Industry Profile: Michael Chugg
By Larry LeBlanc
This week in the hot seat with Larry LeBlanc: Michael Chugg
Michael Chugg, executive chairman of Chugg Enterprises, may be a pioneering figure in Australia’s music industry, but he’s also been the leading flag-bearer for international acts down under for decades.
In 2008, the Sydney-based Chugg Entertainment division toured Elton John, Keith Urban, John Fogerty, Santana, Feist, Sinead O'Connor, the Kooks, and Jason Mraz.
Chugg Entertainment also promoted Coldplay’s Australian tour earlier this year--13 mega shows. The company is on deck for an upcoming 5-date Pearl Jam and Ben Harper and the Relentless 7 tour as well as it is co-promoting an 11-date AC/DC tour in 2010.
According to Chugg, Pearl Jam had sold 160,000 of 200,000 tickets for its tour, which begins Nov. 14. 2009. AC/DC’s 11-date stadium tour set for early 2010 has so far sold more than 600,000 tickets.
In March, Chugg and his long-time cohort Michael Gudinski, Frontier Touring’s managing director, were co-organizers of Sound Relief in Melbourne and Sydney that raised over $8 million (Australian) for charities.
With the Australian Recording Industry Assn. reporting CD album values dropping 12% in 2008 to $324 million (Australian), labels there are scrambling to change their business model.
This year, Sydney-based Sony Music entered the live music sector with a touring and events division, Day 1 Entertainment, that with Chugg Entertainment, co-promoted shows with Northern Ireland's classical crossover act the Priests as well as Simon & Garfunkel's 11-date arena tour in June.
In a partnership with Backrow Productions, Chugg Entertainment is also involved in “Priscilla, Queen of the Desert - The Musical” that premiered in Sydney in 2006 followed by a production in Melbourne. It is now one of the leading attractions of London’s West End.
Chugg's musical career began in Tasmania in the 1960s. At 15, he organized a dance at the Trades Hall in Launceston for the local cycling club. About 300 people turned up for a profit of £80.
Then Chugg moved to Melbourne where he worked at Michael Browning and Michael Gudinski's Consolidated Rock Agency. The company became the first national booking agency when it took over Phillip Jacobsen's Let It Be agency, which handled two of the leading Australian bands of the day, Daddy Cool and Spectrum.
ConRock soon developed a stranglehold over bookings on the Melbourne club/pub scene but folded in 1973 after Gudinski and Browning started an unsuccessful weekly music publication the Daily Planet
Chugg and fellow agent Roger Davies then opened a new agency Sunrise in Sydney. When Davies left in 1975 to start a very successful career in the U.S., Chugg joined Gudinski's Premier/Harbour Agency.
At the same time, Chugg was managing acts and working as a freelance tour coordinator with the Paul Dainty Corporation, arguably the top Australian promoter of the 1970s.
From 1977-80, Chugg spent a lot of time overseas with his management acts, Kevin Borich and Richard Clapton.
In 1978, Borich took him to the Lyceum in London to see a new band - the Police. Returning in Australia, Chugged suggested to Dainty that they should tour British new wave acts including the Police, the Clash, Squeeze, Elvis Costello, Graham Parker & The Rumour and Ian Dury & The Blockheads.
However, British-born Dainty, who preferred to promote event entertainment with broad appeal, was interested. This resulted in Chugg, Gudinski and Phil Jacobsen opening The Frontier Touring Company. Their first tours were with Squeeze and the Police.
The trio built Frontier Touring to be the biggest concert promotion company in Australia. As its GM, Chugg organized and promoted tours by the Police, Frank Sinatra (with Sammy Davis Jr. and Liza Minnelli) R.E.M., Bon Jovi, Bryan Adams, Kylie Minogue, Elton John, Billy Joel, Madonna, Sting, Guns N' Roses, Red Hot Chili Peppers, Kiss, Pearl Jam, Tom Jones and the Cure.
In 1999, Chugg left Frontier and founded Michael Chugg Entertainment the following year.
In its first year of operation, MCE produced and promoted 19 national tours featuring international artists; and 5 national tours featuring Australian artists. One highlight was co-producing the opening and closing ceremonies of the Paralympic Games in Sydney.
Through the past decade, until 2008, Australia's live sector had been booming. However, the live circuit there has been pummeled in the past two years.
Ticket sales for nonclassical music events fell 27.5% during 2008, according to the trade organization Live Performance Australia.
Leading international acts' ticket prices in 2009 have plummeted as well, down an estimated 30% from 2008.
Meanwhile, Australian promoters have been under pressure due to the Australian dollar's slumping in value from 98 cents (U.S.) in July, 2008 to 63 cents (U.S.) in February 2009. It has since recovered to .86 cents (U.S.) but Australian promoters remain wary.
This devaluation in currency has removed any margin to absorb additional costs associated with a tour and has resulted in considerable resistance to high ticket prices, especially for older superstar acts.
The touring market in Australia had seen annual growths of almost 20% for over a decade, up to 2008. What about 2009 for your company?
It’s been a fairly good year but it has been a consolidation year for us. We’ve had Coldplay and Simon & Garfunkel and a few other things. We have Pearl Jam, Keith Urban and Liza Minnelli ending (the year) off. It is very much a year of consolidation.
2008 was a bad year with the Australian dollar down?
Yes it was. We were lucky that we didn’t have any big attractions right when it crashed. We escaped a little bit better than some of the others. You certainly have to watch it. Even now, you’d be crazy to base an offer on anything over .80 cents (U.S.).
Is the international money market something you have to watch daily?
All of the time. (The Australia dollar) has been sitting between .83 cents and .87 cent (U.S.) for the past couple of weeks. Who knows what’s going to happen? It could go anywhere. Our nets (net incomes) are tied to the U.S., (currency) unfortunately.
Ticket prices are based on advances and band fees, really.
Well, that’s right. We have tried hard to keep prices down. Basically, we are trying to keep them down to what they were two or three years ago. Obviously, with the older retro acts, people are still prepared to pay big money to sit in the front rows. Two years ago, you might have had 2,000 of those in Sydney. Now, however, you’ve got about 500 (willing to buy such tickets).
With ticket sales for international acts down about 30% in Australia this year, besides considering pricing reductions, promoters are utilizing other strategies in order to attain some added value to a ticket .
Pearl Jam, for example, has introduced special digital bundles with its album "Backspacer" through (ticketing company) Ticketek Australia's web site.
That’s worked. We are really pleased with that. The other thing that has really worked is the website-TV stuff that we put together. This is now getting world wide attention, which is quite exciting. It has actually brought a few big managers out of the woodwork. Just to see how we are doing it. Some have been asking why other promoters aren’t doing it.
Tickets in the market should be $100-$150 (Australian) for top acts?
That’s where we were with Coldplay, about $149.90 (for top ticket) and it will be the same with AC/DC. I’ve got Pearl Jam (returning to Australia for the first time in three years) with Ben Harper and the Relentless 7 and Neil Finn doing stadiums in November. Top price is $120.00 (Australian) gross. That’s really good.
It’s great to work with a band like Pearl Jam who are so considerate of their fans. We were able to make (the tour) work for a $120.00 gross ticket which is fantastic. We’re over 200,000 tickets. Their album just went to #1 so we’re going to keep selling.
But there was also Simon & Garfunkel’s tour earlier this year where top end tickets were set at $350.00 (Australia).
Yeah. Well, we had four ticket prices. We struggled on the top end but people turned out and the shows were great. To be honest, we didn’t have a lot (of tickets) at the top price. So we got through that nicely. The market (for premium tickets) has been greatly reduced. There’s no doubt about that.
[Chugg co-promoted the Simon & Garfunkel tour with Sony Music's Day 1 Entertainment].
When a tour or a show isn’t selling many promoters will reduce the ticket. That doesn’t always work.
No, it doesn’t. If people want to go to a show they will go to a show. But there is a threshold (of what tickets will sell for), and you have to be aware of that.
What about the scalping market?
The scalping market in Australia has never been anywhere as it has been anywhere else, in England, Europe or America. We have people who sell (tickets) to corporates but as far as (ticket reselling), no. If the acts were getting a fair crack of (the higher ticket price) it’s all good, I suppose, but if the acts aren’t seeing any of that (revenue) I don’t think it should be happening.
In the U.S., some artists are allowing auctions of premium tickets to the highest bidders.
I’m not into that. I think that’s unfair.
How are you doing with the Australian leg of AC/DC's "Black Ice" tour, which you are co-promoting with Garry Van Egmond Enterprises?
Well, it’s been amazing. Between the two companies, we’re between 600,000 to 700,000 tickets sold.
[AC/DC's homecoming "Black Ice" tour in Australia broke box office records there by selling more than half a million tickets in the first day on sale ((May 25, 2009).
Third shows were added at the 60,000-capacity Etihad Stadium in Melbourne and the 60,000-capacity ANZ Stadium in Sydney after tickets sold out in about 15 minutes. A second date at Brisbane's 40,000-capacity QSAC Brisbane was added and sold out in similar time.
Dates at Perth's 40,000 capacity Subiaco Oval also quickly sold out, the first in 7 minutes and the second 15 minutes later. The 35,000-capacity Adelaide Oval show sold out in 90 minutes.]
The Australian Football League had to reschedule around AC/DC’s dates at Melbourne's Etihad Stadium. Rock and roll rules over football.
Do you like that? Yeah, Gary won (that legal decision). I was very impressed. He did a great job. But (Etihad Stadium) took the AC/DC booking (for February 11, 13 and 15th, 2010). We had the booking. It just so happens that 700,000 Australians and New Zealanders like AC/DC as much, if not more, than their football.
[Chugg Entertainment and Garry Van Egmond Enterprises had AC/DC playing February 11, 13 and 15th, 2010 at Etihad Stadium. However, the Australian Football League claimed they had a contract with the venue that gave them the right to host a pre-season NAB Cup tournament at the stadium on the same dates. The matter has since been resolved, and the concerts are set to go on. The deal, according to sources, will see the AFL split an additional $5.5 million (Australian) from the Stadium between 16 AFL clubs over a 15 year period, ending in March, 2025.]
Tickets for sporting events seem to remain high in Australia.
I was amazed that tickets for the (Australian League) Aussie Rules’ Grand Final (at the Melbourne Cricket Ground in September) were $249.00 (Australian). That’s outrageous. That’s a lot of money when you are talking 80,000-90,000 people.
Like elsewhere, Australia is volatile music market for the record labels.
Oh, it is. It’s going to be interesting in the next couple of years to see where it all goes. Obviously, you’ve got record companies wanting to be promoters.
You partnered with Sony’s Day 1 Entertainment to co-promote Simon & Garfunkel as well as the Priests from Northern Ireland. A label is not a promoter. Do labels still need the expertise of a concert promoter?
Labels have got a big learning curve, and we’re happy to let them learn. We were happy to (co-promote) those tours. My attitude is that if any of the record companies come to us and say that they have an act with its first record, and they done a deal where they are in on the bottom (splitting revenue) with the band on everything, we’re still happy to get involved. But, I’m not going to turn around and cut record companies into being active clients either.
In the future, you could lose a Pearl Jam if the label decides to co-promote them with another promoter.
Well, I haven’t toured Pearl Jam since their first tour 20 years ago. They asked me to do this one and I was happy to do it. Hopefully, the acts that are clients will stay loyal and hang with us. We’ll keep doing our job and we’ll keep progressing with the way we market and so forth. We have become quite the leader in web marketing. The acts love (that aspect of our company).
A promoter can fill a role in music distribution and marketing better today than a decade ago because of the shift toward marketing and distributing music on the Internet.
Well, that’s right. That’s one of the things we discovered when we were doing Robbie Williams’ last tour here (in 2006). We visited all of the country towns in the regional areas and promoted the tour with radio specials and TV (promotions), posters and handbills and things like that. We discovered that none of the record companies service regional areas anymore. All of sudden, by default, we are music companies in the country because we were going out to Burke, Newcastle, Canberra and Hobart promoting our events and distributing music.
You also have promoters today wanting to be record companies.
That’s right. We are about to announce our first record release under My World Records. Our first release will be Echo and the Bunnymen’s new album (“The Fountain”). (A record company) has been a natural progression for us. We have been looking at doing this for the last couple of years and just putting it together. It’s where we have to go. If we are touring these acts and they haven’t got a distribution or a label (deal) and if we think the record is good, we’ll release it. Obviously, we are marketing the tour; it doesn’t hurt to market the record at the same time.
We have been doing all of this anyway. When you do a big tour with a Sony or Universal act with a record coming out, we also promote the record as well as the tour.
It is easier for a promoter or any third party to oversee a record than it once was. The majors once controlled the distribution pipeline. But with the diminishing CD sales, there are now other ways of selling music.
Oh yes. In Australia, there are several major independent distributors now. Today, you also have Wal-Mart and all of those people (selling music). But the live show has become more important than the records today.
What do international acts do wrong about trying to work the concert market in Australia?
Some acts come back too quickly. I have a lot of clients like Bob Dylan who I love bringing in but we try to make sure he comes every three or four years. The same with Elton John. You have to be careful. It is a fairly limiting market as far as how many people there are here. Although, I have to say that since 2000 the potential concert going audience has probably quadrupled.
How early should international acts approach you?
These days, because of the Internet, the kids are getting onto (international) acts early and we are finding out about them too. We tour a lot of the young acts. We have that young (Portland, Oregon-based) band Blitzen Trapper coming in shortly. We do a lot of unknown bands. We love building them into big bands (here). I’d like to get (Canadian rocker) Sam Roberts here. It’s an endless list (of acts I’d like to get here), and it changes.
Australia is a long way to go for a new band from North America.
Yeah. But it’s getting easier and more affordable to get here. Some of the record companies are still supporting showcase tours. And some acts are prepared to put money up themselves and come here and start it themselves. Today, a lot of young acts are getting a crack (coming here) because of the many festivals here.
Not many American country acts tour Australia these days.
We’ve been working on that the last couple of years. Obviously, we have Keith Urban. But we’ve toured the Dixie Chicks. We just had Dierks Bentley down here and Taylor Swift was here earlier this year. We’ve done two tours with Brooks & Dunn. Alan Jackson is coming (in 2010). It’s slowly opening up here for country.
Of course, we’ve always had Dolly (Parton) and Kenny (Rogers) doing monster shows here. Charlie Pride used to come.
The acts have to look at (Australia) and consider it a breakout market where they are starting over again. That’s what they have to do. There’s one (American country) act at the moment, Zac Brown Band, we’d love to get them down here. We’d love to tour Kenny Chesney, and hopefully we well.
Are there American agents receptive to taking their country acts to Australia?
There are guys like John Huie at CAA Nashville who are. My relationship with him goes back to the FBI (Frontier Booking International) days with (founder) Ian (Copeland) and the Police in New York. There’s people like that in Nashville now. So things are changing.
It’s still hard for you to attract American country acts to Australia when they are getting such huge gates back home.
That’s still a problem. No doubt about that.
[In 2001, the Australian Broadcasting Corporation (ABC) aired a six-part documentary on the history of Australian rock ‘n’ roll. In the episode, “Billy Killed the Fish,” Chugg described a Billy and the Aztec’s performance at Sydney's Bondi Lifesaver club in 1974 that was so loud as to kill a tank full of tropical fish in an upstairs area.
In 2002, Chugg, Phil Jacobsen (CEO of Sydney-based Arena Management) and Thorpe organized a related concert tour, “Long Way to the Top.” Performances at two Sydney concerts were broadcast on ABC-TV and subsequently released on DVD.]
In 2002, you were one of the organizers of the successful “Long Way to the Top” concert tour that featured a number of the legendary Australian music stars.
It must have been emotional to have (the Easybeats’ frontman) Stevie Wright performing on the tour.
That was very special for all of us, especially for myself because I had managed Stevie in the ‘70s when (the hits) “Hard Road’ and “Evie” (Parts 1, 2 & 3) were happening. That was my first shot at international. We got very close (to international success) but, unfortunately, Steve had a problem (drug addiction) which I didn’t know about at the time. I was a bit naïve, I suppose.
You also managed Billy Thorpe.
I first saw him probably in 1962 and he blew me away. I had never seen such energy and vibrancy in my life. It was first Aztecs (band) which had hits with “Poison Ivy,” “Somewhere Over The Rainbow,” and stuff like that. He blew me away. (Seeing him) was really the catalyst that got me into the music business full-time. We became friends and business associates.
We did some wonderful things together over the years. Not the least of was the “Long Way To The Top” tour which came out of the TV documentary. Billy and I were the first ones interviewed for the TV documentary. After the producers finished with us, they realized that they didn’t know who half the (early Australian) bands were. They hadn’t heard of half of the bands that we were talking about. Then Billy took six months to convince me that we could put all of the old fellas back together and go on the road and we did. It was incredible.
What was the impact of the series and the tour?
One thing that “Long Way to The Top” did do was that it got a lot of (veteran) acts’ careers back on track.. It also reduced the divide between the older Australian musicians and the younger Australian musicians. Now, there are some incredible collaborations going on with young and old acts. There’s magnificent people like Mark Pope (of Mark Pope Music and Events which produces the ARIA Awards and such benefits as “Wave Aid,” Live Earth” and “Sound Relief”) spearheading these things.
A generation is in danger of losing its rock history if it isn’t acknowledged.
That’s the biggest concern with me right now. We are really starting to put pressure on to get the Australian Hall of Fame (established) and for the Australian music industry to have a regular Hall of Fame dinner every year. We are now inducting suitable people into it. We’d really love to see a (Hall of Fame) building in Melbourne. We really need to get that done.
People may forget the Easybeats and other veteran Australian acts in time.
Yeah. But we’re trying to make sure that they don’t. So far all we have had is a few biographies and things like. But we’re getting there.
You are working on a book.
I’m in the middle of writing a book now. It’s been a few years getting my head around it. But I am doing one at the moment.
You ran your first dance in Tasmania when you were 15 and made 80 pounds?
It was a big event. I thought, “This is for me.”
Why move to Melbourne?
Melbourne was the heart and the soul of (the musical activity then). There wasn’t much going on in Tasmania. That’s for sure. If I ever was going to do something, it had to be in Melbourne.
You entered the business during the ring-a-ding era—just as rock ‘n’ roll was starting to impact.
It was quite interesting because I walked into the ring-a-ding agency in Melbourne called Amber. It was the end of the ring-a-ding era. Michael Gudinski was the 15 year office boy for a very old chap called Bill Joseph who used to run all of the suburban dances. Out of that came (such bands as) the Chain, Bulldog, Healing Force (Australia's first super group), and Thorpie (Billy Thorpe) re-created himself. We were there at the beginning of what’s become the music industry here today.
[Born in Melbourne to Russian émigré parents in 1952, Michael Gudinski was running school dances in his teens. In his final year at school, while his parents were away, he dropped out to work for booking agent Bill Joseph. He started managing bands, including blues-based Chain, then regarded as one of the best acts in Australia.]
In those days rocks bands would perform on all types of shows.
(Promoters) used to tour The Follies and burlesque and all of that. Of course, we started touring packaged rock ‘n’ roll shows with the acts doing two or three songs each.
You worked for several agencies back then, including Consolidated Rock Agency with Michael Browning and Michael Gudinski.
Michael Browning was managing Billy (Thorpe) at the time and he went on to take AC/DC (whom he managed until 1979) to England. That (agency) went down the tubes and I went to Sydney (in 1971) and started Sunrise with Roger Davies (then road manager for the cult Australian band Company Caine).
Roger Davies went on to manage Sherbet, Olivia Newton-John, Tina Turner, Janet Jackson, and Pink.
Rog just keeps kicking goals. Pink’s brilliant (“Funhouse”) tour was phenomenal.
[For her “Funhouse” tour of Australia earlier this year, Pink played before 660,000 people at 58 shows in four months. Her “Funhouse” album notched 9 weeks at #1 in Australia. Her Australian promoter Michael Coppel of Michael Coppel Presents has since joked that Pink is so adored in Australia that, "We have booked all of 2012 for the next tour.”]
Was seeing the Police play in London in 1978 a turning point for you?
I was In London with Kevin Borich (who I was managing). Kevin said he was going to see this band down at the Lyceum and did I want to come. Off we went and wow. That was it.
I had been working as a tour director for Paul Dainty (at the Paul Dainty Corporation) for quite a few years. I had situation that if I found an act we would work on it together.
I came back and I said that I wanted to start bringing all of this new wave stuff from England but Paul didn’t want to know. I was also in a partnership with Michael Gudinski at the Premier Artists /Harbour Agency group (that had evolved from the Consolidated Rock Agency). One day, I said to Michael that we should start a touring company and start touring all of these acts. He opened up his bag—he had just got back from England—and he had the publishing from all of these acts. So that was the beginning of Frontier Touring. We did our first tours with the Police and Squeeze. It was quite funny because I was still on the road for Paul Dainty tour directing Fleetwood Mac. Their tour manager was giving Dainty such a hard time and that was the end of my working there.
Over the years you managed a number of acts including Kevin Borich, Billy Thorpe, Mich Hart, and Richard Clapton.
I virtually stopped managing in1983 because I wanted to get married and I wanted to concentrate on Frontier. When Billy came back to Australia in the ‘90s, everybody was selling him as a retro, has-been sort of act but he wanted to make (his career) happen again. So we got involved in his management.
Management, the worst job in the business?
It is I reckon. You never get thanked and you always get the blame. There are some great managers around today and hats off to them.
A lot Australian bands have had success in the U.S., including Midnight Oil, Silverchair, Savage Garden, and now Wolfmother. But America has been a hard nut for Aussie acts over the years.
We had a crack at (the U.S.) in 1977 or 1978. Billy had that big album “Child of the Sun” (in 1979, reaching #39 on the Billboard 200) which sold a few million. But it didn’t go on. That was the thing (about trying to break the U.S.). Split Enz got very close as did Crowded House, Jo Jo Zep and the Falcons, and the Sports. There were a lot of (Australian) bands that got half way there.
There are a couple of kiwi (New Zealand) bands in that list.
Well, we claim the kiwi bands. Neil Finn (of Split Enz and Crowded House) and I go a way back. I was the first person to bring Split Enz to Australia in1971 or 1972. They were a huge band in New Zealand and we brought them over to Australia. Obviously, with the support of people like (Michael) Gudinski they became monstrous. Now the Finn dynasty continues with young Liam who is Neil’s son. He’s going to be great. I am so excited that he’s doing the Pearl Jam and Ben Harper tour.
What other acts should we be looking at from Australia?
There are a lot of young acts starting to break today including Sam Sparro, and the Veronicas are doing really well. Jet’s new album (“Shine One”) is excellent. There are a lot of young acts getting out there.
When you were starting in promoting international acts in Australia, who took your calls to America for bookings?
Terry Rhodes (at ICM New York) was one. Michael (Gudinski) was traveling the world in ‘70s selling his music (with Mushroom Records which he sold in the early ‘90s). He met a lot of agents and we got to know them through that. We have always probably had a closer relationship with England than America because English music dominated our charts. That whole era of American music with Journey, Blue Oyster Cult, and Ted Nugent, none of that got away in Australia. Aerosmith didn’t get to Australia until the late ‘80s.
America didn’t send its acts to Australia for a long time.
That’s right. About 90% of touring acts (coming to Australia) were English. It changed (in the ‘90s) because a lot of English people moved to America and started managing acts or working at labels. They brought their international perspective with them. People like Simon Renshaw (founder of Strategic Artist Management in Los Angeles).
When I first started coming to America (in the ‘70s) not many people knew where Australia was. We’d go into supermarkets and be afraid to open our mouths because we were so different.
What are the opportunities for your company in Asia?
The one big thing about Asia is that the market for Western acts is still fairly small. But I have a desire (to work there). So we are working on mix-and-match (shows) with Asian and Western acts. That’s happening more and more. Slowly, but surely (the market) is opening up there.
We’re doing the One Movement For Movement Festival in Perth (Oct.16-18, 2009). It is a business/music expo and an 80 band showcase festival. We have acts from about 20 countries playing in the festival. We have delegates and speakers from India, China, Thailand, all over Asia. There are a lot of Asians coming and a lot of Asian acts playing.
China won’t likely be a marketplace for Western acts for years.
I’ve spent a bit of time in China because of doing this event in Perth and so forth. China reminds me a lot of ’62 and ’63 (in Australia) . It is the same sort of thing. They are under the radar like we were. Bands are rolling around China with no money. They are riding around in tired old vans playing wherever they can.
There’s still a shortage of venues in China for bigger shows.
That’s right. And the rules and regulations are very heavy. Opening China is a long way off. The rest (of the S.E. Asia region) is working. But the biggest acts are the local acts. We’ve toured Coldplay (in SE Asia), and we sold out the Singapore Indoor Stadium with Jason Mraz this year. I love him. We started off with him a while back playing 100-seaters, and now he’s selling out arenas.
[This week the Modern Sky Festival cancelled all 14 of the international acts slated to play Oct. 4-7 in Beijing's Chaoyang Park. Among those canceled are the Buzzcocks, Shonen Knife, British Sea Power, International Noise Conspiracy, the Futureheads and Radio4. The festival coincides with China's week-long celebration of the 60th anniversary of the founding of the People's Republic. The cancellations may have been part of a tightening of security in anticipation of the celebration.]
Has working on the productions of “Priscilla, Queen of the Desert - The Musical” been fun for you?
It’s been amazing for me. I was lucky enough to be asked by Backrow Productions to do the 10th anniversary production of "Tap Dogs" in Australia a few years ago. It was very successful. We followed that up with Matthew Bourne's “Swan Lake.” Then I was asked if I wanted to get involved in the formation, building and production of “Priscilla,” I did because I truly loved that movie. We put it together in Australia and it exploded in Sydney and Melbourne. And now it is the #1 show in the West End (of London). I reckon it will be there for five years. We will be on Broadway in the next 12 months or so. We just had our 200th show in England.
Are we running out of headlining acts in the concert business?
I don’t think so. There are plenty around. And there are acts that seem to be slipping through like Coldplay, and Kings of Leon. Kasvain looks as if they are going to get through now. We are doing tours with people like Rodriguez and (the business) just gets bigger and bigger. The genres of music that people are open-minded to today is incredible. Mom and dad will go with the kids to a show and the kids will go with mom and dad to a show these days.
Kids are also finding these young bands on the Internet. It is now possible for new bands to tour without a hit record.
The web has become the radio of the 21st Century. When we were growing up there was radio that played Frank Sinatra just before Elvis Presley and before the Beatles. The web is bringing that (variety) back. There’s no doubt about that. Look at Edith Piaf, she’s exploding. The movie (“La Vie en Rose” in 1997) did that. Films on Ray Charles, and Johnny Cash have also opened a lot of young peoples” eyes.
Do you still get a thrill walking into a big venue that you’ve filled?
Oh yes. Nothing like it. The biggest thrill is standing on the side of the stage watching. Even if its only 200, 5,000 or 50,000 people having a great time Just living the moment, and forgetting everything else. It’s one of the great moments of music for me. Better than drugs. Not as good as sex.
You have done so many festivals. Are they a headache to pull off?
Big events are a lot of fun to be honest because you really have to work. You just aren’t putting a band on tour in six towns. You are putting together a major event. I love doing that.
Larry LeBlanc 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, the London Times and the New York Times.
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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
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
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, 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
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
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
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
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
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
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
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
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
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
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 “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
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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