Industry Profile: Jamie Adler

— By Jane Cohen and Bob Grossweiner

Jamie Adler is president and founder of Adler Entertainment Group, a small boutique agency in Los Angeles that exclusively represents Bone Thugs-n-Harmony, Tyrese, Dennis Quaid and the Sharks, Sean Kingston, Bobby Brown and LIL Eazy.

"When your older brother starts Guns N' Roses, there's not a whole lot you can do with your life to establish yourself as anything but a younger brother," laments Jamie. "So, at an insanely young age, I decided to capitalize on my family connection and follow in Steven's footsteps but in my own way." Steven Adler was the original drummer in Guns N' Roses.

Never aspiring to become a musician, Jamie's interest focused on guiding musicians with their careers. By 15, he was already managing local bands and hooking them up with showcases for record companies.

Ten years later, following a break for college that was "inspired by my practical side and my Jewish mother," he quips. "I was promoting concerts regularly at the Key Club, then called Billboard Live, under the 'Jamie Adler Presents' moniker."

His first show was John Easdale of Dramarama in 1997. Although he had only three days to assemble and promote the show, it drew more than 500 people and officially launched him, albeit a little, at least, out of his brother's shadow. Chris Smith, currently ICM's Comedy division head, was impressed enough to hire Jamie as a talent agent at his International Artist Group agency in 1988.

"I was scared because I'd no idea what I was doing," Jamie admits, "but I listened, paid attention, asked a whole lot of questions and eventually signed Gene Loves Jezebel and Missing Persons. However, both acts featured only one original member so they were a tough sell, but I sold them, learning even more about the business and people in the process."

Jamie eventually came to rep Wang Chung, Missing Persons, Flock of Seagulls, Bulletboys, Bang Tango and Enuff Znuff at IAG.

He joined Artists Worldwide in 2000. "We stepped up our game and signed Dokken, Ratt, Yngwie Malmsteen, Danzig, Zakk Wylde's Black Label Society and Dennis Quaid and the Sharks," Jamie notes. During this time, however, Jamie never stopped managing bands. In fact, Motorhead manager Todd Singerman and Jamie were co-managing groups, including Jimmy Girl and Tangerine.

"It was Todd who gave me the best advice of my life," he reminisces. "He told me I couldn't go on being an agent, promoter and manager and give 100% to each. He told me to choose one and give it 200%. Once I realized that being an agent was my calling, Todd walked me into The Agency Group in 2001, and I was handed Motorhead. My entire roster went with me, and I became the youngest agent at a major music agency."

After hearing that Bone Thugs-n-Harmony had a new album on the horizon, Jamie contacted the group's manager, Steve Lobel, and his current career passion was sparked. "While all my friends were listening to my brother's albums, I was cranking Bone Thugs," he says. "We turned the group's reputation upside-down, making sure they put on an amazing show that they were always on time for. In our first year, Bone Thugs played over 50 shows -- unheard of for a hip-hop act without a hit for five years."

After two years with The Agency Group, Jamie returned to Artists Worldwide in 2004. "Seeking even more success, I took Bone Thugs back to Artists Worldwide, keeping the group on the road for 60-100 shows for the next four years," he states.

In January 2006 Jamie decided it was time to strike out on his own and opened the Adler Entertainment Group, dedicating his experience and resources on urban music. Today, Adler Entertainment Group includes one other agent, Michael Nunnery, an assistant, support staff and a couple of interns.

Experience & Advice
Don't mix business with pleasure. That's all I'll say. You guys know what I mean.

Why did you leave rock music behind?
To pursue rap music when the rap game started really blowing up. I figured there are only a couple major rap agents and hundreds of rock agents. I felt I had a better chance to succeed with my boutique agency with less competition. There is no way I could've competed with the major agencies in the rock game. Having a roster consisting mostly of rappers I felt I had a better chance to win. Plus, my mentor in the rap game, Steve Lobel, is very respected, and he put his stamp of approval on me. That opened many doors for me and gave me the opportunity to build new relationships. For some reason I've so much more fun booking rap as opposed to rock. It's a lot more challenging, and I'm always up for a challenge.

Why did going back to Artists Worldwide equate with more success?
It allowed me to be independent and make the moves I needed to make. I'd the opportunity to travel on tour, shake hands with promoters across the world, become close to my clients and be able to create my own hours in the office.

Why did you start your own agency?
I wanted to be able to give more personal attention to my artists. Working for someone else has its benefits, and none of them are monetary Seriously, I learned a hell of a lot in agency boot camp, but I was booking $3-4 million in dates and barely earning enough to make car payments. It was time to take a risk and go for the whole 10%. I'm very grateful that I've loyal clients who trust me because of my booking skills, not because I've a nice business card, an Ari Gold office and two personal assistants. They're with me because I consistently make them money. I knew that if I was to start my own agency, all of my clients would be very happy for me and with me.

What kind of acts are you looking to sign?
An artist that has staying power. I'm not looking for any one hit wonders. As an agent you spend so much time building an act. What's the point if they will only be around for two months.. Any artist that makes good guarantees or has potential to, but who also shows up on time, puts on an amazing show, treats the venues with respect and encircles themselves with a professional team. All money isn't good money, and sometimes earners come with some very unprofessional baggage that can damage your reputation. No money's worth that.

Do you miss promoting concerts?
No way. I'm happy leaving risky business like that to the corporate types. As an agent, I'm guaranteed 10% on every deal I cut (as long as the artist makes good on the agreement. My batting average is solid, especially for hip-hop. I've only had a few shows canceled in the last three years, and I've booked over 500 dates since I started my own agency.

Do you miss managing clients?
I don't miss managing clients because I never really made any money as a manager. Now, I make a good living just by talking on the phone. How many other jobs out there offer that possibility?

What did you learn as a promoter that you brought to being an agent?
Every single thing that goes into putting a show together: sound, lights, radio and print. There's so much involved in guaranteeing a successful show. Everything has to line up perfect, from the equipment to the marketing, security and even catering.

What makes a good agent?
This business is all about relationships. You have to be able to know how to make people like and trust you, which requires highly developed communications skills -- the kind I'm not so sure people can be taught. Great agents tend to be those kids in high school you wanted to hang with because they had friends in all the different cliques. They had something interesting to say to everybody, and they didn't talk trash. Traditional routes to learning the business -- college, being an assistant, reading industry books - are fine, but being a great agent requires amazing personal skills. I'm always looking to recruit new blood. But, honestly, I've only found one person in the last three years that has what it takes. His name is Michael Nunnery.

Which Guns N' Roses do you like better: original or newest version?
There is only one version. No band in history - not the Beatles, not the Stones, not Led Zeppelin - was able to touch the live show GN'R staged from 1985-90. There's no doubt in my mind that the five original members could still re-spark that chemistry. I'm speaking as a fan, not a relative. Now, speaking as an industry representative, it would be the biggest tour in history grossing over a billion dollars worldwide. Maybe one day.

First concert attended
Guns N' Roses at the Troubadour in Los Angeles, 1985. I was 10 years old.

First concert worked
John Easdale of Dramarama at BIllboard Live on the Sunset Strip in 1997. It was my first of many concert series called "Jamie Adler Presents..." The owners of Billboard Live called me with three days notice asking if I wanted to start my own night there. I was working with Easdale at the time. We worked out the guarantee, and he confirmed the show on that call. I'd only three days to promote a show that packed the house with more than 500 people. My very first experience in the concert world could not have been any more successful and gave me the confidence to continue. After that show I put on another 15 "Jamie Adler Presents" shows at Billboard Live. All turned out better than I ever expected, such as Gilby Clarke, LA Guns, Bulletboys -- mainly the bands that used to be cool on the Sunset Strip backs in the '80s. I was helping to bring back the old days of Gazzarris and the Sunset Strip. My most legendary show was when I had almost all of Guns N' Roses on stage at once--Steven Adler, Slash, Gilby Clarke and Teddy Zig Zag.

First industry job
International Artists Group (IAG), working under the legendary Chris Smith, now at ICM. I was just thrown into the booking game. I was never an assistant or an intern. I walked into the office the first day, and he put me on the phones. My first tour he asked me to book was Missing Persons. The catch was that the band had only one original member -- talk about persons missing! Similarly, I got handed Gene Loves Jezebel with only one brother!

Without knowing what I was doing, I was expected to book some of the toughest acts ever booked. I sat in Chris' office for one week and listened and asked questions. I didn't make one call that whole week. I just tried to learn the game. After working there for a month, I slowly but surely, started bringing in offers. It took me a minute to get the hang of it, but when I did, it was on. I'm very blessed to look back and realize I learned from the best. He was my first mentor in the game.

Career highlights
Todd Singerman handing me over his number one act, Motorhead, which later led me to becoming the youngest agent at the time working at a major agency. At the Agency Group, I also signed my favorite guitar player of all time, Zakk Wylde, with his Black Label Society. I've known Zakk, through my brother, since I was 13, He was just so cool to me when I was a kid, and you don't forget stuff like that. Being able to be his agent was a dream come true. Another highlight was to sign my favorite hip-hop group of all time, Bone Thugs-n-Harmony. In my teens they were the only rap group I really listened to. It's really an incredible feeling to work with people you once dreamed of meeting, but then to actually get to be a big part of their career. There are no words for that feeling. Of course, starting my own agency was cool too.

Career disappointment
Walking away from The Agency Group. I don't miss working at the company, but I really respected and looked up some of the people there. Leaving meant that I was walking away from the rock world where I started, and from an astonishing roster that I personally helped build up all on my own. I was 26 and personally representing Black Label Society, Danzig, Motorhead, Whitesnake, Dennis Quaid and the Sharks and Bone Thugs-n-Harmony. Except for leaving Danzig, that was hard to swallow --just kidding, Glenn. Starting my own agency meant I couldn't compete with the majors in the rock world, so I surrendered most of my roster. It was a great risk to take, but it was the best move I ever made.

Greatest challenge
Entering into the world of hip-hop without knowing the first thing about it.

Best business decision
Leaving a major agency and starting up my own.

Best advice you received
Standing on the street in front of the old Opium Den in Hollywood in '98 with my one of my best friends now but at the time one of my first mentors, Todd Singerman, I was complaining that I seemed to be incredibly busy for someone who wasn't making much money, managing rock groups, booking tours, promoting shows and parties. His advice changed my life. He told me to pick just one thing and give it 200%, and eventually, if I do the best I can, I will succeed. Guaranteed. And he was right.

Most memorable industry experience
Attending the Diamond Awards Inaugural party in NYC. There were no agents or managers allowed at the private event -- only artists. My brother went to represent Guns N' Roses. We literally spent the whole day with Elton John, Billy Joel, Jimmy Page, John Paul Jones; Kenny Rogers …the list goes on. I was the only one in that room who didn't sell 10 million albums, and I talked to everybody there.

What friends would be surprised to learn about you
For a minute there, my life started spinning out of control -- the usual VH1 Behind the Music story: having it all and then losing it. God didn't have that in the cards for me. He wanted me to have a fruitful, happy life. He put me on this planet to make a difference and to help out others that need my help. What people would be surprised to know about me is that I do what I do out of love. There's nothing in the world cooler than having a millionaire rap star call me and say thanks for helping me be able to purchase my new phat mansion. I enjoy doing things for others. I grew up having everything I ever wanted. I'm so grateful for that. Now it's time for me to give back.

Industry pet peeve
Egos. I can't stand when someone in an admirable position thinks they can talk down to people who might not be on their level. No one is better then anyone else. I learned that from my older brother. This dude has sold over 60 million records and has never turned down signing an autograph, taking a picture and giving a fan a hug. Never, not once.

If I wasn't doing this, I would be…
…miserable, depressed, sad. I was born to do what I do. I knew what I was going to do ever since I was a little kid. I live, eat and breathe what I do.

Industry mentors
Todd Singerman, Steve Lobel, Chris Smith and Dave Kirby.

Jamie can be reached at: (323) 465-5997; e-mail: jamie@adlerentgroup.com

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