Industry Profile: Dan Steinberg

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Dan Steinberg, president/founder, Square Peg Concerts.

At 37, Dan Steinberg’s complete life has been centered around being a promoter.

President/founder of Square Peg Concerts, the colorful Steinberg began producing club shows at the Mercury Café in Denver while still a high school student.

Today, based in Auburn, Washington, located 20 miles (32 km) south of Seattle, with offices in Nashville and Denver, Square Peg Concerts oversees some 600 concerts a year throughout the United States.

After graduating high school in 1993, Steinberg founded 2B Announced Presents that promoted Colorado dates by Johnny Cash, Pam Tillis, No Doubt, Blink-182, Jello Biafra, and others.

While continuing to promote shows, Steinberg attended the Community College of Aurora, graduating with an Associate of Arts degree in 2000. The same year, he started summer classes at the University of Oregon in Eugene, Oregon.

All during his school years and afterwards, Steinberg continued to produce shows in the north-west, often co-promoting with Mike Thrasher.

In 2002, Steinberg relocated to Seattle and began promoting under the name Dan Steinberg Presents that, quickly rebranded as Square Peg Concerts, grew to produce live events all over the U.S.

Your life since high school has been centered around live music. What’s the attraction?

What is different about our industry is that it doesn’t stop. There’s no clock in our industry. Deals may get cut from 9 AM to 5 PM but then the shows happen. Load in starts at 2 o’clock normally, or if it’s an arena show, 8 AM. Settlement doesn’t happen until 11 PM or midnight. Your club show, maybe, 1 AM. Then you go out to get a bite to eat or a drink with one of your friends that’s on the tour. So you are not home to 2 AM or 3 AM sometimes. You are traveling constantly. And you see the same people over and over again.

With the multiple talent agency buy-outs in recent years, has anybody been knocking on your door to sell Square Peg Concerts?

We’ve had talks with people. Nothing excites me. I think that it’s a little hard to call someone “boss” at this point. I get to do pretty much whatever I want. If something scares me, I call Jason (partner Jason Zink) for a second opinion. I get to say whatever I want. I get to make an ass of myself whenever I want. I don’t have to ever worry about coming in Monday, and getting an ethics phone call from head office. I can have the word “motherfucker” on my business card, and nobody gives me shit about it.

Surely, you don’t have that on your business card.

I actually do. It says, “I SELL TICKETS, MOTHERFUCKER!”

How many shows does Square Peg Concerts oversee annually?

We do about 600 a year. We’ve got some strategic partnerships but we do the same acts over and over again. It’s a lot of clip/copy repeats.

How large of a staff do you have?

There’s four of us in Seattle; two people in Nashville; two people in Denver; and about five guys that just do production who don’t see a bed a lot.

Your partner is Jason Zink.

Jason is my partner in everything. He was at Outback (Outback Concerts). After JAM Production bought into Outback in 2006, Jason left shortly afterwards as the business model for Outback had changed quite a bit. Jason wasn’t happy. So he left, and we started doing some co-promoters together. We became even closer friends. We trust each other.

Have you two known each other long?

We were together in Denver because he ran The Paramount Theatre when I was promoting Johnny Cash and Pam Tillis. He worked for Mark Norman. When Jason went to Outback, we continued to co-promote together. Nickel Creek, he did a lot of dates on. And Old Crow (Old Crow Medicine Show). Jason always brought some interesting stuff to the table. I brought some weird stuff to the table. I remember we lost $40,000 together on Kenny Rogers in Sacramento about five seconds after Outback hired him. He had to call his boss and say, “Thanks for the job and, by the way, I just lost 20 grand on that side of that show.”

Many independent promoters questioned the 2010 merger of Live Nation and Ticketmaster. Now that the dust has settled, are there advantages of being a smaller company with Live Nation on one side, and AEG on the other side? That you can pick your spots.

Both AEG and Live Nation have partnered on shows with us from time to time. I have found them both to be good partners. At the end of the day, it’s easy to talk crap about the big guys. But when you break it down, they are just people. The buyers over there (at both) are some of the most entertaining people in the world and they are great at their jobs. I was recently in New York doing a panel with Bob Roux (Co-president of North America Concerts, Live Nation Entertainment.) There’s a reason he’s survived through the hirings, the buy-outs, the spin-offs and the sell-offs. The guy is incredible. He’s a straight shooter, and you just like him. Mark Norman (Senior VP Live Nation Global Touring) is a huge idol to me. He’s been a great mentor.

As I have moved up though the industry, the guys that were at the club and theatre level when I was just starting out in the smallest of small dives, are now running the business. Jason Miller was the local guy in Denver; and now he’s running the New York office (as president) for Live Nation.

You have said that you don’t think the proposed sale of Anschutz Entertainment Group’s subsidiary AEG will happen. What’s going on there?

It’s an easy way to evaluate what the company is worth. If you are trying to get a line of credit or a loan to put up a stadium or a football team in L.A. it’s a great way to say that, “Our company is worth $10 billion. Here you go.” At the same time, I’m not Randy (AEG Live CEO Randy Phillips). I’m just guessing that’s what is going on. The company is making money, and they are doing great. The brand is amazing. I can’t imagine for the life of me that suddenly that they want to get out.

It’d be a complicated sale with the league teams, and the buildings.

Yeah, it’s also a worldwide company. There’s multiple regional bodies that would have to approve it.

[AEG's holdings include pro soccer's Los Angeles Galaxy, part-ownership of the NBA's Los Angeles Lakers, and sizable entertainment and real estate holdings in Los Angeles. AEG also owns Major League Soccer's Houston Dynamo and all or part of several arenas around the U.S. and in Sweden, China and Australia. Any sale would throw uncertainty into Los Angeles’ nearly two-decade attempt to bring the NFL back to the city.]

You promote in major, secondary, and tertiary markets. How have you picked those markets? Trial and error?

No. We are not trying to carry market share, and fill an ad anymore. There was a time and place (when that happened). When I was in Denver, I was definitely carrying that brand of, “Let’s try a full page every week in the weekly (paper).” I wanted to have my Westword page as a full page and run enough volume that we could keep the page so we could have a presence in the market. But the times have changed. National tour promoting is a thing of competition. It breeds bigger opportunities. I don’t want to be the local promoter down the street because the local promoter down the street gets fucked.

He’s one guy in one market with limited shows. To survive as a promoter, you have to have a volume of shows to take advantage of opportunities.

Right. If my act is opening for this band on the tour and I lose on this tour, I am hoping to still see them in the album cycle two or three times in other markets. If not more as a headliner or pick up the off days. I want to be the easy guy to deal with, that the band loves seeing; that the road manager loves seeing; that the manager loves seeing. I like to call it “concierge promoting” where the act knows my crew when they see them. We try to keep the same production people with the same acts over and over again to save on the advance back-and-forth (discussions). They already know what it (the touring) is. That memory lock. This is what it is. This is what it’s going to be.

There are also shared experiences as well as a bonding between the two parties.

There certainly is that. It is always great to see a friendly face on the road. You find people that click personality wise, and we try to do that as much as possible. We had six Straight No Chaser shows recently. (Prior to the dates) there were tweets going back-and-forth between my crew and the guys in the band and management. “Where are we going to go and drink?” It’s a cool thing. You get to see family while on the road.

You get a better relationship with the act when you do multiple dates. I don’t have to learn how to promote jazz, metal and Mormon acts. Whereas we still play a lot of different genres. We know how to promote Jim Brickman. We know how to promote Paula Poundstone. We know how to promote Straight No Chaser, Kris Kristofferson, and John Prine. If a fit works in one market, I can probably make it work in 30 markets. We continue to do a lot of volume with a lot of the same people. People wouldn’t keep coming back if they weren’t…we don’t keep contracts with artists for exclusivity. They can leave whenever they want. So obviously, it’s about them being happy. It’s a service industry, and about repeat business.

Today, many performing arts centers (PACs), faced with smaller budgets and greater competition, are partnering with outside promoters.

We have had a lot of luck in that sphere. PBS has helped us work our way into that crowd. Skyline Music introduced me to George Winston, probably just after the Millennium, and asked about us taking on more markets. They had these big performances for PAC dates on series, and then George would have a week free in between. They were like, “George really doesn’t care about the money. He just loves to play. And he wants to play every other day.” We were like, “That will be a fun way to market more shares.” So they would hand us one or two markets every tour. Obviously, it’s a great copy/repeat thing but it got us in business with the PACs.

We started picking up more of these acts that we could run through there (the PACs). Judy Collins, Don Williams, Paul Poundstone, and Arlo Guthrie. Like-minded acts that would have easy production, and were easy to work to with. And as we started opening up more of the PACs, we realized there’s a sexiness that is missing in the Billboard Hot 100 that is still there. People like to pay to see their favorite acts that may not fill the current hit out. They love the older acts, and they love to see them in nice theatres. But nobody was chasing those acts in a lot of markets that went uncontended.

Acts from the late ‘80s, ‘90s and from the early part of Millennium are part of the new nostalgia market. People don’t care that those acts aren’t on radio.

There’s definitely this move with the iPod radio format where you get to listen to your favorites, and you are reminded of the stuff that you love.

Four years ago, pricing grew to be a sizable issue with concert and club goers. Is ticket pricing generally now more reflective of the marketplace?

We saw all that rolled back quite a few steps. The acts that wanted to be reasonable, and that wanted to work, lowered their prices across the board. Both talent fees and ticket fees because one is a factor of the other. It just is. It is just the world that we live in. Or an act plays a smaller room, and they keep the ticket price up. But one way or another, your gross is going down. And it did. The market is flooded with acts. There are enough out there that we can all work non-stop (promoting shows). There is enough low hanging fruit out there that we can continue to pick up a million acts. We could do 3,000 shows a year if we had time, and if we wanted to step up to doing that. We wouldn’t be stealing off anybody’s plate. That stuff is there. There’s plenty to do. It’s just a matter of what the public is willing to pay. The economy has gotten better over the past four years because people are continuing to buy tickets.

Among the newer bands, who tours smart? Mumford & Sons?

Yeah, they do it right. The Avett Brothers have done an amazing job of picking each play precisely. Paul Lohr (president of New Frontier Touring) is just great at that. You have got to hand it to the guys from One Direction realizing that they might not be Justin Bieber a year from now. They put their shows on sale 18 months in advance when the song ("Live While We're Young") blew up. Those arenas are sold out already.

Well, advance word was that their second album was going to be huge.

And I would still have put the arenas up. My gut is those arenas could be empty by the time they roll around, and those tickets are expensive.

[One Direction has scored its second #1 album in less than a year, as its second album, “Take Me Home” debuted at #1 on the Billboard 200 chart (Dec. 1, 2012) with 540,000 unit sales its first week of release. Only two other acts have had a stronger opening week in 2012. Taylor Swift moved 1.2 million units of “Red” and Mumford & Sons sold 600,000 copies of “Babel.”

“Take Me Home” follows the group’s “Up All Night” debut release which bowed atop the Billboard 200 on March 31, 2012 with 176,000 sold. Interestingly, that release marked the first time a British group's debut album debuted at #1 in the 56-year history of the chart.]

Naysayers predicted failure for the Maroon 5 tour.

I hear those dates are doing fine. “The Voice” (singer/guitarist Adam Levine is a coach on the American TV talent show “The Voice”) definitely helps with his career. The reality shows have helped with those guys for exposure. It keeps them out there. I don’t think that Cee Lo Green’s song ("Forget You") from three years ago, and that made him the pop megastar that he is, would have kept him in the limelight as long, had that show (“The Voice”) not come along. The timing was perfect. He’s very charismatic. It’s hard not to like him. You start to realize that Cee Lo Green, as Cee Lo Green has had one hit but then you start to really think of Goodie Mob, and the other transitions of acts that he’s been in (including Gnarls Barkley), and then you put those pieces together, he’s actually a bit of an icon.

With any pop act, managers and agents must evaluate their status as a touring attraction before touring them. Often these acts go out too early. Like Kelly Clarkson did.

It happens. It’s all just a gut (feeling). It wasn’t our tour but we were talking here about this with the Gotye tour. How the hit (“Somebody That I Used To Know”) was everywhere and how they were moving into really big rooms the second time around. Was it going to work or not? It (the tour) had the possibility of absolutely being explosive. It could have been massive. In some places it worked. In most places it didn’t do the business that they wanted to do. Nowhere was it really embarrassing.

Would it have been more advisable to go for the underplay?

It’s easy to say that now. I know that a lot of people made money on that (tour). The song was everywhere. Looking at it now I think they probably would have scaled down one size in most markets. Every artist in the world wants to play a full room. I think that Foster the People did an amazing job of putting their second leg on tour on sale immediately for the tour so they could capitalize on how strong the hit ("Pumped Up Kicks") was and they played very successful dates.

Has the advent of social media had an effect on your marketing of shows?

I am a big fan of leaving little crumbs everywhere and hoping that everybody finds their path back to my ship. We do Twitter, Facebook and we still do posters for every show for retail. On average, we poster 240 locations per market regardless wherever the show is. I believe in radio if it makes sense for the format for the market. We do an enormous amount of cable advertising. I still do print. I’ve kind of given up on daily print although we do a little bit for the on sale. We do a lot of weeklies still but less than we used to. Every year, it seems to be less.

I’m still a huge believer in the Village Voice. Ironically my first sales rep when I bought for the Mercury Café (in Denver) and I was doing shows, was Scott Tobias at the Westword. He has since become the publisher of all of the Village Voice papers (as Voice Media Group CEO). Scott was my sales rep when I was 18.

So luckily, we have this amazing relationship with the Village Voice. Every time we roll into a random market, they are a great partner, and are incredible to work with. So I still believe in the print media. We try to do a lot of that. Then there’s radio pieces and all of the random promotions and the email blasts. We don’t text to phone. I think that it’s annoying.

I’m always thinking, “How do we get to kids?” I went the Aspen Live Conference two or three years ago, and Tom Higley (President & CEO at Vokl, Inc.) said that kids don’t check email. They don’t even set up their email on their iPhones. They have iPhones but they don’t set up their email on them.

The secondary ticket market remains a volatile marketplace in which resellers and primary ticketers heatedly square off. Starting early next year, fans shopping for tickets sold by AEG's AXS Ticketing platform will be offered the chance to buy or sell tickets through StubHub. What’s your take on AEG aligning with StubHub?

It always seems toxic whenever a promoter gets involved with reselling tickets. But in all fairness, it’s how I got into the business. Scalping tickets in high school, yeah. I was a high school student (at Overland High School in Aurora, Colorado). I was buying group sale tickets from Barry Fey’s office. Just buying them like a regular group. Metallica tickets for kids who couldn’t get out (to buy) because tickets went on sale on Monday at 10 AM or Friday at 10 AM. We always had tests during those times. You couldn’t miss school, and concert and arena shows were going on sale every two weeks. I would buy for Queensrÿche, AC/DC, Metallica, and Grateful Dead shows. I would buy 200 or 300 tickets; mark them up $5 or $10; and sell them through the (local) high schools. If I could get some floor seats, I would mark them up real money. I could move 300 or 400 tickets per show.

Is a ticket worth the original ticket price or is it worth what people will pay for it? Prime Rolling Stone tickets are over $800. If someone wants to pay that, an argument can be made that’s the true ticket price.

There is something to be said for the Garth Brooks’ point of view that just because you can get more money from your fans doesn’t mean that you want to beat your fans over the head, and get every dollar out of them because you think that your show is worth it. I remember seeing Van Halen on the Unlawful Carnal Knowledge tour. Someone had a sign in their hands in the front row that said “I paid”-- something outrageous--“to party with Van Halen.” And Sammy grabbed the sign and said something like, “I want to apologize to you because I don’t think that I can deliver an $800 show to you. I think I can deliver a $39.50 show to you, and I feel good about that. I don’t think anybody should pay that, and I don’t think that anybody should allow that.” I truly got that at that moment.

When I was in high school and selling tickets for $3 to $5 over (the ticket value) it wasn’t like we were scalping tickets. We were performing a service so we didn’t have to get out of school. And so we could pay for our pot.

Today there are premium tickets for fan club members and paid meet and greets. Those kind of things outrage some music fans.

There is something to be said for that (view). But, at the same time, we did the Fresh Beat Band in Boise and The VIP Fan Club Experience to meet the act and have better seats was $100 and change. Or $39.50 to be in a P1 seat. As a parent to see the smile that was on my kid’s face when she went to the show, I would have bought it all day long. All day long.

Getting to do Yo Gabba Gabba, the Imagination Movers, and the Fresh Beat Band are a perk of my job that make me the coolest person in the world for my kid. It’s a great thing. The younger they are the better. That’s what I feed off now. (My six-year-old daughter) Reese running around backstage with Jason Mraz is one of my favorite memories of the business. It’s not, “How close did I get to the stage when Springsteen played?” anymore. There are definitely some musical moments that are like “Wow. They are crushing it. This is a great show.” But the moments that I appreciate more is getting to see the other people appreciate what we have delivered.

What first attracted you to the live music business?

My parents took me to see Tony Orlando and Dawn at the Turn of the Century Showroom in Denver in 1984. I was just mesmerized with their showmanship. Then I was in a band. People always knew that I was into music, that concerts were my thing. I was always into that.

Was your band any good?

For a high school band. I played drums. I could hold a beat. I played a lot. I’d come home from school and I would play for 45 minutes or an hour until my parents came home and told me to shut up.

What was the band’s name?

Funky Fish and the Toast. We were together for two years of high school, maybe. We were packing basements, and we got to play some big theatres. We opened for the biggest bands on the (local) scene. They loved playing with us. That’s when I realized that I could market shows. We could bring people to a show. We opened for Angellic Rage (the pre-eminent progressive metal band in Denver the ‘90s) that was managed by Bill Bass (of Fey Concerts) at the time. It was hard to do an all-ages show back then so we put together a theatre line-up and, if they put us on the bill, they were guaranteed 100 kids. The problem was that they (our fans) wouldn’t stay because we’d throw a kegger afterwards. It would always piss off the headliners. We would get dick for playing. It was like props for us to be on the bill.

In 1989, you were a production assistant on a KRNZ-sponsored show at Mammoth Gardens (since rebranded as The Fillmore Auditorium) that featured the Kingsmen, Gary Lewis & the Playboys, Sonny Graci and the Classics IV, and Billy K. Kramer.

It was the first show that I worked. I was really young. I was kind of running around like a production hand. The show would have happened just as smoothly if I wasn’t there. I was like a sponge soaking it all in.

At 16, you worked briefly as a runner at the Fiddler's Green Amphitheatre?

Gene Felling was running the venue. I don’t think he knew I existed. Nigel James, who was head of production there before he went to Bill Graham (Bill Graham Presents), hired me. He could only use me on days that he needed a third runner because the first two runners had to be able to buy alcohol. Still there were plenty of shows that needed three runners because these were shed shows. Usually, each act had their own runner, and the headline had two or three. So on a day with Def Leppard or something, there’d be multiple runners out there. So I would get to run, and I got to meet some of the (Fey Concert Co.) office staff that I am still friendly with. I still know Rob Buswell, who was in marketing a Fey at the time. I still hang out with him a lot.

After high school came 2B Announced Presents?

Yeah. Right after. It was my little thing. It was me doing shows at the Mercury Café with my buddy Grant Aslin. We had some investment help. Every so often we’d get a show that was just too ridiculously big.

How were you able to land Johnny Cash, Pam Tillis, and No Doubt shows?

No Doubt was a $500 act when I started booking them. Pam Tillis was a “grab” (date) for sure at the point I got her. She was big in country, and that was a big show to do. We were building everything up.

You must have been terrified in promoting Johnny Cash that you’d lose your shirt.

I was. I got to a level where Wayne Forte (of Entourage Talent Associates) sold me Joe Satriani, Eric Johnson and Steve Vai on the first G3 tour. It was a $50,000 guarantee for Denver. I sent the offer in thinking, “He’s never going to sell me the date, but how cool is it to bid on it?” Then Wayne called to confirm. I then called Bill Silva on it. Bill asked, “Can you cover half?” I said “Yes.” He said, "Good. You are never going to work so hard in your life to make that half.” It was Nov. 4, 1996. I was about three years out of high school.

Bill Silva, if I had a godfather in the industry, he’d definitely be my godparent. He’s a role model, and the guy that I totally tried to pattern my career after which is not easy to do.

After receiving an Associate of Arts degree from the Community College of Aurora Colorado in 2000, you began summer classes at the University of Oregon on to work towards a BA.

College didn’t work for me at first. I went back after I had a little bit of real life experience. I went back to community college when I was promoting shows. Eventually, it got too crazy between (Denver-based independent concert promotion firm) Nobody In Particular Presents (NIPP) and Chuck Morris and Donnie Strasburg.

When BGP (Bill Graham Presents) backed Donnie and Chuck (Morris) in opening up The Fillmore, it made Denver hell for me. I had all of this history but the trickle down shit was killing me. Regardless that I had great relationships, and had love from some acts, they were being poached with these amazing offers. Everything was getting stolen on high. All of The Ogden acts were going to The Fillmore and my acts were going to The Ogden. I was going broke trying to promote in Denver. I was like “Screw it. I’m going to going to college now.”

[In 1998, Chuck Morris partnered with Bill Graham Presents, the San Francisco-based promotion house founded by the legendary concert pioneer Bill Graham, to launch Bill Graham Presents/Chuck Morris Presents. Six months into the co-venture, Bill Graham Presents/Chuck Morris Presents was purchased by Robert Sillerman’s SFX Entertainment that eventually evolved into Live Nation.

In 2007 Morris joined AEG Live as president/CEO of the Rocky Mountain Region after his non-compete agreement with Live Nation expired. By then Brent Fedrizzi, (today COO AEG Rocky Mountain Region) and Don Strasburg (now VP and partner of AEG Rocky Mountain Region) had spent months set up the regional offices for AEG in advance of his arrival.]

Had Barry Fey moved out of promoting when you started promoting?

No. Barry was there. I worked through Bill Bass mostly there, and a little bit through Pam Morris. Chuck (Morris) was mostly managing at that time, and was out of the promotion side. He was focused on Big Head Todd & the Monsters and, I think, Nitty Gritty Dirt Band. I came in when Chuck had stepped out and before he came back. 1993 was when I started dabbling and doing shows full time.

Were Don Strasburg and Brent Fedrizzi then picking up some of the slack?

Brent was Pam’s assistant at that time. Donnie was booking (Boulder's) Fox Theatre, and having a day of it. The Fox was still struggling. It was a cool room and the vision was there but the world hadn’t quite caught it yet. So it was like, “Are they going to be able to take The Boulder Theatre down?” Buying against Donnie is something that I don’t wish on anybody. It will truly teach you how to hold a relationship and nurture it. At first, you wonder, “Will I get the date?” And then, “Will I be able to keep the date after Donnie makes the case that I shouldn’t be getting the date. And hold onto it?" He’s a competitor.

[Don Strasburg’s first entertainment job was a one-night roadie gig at Candlestick Park in San Francisco in 1988 for the Monsters of Rock Tour. His first promoter gig came while he promoted Phish at the Boulder Theater in 1990. The band wasn't even signed to a label at the time.

Strasburg, then a 21-year-old graduate of Colorado College, and several partners Richard "Dicke" Sidman, Jon O'Leary, James Hambleton and Dave McKenzie developed the Fox Theatre in Boulder into one of the musical showcase gems of America.

Strasburg and his partners, however, didn't quite anticipate the difficulties they would encounter in getting the club off the ground. The group had originally sought to use the Marquee Theater but after they lost that bid, Strasburg stumbled upon the Fox, originally constructed in 1926 as the Rialto Theatre.

The Fox launched on March 6, 1992 with two sold-out performances by The Meters.]

Promoting in and around Denver is practically a blood sport.

Learning how to buy in Denver, I wouldn’t wish it on anybody. I used to go over to Salt Lake City and hang out with the promoters there. We’d co-promote a little bit together. I was messing with expanding into multiple markets even when I was doing clubs. So I was messing with Salt Lake City and Albuquerque, and taking on some theatre stuff like Johnny Cash towards the end of his career. I was looking at how to promote in other markets. I found how much easier it was to get shows in Albuquerque, Salt Lake City, Colorado Springs and Fort Collins than it was in Denver/Boulder proper.

That was fascinating to me.

Buying against Don Strasburg when he was booking The Fox while I was booking the Mercury Café, and Doug Kauffman was booking The Gothic Theater (in Englewood) and The Ogden, was an amazing challenge. I realized that if you could buy in Denver, than you could produce shows anywhere. There were people that I got along really well with in the early days but they couldn’t sell me anything. It was like William Morris was locked up by Doug Kauffman. (William Morris agents) Don Muller and Marc Geiger went to Doug. There were deep relationships there. I wasn’t going to break that. Those guys were always cool. But they had a relationship with Doug. I had to respect that loyalty. History mattered then.

Afterwards you left to take summer classes at the University of Oregon?

I went to Eugene, Oregon. I wasn’t going to do any shows. Then Rich Egan said (promoting shows) would be a great way for me to get my social career going. By doing a couple of his acts, I’d meet some people right off the bat. “You are doing summer school so you have time.” Rich was the manager for Face To Face and all of these emo type acts at the time. He also owned Vagrant Records with Trevor (Keith) from Face To Face. So he gave me a whole bunch of acts. Before I knew it was stealing all of Mike Thrasher’s history from Oregon without even thinking twice about stepping on somebody else because it didn’t occur to me. The next thing, Mike and I were sitting down to have drink, and we cut a deal (to co-promote). I ended up doing 300 shows with Mike that first year.

Then you moved to Seattle.

Yeah, I met a girl (Alodie Griese) whom I’ve been married to for nine years now. We wound up getting together. Mike and I wound up doing so much business together between Oregon and Washington that we thought that it would be more prudent for one of us to be in Washington to oversee the amount of volume that we were doing. Since Mike was so embedded in Portland, and I was just in Eugene it didn’t make much sense for him to move. So, I covered Seattle, and we did a good amount of business together.

You promoted as Dan Steinberg Presents?

We were promoting under Steinberg/Thrasher for a little while but it was our two companies. We just branded together, and we were doing everything as co-promoters. Then Mike wanted to do the rock shows, and I wanted the Ani Di Franco and Kris Kristofferson shows. I wanted to promote nationally and Mike wanted to promote shows in the local market. We had two different visions. We were driving our employees nuts. We kind of went our own ways.

In 2002, you had started Dan Steinberg Presents which was rebranded as Square Peg Concerts.

I incorporated as Dan Steinberg Presents but, yeah, it was Square Peg Concerts. We promoted under Square Peg almost immediately.

For many years, you stayed a fringe player in Colorado. Are you back in the market in a substantial way?

We have had a Denver office for 18 months. Not to carry market share as much as Jason wanted us to be in the middle of the country. We probably do four shows a year in Denver. Last year, we did Kathy Griffin, Tim Minchin, and we did Kris Kristofferson with Merle Haggard. We recently did Richard Marx in Boulder. It’s a couple of shows here and a couple of shows there, in Colorado Springs, and Fort Collins. I play in Denver a little bit. I love it but it’s not so much that I am trying to buy share for Denver, it’s from routing a tour, and I’m getting Denver as part of the route. It’s part of the markets. We will submit sometimes on 15 or 20 markets and we will get six of them. Sometimes Denver is in; sometimes it’s not. We lost Colorado Springs and got Denver on one run which shocked me. Colorado Springs isn’t usually the one that you fight for.

You seem to attend all of the major live music conferences.

All of the bigger ones. I’m the face of our company. The last couple of years I’ve been able to moderate panels at all of the big ones. Because I moderate, it doesn’t cost me much at all (to attend).

You will be attending the Aspen Live Conference Dec. 13-16th (2012). The conference has been around for 16-years. How important is it to you?

If SXSW is high school; if the Pollstar Conference and the Billboard Touring Conference are college; then I like to consider Aspen the grad program. I get to interview The Agency Group's (North American President) Steve Martin this year.

Generally, what benefit are the industry conferences?

Well, the access is incredible. My favorite one is Aspen. IAVM (the VenueConnect trade show) is the best deal overall. It is just all for the venue managers from North America. So you are alone with 2,500 venue managers from around the country. And they are in a room.

We all go to New York and L.A. So I’m going to see Lee at Staples (Lee Zeidman, Sr. Vice President & General Manager, Stables Center in Los Angeles) one way or the other this year. Or see him at this conference or that one. I don’t need to go to IAVM to hang out with him. But the guys that are in Brookings, South Dakota or Bemidji, Minnesota, I’m not going to those markets. We may do shows in those rooms but I’m not going go there. So I get a chance to have a drink with those guys, and hang out with someone like (BOK Center GM) John Bolton instead of going to Tulsa (Oklahoma) to do it. It is absolutely priceless for me to be at IAVM.

Contacts with venue managers from there become useful later on.

Right. I am not the local guy that they have known for 20 years, but when I call them they know who I am because they saw me on a panel or we had drinks or a bite together at some point. Absolutely, it affects the deal. I'm not trying to explain who Dan Steinberg 101 is. They have seen my shtick. They know who I am. Hopefully, they can get past the “This is the rack rate deal, and here’s the family rate that we extend to the promoters that we like.” Whatever. It’s the little things; the little crumbs. IAVM, Billboard, Pollstar or Aspen all help. The nominations for the awards…it all adds to credibility. So when I call and say, “I’m bringing a show to your room” I’m not the kid trying to bring in Nelly who has never done a show before that they are going to ask for a $25,000 deposit before they even let me hold a date.

Meanwhile, you continue to have fun.

The business continues to surprise me. Recently, my peers nominated me for the Bill Graham Award which blew me away. I’m the youngest nominee. I lost it. I’m only 37.

Larry LeBlanc is widely recognized as one of the leading music industry journalists in the world. Before joining CelebrityAccess in 2008 as senior editor, he was the Canadian bureau chief of Billboard from 1991-2007 and Canadian editor of Record World from 1970-89. He was also a co-founder of the late Canadian music trade, The Record. He has been quoted on music industry issues in hundreds of publications including Time, Forbes, and the London Times. He is co-author of the book “Music From Far And Wide.”

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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 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
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
André Ménard, Festival International de Jazz de Montréal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Música e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Jack Ross, APA Canada 09/07/17
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, 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
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 “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Jason Zink, Emporium Presents 10/19/17
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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