Industry Profile: Allen Cook

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Allen Cook, founder and CEO, TOURtech.

So much technology at today’s music events, including RFID wristbands, payment systems, and video streaming, relies not just on a dependable internet connection, but on a dependable local network as well.

Founded by its CEO Allen Cook, and headquartered in Raleigh, North Carolina, TOURtech provides temporary network solutions for the entertainment industry, specializing in high-profile projects where connectivity is vital.

TOURtech is among a handful of innovative companies reshaping live events by offering site design and consultation, hardwired connectivity, targeted Wi-Fi, network monitoring and analytics, VoIP services, and mobile office systems for music festivals, concert tours, corporate events, and product launches.

While providing network connectivity for production, stages, sponsor areas, merch stands, security, artist, media tents etc., TOURtech supports many new evolving technologies such as live streaming, RFID access control, and cashless payment systems that all depend on its custom network in order to seamlessly operate.

When Cook launched TOURtech during the 2008/2009 festival season, back-of-house Internet access was considered nice to have. If it failed nobody got alarmed. As the live music sector has become increasingly connected, reliable IT has become mission critical.

At the same time promoters and advertisers are both increasingly seeking analytics indicating which audience demographic likes which features of an event. Promoters also welcome information on how to reduce queuing snafus, and improve management of which individuals have access to which areas.

According to Nielsen Entertainment’s Audience Insights Report on Music Festivals, collected in 2014, approximately 32 million people attended at least one music festival in the U.S. each year. Nearly half (46%) are aged 18-34, highlighting a huge opportunity for marketers to reach the coveted millennial demographic.

RFID-enabled wristbands not only provide historical data but enable ticket holders to connect with social media, potentially promoting not only bands, and the event itself, but also products that could advertise via social media. Prior to the RFID system's deployment, promoters and advertisers knowledge about event audiences was limited to how many tickets had been purchased. They knew virtually nothing about the ticket holders themselves.

When a festival is utilizing a cashless payment system that may or may not need to connect to the internet, but certainly to a server on-site, or to each other, a reliable local area network--supported by a company like TOURtech providing the base layer from which all of a festival’s technology can spring--has become mandatory.

Last year, TOURtech serviced 25 festivals, and 45 one-off events.

This summer, TOURtech’s dance card of events includes Coachella, Lollapalooza, the Bank of America Shamrock Shuffle, the NFL Draft, Counterpoint, Bottle Rock Festival, Governor’s Ball, Firefly, and many others.

When was TOURtech founded?

We incorporated for the first time in 2007 in California.

Any partners?

It is just me.

How much staff do you have?

We have10 full-time employees and about 20 to 25 regular contractors.

How many crews are working in any one period?

We will have six crews running at the end of May. Each crew tends to be 2-4 people. Coachella is a very big site, so it’s a four-man crew. We may pop up to as high as 5. We have 5 going to Lollapalooza, and Firefly.

You are based in Raleigh, North Carolina.

Right. People ask, “Why are you there?”


Yes. My parents and my in-laws, by coincidence, both retired in North Carolina, and I had wanted to get out of California. I thought, “Well, that’s a lovely place.” Right off (Interstate) 95. It really has worked out quite well for us.

A five minute commute from home to the office?

Almost exactly.

I love the photo on the company’s Facebook page of a truck in an empty parking lot at the recent Tortuga Music Festival in Fort Lauderdale, Florida with the caption, “First in and last out.” Generally, how early do you go to a festival?

Actually, the truck had just pulled in. We are in about 7 days before doors on those events. A typical three-day festival for us is a total of 11 or 12 days onsite. You’ve got the day after the event. Usually you get a Friday, Saturday and Sunday show. Most of it is packed up the following Monday and, maybe, a little bit left on Tuesday. We come in usually the Friday before.

Technology now plays an important role in the festival experience. However, you aren’t the guy seeking to take away my color wrist band, or who wants me to have a better Wi-Fi signal so I have a more personalized experience at a festival?

Well, no. I am the guy who wants to make sure that those guys stay connected. So you have all of the RFID guys—and we are the Wi-Fi guys as well—but our primary mission is to provide solid stable connectivity for any of the systems onsite. Whether that is ticketing, cashless payments, access control, credit card machines, production offices, and sponsor activations. Our goal is to be sort of that bottom layer, the less sexy group as we can be, and to make sure that everybody stays connected.

So you are the guy coming in with the dedicated high bandwidth connection with the local communication provider, as well as routers, data hubs, and Wi-Fi receiver-transmitters?


So that’s different than the role played by Intelltix, the global provider of RFID access control, and cashless payment systems for live events.

Right. Intelltix brings us in to connect all of their gates together. We provide the infrastructure that makes their entire system go. When someone is upset that Intelltix’s system isn’t working then Intelltix is generally upset with us.

Your company did 25 festivals last year.

Yeah, we did 25 festivals, and another dozen that were related; sponsors at a festival or we were the only support for the RFID company.

The company also worked at 45 non-festival events last year.

About 45 non-festival events. One offs, and product launches.

When your company works on tours with Beyoncé, Bon Jovi or Madonna what are you providing?

That tends to be supporting the production and tour management offices. Providing the VoIP systems so they (production and management staff) have a consistent phone number that isn’t their cell phone. A lot of people like to be able to give a different phone number that they are always sitting at to people so that they don’t have their cell phone number.

You provided the production networking at Moynihan Station on March 30th for the Manhattan launch of Tidal, the new music-streaming service recently acquired by Jay Z.

We did Tidal, yep. The challenge on that was the time frame. We got the call a week before the launch and, at the time, they still weren’t sure what venue they were doing it in.

Do you keep a logistics book on what you might need at a location?

Yes. That is exactly what we do. They called and said it might be over here, and I said, “Okay we will look at that.” Tidal happened to be at the Moynihan Station. We had done a number of Nike events in there. Our New York guy sort of does all of our Moynihan events. Every time he goes in, we take some notes on what was different.

There are some locations where you are just not going to get reliable Wi-Fi reception.

Nope. And it is certainly is true in arenas. At the end of last year, we did “Peter Pan Live” at Grumman Studios where they use to assemble the lunar lander. That entire place was shielded for espionage. In situations like that I joke sometimes with my guys that, “It’s amazing how much wire is involved in wireless internet” because, in those cases, we find a way to get wiring out of one office, and run it down the stairs, and through the hallways. That’s all you can do.

[Opened in 2009, Grumman Studios, located in the heart of Long Island’s Nassau County, sits on a 30-acre site in the space formerly known as the birth of the Apollo Lunar Modules that placed man on the moon.]

Wherever you are, you still have to connect to a local communication provider.

Any time we can we find a microwave ISP because no matter where you go the telecom experience is universally the same. When we started, we found all of the ways that we could to avoid the phone company. Not because they were difficult to deal with but, they didn’t get it.

If you go into a venue for the first time, say a performing arts center or an amphitheater, you check it out ahead of the event?

Depends on the type of event, really. Like we are doing all of the World’s Loudest Months events this year starting in Jacksonville with “Welcome To Rockville” (April. 25-26). The next one is “Carolina Rebellion” (May 2nd & 3rd at the Charlotte Motor Speedway in Concord, North Carolina), and then two shows later is “Rocklahoma” (May 15 & 17) There’s “Northern Invasion” (May 9) and "Rock On The Range” (May 15-17) this year that we have never been involved with.

It’s relatively small footprint festivals, and amphitheaters. The one in Wisconsin is at a shed. The one in Ohio is at a soccer stadium. We have done enough of those that we sort of know what the ups and downs are.

We have some equipment that we carry with us for the contingencies that are typical in those venues. But, if we were going into a convention’s usually the indoor centers that we like to go, and get a look at. Sometimes we just don’t get the opportunity to go in there. Either there is just not time or you can’t get access. That is sort of where the breadth of where TOURtech’s experience becomes valuable to our clients. We are very, very good at dealing with temporary situations.

Who do you bill?

We typically deal with the event producers or the production company. Well, with festivals we deal with the producers. We deal with C3 Presents directly on Lollapalooza, and ACL (Austin City Limits Music Festival). Then, when you get to say, Global Poverty Project with the Global Citizen Festival up in Central Park, they hired Diversified Production Services, and we get contracted by that production company. So with the festivals, we tend to deal directly with AEG or C3 Presents or Live Nation. Then on the indoor events, we tend to be brought in by the production company who is hired to manage the event.

Many locations are not suited for an IT infrastructure for events.

No, and that is what has really fueled our growth. Even in a handful of places where we do go where there is some kind of venue, the infrastructure just wasn’t intended to handle what are now really mission critical applications.

Connectivity has become ever more important. A few years ago, you would have backstage people saying, “It’d be nice to have Wi-Fi here. If we don’t have it, that’s okay.”

Yeah. We used to joke that four years ago nobody cared if the internet stayed up.

C3 Presents increased the number of network drops for Austin City Limits from 100 in 2013 to over 240 in 2014, as ACL became the latest major festival offering a cashless option for concessions and merchandise purchases.

Most of what we have done down there is back-of-house connectivity. Any terminal that a fan walks up to, it’s connected to our network. Every single payment terminal that a fan walks up to buy their pretzels. Sponsors are on our network.

Now with cashless festivals, and other activities, having a reliable Wi-Fi is critical.

We have gotten to a point that it can’t go down. Four years ago nobody cared. Three years ago it (having Wi-Fi) was because they needed to check their email. Two years ago if it went down, it meant that they couldn’t get people into the gates. Now if the internet goes down....We set up the cashless payment terminal or the POS terminals for Coachella, right? Coachella’s main bar, we are told, does about $250,000 an hour between 6 and 10 PM. So you can do the math on what a half-hour outage costs the festival.

At the same time annual spending of festival sponsorships is increasing because such events are deemed the best way to reach a relevant audience. Marketing, digital, and event strategy have to remain connected as well.

Yep. And the sponsorships themselves are growing in scale, and complexity. I started out as a lighting designer for special events. We haven’t seen this kind of frenzy in the event market in 14 years. It’s been since September 11th (in 2001). Things started to rebound in 2008 right before the economy tanked, or so they said that it tanked, anyway. We have had steady growth throughout. As entertainment tends to survive those things, we did very well. Now, we are seeing a demand that we haven’t seen for 15 years.

Several promoters are now working to extend the festival experience to those that can't physically be there, or to those who were, and want to remember it. YouVisit offers a virtual festival experience that allows fans to explore an entire festival. Oculus is offering virtual reality experiences. As well, fans are experiencing mobile teleconferencing. As a result, the event experience itself is changing so much.

I would agree. Last year at Made In America, we had a company that had come in and they did these portals. We did simultaneously, Los Angeles/Philadelphia festivals. So you could walk up to the cameras, and you were looking out at the festival in Los Angeles. Those people would walk by, and they would walk up and they would see you. People would wave at each other and make silly faces. It was something that a lot of people would just walk by, and not think much about. But a tremendous amount of technology went into building a very simple little marketing--I hate to call it a gimmick, that’s not fair to them—but, it is basically a gimmick.

A gimmick that can be utilized almost anywhere on the festival site.

The opportunities just keep climbing.

What were the issues you faced recently with Verizon Super Bowl Central in Phoenix with the Verizon Power House-- a concert and activity center--showcasing the latest in Verizon technologies, products and services over five days?

In that one, in particular, and on those types of events, there is so much subjectivity involved. One-off events like that, with all of the planning that goes in, there’s still a whole lot of changing, and adjusting that goes on onsite as people are realizing the flow. We were providing connectivity to the digital projectors for some imagery that was projected onto one of the buildings. The location of those kept changing. Then, at one point, the lighting control system was having problems. They asked us if we could build out connectivity from the lighting control position to the roof of the building so their DMX would work. It was kind of new for us. We don’t get much into control system working, but that has now presented itself as another place where the demand for connectivity is becoming so critical. I used to be a lighting guy so I don’t want to knock them, but it’s not the kind of thing they are always able to do. Now you need IT people. Now you need technology people. You need networking guys to start integrating your control systems.

Much of today’s staging, including lighting and sound relies on technology, but these two crews tend to operate separately.

That is beginning to change. My original concept for TOURtech was that we were going to basically build a touring infrastructure system that all of the individual departments would connect to. I went to visit some of my friends in rehearsals in the early days in Los Angeles, and explained that. They said, “That would never fly.” The lighting and video guys were forced to get together because lighting instruments became video projectors, and video projecters became lighting instruments. But you are not going to get the lighting guys and the sound guys together, ever. They are reluctant to share those systems.


I say ever, but it will happen. At a certain point running redundant fiber down the dashers of each side of the arena, and only paying 4 union stage hands to do it, instead of 8, well there are just economies of scale. When everything was still analog, or even with the early days of digital with proprietary formats, it was difficult to aggregate those systems, but they are all IP-based now. They are all using common equipment. They are all using cabling. It’s just about coming in, and building a node that brings all of those connections together, and then allows the individual departments to break out from that backstage, and front of house rather than every department running their own line to the exact same place.

This is a sector that is going to grow, if only because of the data that can be provided by Google analytics or data gleaned from following audience movement at events with Wi-Fi, GPS, iBeacons or Bluetooth. The sector is going to build out in the next couple of years.

Yes. Demand is beginning to grow this year for what we call “footfall analytics” which is sort of anonymous people tracking. It is the kind of stuff when you are looking at crowd densities. We work a lot with the CCTV guys, and they are using CCTV for crowd density measurement. We are doing some work at Coachella with passive Wi-Fi analytics measuring, including dwell time and engagement, and sponsor zones, and bar activity. Traditionally, you could stand at the bar, count people, watch a person, and see how long that they stand there. We are now able to automate that, then present it, and manipulate the data to show it in a number of different ways.

Over the years, festival promoters gave people on site different arm bands to indicate where they should be. However, at the end of the day they had no historical data about their audience.

Right. Obviously, everybody likes to now say “big data” because that’s the catch phrase of the year. They call it “big data”. A few years ago, the festivals themselves were still a bit of a, “I know an empty field. I know a guy in a band. Let’s put on a show” situation. This (live events) is where the music industry is making its money right now.

Last year, Billboard’s Ray Waddell noted that, “Considering that promoters only make 15% or less of their money from ticket sales, ancillary revenues from sources like parking, merchandise and concessions are critical.”

I know that they are doing very well with food and beverage.

Developing historical data at a conference about who went to what booth, and how long they spent at an exhibit is invaluable. As it is at a festival with multiple stages, if you can determine how long people stayed at what stage or where they are in a line-up.

Yep, and that‘s helping to inform site design. I know that ACL was able to identify a pinch point in the fence line by watching time lapse footage from CCTV. They were able to see as the crowd would move--just the way the fence was shaped--that it was restricting the flow. So they opened that up. It’s small things like that. With so many small festivals that you are competing against, you have to make sure that every aspect of the fan experience is the best that it can be.

We are now seeing competition by festivals to further enrich the fan experience.

Right, because it isn’t just about music anymore. Even with radius clauses, you still have the same bands performing at a variety of different festivals. A lot of people are going to have to travel to see their favorite bands. It is going to boil down to who offers the better experience. If I can go see the Foo Fighters in California or I can go see the Foo Fighters in Dover, Delaware, what’s my vibe? Do I want to go out to the desert or go out to a forest?

What we are really talking about is utilizing technology to provide a more personalized experience.


Festivals are traditional cash intensive. Was making use of wearable technology, an RFID wristband, to accept cashless payments a game changer for festival promoters? Any resistance to being cashless?

RFID was an easy decision for them to make. The actual control portion. RFID use at events developed earlier in Europe. Yes. Guys like Intellitix had pioneered it over there but the cashless thing that started coming out in 2011, and 2012. By then we started seeing little bits of RFID wristbands showing up over here (in North America), but it wasn’t really until last year that a lot of mainstream festivals made the decision to go cashless.

Was there a resistance to going cashless or did promoters not quite know how to introduce cashless at their events?

There were technological concerns, and nobody wanted to be the first. Everybody sort of waited for somebody else to do it, and see how it went. But I will tell you what as soon as a couple of festivals did it and posted their numbers—and those numbers are consistently a 30% to 40% increase in revenue—then everybody was like, “Wow, it’s worth the gamble.”

Lollapalooza was the first major U.S. festival to go cashless in 2014, but Coachella....

Coachella is still not cashless.

The primary challenge of cashless is making consumers comfortable with new technology. People worry about security breaches.

There were a couple of high profile credit card breaches that made people a little leery. Some people still are. We don’t very often see an entirely 100% cashless festival. Most of them still offer the ability to at least accept credit cards. There are security concerns (with cashless) but the providers, the builders--Intellitix, Best Ring, Appetize--those guys have all taken that into account in their systems. It is probably more secure on that system to having the credit card with you. Somebody loses that wristband, and it can be turned off right away. If you lose your credit card, you have to go and find a phone and reach the credit card company.

Going cashless is not that dissimilar from the inherent challenge of festivals years ago rolling out credit card terminals at various points of sale in a remote field.

I know that initially Serge Grimaux, founder of Intellitix, his plan was 100% cashless. No cash anywhere, only this form of payment. That softened a little bit because of people’s reluctance to adopt a new way of doing things, but it really seems to be catching on now. People are realizing, “Okay, people aren’t stealing my money. It is actually easier to have my wristband. I don’t have to worry about my wallet or my credit cards or my cash getting lost or stolen.” People can go out, and enjoy themselves. It’s like the cruise or resort experience where you are issued an RFID wristband, and you don’t have to worry about carrying your wallet or carrying money. You are just able to enjoy yourself.

There is a generational apprehension as well. Millennials are an experience generation. They want you to take them somewhere unique. Older people are more nervous about the use technology.

I would agree with that. That’s why you are still seeing options on site instead of (festivals) going fully cashless. I don’t want to say that it’s a trust thing because I think that younger people are equally leery of technology. They understand very well that their information is being used for other things. But I think you are right that they are very much about the experience. Anything that enhances to any degree is very intriguing to them. We are always amazed at the number of people that we see at the Facebook check-in stations, and Twitter stations scattered around festival sites. To go, and tap your wrist band, and send a message. They will see a sign or an icon up of the top of it, and they will come over to it, and every single one of them in a group will tap their wrist band. Whatever they can do, they will do it. They want to do every single thing that is there for them.

[According to Nielsen Entertainment’s Audience Insights Report on Music Festivals millennial festival fans are almost twice as likely to use Facebook to access music than the U.S. average. Music festival fans also use social media more than the average American. In general, they’re more likely to use it three or more times a day, and they’re especially active across social networks while attending live music events.]

Privacy concerns are deep. People have concerns about companies gathering information about them.

There are some shifts of how Apple is dealing with Wi-Fi in its latest release of software to prevent some of that data mining. Now you can collect anonymous data from iPhones running OS 8, but it is not as easy now to tie that back to an individual user. We have designed a bunch of different Wi-Fi backend systems, and while we never know who this person is, all that is really needed is a connector to another data base with one shared piece of information, and then that anonymous data that I was able to gather from a cell phone becomes a part of that person’s profile on somebody else’s data base.

[U.S. District Judge Jon Tigar in California ruled March 23rd that Apple and 14 app developers, including Yelp, Twitter, Instagram and Rovio, must face the majority of a class' claims that they swiped and shared data from iPhones and iPads without users' knowledge or consent.]

That’s the exact type of thing making people nervous about technology.

I know it is. We have found a lot of things that you can do with Wi-Fi. Not just from the consumer side. For instance, we had built a system that would replace all of the ads on a web site. So if you were inside a venue, we could basically hijack all of the ads and only show...well, if it’s a Coke venue, we could hijack all of the ads on the page, and only show Pepsi ads. I told my guys, “Don’t ever show anybody that.” I will tell you that the marketing guys in the venue loved it, but what happens when the CEO of that other product is at your event, and he goes to show his friend these great ads that are running at this website, and all of a sudden it’s Pepsi running?

Your company undertakes considerable corporate production work, including for Amazon, Nike, and Google. What does that entail?

The Google event that we did at South by Southwest, they had had four of their development groups hosting classes. They were four small house/bar type venues in Austin. They were just running in a classroom setting. The Amazon projects are their product launches. For launching the major products, it is extraordinarily complex. We have fully redundant systems. Apple and Google both have had experiences where the Wi-Fi failed during their press launches. You don’t want to be a tech company with a tech problem. So there’s a ridiculous amount of redundancies that is engineered into their conferences.

Providing network connectivity for corporates is potentially a growth sector?

The corporate segment is where we are really looking to grow. A corporate event used to consist of a registration desk where they had some computers, or there was a photo booth. But now it’s all the same (hi-tech) stuff. They are using the UHF RFID, the contactless versions, to track (crowds) as people move through large sections of a venue, or to do attendee tracking within a conference. There are content walls that are coming in. All of these things have to be connected, and it gets to a certain point--and this is the same thing that has happened with outdoor events--it isn’t that any of the individual companies aren’t necessarily capable of doing it, at a certain point so many people have to connect things that for the festivals it just made sense to put that all under one roof, and have one group to manage it, and to be responsible; particularly as you get into competing Wi-Fi networks. We were very fortunate to come into (working at) events as the internet was being adopted, and we have really grown along with the demand and the complexity.

Your academic background is in technical theatre?

I went to Millikin University, smack in the heart of Illinois (in Decatur). I spent my formative years in Chicago.

How did you become interested in the technical side of things?

Growing up, I liked to take things apart, and I liked things that lit up. When I got to high school a friend of mine suggested that I check out the lighting crew. More or less because he got to eat lunch in the auditorium, and wasn’t subject to the lunch rules in the lunch room, which I found fascinating. I went down there, and there was some really cool stuff. We got to play with all kinds of things. Honestly, I fell in love with lighting, and decided that is what I wanted to do in college.

You took a four-year technical theatre program at Millikin University.

Yes, a BFA (Bachelor of Fine Arts) in technical theatre. Millikin has a very strong musical theatre program. So there was some really aggressive recruiting for technical folks to bolster the back end there. The unique thing about Milliken was that they didn’t restrict your study. We were able as freshmen to work on main stage productions, and be part of the stage crews for the national tours that would come through. Going to school for theatre (from 1992-1996) gets some people to laugh at me, but we spent four years working on our craft whereas there’s the college of hard knock guys who are out there learning, and digging it. But I came into the work force with some skills already.

You worked at a performing arts theatre?

We had a 2,000 seat road house, Kirkland Fine Arts Centre, and they would bring thorough mostly national Broadway productions. I was the stage manager there for two years after two years being on the crew. I got to cut to cut my teeth on some shows.

How did you make the jump from there to Merv Griffin Event Productions?

I graduated from college and I wanted to seek my fame and fortune in film and television. So I moved to Los Angeles. There I responded to an ad looking for freelance lighting technicians. Merv Griffin had just started an event production company. So we were Merv Griffin Event Productions. Craig Waldman, one of the guys who initially put that together, had great contacts with Disney and Sony, and we started doing a lot of movie premieres. We did the majority of the Golden Globe afterparties. So I got really good at uplighting tents. That was great fun. Around 2002 I moved on from Merv, and I was working for Buena Vista Events in the Disney camp. I had a bit of a disagreement with the senior VP about my interaction with my production peers. I had some very good bosses but my boss’ boss really did not understand the production game very well. So we had some disagreements, and I moved on. I really did not want to get another (full-time) job again. So I started doing small business IT stuff, working for friends. That sort of turned more and more into helping production friends. I had also started working with a friend of mine who was running a web development company, Azavar Technologies, in 1998, and he wanted to expand to the West Coast. So we opened up an office in Los Angeles.

How did you get involved with music-related events?

When I left Merv a buddy, who was doing lighting with me at the time, said “We’ve got this ‘MTV Campus Invasion Tour’ and they’ve got some computer stuff. Can you take a look at that?” So I went in, and it was really basic. They had some interactive flash-based demoes that they had built in running little kiosks. But things needed to be connected, and plugged in right. The production manager said, “We are going to take the IT guy for a week.” I ended up spending two weeks out on the road. That production manager was Howard Hopkins, who is also one of the production managers for Phil Collins. We did a couple of these MTV tours together, and then he dragged me out on Phil Collins’ “The First Final Farewell Tour.” The management was ordering 5 to 6 phones a day and sometimes they wouldn’t even pick them up. At $100 and $150 a line. I did some math, and, I said, “I can save you about $30,000.” That got me invited back in 2005 when we did Eastern Europe, and started touring with VoIP phones.

Then in 2008 I got introduced to Opie (tour manager Dale Skjerseth) from the Rolling Stones. We went to Tour Link (Conference) in Phoenix that year, and I was introduced to Opie. We showed him the system. He said, “You need to meet my friend Dave Meyers from Live Nation Special Events.” Then Live National Special Events--which eventually became DPS (Diversified Production Services founded in 2011 by Dan Parise, former VP of Live Nation Special Events, and dir. of production for Live Nation Music New York)--started bringing us out to do special events. We did the NFL Kickoff that year in (Manhattan’s) Columbus Circle. A broadcast television event that is typically very Verizon heavy with POTS lines, and DSL modems. We didn’t have any copper from the phone company. We had a microwave internet connection that almost nobody had heard of at that time. We laid it all down. It was a one man crew, and they were all blown away. DPS remains one of our biggest clients.

Why did you decide to form your own company?

After the Phil tours, I started looking at this thinking, “I might be able to make a living doing this.” I thought it would just be me, and that I would go out and be the IT guy on tour. But what happened, as with Live Nation Special Events, I would bring a bunch of contractors together, and then those contractors would all go off and do an event for Event Resources in New York or they would go out to California, and do something for a company out there. All of a sudden I’m getting calls from three different guys. So we bought some more stuff. I didn’t hire anybody for a long time. I found some guys that wanted the contract as well and I sent them out. Then the festivals started and...

What was the first festival that you did?

We did Bamboozle in 2008, but was one line into a production trailer. Our first real festival, with the resemblance of what we are doing today, was the (three-day) Hangout Music Festival in 2010.

What a change over four years.

Oh my gosh.

Promoters and advertisers have probably only touched the tip of the iceberg in the use of technology at events, particularly gathering historical data. They haven’t dug deeply yet, really.

No, especially on the data side, it’s really too early. Data from one festival doesn’t tells you some stuff, but as these festivals have three and five years worth of data to map trends, and to measure those against social factors and economic factors they will really see when is the right time to try something new. When is the right time to introduce a new stage. Right now, they sell out, they add a stage. Well, is that really when they do it or can they use data from similar-sized events and similar growth patterns to identify that? Maybe, it’s the year after they sell out. Maybe, they need to see out two years in a row before they plan to grow.

DoubleDutch is a mobile event app that can be used for acquiring and analyzing real-time data. It can see what sessions or stages that attendees are most interested in. Analyzing real-time data will be more common eventually.

Yes, it’s hard to do right now.

Last question, how wired is your house for communication?

Ahhhh, (laughing) when we moved in it was all wired for telephones. The regular old phone service. I converted all of that to CAT5, and honestly it doesn’t work right now. I go home and the last thing that I want to do is figure out why the Wi-Fi is weak up on the third floor. You know that whatever the problem seems to be, it’s going to be six other things, and the next thing you have been at it for a week. You have replaced everything, and it’s only marginally better.

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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