. If you do drop the ball, you have to say it. Or, if you didn’t do a great job, you can say, “You know, I’m struggling here, and I didn’t do a good job.”

What qualities do you look for in taking on clients?

I have to like their music. I put it this way. It sounds weird to compare it to a dog but when you sign an artist, it is like adopting a dog. I can tell a festival person that they just have to take the dog for a walk. I never sign someone with the idea of, “Let’s throw it against the wall, and see what sticks in six months.” It takes a long time to get things rolling and, once you get it rolling, they are part of your life.

We are friends, but we are business associates, and we also have to be able to work together. There has to be some team in place. So if you are self-managed that means you are managing yourself if you don’t have a manager.

We find people that are totally understanding and passionate about the business. You want to work hard for them, and they want to work hard for you. There’s a real exchange of energy, and later there is an exchange of money as well. But that money exchange comes from really good energy. When I’m looking to sign someone, obviously I have to like the music, and I also look around and see who they are hanging with, and how can I help them.

Any types of artists that you’d avoid?

I don’t want to bring in the crazy-makers. You get to a point in your life that no matter how talented someone is if their life is an absolute mess I don’t have the personality to want to try to fix it, and nurture them through (life). Everybody has good and bad times—that’s different—but I wouldn’t sign someone who I know might be really battling some demons if I am so busy that it’s going to be an energy suck.

Does a client have to have management in place for you to consider picking them up?

No, because if they are self-managed, or if they have someone in-house or in their office. It’s nice when they do have management.

You began working with Canadian singer/songwriter Ariana Gillis before she had management. She’s very astute in business. Someone who gets it like she does is a big advantage to someone like you.

Absolutely. Ariana is a perfect example. This is someone who could go in either direction. Do you go with her in full-on pop kinda thing? But she has such a respect and love for the song, songwriting, and the process of songwriting. There is a 23-year-old in there that looks at it (her career) like Leonard Cohen’s career in songwriting, and that’s what she aspires to. Like Tom Waits as well.

I believe Ariana is Canada’s next star.

She’s absolutely terrific. She’s got a voice that is unstoppable, and a stage presence that is amazing. But what I like the best about her is that she truly, truly understands that it comes down to writing good songs. She, out of anyone that I have ever had on my roster, wants whatever it is—it’s not about fame—it’s about making her music, bringing it to the people, and writing great songs. She wants fame, but earned fame. She wants to write great songs, and she has vision and she’s very driven in a good way. She’s very focused. I’ve been with her for a couple of years.

How did you hear about Ariana?

During a Folk Alliance a few years ago, I was out for dinner with (journalist) Dave Marsh, and my son Taylor at Gus (Gus's World Famous Fried Chicken in Memphis), and she was at the table next to us. (Canadian publicist) Richard Flohil had been asking me for a couple of years to go, and hear her. As always, I was so crammed up. I said, “Is there any way that she would play in a stairwell?” And she did at the hotel (Memphis Marriott Downtown). My son Taylor, who books eTown (as eTown's talent coordinator), Dave Marsh, Eliza Gilkyson and I sat on the cement steps in a stairwell in Memphis to hear her. She was just mind-blowingly good. She looked right at us as she was playing. She was probably 19 at the time. Three songs, and we walked out of there, and Dave Marsh was just gob-smacked and Eliza was like, “Oh my gosh.” My son said, “I’m putting her on eTown, you better sign her mom.” He put her on eTown and that’s how (Apple Inc. co-founder) Steve Wozniak heard her, and it just started this spreading of her. That’s how things happen.

The thing about Folk Alliance (and discovering new artists) is that it takes someone like myself and/or an artist that is willing to play in a stairwell or someone like me who is willing to go and sit in a stairwell.

How was the recent Folk Alliance Conference & Camp in Kansas City, Missouri?

I think that it might have been my favorite Folk Alliance so far.

How many Folk Alliance conferences have you attended?

Twenty in a row. Being in Kansas City this year was nice because it was a new city for us. As a past president and board member, I remember looking for a new venue, and where (what city) you are going to hold it. You are looking at how to allocate space. The board, and Louis (Louis Jay Meyers, executive dir. of Folk Alliance International) did an amazing job of picking the right hotel. It was set up really well. You got to hear everything. It was at the Westin, and it was just a perfect set-up. We also took over the Sheraton for the Music Camp -- that was very successful. I think that because it was Louis’ last year as executive director, that there was sort of a warm fuzzy (feeling) around the conference. We kicked off the first day with Graham Nash doing the keynote, and then Al Gore came in and did his talk on the launch a new Initiative with music (with his speech "The Future: Six Drivers of Global Change”). It’s in the infancy stage of bringing the Folk Alliance International music community who would want to be involved into finding a solution for global climate change issues. It’s just getting started, but the seed has been planted to bridge the two communities.

You were president of Folk Alliance.

I was president for one year, 2007, and on the board for four years.

Why is attending Folk Alliance so important to those in the folk community?

I do business there, but I think that my favorite part of it is the sense of discovery. I think you wander into these rooms like I did when I did with the East Coast Music Room—my home room in Canada—and I heard the Mae Trio from Australia. Fucking brilliant. Three young girls. It was where I heard Ariana Gillis in Memphis. It is where I heard (Aussie troubadour) Jordie Lane, and (Canadian alt-country singer/songwriter) Del Barber this year. I don’t know if I saw their names coming into Austin when I go there or if they were at South by Southwest while I’m trying to maneuver around. Folk Alliance is set up well, and it’s easy to go, and stumble around, and discover emerging artists. It’s easy to open up a (schedule) book, and highlight where you want to go.

I do some business there, but it’s not the driving reason of why I go. I do go and I get that fix like we all do which got us into music in the first place. Where you hear something, and you are so excited about it that you can’t wait to run into someone that you know to tell them. You know that thing where you go, “Oh my gawd, you gotta go here?” It used to be that way. Now you text, “Into room 751, now.” Now your cell phone is so important at Folk Alliance because we are texting each other, “You’ve gotta hear this.”

Why should an emerging artist go to Folk Alliance? Aren’t they going to get buried there?

No. This is one of the things that I talked at my panel which was called, “Building A Team.” If you are going to Folk Alliance, and you think that you are going to showcase, and make this huge impact, it can happen. There is always a kind of a buzz factor about somebody, but you are going there to meet other people and other musicians, and get inspired. And meetings happen without doing business. Business happens in an elevator. Business happens when you walk past a room, and you hear someone really great, and you end up jamming with them and they live in Chicago, and you live in Toronto. You begin to talk, and you decide that you are going to do some dates (together), and help each other out.

The conference widens your circle.

It widens your circle. It’s just about having to be seen. You have to show up for the party. As I said before, we all talk about things that we heard. That is kind of the buzz factor. I will ask Louis and others. That’s how I heard the Mae Trio. I hung out in the East Coast Room quite a bit. I poked my head in there at one point I saw Louis in there. I thought, “Oh, I will go in, and say hi.” The second, you lean against the room, you go, “Oh I know why he’s in here.” They (Mae Trio) were just really sweet. Really great. But did I stick around, and talk with them? No. I just went and heard them for the sheer enjoyment of hearing them, and it wasn’t all about business.

The way for an energy act to work Folk Alliance and most conferences is to have a bit of a buzz beforehand. I can recall seeing the Duhks and the Carolina Chocolate Drops at different Folk Alliances in Memphis where everybody was running into a room to hear them.

Yeah, and I think I saw it this year with Parker Millsap, a young kid from (Norman) Oklahoma that people seemed to know. He came on Wednesday night, and was gone by Thursday morning, but people seemed to know to go and catch him. There was a nice momentum with him.

Folk Alliance can also be the annual group hug of the folk community as well.

it is totally what it’s about. It absolutely about that. Where APAP (Association of Performing Arts Presenters) is about getting dressed, and going to do business—and I never would have (attended) unless they are showcasing my clients, and I show up and get a badge and walk around the floor.

How about the annual Americana Music Festival & Conference in Nashville?

I don’t attend that one. I probably should, but I haven’t. It’s always in September and I go to WOMEX (World Music Expo) because I’m also working in the world music genre now. I can’t believe that I am now looking at South by Southwest (this month).

South by Southwest has become overwhelming.

If it wasn’t in my hometown, I wouldn’t be going. But every year I am either on a panel or whatever. This year I have a panel I’m moderating called, “Is Loyalty Dead in a Soul-Starved Industry?”

So is loyalty dead in the folk world?

In the folk world? In all of it? Yes and no. I think that it comes down to the person. I think that is there when an artist builds a team. If you look at the Dave Matthews and Bruce Springsteen models. They have kept their same teams; and their friends. Then there’s John Mayer who I think just left his manager (Michael McDonald) after a long time (13 years).

One of the reputed truisms of the music industry—of being a manager, and being an agent-- is that the artist will disappoint you at some point.

Yes. So is loyalty dead? Maybe so. I go back and forth thinking about it. Absolutely not there are examples. But then, of course, you can look at an example like John Mayer and say that he was with his team for a very long time and now he’s not. I think that we all work very hard for our clients. You hope that there is loyalty there but you are never surprised when it’s not.

Whereas there seems to be loyalty between fellow agents despite competition; and between agents and buyers.

Oh, there’s absolute loyalty in this world with agents, and our venues. Definitely trying to be loyal no matter what. Even if you outgrow a room, there is a sense of trying to figure out how can you stay in that room, and even how you can cope in the room. Raise the ticket price or do two shows or whatever. We definitely try to make it work with our original (venue) because they helped nurture the career. I think that we do all see that.

At the same time, while you continue to develop more new acts, you still need the continued support of those talent buyers.


When you launched the agency in 1994, much of your business was with clubs. What venues does your agency focus on today?

Today, it is festivals, PACs (performing arts centers), and small theatres. I still do club dates but more the listening rooms that we’ve stuck with. That we have stayed with, and have developed. There is a lot of concentration on festivals. From the very beginning, we went after the festivals but, in talking about nurturing a relationship, I think that the festival people want to share the love with other agents as well. They are not going to want to do one-stop shopping with CAA. They are going to call me. They are going to deal with Susie Giang at Fleming (Artists). They are going to talk with Matt Morgan at CAA (Creative Artists Agency). I see it where they are going to spread it (bookings) so that all of the agents get some work because it’s the same thing for them in that it’s relationship-based, and they have to. Besides going after all of your marquee acts, their job is to talk to the agency, and find out who are the developing acts on your roster.

Today many American markets are over-promoted with an abundance of buyers vying for talent. The PACS are under a lot of pressure and aren’t doing as many classical and jazz bookings as they once did, and there’s even more and more house concerts attracting acts.

I think there is a little more of that, and you have to be more strategic in booking. Where I would never do house concerts, now I’m starting to find that if I’m taking them (an act) out for two weekends, I will tell you that Tuesday or Wednesday house concerts where they can have an Eliza Gilkyson is helpful. We have a criteria where if you are a house concert, and if you seat 30 people, and there’s no sound system, well it’s no. But there are plenty of these house concerts where you can pick up a couple extra thousand dollars.

Attracting 100 people, they are almost like folk clubs of yesteryear.

Yeah, exactly. So they have shifted too, and it’s weeding out the ones that basically…they are the ones that know what they are doing, and know how to present properly. So they are part of our strategic tour. But I have to say that some of my clients have changed the way that they tour too because travel has gotten expensive. A lot of them want to fly in on the Wednesday or on the Thursday, play on Sunday, and fly out on Monday morning. We are doing a lot more of that. In the early days, a lot of them would get into vans, and they would go out for 21 days. But now it’s not all that. Those off nights are hard to fill. Gas is more expensive. Hotels too. It (a tour) gets too long. The younger folk may be more into that whole (long tour) thing, but I have noticed a shift where we are having to fly in a day early all of the time now where we used to always fly in day of show. We rarely do that anymore.

Is it because some of your artists have matured, and can pick and choose their dates or they can play PACs?

Absolutely. For sure.

PACs are more open than ever to folk and Americana music now.

Of course, they have always been a home for world music which I’m also involved with working with now. That is actually what got me more into the whole PAC world was because of the world music stuff. But they are definitely doing a lot more of the singer/songwriters’ series. What we have done is that we have taken singer/songwriters like Eliza and put them with other artists. We started a group called Red Horse with her, Lucy (Kaplansky) and John (Gorka).

Another way of packaging and branding artists on your roster?

Absolutely. Also she can’t always go out, and fill a bigger venue. It’s not the same thing (with an artist package). With an 800-seat PAC, if you put the three together then two plus two plus two sometimes equals six. Sometimes it equals eight or nine if the package is compelling.

As well you can book them as a trio at festivals.

Which is what we’ve done. Now I have a new one, Three Women And The Truth which is Eliza, Mary Gauthier and Lynn Miles. They are playing at the Kate Wolf Music Festival (in June 2014). The same thing it was the Woody Guthrie Ribbon of Highway Endless Skyway show which has been going on for 10 years. Two years ago, for the 100th year birthday for Woody, we launched Walking Woody’s Road. Ribbon of Highway was much more of a scripted show with a narrator. Walking Woody’s Road is more laid-back. It still had narration but it is a more relaxed, less scripted show. We launched it two years ago for Woody’s birthday, and it’s still going strong.

The same strategy behind Red Horse?

Totally Totally. I work with a band called Marley's Ghost in the U.S. and to get more work, and because a lot of them came from a theatrical background, we developed a multi-media show called “Praying for Rain The Dust Bowl Years.” The Woody show is also a multi-media thing with slides and other thing. You are almost building shows with the end in mind of being (working in) the PACs.

Many notable artists don’t draw as they once did. Also there are a lot of artists emerging but still relatively unknown. The artists in the spotlight everybody wants.

Yeah, I see that too because I book a festival in Texas, the Cherokee Creek Music Festival outside of Llano (Texas). They kind of give me an idea who they want. My job is to negotiate(for artists) and give them ideas after they give me their list. It’s interesting because a lot of the same (festival) people are going for the Lyle Lovetts, the Patty Griffins, and the Lucinda Williams. They seem to have been able to stay in that pocket.

Buyers are now faced with a number of headlining folk artists seeking $100,000 or more per date.

That’s the thing. Buyers are trying to decide.

There are also notable veteran artists who are now difficult to book.

It’s difficult. You try to do packages with that kind of concept. You don’t want to see them end up in casinos.

Casinos are another formative competitor in the marketplace.

Right. They have to sell tickets or they don’t have to sell tickets. They have a captive audience, but at the same time as a manager or an agent, you don’t want people to pull up your client’s schedule, and just see a bunch of casinos either.

What’s wrong with a run of casino dates with someone who is well-known but doesn’t draw as they once did?

I don’t know if it’s wrong, but if you are trying to get into festivals or PACs, and they (the buyer) pull up and see that they are at a lot of casinos that is saying, maybe, that you don’t have hard ticket sales.

Yes, it’s not being able to show hard ticket sales

I think that might be it. But that doesn’t mean that I don’t book casinos. They are a vehicle for some of my clients as are the wineries through their music series which people are going to attend. There are free music series all over the country in the summertime.

Unlike casinos, wineries are seen as cool for certain types of artists.

Yeah. But it’s (that field) has got more competitive too.

Where are your originally from?

I was born in the Bronx but raised in (Westport) Connecticut. We moved out of the Bronx within the first year. My father was a surgeon, and my mother is an author.

What music were you attracted to as a teenager?

I grew up in a household where my parents played Peter Seeger, Joan Baez, Judy Collins and Tom Lehrer; and a lot of jazz like Oscar Peterson, Dinah Washington, and Billie Holiday. The first concert I saw was Peter, Paul and Mary. I remember being devastated because they were going to cancel the concert because of the riots. During the Viet Nam war, my father was stationed at the Walter Reed Army Hospital, and we lived in Washington. I must have been 5 years old but I can very vividly remember the concert did go on. That was the first concert my parents took me to.

You started wearing turtleneck sweaters and playing guitar?

(Laughing) That was basically it. My brother wanted a guitar for Christmas, and we both kind of got it as a gift. I have to say that my guitar teacher, Therese Pressley, growing up to this day is still one of the biggest influences in my life. She probably saved my life as a lost 13-year-old. She was the one who turned me onto Rory Block, Bessie Smith, John Prine and Kris Kristofferson.

What guitar styles did you learn?

The first song that I ever played live was at a talent show at my junior high was the John Prine song “Souvenirs.” I was into Kris Kristofferson, John Prine, and I loved Paul Williams’ writing.

Steve Goodman too?

I also loved Steve Goodman growing up. I also loved Bessie Smith, and Ella Fitzgerald. Of course, Carole King was an influence but because of the finger-picking style that I was learning—I was learning a lot of the syncopated alternating bass lines—and the Bessie Smith stuff worked with that. Then I listened to a lot of old ‘30s and ‘40s swing, and I loved Asleep at the Wheel in my later years. In my early years, it was really about the singer/songwriters and finger-picking. It was learning Judy Collins and Leonard Cohen. There were a lot of Leonard Cohen songs that I could figure out the chords to.

I remember seeing Rory Block play when I was young, and I wanted to be her, and have her hair. I was inspired by her, and loved that she was really good on guitar, and how she just dug in. It was almost like she became the guitar and the guitar was her. She inspired me to get good on guitar. I liked the way she played that guitar, and sang like she was channeling Robert Johnson or Son House. She got me into the Mississippi delta blues style of playing and singing. I liked Bonnie Raitt too, but Rory was very influential.

Where were your first gigs?

My first paid gig was the Levitt Pavilion (for the Performing Arts) in Westport, Connecticut. It was like the first year that they opened. Then I started playing around. I was playing from the time that I 14 to 15 years. I would play at Grass Roots at Westport. I began gigging right away. I never had a day job.

Were you any good?

I was actually pretty damn good, yeah.

You studied jazz guitar at Berklee College of Music where you met your husband James. The two of you toured as the Denns, and recorded four albums.

We first started up in Boston playing all of the little clubs and playing out at the Cape but we moved pretty quickly. We got married within a year in Westport, and left when we were 22, and headed to San Antonio (in 1982). That’s where James grew up, and there was a job for him there teaching music. At the time San Antonio and Austin you could play both places. They are only an hour and 15 minutes apart. We got really into playing a lot of conventions. If you couldn’t afford the Dixie Chicks, you could afford the Denns. They were a whopping $2,500, and we were only $1,000. We played all over Texas. We played everywhere. All over the place. We would tour like mad people.

Then you were raising a child.

Our son at age four just hated it (touring) He begged us to stop doing it. That’s how I actually became an agent. We realized as parents that he wanted to be in school. I didn’t have the personality to home school. So we agreed that in the summertime we would tour, but during the school year we would just play around on weekends. During the week, I started my agency booking Ray Wylie Hubbard who was my first client

You moved from San Antonio.

We moved to outside of Austin in ’87.

The second client you had was Jimmy LaFave. How did you get to 10 clients so quickly.

Jimmy, who has been with me 20 years, has been an amazing client. Like Woody Guthrie, Jimmy understands that the more that you bring to the family and into the fold the better we all are. Other agents have clients and they wonder, “How does this affect me?” Jimmy got Trish Hinojosa, and Eliza. He really championed me to build the roster. I was very much of a Texas singer/songwriter agency in the beginning. Jimmy was a huge part in building my roster, and he’s been a really great client. And, to this day, I adore him. He’s now got an agent/manager who takes care of his day-to-day bookings, but if I bring anything in or anything that I do with the Woody stuff, we still work together. But he was real champion and in growing up in my house and listening to Woody Guthrie, and Pete Seeger all that, Jimmy really took me down the Woody rabbit hole. Reopened it for me, and brought me back to what I grew up with. I still work with the Guthrie family on that.

You were also doing shows at the Granbury Opera House in Granbury, Texas in the ‘90s.

Yep, I was programming, and booking the Granbury Opry House. I programmed the last weekend that Townes (Van Zandt) played.

What shape was Townes in by that point?

It was the second last gig that he did before he died. It was pretty sad, actually. It was the first show that I did in a series. The buyer wanted him so badly, but I knew that he was kind of in rough shape. So I suggested that we do it (the show) in the round. That way, in case he arrived prone in the back of a van, we still had a show. I was concerned because I’d seen him (earlier) with Guy Clark. It had gotten pretty rough. I could see how hard it was on Guy trying to make stuff work. Because I was booking Ray Wylie Hubbard at the time, I thought that I would do Ray, Townes, and I put Terry Allen on that show.

How did the two shows that evening go?

The first show for Townes was pretty rough, but the second show he was quite brilliant. It was pretty evident he wasn’t well. I can remember being outside after the show, and talking with Ray and Terry Allen—Townes was changing—and I think it was Terry who might have said it that it was like watching buzzards fly above.

Townes left the next morning to go and play the Cactus Café. I was November 22. Griff (Luneburg) had him at the Cactus on the 23rd, and he was gone Jan. 1st. I am quite certain these were his last gigs as he died 5 weeks later.

Not a surprise, really.

No surprise. I went to pay him at the end of the night, and I had a really lovely conversation with him. By that time, we had let him go back to drinking. We had had a successful show. He said to me, “Can I just squeeze your breasts?” I thought to myself, “I can say no, but I would love to tell the story.” I said to him, “Two hands. One squeeze. One second.” I was kind of joking, and he did it.

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.”

Larry is the recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry. He is a board member of the Mariposa Folk Festival in Orillia, Ontario.


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
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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