Industry Profile: Jake Schneider

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Jake Schneider, partner, agent, and dir. of agency development, Madison House.

If an earthquake develops near Colorado, pin it on the eruptive activities of Jake Schneider.

This 31-year-old executive firebrand at Boulder, Colorado-based Madison House provides continual ground motion throughout all sectors of the live music sector in his pitching of his eclectic artist roster that includes: Bassnectar, Beats Antique, Lotus, Paper Diamond, Keys N Krates, Hieroglyphics and others.

For nearly two decades, multi-purpose Madison House has had a convincing reputation for providing its clients with critical and innovative booking strategies, as well as solid management.

Mike Luba and Nadia Prescher launched Madison House in 1996 in Athens, Georgia, then home base to an emerging, high-powered independent music scene. In time, the company outgrew the local scene, and would relocate to Boulder in 1998, home of one of its long-standing clients, the String Cheese Incident.

Over the years, the company aggressively branched out, including—among things-- forming an independent record label, SCI Fidelity Records; a travel agency, Madison House Travel; and a concert division, Madison House Presents, recently acquired by AEG Live.

Schneider landed at Madison House in 2005 after being a successful talent buyer in the Iowa City, Iowa market.

You have been at Madison House for 9 years. When you arrived, there were only three agents.

There are 9 full time agents now. The roster has diversified tremendously from a predominantly jam and jazz band agency to a staple for electronica, Americana, indie rock, and hip-hop. All across the board.

Madison House has largely flown under the radar since it started, and certainly in the last decade.

A hundred percent.

What led to the agency to growing so much since you have been there?

When I was brought on, the idea was to diversify the roster. There were three agents, two of them being partners. The other one being an employee. At that point, their roster was very jam band, jazz, and roots heavy. Jesse Aratow (partner/agent/manager), and Nadia Prescher (partner/agent/manager) were doing the majority of the booking at that point. Mike (Luba), Kevin Morris and Jeremy Stein were more focused on the management or running the other various facets of Madison House that we had at the time--be it the ticketing company, the merch company, and stuff like that that we have either since spun off or joined teams with.

There’s still the label.

SCI Fidelity Records is still rocking it here in our office releasing the String Cheese Incident records as well as records by other bands ranging from Umphrey’s McGee to Lotus.

And there’s Madison House Travel.

They are great friends, and I use them all of the time.

Madison House’s growth may be connected to the fact that many of the bigger agencies weren’t interested in some of these music genres. As well, there was a change in the buyers coming up. Newer relationships for you to connect, and to work with.

Yeah, I couldn’t put it better than that. I feel like that is the case. For awhile, when I started cutting my teeth in the whole (live music) thing, it was either working with this person or working with this legendary promoter. I just found that the younger people at the various promotional companies and promoters were the people that I would latch on to. The Bryan Bensons of the world that currently works (as booking and production associate) for AC Entertainment booking who, at one time, booked the Orange Peel. Now he’s doing festivals like Forecastle and Mountain Oasis and helping with Bonnaroo.

I was on the ground level developing some of this jam electronic stuff as well as some of the more grassroots-oriented electronic stuff, and the indie hip-hop stuff. Like yeah. Yeah, I agree. I think that it was a little bit under the radar. We would go to, maybe, a Pollstar conference, and hear somebody talk about a 360 deal or talk about a certain genre of music that was popping off or they would be, maybe, discussing reinventing the wheel. And there would be a little bit of a collective eye roll, I think, with Madison House (agents attending). My gawd…

I imagine that was also the response from a lot of the younger guys in management or at the other agencies.

Yeah, totally. We felt that we had been doing it (what was being discussed). I think that we are a boutique, and an independent booking agency that has paved the way. That has built a lot of great new concepts. Even our technology. We built this online mega database. Now other agencies are using newer forms of it.

Madison House still somewhat remains under the entertainment radar.

We are just under the radar. We have always wanted it to be that way. Recognition, God it’s fun but, at the end of the day, does it make our clients more money? I’m not sure.

An agency that is comparable to Madison House is The Windish Agency.

Very much so. Tom Windish has always said, “I’m going to do this my way. I don’t want to do this anybody else’s way.” That’s our mentality very much as well.

I think of Tom Windish as a renegade in the agency world.

A hundred percent. I think that with what he’s doing right now with his roster. I think too that they are embracing the (new) technology, and their roster, in general, is indicative of that.

One reason for Madison House’s growth may have to do with the incredible shift in music over the past decade. EDM, for example, was present a decade, but there few outlets or platforms for the genre like there is today.

Right. There were no radio outlets for it really in the (United) States at least. Obviously, in Europe there was. But there wasn’t a mainstream presence or an acceptable outlet to find this kind of stuff in the U.S.

So the idea of bringing me in (at Madison House) was sort of to expand the agency outside of the roster, and the acts that they were already working. By bringing in someone who wasn’t necessarily steeped in the jam band world. With me being a very big hip hop fan, and being someone delving into electronic music, my goal was to come in, make a name for myself, and pick up some acts that made sense.

But I always want to be a cheerleader for Madison House’s boutique and independent roster, and trying to bring in other people that would make sense. So as the (agency) roster grew, and as my roster, in particular, grew, it became easier I guess to lure other agents over to Madison House to be part of a very likeable team of people.

I was made partner a year and a half ago, and a large part of my focus has been to constantly bring in young 22-year-old agents like I was when I came here. Not bring them, necessarily, as purely admin in any kind of corporate agency role structure, but as an agent. Put their feet to the fire, and see what they can do. Hopefully, they have a roster with them that they can bring. But the idea is to just keep on growing it (the agency). We have brought in some kids that have grown tremendously in the year or two or three or four years that they have been here. Taking their rosters and tripling or quadrupling them in size, and bringing in a very nice Americana, and indie rock contingent.

Meanwhile, so many of the old school agents and managers continue to consider EDM (electronic dance music) to be a fad. This is despite the fact that the genre has been around for nearly 25 years.

Exactly. I’m very much an advocate of the law of abundance. As cheesy as that sounds. Since this thing (EDM) has come full circle now, I guess what you deem as legendary and older school promoters will call me to get the lay of the land, and to understand the landscape of the electronica world, particularly. Before I did my deal with Madison House I had a few offers to go to different agencies and be the head of their EDM departments. I just don’t want to lock myself into something like that.

You don’t want to park what you do in one genre.

Yeah, exactly. But with that being said, I’m more than willing to talk to these promoters, and to educate them. I think it only helps (the overall live music business). Again, it’s the law of abundance. There’s enough to go around for everyone. At times, though, it’s funny hearing some of these older guys appropriating some of the language that you are using, or what you have just said is being used in another conversation on a panel somewhere. I’m not saying that always happens, but it’s very interesting (when it does). We have helped a lot of these guys—told or directed them—on how to take this music into a whole new touring world. In the sense that we are going into larger venues now, and it’s definitely difficult. How do you do it?

What attracted you to make the move from Iowa City to Boulder?

I have always loved the outdoors. I’m a big fisherman; be it open face reel or being a fly fisherman. Also growing up in Minnesota, I skied a ton since I was four-years-old. I was at the ski club every weekend.

So you were looking at a lifestyle choice?

Yeah, that was one of the things. I interviewed with a bunch of different agencies, and I was offered admin ticket count, ask-for-a-job things. I sat down with the Madison House crew. I wore a sports coat into the office. They laughed at me. There were six dogs running around the office. It was just a perfect fit. They were going to make me an agent right away. They had a band that was kind of teed up for me--which was Lotus, who are very successful right now. I was going to work on that band with Jesse Aratow. They basically said, “Come in. We are going to give you this chance. You’ve got six months. We are going to put your feet to the fire. If you want to take this, hopefully, you will make it happen for yourself.” Luckily, I was able to do so. I signed bands before I actually made the move.

Who did you sign?

A hip hop group from Madison, Wisconsin called the Crest, and there was the Pocket Dwellers from Toronto. One of the early bands that I signed that has had a longstanding effect on me is Pnuma Trio. It was jam electronic band comprised of a bunch of 18 and 19 year olds. Really young kids. Saw them at Jazz Aspen SnowMass three and four months into my job here. One of the guys from the band, Paper Diamond, was actually a really successful DJ, that I work with now. He’s been a great friend, and an awesome client of mine forever. It (his career) just grew organically, and we been loyal to each other for 9 years now.

You recently started working with the Minneapolis-based producer Vaski.

Yeah, for sure. A really cool electronic act. It just made sense. He’s got managers Row Weber and Marcello Pagin who manage Lindsay Lowend, Seven Lions, and Paper Diamond. I am a fan too. He’s a Minnesota boy. He’s a Minneapolis-based guy. He’s going to be re-locating to Los Angeles very soon. But we are superpsyched to be working with him. He’s got a really cool aesthetic. Not only him personally, but with his music and everything around him.

So much these days (an artist’s) online presence contributes to their aesthetic. If their Facebook looks like shit; and if their website is garbage, what can we do with them? People want a portal. I think more than anything else that they want a portal to commune (to share with other).

[The Minneapolis-based producer who calls himself Vaski has made a name for himself on the strength of his bass-heavy productions. Drawing from screamo, metalcore, and hip-hop influences, he has released numerous releases on Excision’s Rottun Recordings imprint. Vaski recently found a new recording home on 12th Planet's SMOG Records.]

If an act isn’t together with the basics of social media, they won’t be together once the train leaves the station either.

It’s a microcosm of their career. I totally, totally agree. The first thing that I tell people is, “Don’t send me your Sonicbids’ EPK. Send me a nice Facebook page that looks good.” Or, (I’m interested) If they have some albums or music that came out, and looked good, and there’s a solid campaign behind it. I think too about the Lotus community. You can tell so much about an act by how many people are just sitting on their message boards or their Facebook pages and just talking to them. if the act is talking back, that creates an even larger dialogue.

Many acts don’t have a handle on social media other than in providing basic information.

There’s different kinds (of social media) too. For example Bassnectar is not a fan of banging people over the head with random Twitter thoughts. He’s interested in activating his community on Facebook on a positive change level. There are different mediums that certain artists are more prevalent in than in others.

How do the Madison House agents handle bookings?

Typically, there’s RAs (responsible agents) or co-RAs, two people who split responsibility of an act. Normally, the person who works with an act books the entire North American continent for them. in many cases, I book Europe, Japan, and Australia for some of my clients. We are trying to do more of that. I have a lot more European trips lined up because we just secured some of our acts on festivals like Tomorrowland (in Boom, Belgium) which is big on the electronic music landscape in Europe. So I’m going to be doing more of that. But if we do split stuff up, it’s typically East/West. Jesse Aratow and I work on a few clients together, including Lotus and Beats Antique. Jesse does the West, I do the East, Typically, it’s the Mississippi (where there’s the split of responsibility). God gave us the Mississippi for a reason. It’s for routing tours, East/West, basically.

One of your goals is to have a greater presence in Europe for Madison House. How is that strategy developing?

We have just picked up some acts that have an amazing presence in Europe. Some of the acts have taken a little longer to develop there. Europeans know their electronic music. So when they see someone from the U.S., it’s hard for them to wrap their heads around, “This act a pioneer.” If so in what way? They are starting to believe (in some of the U.S.-based acts). Then I have acts that are straight up European acts.

The goal for the company, and myself personally, is to keep on growing our company over there. I think we are doing a great job right now. We have a lot of awesome connections. The guys at ID&T have been an amazing help with the Tommorrlands of the world. I’ve got a couple of German managers that I am working with now that are doing stuff all over Germany, Belgium and in different countries.

Have you found audience reaction toward electronic music in places like Japan similar to North America?

Very much so. That surprised me five years ago during my first trip to Japan when I went over there with Pnuma Trio, and again when I went to Fuji Rock this summer with Lotus which is very much an electronic band with improvisational jam qualities to them. Typically, the Japanese population at shows—I’m not trying to stereotype—but normally they are pretty reserved as far as to their reaction to certain types of music. However, I found as soon as Lotus hit the stage, there were kids crowd surfing. And they do the exact same thing here. Despite how people look, they are still dressed in the same Patagonia rain jackets, and rocking up with a fist in the air to the same band. Whether it’s a band at Red Rocks (Red Rocks Amphitheatre near Morrison, Colorado) or the Fields of Heaven at Fuji Rocks.

AEG Live recently acquired Madison House Presents. How does that affect the Madison House agency business?

It doesn’t really at all. Our peers range from people in every company--from AEG’s competitors at places like Live Nation, SFX and ID&T. We are in the business of selling our talent to promoters. Therefore it’s an open playing field. It (the acquisition) is a very fun, and interesting thing because we are in an office with a bunch of crazy people coming up with some really cool events, and we are able to come up with some unique ideas of how to tour our artists. If Madison House Presents/AEG Live can come up with à creative touring package for an artist then we will definitely bring it to our artist. But a lot of our artists are anti-national touring offers. For instance, Bassnectar (the stage name of Lorin Ashton) has turned down multiple 30 date tours all with the same promoter. It’s just not going to happen. It’s not what we are built on.

[This month AEG Live announced the acquisition of Madison House Presents, the festival, touring, and special events production company. Under the deal, Madison House Presents’ principal partners Don Sullivan, Mike Luba and Jeremy Stein joined AEG along with Alicia Karlin and Michael Sampliner. Madison House Presents operates from offices in Boulder, New York, and Chicago.]

But it’s a great flow of information due to their being in the office here, and it’s really fun having Mike Luba back in the fold. Don Sullivan I viewed as a mentor while I was in college doing shows at the University of Iowa. He was bringing JAM Productions shows into Iowa City. I did a ton of work with him. It’s fun having those guys in the fold right now.

What’s the arrangement with Madison House Presents working from your Boulder office?

You know what? I’m not privy to the total financials at that end of things, being that I’m not a Madison House Presents employee, and I’m not a partner in that company. However, Madison House Presents works from this Madison House office for the time being for sure; especially since Jeremy Stein is a partner in Madison House. Him, Michael Sampliner and Alicia Karlin all work out of here. Mike Luba is in New York, and Don Sullivan is holding it down in Chicago as well.

Obviously, there’s synergy between the agency and Madison House/AEG? These are folks you have worked with for years, and partnered with on the Rothbury Festival, and Fourmile Canyon Revival.

Very much so. They are always going to be our friends, and kind of our creative counterpart. I, for a time, helped, purchase talent for both Rothbury and Electric Forest. There will be times that they will bounce ideas off me for various events. As well, having those kinds of creatives around is helpful. For instance, right now Beats Antique, one of our really unique clients that blends world music with an electronic vibe and who has a world-renowned belly dancer (Zoe Jakes), we’re working on a circus-eque tour that Madison House Presents and AEG Live might assist with curating. Help on the creative level in trying to figure out how to execute something like that.

How do you handle a new client’s expectations of wanting to be on the festival circuit or doing bigger tours immediately on signing?

At the end of the day, Jake Schneider or Madison House will have the clout (to get such bookings). We may work with one of these (promoter) companies, but do we want to call out the favor right now to get you on this when you are not going to play it next year when you a real (fan) base?

Better to have a buzz than to be overlooked at a festival

I totally agree. I think that one of the people that I’d like to give one of the largest shout outs to are our friends over at C3 Presents. They promote tons of festivals, and they manage five of our clients. They do Adam Deitch, Break Science, Beats Antique, Lance Herbstrong, and Bassnectar.

So sitting with them gives you a degree of confidence for sure.

There’s a great management team there which can provide festivals for their clients. On top of that, they are very frank with me. They are great to talk to, and shoot ideas back-and-forth with. Huston Powell, Allie Ehlinger or Amy Corbin will just be like, “Hey, we are not going to do (book) an act. We don’t want to repeat something. Even three years in a row, we’re not going to do something.” Or they will tell a client, “Hey, if this happens this year, it’s not going to happen in three years, and that’s when you might need it.” So it’s about explaining expectations and letting your clients know that you are talking to these promoters for the long haul, and the long picture, and here are what the plans need to be.

Do you often have managers in shopping agencies trying to pit you against other agencies?

it’s one of the things that I hate the most. Every once in awhile, I will go through it. I tell those managers that our work speaks for itself. Our festival presence speaks for itself. The sustainability of our clients speaks for itself. I’m not interested in outdoing (other agencies). I can tell them exactly what we do better than the rest of the other quantity DJ agencies out there if they want me to sell them on that.

Every once in awhile, I will. I typically find that if a manager is bluffing a little bit saying that he’s got a couple of other agencies on the line, and I’m the first call. I can’t tell you how many times that first call ends with, “Okay, we don’t have to do another call.” Were there other calls? I’m not sure. But I definitely frown upon it (competitive shopping) and I normally tell people that I’m not interested in getting into some kind of agency bidding war for a client.

If they know our company, if they have done the research, managers or artists come to us because they are interested. They had better be interested in our company. If not, I’m not going to sell myself. I’m not going to tell them, like some of these corporate agencies do, that “We’re going to make you millions. You are going to be a star over night.” No. “We are going to grow and build this properly. Figure out how you can have a sustainable career to provide for your family or for yourself for years to come.”

So if band comes in with a festival want list, it’s “Have a good life, fellas?”

Totally. You can come to us and say, “Here’s our ideal wish list.” Well, cool. We ask all of our clients for a great wish list. “Give me a list of realistic peers that you think that you can go out with, and then give me a list of who would totally blow my mind if we went out with them. We’ll try to make that happen, and it’s going to be fun to track that throughout our careers and relationships together.” The festivals the same thing. Maybe, we aren’t getting Lollapalooza this year but two to three years from now when we proven that we can do some hard tickets in Chicago, we will have Huston (Powell) look our way. We just want to know that right off the bat that we are dealing with a realistic person. Or, if you are so in love with the music than you might be willing to deal with some of the bullshit. It very rarely happens, but every once in awhile it does happen. I’ve got a couple of clients on my roster like that.

It’s preferable that acts and managers consult with you in making that realistic wish list.

Exactly. And honestly, and typically my way is that I under promise, and I over deliver. “Guys, I don’t think that I can get this for you this year.” Then, “Well, I got this for you this year.” It’s not meant to be some kind of cheesy tactic. I just don’t want to raise peoples’ expectations. But I know typically that we can often deliver more than we can say that we offer.

The career strategy of emerging acts releasing a record, getting radio exposure, and then building their touring base has largely disappeared.

Yep. It has indeed for sure. I always go back to the Bassnectar thing. We have grown this for 6 or 7 years now. It’s been a completely grassroots thing. Obviously, there have been singles on the Beatport or the iTunes charts, but there wasn’t a bunch of accessible press and radio for him when we were taking him from 200 cap rooms to selling him for two nights at Red Rocks on a weekend, and to mini arenas. it was a grassroots-oriented thing. We were touring these types of artists without real product. It was about the live show. You didn’t have to have a record.

That’s what I started out on. Full on, I think that hip hop was a little bit more record-oriented. I think that those kids buy a lot of albums. But with the jam electronic stuff, and jam bands in general with that grassroots mentality there were records, but those records weren’t what was helping to propel some new stratosphere of stardom or whatever.

Street mixtapes were vital to rap.

There are a lot of websites out there right now where mixtapes are still prevalent. You go to XLR8R, Remix and URB and people are dropping mixtapes all of the time. There’s a lot of crossover from the EDM world, and the hip hop world. I was predominantly focused on the independent hip hop. I grew up in Minneapolis so I grew up listening to Atmosphere, and Rhymesayers (the Rhymesayers Entertainment label) which has this line of very independent—what I would deem positive—hip hop. We work with some commercial hip hop now. I would say that some of the more commercial hip hop is definitely word of mouth via mixtapes but there are some singles or tracks involved. Right now, hip hop, in general, is definitely single-oriented with some of this glam hop stuff that is coming out.

Fifteen years ago, if a cutting edge act couldn’t get radio--which they usually couldn’t unless it was college radio—they pitched their music to Pitchfork Media for a review. There weren’t many influential platforms for exposure after that. Today, there are so many outlets and platforms to jump onto.

Yeah, for sure. And back then a lot of it was the live show, and word-of-mouth stuff. Whereas a lot of my co-workers may have went on a Phish tour, I was the guy who went on a Jurassic 5 tour. I did 7 or 8 dates with Jurassic 5. I would go out there, and I would find out about a new MC called Mac Lethal because he opened up the Lawrence, Kansas show. I would buy three of his cheap mixtapes, and a T-shirt. That was how I found out about stuff. So it was very much a live show-oriented type of thing and figuring out who is supporting who and who was who in the independent hip hop world because you know that “Concrete Schoolyard” (originally featured on Jurassic 5 EP on Rumble Records in 1997) wasn’t getting tons of radio airplay for Jurassic 5 back then.

Before coming to Madison House, you worked at S.C.O.P.E. Productions and Pig-Donkey Presents, both in Iowa City.

S.C.O.P.E. Productions was very much the program council at the University of Iowa. I was there (in Iowa City) for five years. I ran it for three or four years.

What were you studying at the University of Iowa?

I was an English and history major.

Going to be a teacher?

Yep, that was probably the fall-back job. No doubt.

Betcha you also worked at the university’s radio station.

I found out about S.C.O.P.E. Productions from this student activities board at the same time I did find out about the radio station there. I had my own 2-3 A.M. or 2-4 A.M. shift where I played a bunch of indie hip hop tracks that I liked.

At S.C.O.P.E. Productions, we had a unique scenario where we were almost forced to turn a profit, and most of our shows were ticketed. We had a couple of non-ticketed shows a year. I had the very fortunate scenario of that if you wanted to book a show in Iowa City, and if the capacity was above 350 people, you basically had to book through the university. So I was in the position of being able to offer an arena, a theatre, and a club for all those shows. We would do 40 to 50 shows a year. It was nuts.

It was kind of like (having) Monopoly money, but at the same time the books had to kind of balance at the same time. So I was able to make what I deemed as fair offers. I remember that one week we did G Love, 311 and moe. all on the same week on paid tickets. At the same time, we had Jeff Fortier who was then at Clear Channel; Brian Moore from Clear Channel; the guys from JAM Productions; and Jacki (Becker) from Up To Eleven Productions (in Lawrence, Kansas) all those people were bringing us shows as well too. We were very, very busy. It was to the point where I totally neglected academia.

Did you graduate?

Nope. I still have a couple of classes left. I will never finish them.

Was an Iowa City gig often a weekday bridge date?

Yeah, but we also had some great weekend shows as well. We were doing enough, and there were enough fans in that market that it wasn’t all horrible nights of the week. It’s a great routing market. if you are going out of Chicago, and you’re trying to get to Minneapolis, it’s a perfect place to stop.

As well, as you were building up relationships with bookers and other promoters, you were in a good position to get weekend dates as well.

For sure. We were working stuff all across the board whether it was John Mayer or Brooks & Dunn post 9/11 with the soldiers onstage and the red, white and blue confetti at our Carver-Hawkeye Arena.

A taste of the big time for you.

Yeah, it was a fun place to be at that point but when you are loading out from an arena at 4 AM—and I was DJing four or five nights a week—so I would work around that schedule—it was hard to make those 8 A.M. classes.

What was Pig-Donkey Presents?

Pig-Donkey Presents was my own company where I presented hip hop show around the city at 300 cap venues or less, like the Iowa City Yacht Club, and Gabe’s Oasis, and venues like that. It was a lot of the Midwestern hip hop scene. Some of the younger Rhymesayers’ acts. There was a group from Chicago called the Molemen I worked with a bunch, and the Typical Cats from Chicago.

Basically, I had my company where on off nights or weekend nights I would throw together some sort of 4 to 5 act hip hop bill while I was still at school. I was doing that on the side. So I was DJing. I was throwing these parties under Pig-Donkey Presents. I was doing the S.C.O.P.E. Productions thing. I also created—which I’m proud of—the University of Iowa Hip Hop Week, which was a very scholarly-oriented event. We brought in everyone from Chuck D to various graffiti artists all talking on the culture of hip hop. There were courses on hip hop and its roots. It culminated in a big hip hop show. We had performances from artists like Rahzel and Slick Rick. That was my focus in those days.

Your parents must have been flipping out about you not concentrating on your academic studies.

They were freaking out. They actually cut me off. They full on cut me off. It was only a couple of years ago that they said to me, “Hey, we apologize for not believing in what you were trying to do. We just thought that you were smoking a lot of weed, and listening to hip hop.”

Which was probably true.

It was very true, for sure. At the same time, I was working a before and after school program to make ends meet. Waking up at 6 A.M. in time to serve kids breakfast. I’m the oldest of six in the family so I had a lot of jobs. So DJing until 2 or 3 A.M and then waking up at 6 A.M. to send kids off to school was an interesting two years of my life for sure.

Where are you from originally?

I’m from Apple Valley, a suburb of Minneapolis. But Minneapolis is what I call home.

Were you in bands or DJing in high school?

No. I was a little bit of a hip hop fan, but I was a big punk rock and ska kid. The early years of the Warped tour, I identified with that crowd a lot. I’d go out and see Voodoo Glow Skulls, and Bad Religion. I would go to First Ave, the famous 1,500 cap room, and see all kinds of shows. Prince has played there so many times. My parents were huge Prince fans, obviously, being from Minneapolis. I was seeing shows like that downtown. On Tuesday, Wednesday nights I would go to whatever shows I could. I was definitely the kid in the workman’s jacket with the fake name wearing the punk rock stuff.

We get the music bug early don’t we?

For sure. Thirteen or fourteen-years-old.

And it doesn’t change.

Not at all.

The guys you hang and kibitz with in the business today are all music fans.

I’m telling you, I think that’s the case. An example, as I told you, is that I went on a Jurassic 5 tour when everyone else was going on a Phish tour. I saw Jurassic 5 at Fuji Rock in the misty mountains of Japan this summer. I was a fan, man. So I had to run to get there, and that was it. That was all that mattered. I didn’t care about anything else. We represent Chali 2na now, and that for me is a full circle kind of thing from Jurassic 5. But yeah, once a fan always a fan. Going out Tuesday nights (back then as a teenager) is going out Tuesday nights now.

You have Obsessive–Compulsive Disorder (OCD), an anxiety disorder. A hindrance in your work?

It’s probably an hindrance for my employees because I have an absolute need for perfection at all times. In my life it has been tough for relationships. Thank God, I have a wife who puts up with it. But, personally and on a work tip, I think that it has only helped create what I deem a pretty flawless system here, from the admin accounting department to the contracting admin world. It’s great. We worked with another company to develop a system to handle contracts, guest lists, and tour books, and things like that. That was me three or four years in a row not sleeping because it wasn’t good enough.

I have (the neurological disorder) Tourette Syndrome too. If I yell “fuck” at a promoter, I can blame it on my Tourettes.

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
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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