Industry Profile: Paul Reed

— By Larry LeBlanc (CelebrityAccess)



This week In the Hot Seat with Larry LeBlanc: Paul Reed, general manager, the Association of Independent Festivals (AIF).

Elite, large-scale UK music festivals donít sweat much competing for audiences with the multitude of grassroots festivals across Britain, but many of these scaled-down festivals--hardly as well connected--now enjoy a vital edge in drawing crowds.

Music festivals and concerts have been the fastest growing area of leisure spending in the UK over the five years to 2015, according to market researchers Mintel. It is estimated that 40% of Britons went to at least one event, spending a collective £2.1 billion.

Founded in 2008, the Association of Independent Festivals (AIF), the London-based trade association represents 62 UK festival organizers. It operates as an autonomous division of the Association of Independent Music (AIM) with its own board and governance structure.

The AIF is the collective voice of the UK independent festival sector, representing and lobbying on its behalf the British government on issues facing the industry. As well, its members have access to business affairs and legal support, financial advice, seminars, events, and training opportunities.

The AIF also operates a Friends of AIF scheme, connecting trusted suppliers and companies directly to festival organizers in everything from production to marketing, technology, and merchandise.

AIFís general manager Paul Reed oversees the day-to-day operations of the AIF alongside with shaping its strategic development and growth, including drilling down on campaigns, communications, partnership, and membership opportunities.

Prior to joining AIF, Reed worked as an independent promoter alongside running artist liaison and stage managing at the Evolution Festival, and the Secret Garden Party. Previously, he held executive positions with the music development agency Generator, as well as with the classical music center The Conservatoire, and the festival event management company, The Event Umbrella.

You have now been at the AIF for four years.

Thatís right. Itís been an interesting challenge. When I came in, I was the first full-time general manager. It had been run on a part-time basis up to that point. What I found was we had grown from 12 festivals sitting around a table talking shop. It had grown and developed with differently sized festivals, city-based festivals, but the structure hadnít really developed with it. A lot of these festivals were on what they were calling the board. I remember asking in an interview, ďHow do you make any decisions? You have decision-making processes or do you not just go around in circles?Ē I introduced a strategy board. There were a lot of things to sort out in terms of governance, and how to run the association. You have to get those things in order before you can be truly impactful in your aims, and your work. There are only two of us here. Iím the general manager, and I am supported by a membership and support coordinator (Renae Brown) and we have to be careful to what we commit to. We have to represent the interest of our members.

How many festival members belong to the AIF?

We have 62 at the moment. Itís grown quite rapidly. We were founded in 2008, just under 10 years. We started with a handful of promoters around a table talking shop about shed issues, approaches to crime, and security. It has developed a lot in that time. Toward the end of 2014, we had 40 members. In the last couple of years, as a (growth) percentage, it is quite a jump. We are very pleased that we have brought in some key festivals on board. Boomtown Fair (near Winchester) is a key independent festival that has come onboard recently.

A significant number of UK festivals donít belong.

Yeah, absolutely. Thatís ongoing work. Thereís always a target list. There are active conversations. People pay a fee for the service, and we have a very high retention rate, but it is just a fact that one of the difficulties of running a trade association is that with all of the festivals (in the UK) that our members will benefit from the collective work anyway.

How are you funded? Membership fees or do you receive government support?

We donít at all, actually. We are funded effectively through three streams of revenue. It is primarily through membership fees which are annual, and are based on capacity (of the individual festival). They are tiered according to the size of the festival. On the basis of that, the smaller festivals pay less. It is also capped for the larger festivals. So festivals pay between £500 and £5,000. It is only the very largest festivals that pay £5,000. We also have a friends scheme (Friends of AIF) in which we connect companies and interested individuals to our membership where appropriate. We screen that closely because we donít want to bombard our members with things that arenít relevant to them. We will circulate (supplier information) to the membership. We will make sure that nobody has had a bad experience with that (recommended) company. We will do our own research, and due diligence because what we really want that to be is the database of suppliers that we recommend our members work with. The third revenue source is our events. We run a festival congress that takes place annually in Cardiff in Wales. Itís going into its fourth year. It happens at the end of the season. Late October this year. That has sold out three consecutive years, 400 delegates. Thatís very much the right level. It is very much aimed at the independent (festival) community. We have a large congregation of our members because 85% of them attend. We also run training events throughout the year. They will be heavily subsidized from members, but also open to non-members.

Brits are seemingly mad for music festivals with outdoor camping. One of the wettest countries in the world with rainfall throughout the summer, ďCímon stand in a field of muck with rain.Ē

I grew up going to festivals 20 years ago. There were the major events with Glastonbury and Leeds. We did some analysis recently, and we asked how many of our members existed in 1988. Seven of them. Itís quite crazy, isnít it how we have that growth in under 30 years? It has completely blown up.

But itís no longer as viable to simply put a band and a stage in a field and expect an audience to arrive.

No. The rise of city-based festivals is really interesting because there are a lot of advantages to the promoters. They can still brand it as a festival. They can market it as a festival. They can put a lot of good emerging talent in there. A lot of those festivals are really good incubators of new artists. Itís discovery, isnít it? And I think that is something that is unique to festivals. You might have bought the ticket for a particular band (at a festival), but you stumble into things. Itís music discovery, really, and I think that is very suited to how people consume recorded music now though parlance, and curation as opposed to having full album experiences. Itís a whole generation experiencing music. I guess for city-based festivals, itís less of a financial risk to do a series of venue hires, as opposed to having to construct an incredible amount of infrastructure. There are many advantages. Obviously, the margins are still tight on those events. (Sheffield's) Tramlines is a really interesting one because it started out in venues, and it grew and is now at an outdoor site. Liverpool Sound has that model as well.

[The Tramlines festival started out as a free event in 2009; spread across 17 local venues, with acts including the xx and Reverend and the Makers. This year, it boasts three purpose-built outdoor venues, where the likes of Primal Scream, the Libertines, and Kano will play to 20,000 people. Sound City in Liverpool has been attracting 3,500 conference delegates, and a festival audience of some 40,000 people to Liverpool in recent years.]

Festivals like Tramlines and Sound City have a sizable impact on the local economy of their cities.

Yes, certainly along the supply chain. We have our annual audience survey in which we analyze that data over several years in terms of spend. Absolutely, thereís an impact. Like with local businesses where it is helping farmers diversify their income or whether itís with hotels and accommodations, and taxis. All of that supply chain. Itís very powerful to have that information to go to the government and pound and bang the drum for the (festival) sector. Not only do we do festivals, but we put this into the UK economy as an estimated audience spend. We put some figures out in 2015 as part of a campaign called Festival Fever which was a positive news campaign, showing that our members which, as you said is a relatively small proportion of the festivals out there, contributed an estimated £1 billion over a four-year period.

According to the AIF definition, what precisely is an independent festival? The ethos or size of the festival? Isle of Wight would have been classified as an independent festival when run by respected UK live music entrepreneur John Giddings, but with Live Nation now having a controlling stake, it isnít any longer an independent festival?

Well, no. We have a very clear definition based on market share. We set the bar quite high. The definition is based on who canít join, rather than who can. It makes sense with what I would call mid-level operators here, like Kilimanjaro Live, and DHP (DHP Family). Mid-sized ambitious companies are doing a lot of exciting stuff that would go to the independents. Our definition (of an independent) is that they have no more than 5% of the turnover of the global music industry. The last time that we looked at Live Nation, it had just under 25%. So we are setting the bar so that those large independents, such as the Isle of Wight with John Giddings before this takeover occurred, was an independent. It is a definition that has worked for us because itís categorically (explicit).

If you have anything, of course, the word independent refers to ethos; but, if you have anything (a definition solely) based on that, it starts to look like a private membersí club. We are a professional trade association. We have to have a very clear-cut definition. So we take those figures upon people having to declare shareholders and declare their market share. We then cross-check that. We hold it up against the figures that UK Music generate in their report each year of the turnover of the live industry, which seems to be the most reliable information out there. That is what has worked for us. I think that if you are calling yourself an independent than it must be based on market share.

[The Isle of Wight deal further expands Live Nation's festival portfolio, which already spans more than 85 events across the globe, including the Reading and Leeds festivals in the U.K. After 15 years as an independent, the 2017 Isle of Wight that took place June 8-11th was the first under its new majority share owner, Live Nation.

In the March 2017 Isle of Wight announcement by Live Nation, John Giddings said: ďThe partnership with Live Nation will give us the ability to access the companyís scale and talent pool, bringing more acts and a better experience to the UK.Ē]

Research by UK Music in 2016 claimed that more than one in ten festivals will fold amid ever-increasing security and infrastructure costs and tough competition for ticket sales

Yes. It (promoting festivals) is incredibly risky, isnít it? And with those kinds of margins as well. Live Nation, while we are on the subject, the company, as you are aware of, manage over 500 artists worldwide. They are the largest global and UK promoter. They own two of the largest secondary ticketing companies (Get Me In, and Seatwave) in the UK, and they own 17 out of the largest UK festivals over 5,000 capacity. Not to mention their venue portfolio. In terms of the power that they have, and what they can offer to artists, you can understand that is compelling. I think that where it becomes damaging is when you get entities likes these major companies getting into bidding wars over talent. It forcibly inflates the value of talent. We do work with Live Nation on certain projects across the industry, working on resisting increased police charging, or looking at business rates for festivals and events. Wherever there is a bigger threat, we do join up, and we do have a constructive strategic relationship.

[According to a recent SEC filing, Live Nation subsidiaries are now managing more than 500 artists. Live Nation companies now employ over 140 artist managers worldwide with stakes in the United States including Roc Nation Management, 24 Artist Management, Blueprint Artist Management, Spalding Entertainment, LMG Management, Mick Artists Management, Three Six Zero Group, Vector Management, Career Artist Management and Philymack Management.]

A 2014 AIF report noted that 54% of festival audiences in the UK attend a festival for its character, and only 7.7% go to a festival for the headliners. The traditional thinking has been headliners, headliners, headliners. But, thatís not always true.

No. Thereís a change in the model as well. I think the major headliners are a problem. Thereís increasingly a limited pool of legacy artists that are in a position to headline those events. Whereas for most of our members, it is about finding the right headliner for their level. People are very much buying into the overall experience. Thatís what we see. Itís a trend that is repeated year after year. It is over 50% (of the audiences). It is a majority of people saying that they buy a ticket because of the overall atmosphere.

At the same time, there are a lot of similarities of lineups at UK festivals. Audiences might be wary, ďHow many times do I need to see this act?Ē Thatís a valid complaint.

It is, absolutely. It can feel like a rotating door in terms of the major festivals. Some bands can take a year off from doing that one (festival), and then come back, and there are line-ups. Perhaps, itís a generational thing. Fewer people, perhaps, want to stand in the field with a pint of cider and watch their favorite band. There is still an appetite for that but, I think, that younger people, in particular, want to come for other reasons.

You go to Secret Garden Party or Boomtown and itís about building your own wall, isnít it? That unpredictability of having that experience, and having all kind of arts experiences that run across it. That said, there are still spaces for very strong festivals that are completely focused on the music, like End of the Road festival (hosted at the Larmer Tree Gardens, on the border of North Dorset and Wiltshire). It has found its nichť. Itís 15,000 capacity for people who like that sort of music. They will go back year on year. Itís a lovely site, but thereís very little else around it. Itís sort of you are there, here are the stages, and this is the music. People definitely buy a ticket for something like that based on awareness.

I wouldnít say that the music festival is not in danger of dying out, but itís a growing trend of more; the word experiential is so overused, and Iím loath to use it.

In the UK, there are an enormous amount of annual festivals. As you pointed out, the number is exploding, but there have been closures and high-profile cancellations After 15 years, Secret Garden Party has announced that 2017 will be its final outing. The Cornbury Music Festival is also bowing out in July. Are there too many festivals?

Well, yes, and things quite frequently get to a certain point. The marketplace is crowded as you alluded to. I would say that it did feel that a few years ago that it certainly had reached a point that there were too many festivals in the UK. Yet, what I have seen is that the market, like most markets, tends to correct itself. There are consolidation issues in the market, as I said with Live Nation being on somewhat of a rampage, but there has also been the entry of a number of independent festivals.

It is estimated that there are almost 1,000 festivals in the UK. We represent everything from a very small, family friendly festival like Starry Skies (set on the Barton Hill Farm in the Monnow Valley on the Welsh Borders) which is 800-capacity right up to the Boomtown Fair Festival which is 60,000 capacity. Not to sound too downiest about it, but if somebody really doesnít have an original idea or original formatóthey are just putting bands in a field or they havenít exclusive talent or they arenít building an experience or they donít have a unique siteóitís not going to stick around very long. Customers will vote with their feet. They have so many options now; whether that is small scale experiences or the major festivals. I feel quite optimistic about the future. It does feel that there are still some stones to be unturned. I think that something like the launch of Bluedot Festival...

Bluedot--set against a backdrop of the iconic Lovell Telescope at the Jodrell Bank Observatory near Macclesfield, Cheshire--along with the Deer Shed Festival in North Yorkshire blend music with science, and technology.

Yes. Thatís a new USP (unique selling point), Bluedot, and that really works with the site. I think that itís the second largest telescope in the world against this incredible backdrop. Youíve got this complimentary musical line-up and all of the science activities. It just feels inclusive, and there are a lot of interesting talks, and things to engage with around the site. So yes, that was a strong entry to the market.

Parallels have been made between the UK independent festival marketplace, and the craft brewing industry there. Independent festival organizers, like craft beer operators, can be more focused, and more innovative than the major players.

The craft beer analogy is an interesting one. We had someone from the craft beer industry (a rep from Crate Brewery in London) give a talk at our conference a couple of years ago. The most interesting thing that he said, when he was drawing analogies between the two industriesóand there are quite a few comparisons you can draw without stretching it too muchówas, ďListen, the major breweries always had the capacity, and the resources to experiment to do craft (beer). They could have sent a couple of people off into a corner or a basement and said, ďSee what you can come up with. But itís like with festivals. If the format isnít seemingly broken, why change? You are selling tickets. Youíve got your headliners. You arenít interested if somebody does something else to change the model.Ē

Iíd argue that in this country that Secret Garden Party did a lot to lead the way on that (changing the model). Obviously, a lot of festivals are inspired by Glastonbury and the multi-art approach, but with the Secret Garden Party, the music was kind of a secondary thing. They created a festival very much inspired by Burning Man. They all went out there (to the Black Rock Desert in Nevada), and they tried to translate some of those principals back here in the UK which, believe it or not when that event started (in 2004), hadnít been done. It is standard now that festivals have themes, and unpredictable things, and theatrical things that happen. It really wasnít at the time. So they kicked down a lot of doors. They stuck to their guns on sponsorship and everything. I do think that the independents are in a stronger position to innovate and to take risks. It isnít necessarily all about the talent.

It can be about trying to minimize risk, as well. I realize that the Samphire Festival in Exmoor National Park successfully crowd funding is the exception.

Quite unusual, actually. We also have a member called LeeFest. Very small event (in Kent) that literally started in the promoterís back garden (in 2006) when he (Lee Denny) was a teenager and his parents were away. They said donít have a party so he had a festival instead. A couple hundred people, and a stage in the back garden. Heís grown that event, and he is now 10,000 capacity. He successfully did crowd funding one year to move the site.

His parents wanted him out of their backyard.

Yeah. ďWhat on earth have you done with our garden?Ē

Look at the gladioli.

Completely trampled. What he found was that there is a flip side to crowd funding because all of a sudden you have a lot of stakeholders in the event, and thereís a lot of expectation around it (the festival) from people who put money into it. I donít know about crowd funding as a business model. You look at the Samphire Festival. I see that they have done it again this year and you think isnít it really another form of ticket sales? People are buying access. They might be buying some things around that. Obviously, itís been effective for them in terms of marketing. I spoke to them, and they said that they actually underestimated what they needed. They hit their target and then thought, ďOh shit. We need to double that. Weíd better sell some more tickets.Ē That is a new event, and thereís a lot of energy around it, but it is the exception, rather than the rule, as you no doubt have gathered, for operators. I donít think that there are many dependent on that sort of model. I find, in general, that there isnít a great deal of (arts) help in the UK. We run events around it. There are a few little friends here and there, like arts councils donations, and there are grants that some festival organizers can tap into, but I think that if you are dependent on those things that itís not sustainable for a long-term model.

The basic business model for many UK festivals right now, facing both rising artist and infrastructure fees, are living with tightened margins, low levels of sponsorship, and greater dependence on ancillary income which is difficult to develop. Thatís a tough business model.

It is, absolutely, and in some cases, the ancillary income will prop up or de-risk the undertaking. In terms of our members, it can take multiple years to even break even. Five, six or seven years in some cases. Four years is probably about the average for an independent. If you talk to people in other businesses or other sectors, that seems crazy. Obviously, it is a very different business model for concerts. Thereís great expenditures relating to building a small town in a field that is a festival specific infrastructure. Even a 20,000 capacity festival, it can spend over £700,000 just on festival specific expenditures.

Melvin Benn, managing director of Festival Republic, said in 2014 he had seen headline talent fees increase by 400% over a decade. It is being argued that the growing power of major promoters in the UK will stimulate the booking exclusivity of artists as well as influence the touring commitments of artists. How can an independent go up against Live Nation or AEG Live to book an act it might seek?

Yes, and this is the perpetual issue, really. In terms of exclusivity deals, we understand that it goes on. We canít be too much people in glass houses about it because our members do exercise that right with each other as well. So our collective response to it, to a degree, is that itís understandable.

Still some radius clauses in artist contracts can be unreasonable, such as restricting appearances six months before or after a show in the area.

Oh yeah. It (the radius clause) is going down to a lower and lower (artist) level as well. Of course, you have always had that at a headline level, and you have always had radius deals. You donít want somebody playing a show less than 60 miles down the road or whatever. Thatís just common sense in the booking process. But if you are getting down to artist fees at £1,000, and they (the promoter) have exclusivity, itís damaging to the artist, I feel. It is simply a power play, really.

The UK collection society PRS for Music does not differentiate between concerts and festivals. It currently charges 3% under tariff LP for both. A review (The PRS for Music Review of Popular Music Concerts Tariff) was launched in 2015. You warned against the ďcatastrophic effectĒ that a rise to the live tariff would have on grassroots events, and you called instead for a separate festival tariff that will take into account the unique nature of staging music festivals

Yes. We have made this case abundantly clear to PRS. Thereís an urgent need, an arguable need, for a festival tariff. Nothing has been announced yet. We are in the very late stages of negotiations.

Such a model already exists in Ireland with the ďmulti-venueĒ Tariff MS. After all, several AIF festival members donít run a lot of music. They run, perhaps, only 12% music. Do you think you are being listened to by PRS?

Yeah. Iím confident of a positive outcome at this stage. The devil is in the details and the drafting at this point, but we have an agreement in principal, and we are going to see a reduction and a separate tariff for festivals. Obviously, that hasnít been announced yet, but having said that, I am confident that will happen. That they have listened to our arguments.

[Hostility to the PRS tariff is not a recent development. The Concert Promoters Assn. was founded in 1986 to oppose a proposed tripling of the live tariff from 2% to 6% by PRS. The Copyright Tribunal then set the rate at 3%.]

At the same time, how will PRS be able to differentiate between smaller, grassroots festivals and the bigger festivals attracting over 40,000 people.

Itís difficult because the conversations that weíve had with PRS include should there be a separate tariff for small grassroots festivals, but how on earth do you define that, really? Itís now a question of size beyond ethos. Ethos is all very well, but itís a bit of a wooly isnít it when it comes to the application of talent?

(Laughing) Iíd argue that 175,000 revelers descending on a 1,200-acre field in Somerset for the Glastonbury Festival is indeed a small, grassroots festival. You can bet that its founder Michael Eavis does too.

Absolutely. (laughing) We could say that we (AIF festivals) are grassroots because we support emerging talent, but so do the Live Nation festivals, and Glastonbury. Thereís not a lot of distinction in that regard. The only model that is going to work is two different tariffs for the festivals. One for concerts, and one for festivals. They (PRS for Music) have to acknowledge it is quite absurd that they have never really reviewed how they are doing things. The growth of the festivals market, the fact that PRS and its members have benefited hugely from the growth of the live industry. They recently published their figures, and what we have generated from LP (live performance) now is nearly £40 million. In 1988, it was around £1 million. They put their figures out there, and there was quite a substantial growth in live (income) really as it should be.

[PRS for Music has reported a record-breaking 2016 performance with overall royalty income rising year-on-year to £621.5 million]

At the same time, PRS for Music members have lost significant revenue on the recorded music side.

Absolutely, but I suppose that our argument to performing rights organizations would be, ďYou canít punish us for declining revenue elsewhere because recorded music is very much in a transitory stage...Ē

If music doesnít have any value to your members, then they donít have to use the music. You use it, you have to pay for it.

Yeah, and we would never dispute that. Absolutely. Itís important. So much as artists are paid very well paid by festivals...

Not always.

You canít argue that. At least in the UK, there is something that we call a festival fee...

Hold on, you are talking, of course, about the booking code of conduct developed a few years ago that sets out a fair rate of pay for short-term contracts for artists.

It is just a guide in principal. We work with the musicianís union on that. We donít want to impose contacts and be incredibly stringent. Here are some guidelines and these are the expectations from both sides. Hopefully, it just reflects largely on what is already going on, but you canít be compulsive about that. Perhaps, some members, and some people just starting out with festivals do need a bit of guidance. I wouldnít deny that artists are the lifeblood of the business. Without them, there is no business and that includes my business. They are already making a substantial amount from live. I would say that it is a bit of a misconception that all of the money and the power has shifted to the live industry. Perhaps, at the top end, but as we have already seen at a more grassroots level the margins are incredibly tight, really.

While revenue from streaming lags behind past revenues from recorded music, revenue from all PRS tariffs, and fair booking fees have become even more important to artists.

Yes. And you can understand that live is so integral to an artistís career now, isnít it? The agent is involved at a much earlier stage. The agentís job is to maximize what they can get for their artist. We completely get that. The nature of it being a one-off show I can understand that it would attract more (of a fee) than being part of a touring circuit. It is a slightly different model, and those artists obviously add a lot of value to the festival.

UK festivals have for years had significant levels of security, right?

Yes.

In the immediate aftermath of the May 22nd Manchester Arena bombing, UK venue and festival operators began reviewing their security procedures. Was increased security on the table a year ago?

Yeah, yeah. Because of everything that you could assume could happen in the aftermath of the Bataclan attacks in Paris. You can understand that audiences attending festivals will have concerns. All you can do is strike a reassuring tone really, and say, ďOur events are expertly organized with very good security, and there is a dialogue with law enforcement, and there is a lot of information sharing. I think that it would be helpful for promoters to point out some of those measures to the public, actually. The fact we have specific training. I attended a training event that dealt with the exact scenario that happened in Manchester. People in an arena.

[The May 22nd bombing of the Manchester Arena was the second terrorist attack on a major music venue in a European city in less than two years. On Nov. 13, 2015, terrorists stormed Le Bataclan Theater in Paris during an Eagles of Death Metal concert, killing 89 people in an attack that also involved multiple locations around the city.]

After the Le Bataclan Theater attack, many UK venues introduced metal detectors and other measures. But the Manchester explosion occurred in an atrium that housed a box office outside the gate, and thus the metal detectors would have been ineffective.

It is indiscriminate, isnít it? I think some of the media reporting about it was a bit unhelpful as well. You saw a few things where they interviewed people saying, ďI didnít have my bag searched going into the arena.Ē Well, it wouldnít have mattered because it was outside the arena in a public area. If they had searched every bag going in...unfortunately, it (the bombing) took place in a public area between an arena and a train station. Any public space with any public gathering can, potentially, be a soft target. Obviously, that was a horrific incident.

In recent years in the UK, there has been a vast increase in intelligence and dialogue sharing between local police and festivals.

Yeah. With our festivals, there are a lot of things that are obvious. Security measures are constant being reviewed. Thatís always a tough priority, isnít it. Audience safety is...

You can never fully safeguard any live music event. And while promoters want a security presence, they donít want one overshadowing their event. The bottom line is that we live in an open society.

Yes. Absolutely. My initial feeling from talking to people I donít know anyone who hasnít gone to a gig because of it (the Manchester bombing). There is a little bit of a defiance here to live your life and go about your business, really, because what else can you do, really? There have been attacks on the Tube. In Britain, we had issues with the I.R.A. for years and in public spaces as well. You canít become complacent about these things, but you have to balance vigilance with respect. A lot of these plots are followed by the security services before reaching fruition, thankfully. This one in Manchester got through, unfortunately.

The UK, being closer to the worldís hot spots, and with free market movement within the European Union, is more of a target.

Thatís certainly a factor, isnít it? I think that all you can do is introduce additional measures to review. We have to re-assure the public that we are open for business, and we say that concerts and festivals are safe, enjoyable environments. Just a few weekends ago, we had three major events: The FA Cup Final; a large concert by the Cortinas in Manchester; and the Radio 1 Big Weekend in Hull. There was increased police presence in place at all of those events. I think that the public confidence is gradually being restored. You canít diminish it (concerns) because there have been losses of life. Of course, kids are attending pop concerts. The parents....how could it not have some kind of effect on how you look at that? If we need to invest in additional security we will, and that is part of our duty as license holders.

Where are you from?

New Durham City a few miles out of Newcastle, but I moved to Newcastle for university, and spent 10 years there.

What university?

Northumbria University,

Studying what?

Politics, actually.

You started out in music being a DJ and promoting events with local bands MaxÔmo Park, and the Futureheads?

Yes, thatís correct. At the same time, I was studying. I just wanted to break into the industry and get as close to it as I possibly could. So I DJed. I started off a lot of club nights, and I worked at a record shop job. I started doing my own shows primarily with regional bands, but with some touring bands as well. They were very small shows from 100 people up toóI think that the largest show that I did was with MaxÔmo Park with 2,000 capacity at the Academy. It was good to get to that level as an independent promoter. It was a good way of learning the business as well.

Promoting at that stage is a good way of burning through money

Those bands were very popular. Those ones would bankroll the more developmental ones that you do where you lose or break even.

You worked for three years at Generator and edited its industry newsletter, The Gen.

Generator was a music development agency funded to do various projects in the region. They had various live music programs to develop promoters regionally, and build connections between promoters, and they would also run showcases for artists across the region. The work was increasingly national in scope. I kind of learned the live side of things being there for three years. I was doing stuff alongside that. I was still promoting my own shows. I ran a very small record label as well called Longest Mile Records. With one of my friends who played in the Futureheads--I used to promote a lot of their shows--we started this label. We put out a few 7-inch (releases). The Shout Out Louds from Sweden. We did some good things. It was fun.

[Among the Longest Mile Records releases were by Catweasels, the Paper Cranes, and This Ainít Vegas.]

You donít do the label anymore.

No. I was always a bit more connected to live, and that was where my knowledge was, really.

Then you went to the dark side, working at the classical music center The Conservatoire in London.

Yeah, you could call it that, certainly (laughing). That was a bit of a detour, really but I had moved to London, and I needed a job. Itís how these things go. I was head of operations there. I ran the building, and the various projects we did, and events as well. I was managing a team of 7, and you learn a lot of useful management skills doing that. It is one of those things that at the time you are thinking, ďThis is not where I want to be.Ē You donít realize that you are accumulating a lot of useful stuff that will come in handy down the road. All careers are like that, really. I could write it down on paper now, and it kind of makes sense, but at the time, it really doesnít feel like that. You are just concerned about the next step. I eventually got back to working (in live music). I was still always working at festivals while I was doing that. I was doing things on site at Secret Garden Party, and the Evolution Festival. Stage managing, doing artist liaison, doing whatever was going on. I was still connected to festivals, but there was a point where I felt that I needed to get to doing this.

The recent arrival of ex-Labour MP Michael Dugher as the new chief executive of UK Music is seen as a positive step forward. UK Music, of course, provides a united voice for all of the music stakeholders in Britain.

Yes. Itís a very effective channel as well. I sit on the Live UK Group which effectively represents live industry. We have direct conversations with the government. We meet with DCMS (the Department for Culture, Media & Sport). We brief ministers, and MPs who are interested in participating in the APPGs (All Party Parliamentary Groups). We do all of that independently. UK Music is the umbrella body. It is in a powerful position to directly speak to the political community and to distil issues--things like business rights, and festival and event concerns. Issues that we brought to UK Music, weíve gotten debates triggered in the Commons and had debates in the Lords. It helps to exert pressure on those things. It is very useful.

It is also very useful to sit around the table with the CPA (Concert Promoters Assn.), the Agents Association, PSA (Production Services Assn.), and MVT (Music Venues Trust)--all the acronyms--and just take the temperature, really of where everybody is at. Try to map out some future connection points and collaborations because I think that we are siloed in our own festival world sometimes. UK Music is a great way of plugging into the wider audience.

Michael Dugherís background as a former shadow culture secretary for the Labour Party will no doubt be useful. Heís both savvy politically, and well-connected.

Oh, absolutely. His relationships across the community are incredibly strong. He seems to be a very strategic thinker, as well. Itís no small task (heading UK Music). It can be like herding cats representing festivals so to represent the interest of varied music bodies that often have their own agendas will be very interesting.

And dealing with their expectations of government.

Absolutely and you have every sector trying to kick down governmentís door. Everybody wants a reduction on their side. Everybody wants a change of legislation. It will be interesting to see how Michael takes that on, but I do think heís well placed for the for the role. It will be interesting to see what comes next.

[Former Labour MP Michael Dugher brings a lifelong passion for music and the arts to the role as chief executive of UK Music. During his tenure as shadow culture, media and sport secretary, he campaigned for the rights of small venues, and backed the ďagent of changeĒ principle, which requires developers who build near already established music venues to pay for soundproofing and other measures.]

If Brexit is eventually implemented, is it likely to have an impact on touring musicians?

Yes. There are concerns on the impact on touring musicians.

Leading up to negotiations, there is a lot of uncertainty.

Exactly. Itís been triggered, the countdown is on, but what it will do for the industry is unclear. What is interesting this season is that our members are experiencing an uplift in sales from the rest of Europe. Itís not all gloom and doom but there are concerns around if it if becomes more complicated to work across borders. Is Germany going to be a less stable framework? Thereís the currency situation. It (Brexit) raises more questions than answers, really.

With cultural issues, nobody wants a closed market. Germany can do without British beef, but not British artists. And vice versa.

Absolutely. I think that it cuts both ways. There are probably opportunities in there as well as threats. But itís happening. The process may be full of uncertainty to some extent, but I think that we have to get to a point of pragmatic acceptance of it; whether you agree with it or not, itís about how are we going to work through these issues, really. The festival market, to my mind, is definitely developed as a Europe-wide market with Europe-wide audiences. I donít see that changing. But whether we have restrictions placed on touring musicians we will have to see. I do think that it is important that our industry is involved in forming our governmentís approach.

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 ďMusic From Far And Wide.Ē

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
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, thebookingagency.com 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, Foxman.com 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 Denverís Division of Theatres and Arenas 08/23/10
Paolo díAlessandro, 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 íní 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 Gťlinas, Festival díťtť de Quťbec 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, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Andrea Johnson, ICM Partners 11/02/17
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
Justin Kalifowitz, Downtown Publishing 04/20/17
Leonard Kalikow, Music Business Reference, Inc. 06/26/08
Craig Kallman, Atlantic Records 03/20/09
Steve Kane, Warner Music Canada 02/09/17
Danny Kapilian, Independent Producer 07/12/02
Mike Kappus, The Rosebud Agency 10/26/09
Andy Kaufman, Birdland 05/17/02
Wendy Kay, Mars Talent Agency 03/09/01
Lucas Keller, The Collective 03/22/11
Marty Kern, Clemson University 07/07/01
Carlos Keyes, Red Entertainment 10/08/04
Golnar Khosrowshahi, Reservoir Media Management 10/24/12
Martin Kierszenbaum, Interscope/Cherrytree Records 09/06/09
Barney Kilpatrick, Rattlesby Records 10/28/05
John Kinsner, The Walnut Room 03/28/08
Doug Kirby, LiveTourArtists 10/24/03
Steve Kirsner, Compaq Center 06/29/01
JoAnne Klabin, Sweet Relief 03/21/03
Andrew Klein, Revolution Marketing 11/05/04
Larry Klein, Producer, bassist, songwriter 03/13/12
Jack Kleinsinger, Highlights in Jazz 04/25/08
Ann Kline, Casa Kline 09/04/14
Brian Knaff, Talent Buyers Network 09/29/01
Kymberlee Knight, IEBA 11/16/00
Mike Kociela, 360 Productions 05/30/08
Stefan Kohlmeyer, Bach Technology 02/08/10
Lily Kohn, Microsoft Corporation 02/14/11
Tim Kolleth, Alligator Records 01/25/08
Al Kooper, Musician/songwriter/producer/author 02/06/14
Mitchell Koulouris, Digital Musicworks International, Inc. 02/11/05
Mark Krantz, John Schreiber Group 06/15/01
Jeff Krasno, Velour Music Group 11/19/07
Jeffrey Kruger, The Kruger Organisation 01/25/02
Harvey Kubernik, Author/historian/music journalist 08/20/15
Ted Kurland, Ted Kurland Associates 01/15/01
Jordan Kurland, Zeitgeist Artist Management 08/23/11
Carianne Laguna, Blackheart Records 03/07/08
Brady Lahr, Kufala Recordings 04/30/04
Ernie Lake, EL Records 01/19/07
Roks Lam, Wolfman Jack Entertainment 12/17/04
Anni Lam, Parc Landon 06/29/07
Gary Lane, CenterLane Attractions 10/14/05
Tom LaPenna, Lucky Man Productions 09/10/04
Camilo Lara, EMI Music Mexico/MIS 08/10/07
Gary Lashinsky, Lipizzaner Tours 05/13/05
Gregg Latterman, Aware Records 12/13/02
Tony Laurenson, Eat to the Beat 02/27/04
Emily Lazar, The Lodge 10/15/15
Bill Leabody, Leabody Systems 06/10/05
Peter Leak, 24-7 Worldwide Management 03/28/12
Steve Leeds, SR. VP/Promotion/Rock Formats at Virgin Records 07/26/02
Elliot Lefko, Goldenvoice 09/21/17
Bob Lefsetz, The Lefsetz Letter 11/14/08
Carl Leighton-Pope, Leighton-Pope Organisation 07/05/09
Steve Lemon, Live 4 Live, Inc. 12/06/02
Randy Lennox, Universal Music Canada 06/24/15
Simma Levine, Disson Furst and Partners 11/10/00
Andy Levine, Sixthman 06/08/07
Rich Levy, Clear Channel Entertainment Properties 06/25/04
Eddie Levy, Chelsea Music Publishing 07/24/14
Myles Lewis, Denise Rich Songs 12/20/10
Adam Lewis, Planetary Group 01/20/16
Terry Lickona, Austin City Limits 03/14/11
Justine Liddelow, Stage and Screen Travel Services 08/31/11
Jim Lidestri, Border City Media 09/03/15
Larry Lieberman, 4EverWild 03/28/03
Eric Lilavois, Crown City Studios, and London Bridge Studio 12/10/14
Miriam Linna, Norton Records 05/18/17
Marc Lipkin, Alligator Records 03/05/05
Tommy LiPuma (Part 1), Verve Records 11/08/10
Tommy LiPuma (Part 2), Verve Records 11/15/10
Alexander Ljung, SoundCloud 10/04/10
Andy Lo Russo, The Singing Chef 12/16/05
Phil Lobel, Lobeline Communications 08/13/04
Paul Lohr, New Frontier Touring 01/21/05
Paul Lohr, New Frontier Touring 05/17/10
Julie Lokin, New Audiences 03/23/01
Dave Lory, Artemis Records 03/30/02
Max Loubiere, Tour Director 04/11/12
Mark Lourie, Skyline Music 03/08/02
Dave Lucas, Live-360 04/28/06
Joe Lucchese, EventJoe 02/23/07
Kevin Lyman, 4 fini 03/30/01
Kevin Lyman, Vans Warped Tour 05/23/12
Bubba Mac, 09/14/07
David Macias, Emergent Music Marketing 06/17/05
Kristen Madsen, Grammy Foundation and MusiCares 11/22/10
Larry Magid, Larry Magid Entertainment 05/04/10
Peter Malkin, PM Management 02/07/03
Toby Mamis, Alive Enterprises 02/12/01
Billy Mann, Green & Bloom | Topl1ne, Manncom 09/18/14
Tasea Margeolas, Multi Entertainment 06/23/06
Tony Margherita, dBpm Records 09/06/11
Bob Roux & Mark Campana, Live Nation 12/20/11
Lee Marshall, Magic Arts & Entertainment 09/13/02
Zach Martin, Radio Producer at New York's WAXQ-FM 08/30/02
Mario Martin, Gorgeous PR 04/27/07
Molly Martinez, Ticket Summit 2008 05/23/08
Paul Mascioli, Mascioli Entertainment 01/14/05
Michael Maska, Big Hassle 01/28/05
Ted Mason, Mi-5 Recordings 11/16/01
Steve Masur, Masur & Associates, LLC 11/21/03
Pam Matthews, The Ryman Auditorium 04/08/05
Terry McBride, Nettwerk Music Group 03/01/10
Michael McCarty, ole 06/20/11
Jim McDonald, McDonald Group 12/19/03
Virginia McEnerney, HeadCount 11/26/07
Doc McGhee, McGhee Entertainment 06/14/10
Camilla McGuinn, Tour Manager 08/24/07
Andy McLean, North By Northeast (NXNE) 04/01/05
Dennis McNally, Grateful Dead historian/publicist 09/06/02
Garry McQuinn, Back Row Productions 06/14/11
Ruthann McTyre, The Rita Benton Music Library; and president of the Music Library Association 08/31/10
Dick McVey, Musician's Referral Service 10/27/07
Katherine McVicker, Music Works International 01/08/15
John Meglen, Concerts West/AEG Live 02/21/13
Mark Meharry, Music Glue 05/28/15
Jorge Mejia, Sony/ATV Music Publishing 09/17/15
Dan Melnick, Festival Productions, Inc. 02/22/02
Andrť Mťnard, Festival International de Jazz de Montrťal 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 Mķsica 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 OíConnor, 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, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
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, Twincloud.com 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, CultureCatch.com 07/27/07
Jeremiah ďIceĒ 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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