Industry Profile: Tom Jackson

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Tom Jackson, Tom Jackson Productions.

Tom Jackson practically burns up the telephone wires as he energetically discusses his role as a live music producer.

The former bassist excitedly details how a well-prepared live show protects artists from off nights, while giving them a foundation from which they can create superb performances time and time again.

For 22 years, Jackson--author of ďTom Jacksonís Live Music Method,Ē and the creator of the DVD series, ďAll Roads Lead to the StageĒ---has diligently worked with artists in order that they can learn to gauge their strengths and weaknesses to kill onstage night after night on tour.

Over the years, Jackson has worked with Taylor Swift, The Band Perry, Jars of Clay, Casting Crowns, Thompson Square and hundreds of others.

Based in Nashville, Jackson and his teamóthrough classes, workshops, events, a multi-faceted website, charity-related programs, and direct makeoversóseeks to have artists understand that they themselves should drive their show, instead of their songs; and that performing live is more than taking songs off a recording, stacking them in a nightly set list, and playing them with expertise.

One of the most popular speakers on the music industry's conference circuit, Jackson has also been a guest speaker at such leading American schools as Berklee College of Music, the University of Miami, and Anderson University in Indiana.

You are a live music producer?

Correct. Iím not a performance coach. Iím not a choreographer. Iím not a drama dude. I am a live music producer. We coined the phrase. We watched the competitionópeople that want to do what I doóand they are performance coaches. For the first 10 years (of working in this field), thatís what I was. Then I thought, ďI am so much more. Iím a producer. I produce the show. I re-arrange songs so that they work live. Like what a producer does in the studio.Ē

Is what you do similar to record producer taking an act and handling every aspect of their production?

No. No. Most of the artists that I work with record, and they record for radio, because thatís the mass market that everybody is trying to use. Thatís a 3 1/2 minute format. You canít develop ideas too deeply for pop or country radio or whatever it is because of the (listenerís) attention span and where people listen to it (music) which is probably in their car.

A live performance is obviously different.

Totally different.

In essence, a live show is a string of songs put together with an artist interacting with an audience. They arenít really emulating what they are putting on the radio.

No. In fact, thatís where the producing part comes in because what I generally do is take a 3 1/2 minute song, and turn it into moments. Usually, if you tell a lot of artistsóďOkay, you have 20 minutes (as an opening act),Ē the first thing they think of is, ďHow many songs can they cram into that?Ē

Instead, I think, ďHow many moments can we create?Ē The way you create moments is inside the artistís songs. This is where the producing comes into play; inside those songs. On radio, thereís an 8 or 11 second intro at the most; live, I can further develop an intro.

Weíve seen cases where it (the limited record intro) transitions into intros live that are awesome. Its like, ďHow clever was that? How interesting. How captivating.Ē You (as an artist) donít have time to do that. I have developed five minute intros from a three minute song.

So your performance concept is to take the ideas that are inside the songs.

When we work with an artist, I get the material beforehand. I look inside the songs. I know what Iím looking for after 22 years. I might say, ďI love that background vocal where they are all singing harmony. Live, Iím going to strip that down, and have five people come out and do this cool vocal harmony thing that shocks the heck out of everybody; that nobody knows is there except the producer and the band.Ē All of a sudden, it turns into a vocal moment that is awesome. I can do that with any kind of show as long as if the part is inside the song.

I use this example. ďThe SimpsonsĒ is a 30 minute, animated sitcom on TV. In reality, itís 22 minutes and 8 minutes of commercials. Now, ďThe SimpsonsĒ came out with a movie (ďThe Simpsons MovieĒ) in 2007. If you walked to the theatre, paid $8 to $10, sat down, and watched 22 minutes of content, and 8 minutes of commercials---or even two or three episodes strung back-to-back--you would have felt ripped off.

So the idea is take the concept of ďThe SimpsonsĒ and develop two things: themes and characters.

Themes, in a song, meaning a guitar riff that is awesome but the band has only been playing it once because itís on the radio (version). So we develop that into whatever needs to be developed. Thatís what rehearsals are for. We work with the artist to develop those themes that are inside the song; whether they are musical, rhythmic, lyrical, vocal or whatever. There are all kinds of ideas crammed into that song. How many times have you heard a bridge in a song that is actually the best part of the song?

This is a method. Itís not tips.

My main gig is the live show. Itís being able to generate a connection with an audience that will generate more revenue for an artist whether they are starting or whether they are in the biggest arenas in the world.

The overall goal being that better performances lead to a more profitable career.

Iím not cheap (to hire). But itís an investment that easily that pays off. Without naming names, I have seen revenue streams per head go up 600% after we spent 5 to 12 days working on the show with an act. I had a manager walk up to me at one of the award shows, and thank me because his bandís revenue went up $8 million on a tour after working together for a week on the show. And I have indie artists that are now selling more CDs a night.

Do your bigger name clients insist on non-disclosure agreements?

Not every one of them, but Iím sensitive enough not to discuss them. Iím happy most of the time (about that). Since the artists that Iíve worked with have won 200 awardsóGospel, Juno, CMT, and Grammysóit would be nice once in awhile to be acknowledged. But Iíd rather take the non-acknowledgement, and the great living that I have, and get to do what I love to do.

Is there a perceived stigma for a known artist to be working with someone like you?

Yes.

Artists may not want it known that someone has been hired to re-work their live show.

Just six weeks ago, one of the (news) things that popped up while I was on the internet was, ďSinger gets voice lessonsĒ like it was going to destroy his voice. It was a rock singer. This is news? Weíre talking about vocals. Believe it or not, the performance aspect is a little bit more personal.

Perhaps itís because contemporary pop started as being anti-entertainment, and anti-show biz.

Then thereís the whole thing with artists and the press. Like the Beyoncť national anthem thing. That she didnít sing live. Because the business is run by business people, the geniuses in the business have become the marketers. Everything in our industry except the live show is controllable. You can go into the studio and make a great record. Everything is controllable that an artist sends out to the general public. Hereís the irony in my world. The one thing that is not controllable is the live show, and itís the last thing that artists pay attention to. Itís a big mistake in the long run with their career. But the businesses guys advising them donít think itís that important or they think know better. I tell managers, ďYou manage.Ē

Alarm bells about an artistís live show only ring when they do a string of shows that bomb.

Hereís something worse. The artist has a hit song so they sing that hit song (as it is on the record), shake their butt, and people scream. They mistake that as (a sign) that they have fans for life. What they donít understand in this instant society is that once that song is gone, they are gone. They arenít really gone, but they are then scrambling to get back up the hill. Thatís when people came out (of a show) and they werenít just screaming over the song. If it was an awesome show, then you can build a career, and keep those fans forever.

Of course, there are thousands of artists striving to be successful.

The good news for me, and my small company is that there is a handful of people, about 10%, willing to learn (about performing). Itís more than enough for me. What breaks my heart is watching the other 90%. They are talented people and, in a lot of cases, good people, but they donít listen. Years later, they scratch their heads, and ask, ďWhat happened?Ē

What are my options as a new act within your company?

It depends what track you are on. Fast or slow track.

Slow track.

First thing to do is to get the book (ďTom Jacksonís Live Music MethodĒ). The next thing to look into is our Tour Sponsorship program. Another form of revenue for indies or people trying to move their way up the food chain is our sponsorship program that Iíve had for 20 years. We have raised over $2 billion for food, clothing, helping kids, and women issues. Itís a partnership with the artist. Over the years Iíve given over $100 million to artists on tour support for the corporate charities that we work with.

Well over 600 artists have signed up for this tour support program over the years. If you are playing in front of even 1,000 people a year, I can make it work. It also provides them with a relationship with my team.

You started the company 22 years ago. Was it then based in Nashville?

No, in Los Angeles. I cut my teeth in LA with artists who were getting ready for (industry) showcases. I have been in Nashville for 19 years.

How often are you on the road?

I am probably on the road 120 days a year teaching, working with an artist, and working a bit with our tour support programs.

How many people on your team?

I probably have 10 people that I work with on the charities, and there are three core people that are full-time.

Are there personnel doing what you do as a live music producer?

Yes. I have two associates, both in Nashville. They work with some of the major acts with me.

Okay, Iíve got the book, and done the sponsorship program. Whatís next?

I have an (online) Backstage Pass (on our site) that is $18 a month. It has 600 blogs, and 150 videos of me working with people as well as some of the seminars that Iíve done. I do a free blog every Tuesday. Iím trying to develop a curriculum online, and get into colleges in order for people to learn this method.

Fast track?

If you are on a fast track, you call us and we go out and work with you. It becomes a money (fee) thing. You work with my associates or in a combination (with me). We can go to artists or they can come to us.

Is your work primarily in North America?

Primarily. But in May, Iím going to Singapore, Hong Kong, Taiwan, and Australia.

For direct work or for industry conferences?

For both.

Do veteran acts hire you?

Honestly, nowadays not a lot of veteran acts do because they think that they know (about performing). Itís a big mistake. You can always learn. This month I worked with four tours. Just the other day, I was working on an act and another (new) idea came up. You think you know it all after 22 years. The whole deal (for continuing success) is about learning, and getting better. Once we stop doing that it, becomes about surviving, making money or being lazy. I think thatís one of the downsides of the music industry. Iíve lost some gigs because I tell people the truth.

With lesser music sales in recent years, live is where most acts today earn revenue. Still, they try to hold onto their money as well. An emerging musician will buy a new guitar before hiring someone like you.

No if buts or ands (about that). Or they will go to the studio. They will do the easy thing all of the time. Are you kidding? I once talked at a workshop, and there were 1,800 artists there in an isolated part of the country. Iíve got product to sell. And I was not moving any product. I was there for the whole week. My classes were jammed. Finally, on the last day, I said, ďI just got a call from my travel agent. Weíre doing this musical (seminar) thing on a boat, and Iíve got a deal. If you sign up today for $399, you can do it too. Whoís in?Ē Almost everybody raised their hand. They had all told me earlier in the week that they didnít have money to afford my material. Itís not about me selling product, itís about them getting an education.

Interestingly, few bandsóeven successful ones----know how to properly conduct a rehearsal.

Of course not.

Rehearsals are usually a band jamming the song, tightening it up. Unless itís a major band, the performance isnít looked at.

This month I did acts on the two biggest tours of the first quarter of the year. I did the middle slot act for one of the tours. It was the first time that I had worked with them. We had 5 days of rehearsing, which is cramming. They are going to be in front of a million people. (Having) 5 days of rehearsal tells you right now that they donít know how to rehearse. We are talking about the biggest tour in the world, probably, and they have a 45 minute set.

I walk into the rehearsal room at SIR in Nashville where there are 5 rooms. Thereís a big room. Thereís a pretty big room. Thereís a decent size room. Then thereís two really small rooms. The band was in the second smallest room, cases strewn everywhere. They are sitting on their cases. They are like, ďOkay, we are ready to rehearse.Ē Then we worked on one song. I started digging into this one song and we spent 3 1/2 hours just on the one song. The leader says to the manager, ďWeíve never spend 3 1/2 hours working on a song.Ē Iím like, ďNo wonder.Ē

A band might spend three months to a year writing and recording an album. Preparing for a 40 day tour, except for working out lighting and technical cues, they donít often spend much time on their performance.

No itís absolutely true. It blows my mind. Only the great ones. You start thinking from the purely business standpoint as an investment, the recordóthe recordingóis now more a promotional tool than anything. It is not a revenue generator. In some cases it is, but itís mostly a promotional tool. You try to get it on the radio. You try to get it on the internet. You try to get people out (to the shows). Where the revenue streams really come in is at the live show.

The irony is that people now are spending most of their money on promotion. It is kind of like have a restaurant where thereís amazing promotion, and you spend all of your time and energyó60-80% of itóand then when people walk into the building, you donít spend any time cooking the food carefully, and creatively so that people will come back.

Other than artists youíve worked with, are there artists that obviously rehearse the right way?

I would say Prince, probably. I have a good friend (guitarist/singer) Dez Dickerson who played with him for 8 years (as a member of the Revolution), and they would rehearse for six weeksóthis was their schedule. Six days a week, 12 hours a day to get ready for a tour. Thereís also Madonna, and Garth (Brooks).

So yes, there are.

The idea to go in there, and rearrange those songs (for a live performance), thatís probably what I spend most of my time doing. Rearranging the songs to create a movie instead of a sit-com because thatís what a 3-1/2 minute song is about.

You look for things that will emotionally connect with audiences. That means looking at songs, the authority of the players, all kinds of different things.

Exactly. So what you have to do is become like a sports coach, and find the strengths. You have to go in there, and poke around. Thereís one group that I just worked with in Texas. They are moving up the food chain. The best guitar player I have ever worked with in my life. He was like Eddie Van Halen, Allan Holdsworth, Pat Metheny and your favorite guitarist all rolled into one. Basically, however, through the whole night, he stood in the corner (of the stage), and played his solos the way that they were on the record. A complete waste of talent. So I arranged the songs so this guy could step up and own the world.

Some actís goal is to give audiences exactly what they hear on the record.

You are talking about major artists. I have taken over 100 #1 songs and re-arranged them. There are some songs that you just have to leave alone; particularly the ones that are out at the moment. But, if you have a #1 song, a career song, and you have played it 20 years the same way, there are ways to develop it, to find that balance that the artist is still excited about it, and the audience is still excited about it.

A lot of veteran bands get lazy with their hits over the years.

No question. Itís important to stay on top of (performances). Thatís why in professional sports there are coaches who are constantly reminding players (of their strengths and weaknesses), and players are watching tapes. (A live music performance) is far more precise, obviously, because thereís artistic license, and spontaneity. But thereís spontaneity in sports. But thereís form and spontaneity in live music shows. That is what makes a great show.

It might be beneficial for a band to listen to some of their early board recordings of live shows in order to hear how they first played the song.

Yes, no question. Even on a long tour, by two-thirds of the way through the tour, they should go back and listen to earlier shows. Hereís what they donít realize. This is what happens. The drummer gets a bit lazy. The drummer drops two things out of it (a performance of a song). The guitar player drops two things. The melody changes because one night the singer had a bad night. His voice wasnít happening so he embellished a little bit less. At the end of the day, you have 10 parts that are completely different. The players donít realize that because they only took two parts out (individually). They donít think that itís such a big deal.

Why does a band kill one night, and dies the next night on tour?

Typical. Let me tell you why.

Because of different venues?

Well, that might have something to do with it. The audience and the sense that it is the wrong demographic. But hereís what happens. They donít know what they are doing. Bottom line. They donít know what they are trying to accomplish. They donít know what they are doing onstage. Itís not just the set list. Itís the delivery of it. Itís the visuals, the arrangements and other things.

This is what rehearsals are all about. If you create moments in the show, they will work every night, if done in the right venue. They will work every night to different degrees. On a bad night, you still win. On a great night, itís all over.

One of the biggest mistakes, by far, is the bands do not go into rehearsals knowing what to do. They donít know how to rehearse so they donít rearrange the song to create moments. They think because they wrote the song, and because itís them playing the song that itís special. But there are rules onstage. The arrangements have to be done correctly. The set list has to be done correctly. There has to be some vision, and creativity. Then you have to be able to visually pull off a show.

But why does a band kill one night, and not the next night? Same set list, same banter?

Hereís what it is. A perfect example. I am a pretty talented basketball player. When I go to rehearsal with a new band, most rehearsal venues have a ball hoops outside or whatever. Eventually a bunch of guys in the band will play some hoops during the breaks.

The first day at rehearsal, we will pick up three and three. Say thereís five guys in the band. On that first day, I cannot miss. I mean, Iím in the groove. I kill it, dude.

So we come back to rehearsal the next day. It comes to the break time. Everybody jumps up, and says, ďIíve got Tom.Ē Well, au contraire. They are idiots because I am not a professional. I have not developed the consistency to know what I am trying to do (as a basketball player). I have the talent. Every one of the bands that we are talking to have the ability. Itís not a matter of ability. If it was just ability (to be successful), everybody would be a professional basketball player, or a professional musician. It has to do developing professional onstage skills, and doing things consistently every night so that on a bad night you know how to lead and control an audience.

Most artists do not know how to do this. Their set is not set up with cues in there so they can listen to their audience to know where they take them next. They just play the songs. They are not sure what they are looking for from their audience. So if you know those cues, and you have them written into the set now, you can start listening and make adjustments on the fly, if you have to.

Doesnít experience also make a difference? A performance isnít going to gel in 10 shows. Doesnít it take experience on top of those things that you are talking about?

Well, thatís a loaded question.

So many bands have their first big hit, and then fall apart on the road.

Typical. Thatís because they donít know how to deliver a show. They are learning as they go. They are not as prepared as they go out.

With a hit record, a band has to get out on the road fast.

I get that. That goes into the preparation beforehand. On some of the major acts I work with, we will go in for two, three or four weeks and we will do everything from beginning to end. Some musicians saysóďWe are artists, and we have to be spontaneousĒ (without having a live concept). This is a bunch of crap. Spontaneity comes out of form. If they do not do it correctly in rehearsal enough, then when they get out onstage, itís all over the map. You asked the question why one night it kills, and one night it doesnít. With the same set list. Well, there are so many intangibles that are happening differently each night, because they have not rehearsed correctly consistently.

This does not mean (doing) Disney crap, where itís the same thing (each night), and thereís no freedom to be spontaneous. Iím not talking about that.

But there should be enough form, and enough vision to know what you are looking for. There are certain cues that you send to an audience. One night, you will send them to them consciously because you are an amateur, and you donít know what you are doing, and everybody did the right thing at the right time with this song on this night. And letís face it, itís easier when you walk into a building, and itís a love fest already. But really what makes a great performance is when you walk into a tough setting, and win the audience as an opening or a new act. Those (shows) are the most satisfying. Thatís where you are going to learn your craft.

Many artists maintain that they have stagecraft figured out.

With a lot of artists, when I tell them what I do, they say, ďHey man, we jump around onstage all night long.Ē Itís not about jumping around the stage all night long. Itís about having that confidence, authority, charisma and being able to understand what you are trying to accomplish. In fact, standing or sitting on a stool if you can control an audience from there, you have authority.

Is less more?

At the right time, 100%.

Are there artists that are never going to be strong performers? Some people donít have natural charisma. I donít believe if that trait can be learned.

Well, I disagree. I have never worked with an artist that if they do the work that they do not get noticeably better, and start walking with the authority that they are called to do (as an artist). If they are really an artist. If they arenít an artist, and if they are plumber, you are talking about the right thing. I will never be a plumber.

To me, itís like a building block. It starts with confidence, goes to authority, and charisma gets on top of it. Itís a process. Bono or any of these people who have charisma didnít have it the first day. They had inklings of it. They developed it (charisma) over time by taking risks and understanding what to do, and how to do it.

When Bono first did this (started performing,) he had authority. He did everything at the wrong time (onstage), but he had authority. Then he started doing authority at the right time, and that started developing into charisma. He is the consummate example (of developing charisma). Obviously Springsteen is a charismatic performer. I love Prince. Iím doing some classic guys here. Theyíve learned their craft. They know it. They walk in it every single day.

Some artists seem over prepped. Very mannered, and predictable.

People like that have not rehearsed enough in many cases. Meaning they have learned it (a staging aspect) once or twice. Itís not repetition; so itís natural (what they are doing). But they are then thinking about it once they are onstage. So what comes across is planned and canned. Itís like learning to play guitar. At first you have to think about it (playing). Itís very mechanical. Thereís no feeling. Once you start learning how to play, you no longer have to look at it (the fret board). You go to it naturally. After you learn the G chord, you donít even think about it.

Isnít that muscle memory?

It is. It has to do repetition. But as a guitar player, you can play that G. Every guitar player in the world plays a G. What makes it unique is that they are way past thinking about the G. Now they are thinking tonality, phrasing. Thatís what makes them unique. But, if they are still in the fundamental stage of doing this, it gets mistaken as that they arenít a good performer. The problem again is that they donít know how to rehearse. They do not know how to go in and do it right so that it becomes a part of them. They have three days of rehearsal for a show and they try to cram things and they are going out on the first 10 or 20 dates thinking about it. Itís muscle memory and they have not spent enough time on rehearsal.

Iíve seen shows by major acts where the energy falls off the end of the stage.

It happens all of the time. Iíll tell you why. The dilemma is that the musician onstage is feeling it (the music). The musicians are singing their song. The adrenalin is flowing, because 100 or 100,000 people are watching them. They are inside that stuff, so they are connected to it. They do not know how to connect their music by what they do onstage to the audience. That where one night it is magical because it just happens. Again itís an amateur performing.

A professional performer knows how to connect emotionally with an audience every night. Again, on a bad night they still win. On a good night, itís all over. Itís history.

With, the exception of an opening act, audiences have expectations of a bandís performance. They have a $75 to $125 investment in the show. Doesnít that work against bands a times?

Well, you tell me. If you drop $100 for a meal, and itís a bad performance what do you do when you walk out of that building?

Iíll say ďWell, that was horrible.Ē

And who do you tell?

Everybody.

Thatís it. So it can be a career killer, potentially.

But audiences have expectations, right?

They absolutely do have expectations. There are three reasons people go to a show emotionally. They want to be captured, and engaged; meaning that they want to be completely present. Itís like going to a movie and when the movie is over you go, ďGosh, itís overĒ because it kept you so present that you forgot about everything else in your life.

Second is--and people donít do this consciously, by the way---they go to experience moments. They want to laugh. They want to cry. They want to jump and down. They want to have this emotional connection with the songs, and the artist. They want to experience all that. Thatís why sports is so stinking big.

The third thing to go for is that they like to haveóagain not consciouslyóthey would like to have their lives changed a little bit. If I go to a Springsteen show, and if he says something, plays something or does something that moves me to a space that I havenít been to before and that I really like then Iím a fan, forever. Iím going to go back because I want to relive that.

Not only that, but you are then walking out of that building going, ďOh my gosh.Ē and you tell everybody. And in todayís world with the internet, you are blogging, and tweeting, "Oh my gosh, I just saw this show. It was unbelievable.Ē Now you are talking about free publicity.

A performance can provide escapism. ďI work in a crap job but with my buddies here and a great band; Iím out of this life for a night.Ē

But if it doesnít do those things, then you are disappointed.

Is the preparation different for club and concert shows?

If you are talking original material, conceptually itís the same. If you are talking about copy music (played by a cover band) itís totally different. How they end a set. How they set up a set. All of that.

Certainly stage dynamics and body language must differ in larger venues than in clubs.

Well, it has to be bigger in an arena. But even in a club, Iím still using zone communication. Iím still doing applause cycles. There are places that I put in a show saying ďClub or arena.Ē

Weíre talking conceptually. Conceptually, I know that, as a musician, I am creating moments. I know that I have places in the show that specifically listens to my audience. I know that my songs donít sound the same, so they shouldnít look the same. So even on a small stage I will make adjustments. On a big stage, I have ramps, and more to work with. On a small stage, I will move a monitor to get a little bit more room. But I will do conceptually exactly the same thing that I would do on a big stage.

Explain zone communication and applause cycles.

Well, there are a million technical (stage) skills that most artists donít understand. Letís take applause cycles. A song ends; this is perfect place to allow the audience to express themselves. So we have to put the correct ending on the song so we can listen to what our audience is saying to us. If we get too clever in an ending, that when we finish the song the audience isnít sureóweíve all experienced, ďIs the song over?Ēóand thereís just a smattering of applause. What artists have to understand, particularly as an independent artist or someone playing these smaller venues trying to win the audience, is that we put the right endings on sends out the right signal so you can listen to the audience, and they can tell you what they are thinking so you can make adjustments onstage.

Zone communication.

Zone communication is that I break the audience into zones. Depending on the size of the venue, obviously, the musicians communicate with a person or a sectionóeven if they canít see on a big stage. The whole band does this. The idea is to have 5 or 6 people all doing communication with people in the audience. They involve the whole audience, and itís what I call overkill. Everybody in the audiences feels that they are part of the show.

If you look at a certain section, depending on the venue, and you do something physical from the stageóand Iím not talking about being goofyóor go to a certain side of the stage to deliver a solo instead of staying behind your guitar pedals every song, then you are gathering up the audience in that section so they feel that they are part of the show. And honestly, it goes back to the expectations of an audience, Larry. They go to hear music but they go for much more than music.

Applause is the adrenalin of any concert.

It is. Great players, great athletes find a rhythm. But the great ones force their will on the audience. I donít mean that in a negative way.

That comes with authority, right?

It comes with confidence, authority and charisma. And those things can be learned.

Does your approach change with the musical genre? Pop, country, Christian, hard rock?

I havenít worked with a lot of hip hop and rap. All of the other genres I have. Iím conceptual guy. So the answer at first is no. Are there adjustments? Of course. But the key concepts that I teach, and work with, you just talked about: confidence, authority, and charisma.

With every one of those genres, we can name someone, and say, ďOh my gosh they have charisma.Ē And that is what sets them apart. In fact, itís the most attractive thing. So it doesnít matter what genre it is.

So a set list, to me, itís not even a set list. Itís how do you write your show from beginning to end creatively, pulling the great moments out of the song into a show. Those things remain the same. I donít care if Iím working on a gospel show or whatever. In fact, I recently worked on a legends tour for Christian music. Some of the moments that I pulled out of them would be musical, a little bit more verbal and lyrical. Whereas with a metal band it wouldnít be lyrical so much. With a funk band, I think I would develop the rhythms a little bit more.

For each genre, you accent different elements of the show?

Yeah. Depending on the genre. Exactly. What Iím looking for here is that, stylistically, the song is always the script. Inside those songs--country, pop, rock, metal, you name it--there are some awesome parts that have not been developed because of the radio context. An act has to get to them, get through them, and out of them.

Where are you from originally?

I was born in Buffalo. I lived most of my life in Southern California. I was 8 when dad moved us from Buffalo to Santa Diego. We went from Buffalo with five feet of snow to 80 F in San Diego on Christmas Day.

Did you go to college?

I did about 18 months of college and I realized that I want to play music. I was at Grossmont College in San Diego, taking general ed.

Did you play in bands while in high school?

I didnít really start playing my instrument (bass) until I graduated high school. In my whole life, Iíve only been in three bands. I was in two bands where we did quite a bit of stuff. Thatís how I learned some of the business stuff. My whole world has been how do you make the live show work. I donít really understand publishing or the record industry. I know just enough to get in trouble.

One of my biggest pet peeves in this industry is people overstepping their boundaries. They think that they know more than they really do. We know enough to talk about it but we really donít know enough about it.

Did any of the bands record?

Well, Harlequin did. It was a local thing (in San Diego). We did our own records. Got played on the radio. We were voted Best Band in Southern CaliforniaĒ (by the San Diego Reader magazine). (Group member) Rick Elias wrote a lot of the songs on that 1996 film ďThat Thing You Do!Ē He was the lead guitar player in that band. Heís here in Nashville now.

[Harlequin was a Ď70s progressive rock band akin to Yes, Genesis and Jethro Tull. The lineup included frontman Tom Schlesinger, Rick Elias, Jay York, Tom Jackson, and John Prim. Singer/guitarist/keyboardist Elias later made several solo records with the Rick Elias Band. He moved to L.A. in 1984, and recorded as Rick Elias and the Confessions. From 1993-2002, he was a member of Rich Mullins' A Ragamuffin Band.

Harlequin performing the song "Torn Curtain" at Studio West in San Diego in 1975 can be heard at: Youtube.]

Did Harlequin take you to Los Angeles?

No. I was getting on. I was going to get married. I was tired of traveling. It was like, ďWhat do you want to do when you grow up?Ē It came down to music and I went down the list. I could teach bass. I was a good bass player. I wasnít a great bass player. But I went through the list, and I realized that the thing that I loved the most was the performance part (of music) I understood it too.

Being on the road for years as a musician, you had considerable live music experience.

I had some ďa-haĒ moments over the years (with Harlequin). One was doing a show in a small market where 1,300 people came. We set up in the afternoon and then we went out and played football in the field. The drummer broke his arm. Thereís no way to get anybody else in there. So we get his arm set, and he played one-handed. As a musician, you want the band to be tight. That was the last thing that we were. The first song I am sweating bullets. I thought people were going to start throwing things at us. We were so bad. However, at the end of the song, we got a standing ovation. It was an ďa-haĒ moment.

There were dozens of those moments when I was performing that when the audience is paying attention to you is different than what the band is paying attention to.

In essence, thatís what the whole thing I do is about.

I understand being inside the head of the musicians because I have played onstage thousands of times. I love great music, but what I want to discover is what does the audience pay attention to? How do we connect those two (the musician and audience perspectives) without changing who artists are?

Iíve been at great shows when thereís only been a handful of people. Where the club owner informed the band they werenít being paid. The smart bands will say, ďLetís do itĒ and will have one of their best shows ever.

There are legendary stories of Van Halen and others playing shows with nobody in the building except 5 people and they just went for it. Those are gigs where a band can still be working on things. The question shouldnít even be asked, ďShould we do the show?Ē

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

The recipient of the 2013 Walt Grealis Special Achievement Award, recognizing individuals who have made an impact on the Canadian music industry, Larry will be honored at the 2013 Juno Gala Dinner & Awards on April 20th in Regina, Saskatchewan.

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Industry Profile Archives:
Mick The DJ, DJ/Enterpeneur 04/30/15
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Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
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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
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Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
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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
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Ron Burman, Roadrunner Records 08/25/06
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Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
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Charles Carlini, Carlini Group 05/16/08
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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
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Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
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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
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David Davidian, Independant Lighting Designer/Director 06/18/04
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Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
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Jeff Dawson, Canadian Recording Services 06/08/08
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Gene DeAnna, The Library of Congress 02/21/12
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Tony DeLauro, DeLauro Management 12/23/04
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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
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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
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Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denverís Division of Theatres and Arenas 08/23/10
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Art Edelstein, Festival Productions 12/01/02
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Michael Elder, Red Entertainment 03/17/06
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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
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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
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David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock íní Roll Fantasy Camp 02/28/12
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Arthur Fogel, Live Nation 08/09/09
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Fletcher Foster, Universal Records South 07/31/09
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Larry Frank, Frank Productions 01/17/11
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Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
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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
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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
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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
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Michael Jaworek, The Birchmere 05/08/09
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John Jeter, The Handlebar 08/15/12
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Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
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Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
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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
Andrť Mťnard, Festival International de Jazz de Montrťal 06/12/09
Bob Merlis, Merlis For Hire/Memphis International Records 01/16/04
Doug Merrick, Cumberland Talent Agency and Merrick Music Group 07/21/06
Louis Messina, The Messina Group 10/22/04
Louis Messina, The Messina Group/AEG Live 07/17/09
Louis Jay Meyers, North American Folk Music and Dance Alliance 03/30/07
Louis Jay Meyers, Folk Alliance International 01/23/09
Todd Miller, House Of Blues - New Orleans 11/14/03
Jeff Miller, Fantasma Productions 03/16/07
Ben Miller, Rock Ridge Music 11/02/07
J. B. Miller, Empire Entertainment 08/22/08
Richard Mills, S.L. Feldman 11/02/09
Marty Monson, Barbershop Harmony Society 07/07/16
Linda Moran, Songwriters Hall of Fame (SHOF) 04/05/09
Jesse Morreale, Nobody In Particular Presents (NIPP) 09/20/02
Chuck Morris, Live Rocky Mountains 09/28/09
Mo Morrison, Independent production 05/24/02
Kevin Morrow, Steel Wool Entertainment 01/25/17
Nick Moss, Blue Bella Records 11/30/07
Jim Musselman, Appleseed Recordings 04/14/06
Natalia Nastaskin, United Talent Agency 04/13/16
Marc Nathan, Flagship Records 07/01/05
David Neilon, Rising Star Promotions 11/30/01
Don Neuen, Star Coaches Inc. 10/10/12
Dennis Newhall, DIG Music 10/07/05
John Nittolo, John Nittolo Productions 04/13/07
Ian Noble, Metropolitan Talent 05/23/03
Fabricio Nobre, A Construtora Mķsica e Cultura 05/04/17
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley OíConnor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Paul Reed, Association of Independent Festivals (AIF) 06/14/17
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
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
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
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah ďIceĒ Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
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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