Industry Profile: Ron Brice

— By Larry LeBlanc (CelebrityAccess)

This week In the Hot Seat with Larry LeBlanc: Ron Brice, owner, 3rd & Lindsley Bar & Grill, Nashville.

The 3rd & Lindsley Bar & Grill arrived in Nashville's SoBro district two decades ago as a progressive wind began to blow throughout the city’s music community.

Along with a handful of small, independently-owned local music venues like The Basement, and Mercy Lounge, 3rd & Lindsley took a sizable risk in supporting emerging local artists long before corporate outsiders broke ground in Nashville’s fertile live music market.

In its former life, 3rd & Lindsley was a Mexican restaurant named Jose's. A former commercial real estate player, Ron Brice, and a buddy purchased it for dimes, and decided to fix it up as a music venue.

At first they figured they'd flip the restaurant for a profit, but they had so little capital tied up in the purchase that they decided to see if they could make a small music club thrive.

Celebrated since for delivering top-notch music programming, 3rd and Lindsley has hosted shows by Wilco, Train, Sheryl Crow. Goo Goo Dolls, Bernie Taupin, Patty Griffin, Rodney Crowell, Jars of Clay, Ray Lamontagne, Lucinda Williams, KT Tunstall, Indigo Girls, Richard Thompson, Grace Potter David Gray, the Avett Brothers, Glenn Tilbrook, Lady Antebellum and many others.

The 3rd & Lindsley Bar & Grill may sit up the hill from the sea of neon lights of Nashville's glitzy Lower Broadway that draws hoards of tourists, but locals and visiting music aficionados know that this this is a venue that discovers, promotes, honors, and develops what could likely be the next wave of musical talent in America.

Has Nashville’s competitive live music scene become oversaturated with more and more independents opening new rooms, and with Live Nation Entertainment and AEG Live aggressively courting the market?

I’m an indie. I don’t align with anyone, specifically. Is it getting saturated? Yes. There are bigger corporates that are moving into town. They (promoters) are putting music venues in bowling alleys, a venue in a golf-driving range. Everybody is doing their thing. Some of the bigger boys are looking to have a discovery place, a 500 to 1,500 seat venue, so they can develop an artist. Like we do, actually.

[While Live Nation Entertainment sporadically promotes shows at 3rd & Lindsley, The Cannery Ballroom, and the Ryman Auditorium, the mega-promoter supercharged its Nashville presence in late 2013 by winning a bid to operate Ascend Amphitheater as part of a package that included partners Red Light Management, the Nashville Predators, and the Nashville Symphony. Also Live Nation inked a deal late last year to book the Carl Black Chevy Woods Amphitheater at Fontanel, the 4,500-capacity natural outdoor venue on the old estate of country singer Barbara Mandrell.]

After a year of negotiations Chris Cobb decided at the final hour not to sell Exit/In, and Marathon Music Works (and their two attached bar businesses) to Live Nation Entertainment earlier this year. Lawyers and accountants were reportedly standing by to finalize the sale. Chris was said to have thought back to his days at Exit/In putting up playbills around the city, a time when working at a local club wasn’t at all about money.

Well, I certainly am not opposed to making money, but money is not the 100% of it. I get a lot of satisfaction out of, “Okay, we liked that show.” We booked that show and then everybody comes in and sees a show. There’s a moment where everything is firing on all cylinders. The band is rocking, heads are bobbing, and everybody is having a good time. That feels so good. It’s not always like that. Sometimes the bathroom will overflow or there’s a problem here and a problem there. That’s why I like bringing bands to other venues. I took a show to the Ryman a couple of months ago. I went in, and I sat around. I didn’t have anything to do except hang out, and write a check. I thought, “This ain’t a bad way to go” because I didn’t have to worry about bar sales. I didn’t have to worry about the kitchen or anything else going on. “This is great.”

Live Nation Entertainment co-president Bob Roux has indicated that the company is seeking an appropriate opportunity to open a midsized club and restaurant in Nashville to further develop new artists, with a capacity between 1,500 and 2,000.

Yeah. Quite honestly, I don’t pay much attention to it. I will tell you why. I just constantly tell my people, “Hey listen, do what we do.”

You don’t have a concern because 3rd & Lindsley offers something unique?

Do I think I offer something unique? You know what? I don’t. I think what we offer is quality. I don’t think that it’s 110% about the artist. It (the club experience) goes deeper than that. I’ll throw a great cover band out there with studio guys, and they will do the Eagles better than the Eagles. It’s not all that serious. People will come out, and they’ll hear songs that they like, and they just want to have fun. It’s more of creating an atmosphere, and making sure that it sounds great. From a production aspect, I would put our room up against anybody on sound quality.

3rd & Lindsley has been operating in Nashville for 25 years; Exit/In for 45 years and there are other great local clubs like The Basement, and The Mercy Lounge also supporting local artists. If you stick to core values, if you do what you do right, you are going to do okay?

Yeah. As you probably know Lower Broadway is just hopping these days. It’s just killer down there. I talk to some people down there, and they tell me that so and so is opening up another three-story, 10,000-foot place. They will open it up, and everybody will do the same. It’s growing there. One place opening up really doesn’t seem to hurt another place. They continually all grow.

Lower Broadway, as with Printer’s Alley, primary attracts tourists.

No question. I will tell you that as that is growing, I now see a little bit more tourist flow than I’ve had in the past. Primarily, it’s because I do the Time Jumpers on Monday nights.

That’s Vince Gill’s swing band.

They are the best of the best. The killer fiddle players, keyboardists, drummers, and guitar players. They have a really cool show that they do every Monday night, and everybody gets it. It’s seriously laidback. The people who come out and play with them are phenomenal. It’s amazing.

After 25 years, 3rd and Lindsley also has strong word-of-mouth support.

Yeah. Do you know what the difference is? Back in the day when there were a lot less venues around, I would have liked to have a place that no matter what you did, people knew it was going to be good, and they showed up anyways. You see that in a lot of different towns. You don’t really see that in Nashville. You really have to pay attention, and put a product out there that is the hot thing at the time, and be on the cutting-edge; rather than lay low with a bunch of stuff, and expect people will come. It just really doesn’t work like that in Nashville.

Nashville’s club scene is hardly the bastion for country music that people think. The scene is incredibly diverse musically. Sometimes it’s hard to find venues featuring country music.

I think that you are 100% right. It’s a very diverse musical community. There’s just so much talent in the town. Luckily, in the first years of 3rd and Lindsley, there was just this little pocket of killer musicians with great fan bases, and they were typically all sidemen for big artists. It was either people with side projects or guys just getting out and wanting to perform live.

Certainly, the success of the music industry in the city has created a vast pool of talented players, country and otherwise, who are there for the work.

I agree with that. It’s a music town, and it’s a music community with lots of different people here—between producers, songwriters, and session players and all that. They come here and try to find work, to dial in their craft, to hook up with bands, and to create. Bottom line is that there is so much talent in this town. If you can’t find something great to put on your stage every night, then you are not doing a very good job.

Of course, the work of discovering, promoting and developing local bands has traditionally fallen in any market to smaller clubs that are independently owned. That’s certainly true in Nashville.

There’s no question. Even today, we get some of our biggest kicks out of finding a band, and developing a band and, all of a sudden, they are gone. It’s like boom. You find something that you like, and you put them in front of as many people as you can, and you work and promote them. And then all of sudden, everybody gets it. Then, it’s like boom. They move on to bigger and better things, and become stars. That’s a fun thing to do.

In the big scheme of things, I’m not getting any younger at 60, and they (emerging artists) are almost like my kids. And there’s a bunch of them. 3rd and Lindsley is very close to Music Row, and to a lot things happening down there. All of the agents and managers will feed us their talent for showcasing. Like, so and so needs a deal, and “We are going to showcase them at your place.” It’s a 6 o’clock thing where everybody comes over from the Row right after work, and they (the act will) do a quick 40-minute set, and they show everybody what they’ve got. We will probably do 6, 8, 10 of those showcases a month. That’s how you load up your talent. That’s how you figure out what is what.

Showcases are an indispensible A&R resource for you. You immediately find out about any act that is about to happen.

Absolutely and with the location of the venue, and the production aspect of it, it’s a great place to showcase new artists. We seem to be dialed into that thing, and we have been for quite a long time. It has always been that way.

Speaking of children growing up, the first time Train played 3rd & Lindsley, they played to 50 people. The next time, it was 200 people. The next time, there was a line around the corner.

Absolutely. I think that we got Train from (FM radio station) WRLT.

A band can become too popular to play 3rd & Lindsley.

I do shows at other venues through my promotion and booking company, Backstage Live. We will take an artist out of 3rd once they have reached a point where they have sold that room out two or three times, and they are ready for a bigger venue. Rather than to lose them to another promoter or club owner we will just carry them on. We’ve built a relationship with their management, and their team. I’ve taken shows to the Ryman. I’ve taken shows to The Cannery, and to Marathon (Marathon Music Works). It’s the same thing that those guys (Live Nation Entertainment and AEG Live) are looking to do.

3rd & Lindsley has had a long-running partnership with WRLT which launched as Radio Lightning around the same time the club opened.

We were a year after them. Looking back, Nashville had the country and western thing going, but after Garth Brooks country and western went into the tank. It was super flat. I wanted to have a place that had more diversity. That I could do any kind of music; anything that came down the road that I liked. We could just do anything. WRLT gets us. We kind of feed off each other a little. It works so well.

The thing is, coming out of the chute with their Triple AAA format, and the organization over there, they are progressive with what they are doing. Well, that’s the same thing that we do. We want to be coming out of the chute with new music. We want to discover new artists and be the first to be doing them. That’s their exact thing. So we kind of married each other very early on.

[For two decades Lightning 100 has blurred musical genres, helping to break hard to categorize artists such as Ryan Adams, Train and Jason Mraz while its staff-curated playlist supports emerging Nashville artists.

While 100.1 on the FM band has been operating as WRLT-FM since 1961, the progressive station's birth can be traced to 1987 when the fledgling Rebel 100 blazed a trail as one of the nation's first alternative rock stations. Following an ownership, and a format excursion as "Nashville's Lite 100" in the late 1980s, the station was reborn as Radio Lightning in March 1990.]

Of course, WRLT has been rebranded as Lightning 100.

Yeah. They are excellent. They are just a great outfit. Over the period of time I have seen probably 5 or 6 program directors come and go there. Right now, they have a great crew there, and (Tuned In Broadcasting president) Lester Turner is a really brilliant, and dedicated guy. He’s a very hands-on type of guy. They are just such nice people to work with.

For 20 years WRLT have been doing Sunday nights shows from the club.

John Conlon, who worked at WRLT (as program director), and I sat down over beers, and we created that. The first artist we did was Junior Brown. It’s a Sunday night staple now. If you are looking for something cool to do on Sunday night, it’s a no-brainer. You know that you are going to see something really cool, progressive, and really good. We’ve had a number of different people through the year sponsor that for us and come through. They get it and they want to be in front of it and promote their product. So it has just really worked out well.

3rd and Lindsley is also involved with a number of community music series including Tin Pan South, the Americana Music Festival and Conference, and the CMA Music Festival which bring so many people to Nashville who are in the music industry. If they return to Nashville, they are likely to return to the club. They won’t want to go to the tourist clubs.

There’s no question that when you have opportunities to put a lot of out-of-town people in the music business who get it into your building, and they see what you do and they see your show, people talk. And people that are knowledgeable about its workings, who are knowledgeable about how it is supposed to work, and how it is supposed to sound, and feel, they get that. Once again I’m lucky to have it coming our way. Summer NAMM is coming up (June 23-25). We are very very fortunate having all of those conventions to feed off of.

Being based in Nashville you have greater pool of talent choices. A club in, say Syracuse, New York, has to rely on whatever acts are touring. You can afford to say “pass.” There’s always another act around the corner.

There’s no doubt about that, but I think the booking agents know, based on capacity and style of the room, that our room is the best fit for their artist.

Still you have to know what will work or won’t work in your club. You have to know your pressure points. Are you a tough negotiator?

I’m not scared to say no. But you get a lot of different shows for a lot of different reasons in Nashville that you might not get elsewhere. There are so many bands based out of Nashville. We did Sheryl Crow a few years back. She was dialing in her band for her tour. “Why not do a couple of live shows in a small place, and get them dialed in, and then we are heading out?” Wynonna (Judd) the same thing. There are tons of them (artists) like that. We call them the whales. We just did Miranda Lambert. What is she doing playing a 500 or 600s seat venue? Well because it was a charity thing. She just wanted to come out with her girlfriends, sing some songs, and have fun.

As well, most artists started their careers in small clubs. Playing in front of 50,000 is a buzz, but playing a small club where acts get that intense feedback from the audience along with the beer flowing and the fan humming is unbeatable.

No question. Like I said before when it’s firing on all cylinders, when you are doing something special like that, it is just an awesome thing. It gives you that satisfaction. You walk away. “That was great. What are we doing next?”

Santos Pouella has been 3rd and Lindsley’s talent buyer since 2011. How has your role changed with him there?

It has taken years to really develop a rhythm with Santos. He’s a younger guy than me. You have your ways, and you have your connections and relationships. Over time, you turn them over, and you feel like he’s got that one down, so you move on. Then he’s got that one down. I pretty much take care a lot of the local stuff coming through management, labels and things of that nature. He primarily takes care of a lot of the national acts, and a lot of the straight-out touring, “send-us-an-offer” kind of stuff. Stuff is coming through. They (agents and managers) know that it (the act) fits the room. They know where they want to play. “Let’s do a deal with them.” So he pretty much takes care of the national acts, and things of that nature.

How do you handle your own bookings?

I don’t do any deals on the phone anymore. I’ve got to do them online so I remember what I’ve done, and have a written thing to go back to.

Santos is trying to talk you into digital booking. What’s that?

You just keep your calendar online so it’s up-to-date and current. I still use the old fashion way. Just write the booking down in my book and it’s there. Something changes you white it out, and put something over it. We will match books up every few days.

Quite a change from when you first started booking at the club.

I remember bookings bands...well, we probably had the first website ever created. I’m serious. That’s how far back we started. I had all of the agents trained to call me between two and five every afternoon. That was the only time that I would book. It was more of a physical thing back then. You had to talk to people on the phone, write the deal up, and they’d send you a contract. Now it’s, “So and so is coming through, send me your offer.” Okay. There’s no doubt that it is way less personal than it used to. But the other part is that because of the information era the (talent) pool is so much bigger. There are so many more things to choose from, and more artists to book.

Well, at your age, you can’t be that “street” anymore in checking out what talent is available.

I’m 60 years old. Day-to-day, I’m typically a noon to 7 o’clock guy. I’m not the guy who is going to be down there late at night. Typically, my thing is that I will go through the load-in process and talk to the bands and greet them. Maybe, hear them at sound check, and get a feel for them. Once the doors are open, that’s kind of my cue (to leave). I have great staff to take over from there. It’s a nice piece of rhythm. It seems to work.

Do you still like the music?

Absolutely. That’s the best part of it. Absolutely.

3rd and Lindsley has presented so many incredible acts including Wilco, Goo Goo Dolls, Patty Griffin, Jars of Clay, Ray LaMontagne, Lucinda Williams, KT Tunstall, Indigo Girls, and Grace Potter. Acts that when they are great are truly great.

No doubt. I think that a lot of it is my connections with radio in the country market and with WRLT. I think that artists really understand the club is an artist friendly environment. They are going to come in, and they are going to have a really good time. They are going to be promoted very well. They are going to sound great, and they are going to make a lot of money. If you can make all those things happen, it just seems to work. It’s just like anything else. With artists, you develop a relationship with an artist manager and, all of a sudden, he’s got another artist to take care of. The same thing with booking agents--CAA, William Morris, and APA--everybody we work with. They have the confidence of knowing that when they send their artist to us, we are going to promote them well, and everybody is going to walk away happy.

Was the first band that played 3rd & Lindsley the Bobby Bradford Blues Band?

The first band was Bobby Bradford. The second night was DeFord Bailey Jr. Unfortunately, I’ve lost track of both of them. Bobby was a really a cool guy. He did straight up blues. I think he had just moved back from Nashville from Austin a few weeks before we opened up. I put out a few feelers. “Hey, you want to do this?” He said, “Sure.”

Lady Antebellum was the Tuesday night band at the club for a year?

I wouldn’t really say that they were a Tuesday night band. They were shopping a bag of songs for their first record for awhile. Every time that they wanted to showcase for someone we would do it on a Tuesday night with some regularity over a period of time. Not every Tuesday but, you know.... That first record (the self-titled debut album released in 2008 that debuted at #1 on Billboard’s Top Country Albums chart) just killed for them. It was a great bag of songs. They are an all-Georgia outfit. They had moved to Nashville. Hillary (Scott) is local. Her mother lived down the street from my sister in Nashville. But they shopped that record with everyone for awhile. They had killer management and, all of a sudden, they hooked up with their (Capitol Records Nashville) deal, and that was it. They are big stars now. They put out great music.

What are the standout shows for you over the years?

Well, Chris Stapleton used to play me every Halloween. I’ve got Margo Price coming up (June 25th). She’s the next of that kind of thing. Looking further back, we did Bernie Taupin one time. Sheryl Crow too. I was a huge Sheryl Crow fan. Why would she ever play a 500 or 500 cap venue? My buddy at William Morris said, “We want to book two nights is that okay?” I was like, “Okay.” She’s a really nice lady, and I have always been a fan. Gary Clark Jr. sticks out in my mind. That’s just my style of music. I really like what he does.

Black Oak Arkansas also performed.

I remember that they were old guys wearing leather pants in the midst of the summer in Nashville. We were like, “What about these guys?”

A year ago, Aersomith’s Steven Tyler dropped by the club.

It’s funny, but I was not there that night. A friend of mine Alyssa Bonagura invited him out. Of course, he got up there, and did a set with her. I think (Aerosmith guitarist) Brad Whitford lives in Nashville now. There’s a whole connection through his son Harrison (another guitarist) and Alyssa. Steven came out, and played 30 minutes. I wasn’t there. I was like “God, I hate that I missed that!” Two months later, we put together a couple of shows with his ex-wife Bebe Buell, Liv’s mother. She had moved to Nashville (in 2014). She’s just out there doing stuff for fun. Steven came to one of those shows which was kinda cool. But I missed him again. I saw him in New Orleans though. I used to see Aerosmith when I was a kid in Detroit at the old Masonic Auditorium. I was like a junior in high school. We were like some of the original Aerosmith fans. When you had the 8-track tapes in the car. Oh man. That’s how I got my whole music thing. We saw anything and everything coming through. I saw Elvis. We saw everybody.

Back then Detroit was home to great music and great radio.

They had a FM station RIF, (WRIF-FM), that was my station up there that I listened to back in the day. Oh boy, there was Cobo Hall, and the Masonic Auditorium. We mostly frequented the Masonic. Just a bunch of shows there. Of course, we caught our big shows at the Cobo Hall down on the river. I think I saw George Harrison at the old ice rink there. I always loved Traffic. In fact, (Steve) Winwood has played here a few times. Never as himself, but he sat in with other people. He was living in Nashville for a while. Frampton. I just bought those $8 concert tickets, man.

You were born in Detroit?

Yeah. I’m from East Detroit, which is like a suburb. I’m a Detroit guy. Eight Mile Road, man. Ten Mile Road. Bob Seger and Ted Nugent both played my high school gym at East Detroit High School. That’s how far back I go. I grew up in East Detroit.

When did you move to Nashville?

I moved to Nashville in 1976.


A woman. There was a gal. I was in college in Detroit, and I was playing hockey and living in a house with about 50 guys and freezing and riding buses on road trips. I was just an average hockey player getting the crap beat out of me. This gal’s dad offered me a job at $300 a week in 1976. That was in the era of the first video game push when everybody started playing Space Invaders (arcade machines). So I came down here and kind of monitored his arcade business for years. Then that just went away.

What were you studying in college?

I can’t even tell you that I was a good college student. I was at Oakland University in Rochester, Michigan on a student life scholarship. It was a small community college. I got a student life scholarship that said that I had to play a sport or be involved with some criteria to keep the scholarship. So I checked out all of the things. I was way too small for football or anything like that. I was always a pretty average hockey player in the day. They had a hockey team so I started playing with them. I played, maybe, a year and a half with those guys. Like I said I was there but I really wasn’t there. I wasn’t dialed into the school thing.

You realized you were no Gordie Howe.

Absolutely. No doubt about that.

You were in real estate before you bought the business that became 3rd & Lindsley cheaply at an auction? Why enter such a competitive club market as Nashville?

I really didn’t sell real estate. I did lease work for some properties that were family-owned. My office was in a three-story office building on Music Row, which was full of artists and producers and music business types. So I pretty much spent my days trying to chase them down to get paid. But I did own a country and western venue (the Murfreesboro Road honky-tonk), The Stagecoach Lounge, in the late ‘80s. In the Garth Brooks’ era when everybody was doing the two-step.

So you weren’t a stranger to the club business?

No. The original country and western thing with The Stagecoach Lounge was my first taste of the music business, and the bar business. I bought that place off of a wrestler. There was a guy who used to work out in the same gym that I did. It was right when WWF wrestling (World Wrestling Federation rebranded as World Wrestling Entertainment (WWE) in 2002) was becoming famous. He was from Czechoslovakia. He was a really big dude, and he owned this country and western bar. He came into the gym one day, and he said, “I’m getting ready to go out on the road with the WWF, and I need to sell this bar.” I was like, “Well, that’s not for me.” He said, “I need you to have a look at this.” So I went over and I talked to some people. He quoted me a price, and I offered him about half of that, and he said, “Okay, sold.”

Despite paying half of what the owner wanted, why would you even think about buying a club?

Well, I had a lot of other things going on at the same time. I was probably a little naive going into it but I looked at the numbers that he was doing. Basically, in that little era of time in Nashville, country music was hot. That was in the era where everybody in the whole world was wearing cowboy boots and two-stepping and all of that nine yards. It was one of those kind of venues. They had a few hundred people and they had a huge dance floor and there was line dancing. That was a big deal back then.

All of us in the 1980s saw John Travolta and Debra Winger in “Urban Cowboy.”

No doubt. No doubt. It was huge. Don Kelley was the house bandleader at this venue, and he had every stellar artist, guitar player, fiddle player...stars today, playing in his band. It was a cool vibe.

3rd & Lindsley had been a Mexican restaurant, Jose’s?

No doubt. The location was, maybe, a mile from where my office was at the time. We would go over there in the afternoon, and hang out just with our friends. One day we went over there for an afternoon, and the doors were padlocked. There was a sign on the door saying that they were going to do a bidded auction with the government for the location. Myself and a buddy of mine, we bought it. We sent them an offer, a stupid low offer. We were going to auction off the equipment, and go onto to something else, and make a real profit

You two were going to flip the business?

Yeah, we were going to flip it. We were going to just take the restaurant. We had been in there enough to know the restaurant equipment alone was worth what we had gotten it for so. Then when we got in there, there was still stuff in the coolers. The landlord approached us with a deal saying, “I would rather see something happen here rather than closing. I will let you guys get on your feet before I start charging you rent.” We kind of looked at each other and said, “You know, we ain’t got much in it. Let’s throw some more into it, and take a run at it.”

Who was your partner?

His name was Jamie Carver. He was a guy I had grown up with in Detroit. A great dude. We had shared some business things in the past. One of my best buddies. Unfortunately, it didn’t work out very good. Over time, a year or so, I just bought it. Then I was on my own.

The club has had the same head chef, Willie Ewing, and doorman, Nelson LeClair, as when doors opened in 1991. And as we talked about earlier the same talent buyer since 2011.

That’s true. Well I don’t know how to describe it, but we have never gone out there, and said, “We’re the best.” There’s not a lot of fluff regarding this venue. It’s got a lot of substance. I think that the locals and the people that are really endowed with music in town get that.

Would you agree with the description of the original club as a little hole in the wall?

We had it in our minds to do music from day one only because we both liked it. At the time, hole in the wall? I think it was a step past hole in the wall. I would hate to call it a hole in the wall. Maybe, it was one step up from that. We spent some money, and made it nice. It was tiny. I think the fact that the bands drew so many people that it was packed all of the time. Maybe, it got that description from that more than it was a dump. I don’t think it was a dump. I would say that it was one step above a honky tonk. We always served food, and it has always been a restaurant day and night. So I don’t know about that one.

The club has had two major renovations since.

It went from about 150 to 300 seats to about 600 seats. All of the renovations were basically because the club was so packed. It’s in a strip mall, and with each of bays, we would pick up another 2,500 feet. We moved the stage back, and we moved it again and again. It used to have a real odd layout in there. It was kind of a corner stage which we cured with the last change. The bands got so big that we built a stage extension and then we built another stage extension and another stage extension. We would build a stage right over the other one. It was a continuing growth thing.

The early sound system you used was somewhat low-grade. You later brought in Jason Spence’s J Sound Services to devise an impressive new system.

Music is our product, and we have to make it sound good. I had been introduced to NEXO (PS 10 and PS15 R2 loudspeakers) which was kind of like a European set of boxes which we ran top and bottom. They were pretty good in the day I thought. Over time, we replaced much of that with upgraded compressors, and computer systems, and what not. Right now, I’d say that the sound is as good as any around. It’s good. We’ve spent a lot of money on sound.

After the sound upgrade you made the comment, “We went from a bar that had music to a music venue that happens to have a bar.”

We are much more a music venue now than anything else. We are a lot of different things to a lot of different people. We service our neighborhood all day long for lunch and happy hour. Then we lock the doors, load in a band, and we become a music venue.

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, and a consultant to the National Music Centre in Calgary, Alberta.


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


Return to front page of ENCORE

© 2001-2018 Gen-Den Corporation. All rights reserved.
CelebrityAccessSM and Gen-DenSM are service marks of Gen-Den Corporation.

** ENCORE readers and those that utilize ENCORE features are bound by the ENCORE NEWSLETTER USE AGREEMENT. If you choose not to be bound by this agreement, please discard the e-mail and notify us of your desire to be removed from future mailings. **