Industry Profile: Rob Challice

— By Larry LeBlanc (CelebrityAccess MediaWire)

This week In the Hot Seat with Larry LeBlanc: Rob Challice, partner/agent, Coda Music Agency.

Rob Challice’s place in UK music history may already be assured.

Promoting punk and grunge shows early in his career, Challice was the co-promoter of Nirvana’s first London show at the School of Oriental and African Studies In 1989.

From 1982 to 1985, Challice ran All The Madmen, a mail order house, and record label. Next came stints with The Allied Agency--where he expanded into folk and rock bookings--and F.A.B. In 1999, he teamed up with Clive Underhill-Smith and formed The Concert Clinic.

Today, Challice is one of six partners of the London-based Coda Music Agency, which has a reputation for championing emerging talent, as well as for developing careers globally.

With close to 50 staff—including 20 agents—and its own office building in East London, Coda Music represents over 400 acts.

Among the acts on the roster are: Bon Iver, Beirut, Billy Bragg, Jeff Beck, Zucchero, the Civil Wars, Kings of Convenience, Warpaint, Example, Emeli Sandé, LMFAO, the xx, Jake Bugg, the Vaccines, Bastille, Ellie Goulding, Bombay Royale, and Misty Miller.

Coda Music Agency is the end result of a merger between two British booking agencies.

In 2001, Phil Banfield, who headed London-based Miracle Prestige International (MPI,) had been looking to replace some departing agents. Within two months, MPI announced a merger with Concert Clinic operated by Challice, and Clive-Underwood-Smith.

The combined entity, renamed the Coda Music Agency, launched with 6 agents, 7 support staff, and about 180 artists.

Today, Coda Music is an LLP (limited liability partnership company), with Challice, Banfield, Alex Hardee, Tom Schroeder, James Whitting, and Dave Hallybone as partners.

Challice is also director and booker of the Summer Sundae Weekender festival, an essential part of any Leicester music fan’s calendar--almost regardless of who the headliners may be. Past headliners have included Kate Nash, the Young Knives, Kasabian, and Amy Winehouse,

The festival, which has running for 12 years, is taking 2013 off.

Challice is also part of the programming team of the Larmer Tree Festival, a five-day music and arts festival held annually at the Larmer Tree Gardens near Tollard Royal on the Wiltshire-Dorset border. The festival has run for over two decades.

Coda is a merger of two booking firms?

When F.A.B. ran its course in 1999, I formed a company with Clive Underhill-Smith called Concert Clinic. We ran that company until 2001. Phil (Banfield) and Alex (Hardee) at MPI (Miracle Prestige International) invited us over for a conversation about merging the companies.

They had been working for Miles Copeland’s booking company.

Miles had a significant share hold in MPI. Therefore, he became a shareholder in Coda. Coda ran as an unlimited company for five years. Toward the end of that time, we bought Miles out, and a couple more of the agents became partners or took on management roles including Tom Schroeder, and James Whitting.

Coda’s business model is unique for a booking agency in that it has been a limited liability company since 2007.

I think that there is only one other business like that over here, and that is X-Ray (Touring). It’s is the model that a lot of law firms use. I have only had a boss for six months of my career. That was when I was at Allied Agency. The idea of having a boss, and not being in control of what I do, is unappealing; an anathema to me. I look around at the other partners here, and they are similar. They are mavericks. They are driven. They are individual. And, collectively, we run the company.

But you probably never dreamed you’d end up with a staff of 50 including 20 agents, 400 acts, and your own building in London.

Never. And it would be too much for one person to take on, and to be running it. Our secret weapon is Dave Hallybone, who is our financial controller and a partner. Big Dave is also the voice of reason. He has enabled us to do what we and grow like this.

It has grown to such a level that we knew at the end of last year that we had to take someone on as managing director. So a few weeks ago we appointed Claire Horseman. Claire comes from a background of working for companies like Sony, and Columbia. She’s run her own company. It’s a relief to now know that we can shape the direction of the company, and have somebody there full-time to enact that stuff.

[Marketer Claire Horseman spent a decade working for BMG Music/Columbia Records and affiliates Deconstruction Records, and Jive Records before setting up her own marketing consultancy, Strutt Music Marketing Management, in 2011.]

Claire coming aboard frees up Coda’s partners to work the roster.

Four of us have had to return to our desks and be busy agents with our clients.

Of course, Coda has weekly partnership meetings to go over the bigger issues.

It does. At 11 o’clock every Wednesday, we will be in that meeting room. We’ll thrash things out. Then we go out on an act with them. That might be direct from start (with a tour or a booking), assisting agents or making decisions on things that happen outside the office.

How do the partners interact?

We communicate all the time in a relatively ego-free environment. We've been together as a partnership for 6 years now, and we've collectively made a lot of decisions in that time. I think it (the company) works because we are very different characters; each bringing different skills, and experience to the table. We each know we could not have necessarily built such a company without the others.

For example, Dave has given us solid foundations to build the company on. Whereas Alex is quite fearless and incredibly sharp when it comes to working relationships.

How much freedom does a partner or agent have in handling tours and bookings?

We are very open with A&R at Coda; sharing tips and links to new music around the company. We encourage agents to put their hand up early if they are going to look at a new act, and we encourage them to ask for support if required when going after that act. We'll go through the list of potential new acts weekly in an agent's meeting, and everybody will throw in comments. Agents, generally, build their own rosters in the style of their liking. However, there's a fair amount of cross-pollination and collaboration going on.

Alex and Tom have been very particularly effective at getting the younger agents working on acts they are representing. It's a system that helps the agent to learn quickly and one that has been adopted more across the company.

Will a single person book a tour or do other agents get involved?

Generally, it's the responsible agent who leading the campaign books the tours, but they will always speak up if they need a hand from the others.

Coda’s diverse roster includes emerging acts like Broken Twin, Nelson Can, John Grant, the Ruen Brothers, Jay Brown, the Bombay Royale, Misty Miller; and better-known acts like Billy Bragg, Bon Iver, the Civil Wars, and the xx.

That’s a quite a musical mix.

It is. But the company is made up of music lovers. I know that is a real easy thing to say but we have agents and bookers and assistants here in their early 20s, and they are picking up on new music all of the time.

Meanwhile, Phil Banfield works with Zucchero, and Jeff Beck who are better known and in the mainstream.

Phil can remember a time before the ‘80s. He’s been around a bit longer (than the others). To Phil’s credit, he has let us grow around him. I know that Phil and Neil Warnock (chairman of The Agency Group) are good friends, but they are opposites.

You also work with Billy Bragg.

Yes, and he’s doing well. His new album (“Tooth & Nail,” his first new studio album in 5 years) is just out, and it’s #13 in the UK album chart.

Agencies are increasingly focusing on discovering new artists rather than just the labels being involved.

Yeah. We have the team of scouts now working in our office. It’s not unusual for the lawyer or the label to ring and ask, “Do you guys know of this act? Have you seen them?” And, we will report back, “Yeah. They are great. We caught them in South By (South by Southwest)” or that they supported one of our bands on the road. We do have a reputation for picking up early, and picking up on bands before they get signed. I think that an agent has to (do that) now.

As well, showcases events like Eurosonic have become more important.

Absolutely. Eurosonic is one of the best events (for that). It’s the best model for me of how those showcase events should work. It is at the right time of the year. It is put together really well. It’s curated. Bands are chosen not to just represent individual countries but to represent the best in music. There’s a whole pack of festivals (bookers) running around looking to book the best new acts for this year. Some of those through the ETEP (the European Talent Exchange Program) are incentivized to see and pick up the acts. It is just such a great model. It pains me to hear stories from some people of how it was at South by Southwest recently. Do you know what? You couldn’t get into the hottest shows? Do you know what? You can’t get into the hottest parties now.

[Introduced in 2003, the European Talent Exchange Program is an initiative of the Noorderslag Foundation funded with support from the European Commission to stimulate the circulation of European repertoire on festivals, radio and media in Europe. Each year, ETEP brings together European festivals, radio and other media to exchange a selection of artists. Since the start of the ETEP program a total of 1,646 shows by 605 European artists were presented at the 71 ETEP festivals.

Some people complain that South by Southwest has become too big.

You can’t discover bands there. It’s a shop window for some of my acts, and I have seen bands succeed a couple of weeks ago. But I didn’t go, and I probably wouldn’t go there to discover music now.

Coda has yet to open an office in America.

No. We haven’t. We looked at it briefly. I think that a partnership (in the U.S.) would assist us. I have a very American roster. Many of my clients are American. I know my way around there. I can talk to Americans, and Canadians. I understand how it is. We could have more of a profile there. We have had talks, and we are having talks. I wouldn’t bet against us having a meaningful relationship with an American company in the future.

Do your represent the American acts on your roster for Europe or for worldwide?

I’d say mainly Europe, but there are some other territories involved as well. I work with Warpaint for Asia. I work with Beirut for Europe, Asia and Australia. it’s usually a given that the American agency will get the Americas (i.e. Latin and South America); and that the European agency will get Europe. Then, it’s up to a discussion. If it’s a European act, generally we get Europe, Asia and Australia.

There are probably several American agencies you have synergy with, including The Windish Agency.

We do. I met Tom (Windish) when he was first at Billions. I have seen what he’s done from working with Boche (David “Boche” Viecelli, founder/president of The Billions Corporation) to running his own agency. It looks like an incredible journey. He loves the mechanics of the business, and doing what he’s doing. He’s very driven.

Are there other American agents you admire?

Boche and Adam at Billions. Boche has opinions. I mean, he’s punk rock. Frank Riley at High Road (Touring). Marty Diamond and Steve Ferguson at Paradigm Talent. Those guys know so much about English music that it’s unreal. Real good independent agents. We are very connected.

Asia has increasingly become an important region for the live touring business.

Some of those markets like Korea, Singapore, Hong Kong, Malaysia, and Indonesia can be more lucrative markets than Japan, and even Australia. But, when it comes to the big ones, China and India, they are almost too big to imagine.

China has a non-class audience that has never heard of most Western bands.

Just think about the amount of work that a UK band has to do to establish itself in the U.S. and Canada. The amount of touring a UK band has to do to penetrate west coast, east coast and the middle and all that. You look at a market like China, and you go, “Where do I start?” Bands can play Hong Kong, and they can play to a local audience of expats (expatriates). “Okay, we've done our bit of China.” I often see proposals come through for Shanghai, and Beijing and quite often the bands won’t take them. But they will take the Taiwan show or shows in Hong Kong or Singapore. They are just more manageable.

Years ago a booking agent could book dates a few months in advance. Those days are long over.

I can’t remember those days. Where I learned that you had to have a longer lead time is when I started booking my acts into civic venues. You find out that you could only get one availability in 9 months time at the Royal Festival Hall. You have to learn. You do learn. The great thing about being that far ahead is that you always have time to react to opportunities.

How far in advance would you sit down with the management of Beirut for a major tour?

Nine months. That doesn’t matter if it’s a summer tour or if it is in January or February and you are talking about their tour in the Fall. It’s 9 months to a year. I like to think that any of my established acts, like Beirut, Bon Iver or Warpaint, that I have an idea of what they are doing in the next two years. I find it easier to strategize your career if you know where you want to be in two years. You can work backwards. You can release (an album) in a year’s time, but this is where we want to be in two year’s time. That can determine the plays you do, the markets you go to and so on.

For decades, touring plans were contingent on album releases. Is that always the case now?

For certain artists, that are establishing themselves, getting on those playlists is all important. If they are not on the playlists, it’s not going to happen; especially in this UK market. But, by and large, the acts that are on their second and third album can plot their careers. If they get the playlists, excellent. Bigger opportunities will open up. But you don’t have to be reliant on that label meeting that will tell you whether the single is going to hit or the label is putting the album back three months because they don’t quite “feel it” at the moment. By and large, you are going in there, and saying, “I’ve got a tour, and it’s about to go on sale. When are you dropping the album?”

Nor does a band always need the album to support a tour. That’s especially true with veteran big name acts,

Yeah. But I would say that in the situations where an act over tours without an album release, in hindsight, there’s a warning for you, “If only we had the album out. If we only had that bit of media.” They (touring and a release) go hand-in-hand. But the album is often a tool to promote the tour rather than the tour being to promote the album. That’s the truth of it now. I have Yo La Tengo touring at this moment. They have released one of their best albums (“Fade”) in recent years. We are doing the tour that we set up several months ago. The difference is that this album has connected in such a way that they are filling out rooms which they might have done 75% on three or four years ago. You can always deal with those successes.

According to recent estimates, the global touring industry has grown larger than the global recording industry.

Acts are sustaining their careers from live income and looking at it (touring) closer than ever before. It’s good because they aren’t making stupid production decisions that cost loads of money all of the time.

Bands are more cost conscious on the road?

Yeah. There used to be more fat in the days when a band could submit a tour budget, and get that tour support (from a label); get that deficit paid for. And the tour manager would have 4 or 5 crew.It might have been two more crew members than they required, and they carried lights on a medium level tour.

That kind of waste happens less now.

The fat has been cut off. The bands would get to the end of it (the tour), and go, “We don’t just want our per diems. We played 1,000 capacity venues, we want our money. We want money that we are going to survive on for the next four or five months as we go on with our lives.” That’s healthy to me.

Over the years, many venues in London weren’t paying new bands. Acts would get the door. Has that practice gone by the wayside?

It has receded over the years. It’s hard putting on live music in clubs in London. We were part owners of a venue called XOYO which was run as a club. We sold our investment, but in that time we were involved, we learned quite quickly that you had to manage the club in a certain way. The balance was club nights, Fridays and Saturdays, and having various incentives to make that club work.

Really, the bar was paying for everything.

The uncomfortable fact is that when you are putting on live music some punters are coming along, seeing one act, staying for 40 minutes, and having one beer, if that. That is not a model to running a venue. I sympathize with anyone running a venue--small to medium size--and making it work. The key thing seems to be to have a bar that people want to go to. Two of my favorite small venues in London are the Lexington and Steel, and the Slaughtered Lamb. Both have incredible bars.

For bookings, bands, managers and agents used to have the attitude “Get as much money as you can.” Today, there seems to the realization that something has to be left on the table for the promoter or they will go out of business.

I would say that a lot of the credit (for that) goes to agents who sometimes get a bad rep in this business. But we are the ones that sit between the two parties, and we can’t do what we do without either (the promoter and the band). You have to look after the promoter. They are, basically, providing a service where they are getting 15% of 20% of the net profit, but they are also taking a100% loss when something doesn’t fit. That’s a risky area.

A booking agent often has to tell a client, “This is not a realistic fee for this promoter.”

Yeah, you do. Sometimes, you have to weigh up whether you go and play. The act will sometimes say, “We won’t go, and play that market.” The label will say, “You have to. You need to.” The agent will say, “If you don’t play Helsinki then you will never get to play that festival in Finland.”

You have to have those conversations.

Some times, you have to tell the artist what they might achieve if they go there, and play for that (fee). Other times, the artist may not want to do that trek for that level of fee. I think that fewer artists are being forced to play territories that they probably shouldn’t have gone to. If it’s not happening for you in Germany, don’t go. Go to Spain or to Scandinavia. Do more work in place where it is happening. That is one thing that I have seen change in my time. There’s far more opportunities in more territories for a band once they reach a certain level.

Years ago, agents and managers tended to use the same template for international touring. Bands followed that template. It didn’t always work out well.

It also seems to be a very boring way to run your job as well.

Agents and managers felt they should only deal with the regional promoters that they trusted and work in the markets they felt knowledgeable about.

Well, I’ve got promoters in Turkey, Portugal, wherever. All of the secondary markets. I know that they are incredible markets to go play. Bon Iver’s favorite territory is Portugal. Kings of Convenience are succeeding in Turkey now. They haven’t been there properly for five or six years. Suddenly, it’s happening there for them. We don’t know why, but it’s happening now. Beirut, one of the biggest shows is 7,000 tickets outdoors in Istanbul. How come? Nothing is as it was.

How did you become an agent?

I was an agent before I knew I was an agent. I was hanging around musicians and playing in bands in my teenage years. I was the bass player. Not the greatest bass player, but one that would organizes the gigs, the tours and so on. The first gigs that I attended were in London.

Where did you grow up?

I grew up in Kent. Quite close to London. I was an apprentice toolmaker. I left school at 15. Two years as an apprentice in mechanical engineering. I worked in a factory in Kent. This was 1982 when the whole of industry was decimated. All of the factories closed down.

A tough period for British youth.

To me, that was a happy time. I was given a redundancy check, and I had the opportunity to take that and go and live in a squat in London. That I did. At the age of 17, I moved up to London, and got involved very much in the punk and grunge scene. That was all “do it yourself.” You booked your own gigs, and arranged your own tours.

The early ‘80s was an exciting musical time in London.

Yes. It was incredible. This was three or four years after punk broke. People who are now into their 50s will now reference punk, but I will reference what came in the early ‘80s as the important years in my life. This was when we started to learn how to put on events, and do your own things. So, you had the fanzines, the magazines, the clubs, the bands, and the indie labels setting up. It was such an industrious period really. We didn’t realize that we were creating something incredibly special.

It was a very defined scene of squat venues and venues that (bands like) Crass, Flux of Pink Indians, the Subhumans, and the Mob would play. We had our own squatted venues and various venues like that.

How did you come to co-promote Nirvana’s first show in London?.

I was promoting regular gigs at venues like Sir George Robey, and School of Oriental and African Studies.

Nirvana played the School of Oriental and African Studies in 1989.

That’s it. One of the guys in the Student Union, Simon Aldis, had the exactly the same taste in music as I. He didn’t want to put on world music at his venue. He wanted to put on bands like Mudhoney, Naked Raygun, Godflesh and bands like this to play the venue. So we set up a couple of shows. We were lucky enough to book the TAD/Nirvana bill. That was one of those historic gigs. It was their first time in London.

[On November 23 1989, Nirvana and TAD (among the first bands to be signed to Sub Pop Records, and possibly the first pioneer of what was to be later called grunge) played London’s School of Oriental and African Studies (SOAS), the same venue where Mudhoney had created such a stir the previous spring. After months of reading about Nirvana in the music press, a London audience was finally going to see Nirvana, and anticipation was high.

UK publicist Anton Brookes recalled that, “You could tell they were a special band. I suppose because of their attitude, everything. They just had something special.”]

What do you recall of Nirvana’s performance?

It was incredible. As promoters, our job was also stage security. Three or four of us. Anton, who did their PR, was at the lip of the stage and we were the only thing between the band and this sea of hands. And that was it. That is what you did. In those days, if you had a certain gig, and you had regular security onstage, you’d get ripped to pieces. But, if you looked like one of the fans, and you were doing your bit, and helping people onstage, it worked.

A small venue?

I’d say it was 800 to 1,000 (people). There might have been one or two shows that we put more than that in there.

Was the Nirvana show sold out?

Absolutely. There were sold-out shows there for TAD and the Nirvana bill, for Mudhoney, which wasn’t our promotion, Naked Raygun and, I think, Godflesh as well. Finally, we had a Fugazi show there. Our poster team made the mistake of sticking posters up on the garden gates of the university’s principal. He couldn’t understand why we had postered his front garden, and he pulled the show on us. That was the end of our shows there.

Why did you become an agent rather than a promoter?

At that time I was only doing a select number of shows. My day job, if you call it that, was running a mail order company (All The Madmen) selling vinyl, cassettes and fanzines. I sold all of the fanzines that came out around that time, Enigma, Kill Your Pet Puppy, Flipside, Maximum Rock and Roll etc. I can’t remember the names of them all. I used to sell them by mail order to the UK and internationally.

After a few years, I think it was ’87—really, I wasn’t making enough of a living from that and I was still doing my bits of promotion--a friend of mine, Pete Holden said, “Why don’t you join us at the Allied Agency?” Which was then in Tottenham Court Road. Andy Grover ran that company. It was him, Pete Holden and Martin Goldschmidt, one of the co-founders of Cooking Vinyl. Cooking Vinyl was working out of the same office building as my mail order company. So I started this job at Allied in the back end of ’87. I started booking Desmond Dekker, Four Brothers, Real Sounds of Africa and a lot of Celtic and folk acts, Oysterband, and Davy Spillane. And, I learned how to be an agent.

Meanwhile, you were moving from booking punk and grunge into folk and world beat.

Also at the same time I was doing my Naked Raygun tours, and my Beatnig tours. That was Michael Franti, of course. I still kept my oar in that world. I picked up Babes in Toyland. So I was continuing to be part of that punk and grunge scene.

Of course, you were now working extensively outside London.

Absolutely. It was throughout the UK and Europe. I was now booking tours in Europe. Also Babes in Toyland into Japan. So I was getting a taste of being an international agent. Within six months, myself and Martin Goldschmidt left Allied and we set our own office F.A.B. Martin was managing Michelle Shocked, and I was assisting him. I was almost a go-between between those two. Not the most pleasant job. We had a couple of other bands--Oysterband, and Kitchens of Distinction--and we were doing some management stuff together while I ran the beginnings of my agency.

What management?

The management was Michelle Shocked, and Kitchens of Distinction.

Not a great time for Michelle Shocked recently

I read that. It’s been a career of….It’s unbelievable. It’s career suicide. Maybe, she shouldn’t be onstage. Maybe, she will get the help that she needs.

Career self-destruct is immediate today due to the internet.

It’s an instant car crash. It’s like totaling your car on a motorway rather than denting your car on a back street.

[American singer/songwriter Michelle Shocked has responded to reports that she went on a homophobic rant at a recent gig, insisting she has been misunderstood. "My support for the LGBT community … has never wavered," she said in an open letter, claiming she was simply trying to speak up for "Christians with opinions I in no way share. I do not, nor have I ever, said or believed that God hates homosexuals (or anyone else). I said that some of His followers believe that."]

What’s the reason behind Summer Sundae Weekender taking a year off?

There are a number of reasons. One, we need to look at the model of this festival and see if it’s still working. We had a hard year last year. The economy of this country is ailing; especially in middle England, where Leicester is. It has become harder to get those headline acts we need; and it’s become harder to sell the tickets to break even.

The risk of the festival transferred to myself, and my company Concert Clinic 2 1/2 years ago.

We now have to take stock. Twelve years ago when we set up there was no Latitude Festival, Bestival and there wasn’t even a Green Man festival. All of these incredible events have sprung up in the past 10 or 11 years.

There’s something like 700 folk festivals, and 7,000 outdoor shows in the UK annually.

I believe it. As one Guardian reviewer said two or three years ago about Summer Sundae, “Do you remember that when this festival started that the idea of a festival was akin to a medieval battleground?” That’s what Reading or other festival were like. What people demand out of festivals now is so much different. It has meant that all of these small to medium-sized festivals have sprung up. That was great. People will have money in their pocket. But that has changed over the past two years.

Was it Richard Haswell—then the manager of De Montfort Hall in Leicester-- who brought you in to develop Summer Sundae Weekender in 2001?

Yeah. He had been running an outdoor event called One World and booking world music. As friends, he said, “Ive got this production set up, why don’t we doing something on the Sunday?” I seized on the idea. I thought, “Great.” We came up with a name, Summer Sundae. I put together the program and we were off. It started as a one-day festival, sharing the production with the other event. Then within three years it had become full camping and four stage events. That’s with Richard.

People throughout the UK associate Summer Sundae with Leicester, and the festival receives an immense amount of support from the region. Still the festival has had its struggles including Richard’s departure in 2009.

Richard continued in his role of running De Monfort Hall (until 2009), and I co-directed (as festival director). We were managing a relationship where he was working for the Council (Leicester City Council), and a Council venue, and I come from a commercial world. It (the relationship) had a lot of strength but any issues that would happen within that building or politically in Leicester would reverberate with the festival.

2010 was a critical year for the festival with Richard leaving after much publicized financial problems, and accusations of irregularities at De Montfort Hall.

We got through that year with all of that background. It was one of our most successful years partly due to the booking of Mumford & Sons and strong headliners the other nights like Seasick Steve. However, we knew at the end of that that we would have to change the management of the festival. That’s where we took on the risk (for the festival).

[In 2011, Richard Haswell was appointed program manager of Liverpool Philharmonic Hall and Events.]

What’s your role at the Larmer Tree Festival?

I get to talk to other agents in the business and book headliners for the festival. If you are (Larmer Tree Festival’s founder and co-director) James Shepard and you put together your small festival every year, you don’t necessarily have relationships with agents. That’s what I do. I assist them to book headline acts for the festival. It’s a job that I have done for Summer Sundae for some time. I understand what the agents are saying to me, and they are fine dealing with me. I am an agent. We agree on a price. We get it in. Larmer Tree has been running for 22 years. I grew up going to that festival. It was one of my first festival experiences. Going to that event showed me that festivals didn’t have to be necessarily Glastonbury in size to have that kind of vibe. I just love what they are doing there. If I can assist them in any way, I will.

In a move to keep festival tickets in the UK affordable, the Fair Ticketing Charter was created.

That Ticket Charter came out of a meeting with the Association of Independent Festivals, myself and Ben Turner, and Rob Da Bank. We are in a lucky position. We promote our own events, and the product--or the entertainment--is ours. So we should be able to control that. From that position we can say, “We think that this is right for the business.”

Where it gets hard is when the artist or the agent or their representatives lose control of the ticketing for their events. That might be through pressure from the venues or financial enticement from other parties. I think that secondary ticketing is touting. But it is a symptom, I think, of the situation that we have gotten into with ticketing. We, the promoters and the artists, now no longer really control the ticketing of our events.

[The Fair Ticketing Charter originated with the Association of Independent Festivals, a non-profit UK trade association that represents Britain’s independent music festivals. AIF operates as an autonomous division of the Association of Independent Music (AIM) with its own board and structure.

The Fair Ticketing Charter was created in a move to keep festival tickets at affordable prices. It has been adopted by those across the UK live industry wishing to take a stand against profiteering across the secondary ticketing market. The Charter sets out a position against secondary ticketing, and demands secondary ticket sellers cease selling tickets for signatory’s events.]

Within a free market system, shouldn’t a ticket holder be allowed to sell a ticket?

Sure. But can we give you just 10% on that ticket to sell that or do you think that you have the right to profit? And, if you are profiting are you going to assist on paying the deficit on a tour when a band tours? Are you going to put back anything into the industry from your profiting?

No. Nothing.

Generally, I think that the booking charges--and this is in the primary ticketing market--are high too much in themselves.

Secondary ticketing companies often work with promoters.

Let’s differentiate between a tout buying a ticket and then re-selling it for whatever he can get; and a situation where the event itself or the promoter has an arrangement with a secondary ticket company to put a certain amount of tickets on the market.

That is happening more and more.

That is happening. Generally, the clients that I work with, the promoters I work with, the managers I work with, do not want to be part of this. They would rather find a solution to it. They’d prefer that there was legislation so they didn’t have to find a solution to it. It is amazing when you see companies and people making initiatives to solve this problem how legitimate companies and people with vested interest will do their most to stop it.

How can promoters and bands control ticket scalping?

I use the example of Mumford & Sons, who are now playing their own festival Gentlemen of the Road in Lewes, Sussex. The ticketing company running that is Music Glue, which is set up for bands to sell tickets to their fans. Great. If they were just selling tickets, and touts are waiting to buy them, and sell them for whatever they want then there would be profiteering there. Music Glue has an arrangement (to stop that). If you bought a ticket for that event, and you can’t go and you need to sell it, fine. They will refund your ticket. They will then cancel that ticket, and sell it to the other party that wants to buy the ticket.

At a slightly higher price?

Yeah. I don’t care if there’s 10% fee on there. It’s an arrangement where “Okay, you had to sell your ticket. Fine. We can make that happen.” Therefore, each ticket goes to that named individual. You have to produce ID to get into the event. Fine. Why can’t that happen across the business? Because of vested interests. But I think more bands and more events will move to models like that. And you partly solve it (scalping) by the way you pay for the tickets. The ticket can be sold. There you are. If a ticket is assigned to an individual then all you are doing is transferring who it is assigned to. That’s possible. That has to be possible in this day and age.

The British Government recently issued a proposal to raise the Live Music Act audience threshold from 200 to 500 in on-licensed premises. Good news?

I think it’s great. As part of Association of Independent Festivals, I represent AIF at UK Live (UK Live Music Group), and UK Live is part of UK Music. I sit on the UK Live board.

That is something that UK Music achieved. I think that is excellent. That’s something that Jo Dipple and Feargal Sharkey and UK Live have accomplished. UK Music has that representative body now. I think it’s great. Achievements like that are incredible. I wish that there were more victories like that.

[In January, 2013, the British government issued a proposal to raise the Live Music Act audience threshold from 200 to 500 in on-licensed premises.

The proposal came in a response from the Department for Culture, Media and Sport to its consultation on entertainment deregulation.

Among the conclusions is the decision to treat recorded music in the same way as live music in on-licensed premises between 08:00 to 23:00 PM with an audience limit of 500 people. Live and recorded music held on such premises would be exempt from licensing requirements for audiences up to 500 people. Regulation will remain in place for all activities that exceed the audience limits.]

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.”

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
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
Paul Bassman, Ascend Insurance Brokerage 08/03/16
Adam Bauer, Fleming, Tamulevich & Associates 02/15/02
Ed Bazel, That's Entertainment International 10/05/01
Joachim Becker, ZOHO Music L.L.C. 01/12/07
Howard Becker, Comet Technologies 05/02/11
Mark Bego, Author 06/15/07
Jim Beloff, Flea Market Music 09/20/10
Richard Bengloff, The American Association of Independent Music (A2IM) 09/12/13
Seth Berg, South Bay Music 01/30/09
Aimee Berger, 2 Generations SPA Music Management 09/24/04
David Berger, Future Beat 10/29/14
Barry Bergman, Music Managers Forum 03/14/03
Steve Bernstein, Relix LLC 09/30/05
Mark Berry, Attack Media Group 04/07/07
Scott Billington, Rounder Records 01/17/12
Jeffrey Bischoff, Cinder Block 03/24/06
Sat Bisla, A&R Worldwide/ Musexpo 03/29/10
Nina Blackwood, Sirius Satellite Radio 07/14/06
Adam Block, Legacy Recordings 11/07/13
P.J. Bloom, Neophonic, Inc. 01/24/11
Rishon Blumberg, Brick Wall Management 06/27/03
Justin Bolognino, Learned Evolution, and The Meta Agency 04/25/13
Steve "Chopper" Borges, Total Pro and Borse Techos 03/03/06
Les Borsai, Mediocre Management 01/30/04
Shane Bourbonnais, Live Nation Canada 03/21/08
Jeff Bowen, Sears Centre Arena 03/13/08
Rick Bowen, Mystic Music Experience 07/11/08
John Boyle, Sanctuary Music Group 03/19/04
Jeff & Todd Brabec, Writers/Attorneys 01/03/12
Bill Bragin, Joe's Pub at the Public Theater 08/08/03
Joel Brandes, Avenue Management Group 11/02/08
Joe Brandmeier, Moving Pictures 03/15/02
Scooter Braun, SB Projects 12/13/10
Ron Brice, 3rd & Lindsley Bar & Grill 06/08/16
Billy Brill, Billy Alan Productions 11/11/05
Doug Brown, Talent Buyers Network 09/21/01
James Browne, Sweet Rhythm 11/01/02
Bob Brumley, Brumley Music Company 02/17/16
Tony Brummel, Victory Records 05/17/09
Charlie Brusco, TBA Entertainment Corporation 10/13/01
Del Bryant, BMI 05/18/07
Cortez Bryant, Bryant Management 12/06/10
Bruce Burch, University of Georgia Music Business Program 10/09/09
Deborah Burda, Kentucky Exposition Center 08/03/07
Patti Burgart, IEBA 06/07/02
Jordan Burger, The New Musiquarium 01/22/01
Ron Burman, Roadrunner Records 08/25/06
Suzanne Cadgene, Elmore 05/19/06
Karen Cadle, KGC Productions 03/12/04
Gary Calamar, KCRW 07/10/09
Charles Caldas, Merlin 07/05/10
Brian Camelio, ArtistShare 02/29/08
David Campbell, AEG Europe 08/02/10
Tom Cantone, Foxwoods Entertainment Group 10/20/00
Tom Cantone, Foxwoods Resort Casino 07/03/03
Tom Cantone, Mohegan Sun 08/30/09
Ashley Capps, A. C. Entertainment 05/21/04
Rio Caraeff, Vevo 07/12/11
Mike Carden, Eagle Rock Entertainment 08/16/11
Charles Carlini, Carlini Group 05/16/08
Mark Carpentieri, M.C. Records 05/27/05
Mark Carpentieri, M.C. Records 01/10/11
Troy Carter, Coalition Media Group 06/07/10
Daniel Catullo, Coming Home Studios 06/22/08
Raffi Cavoukian, Folk Singer/Children's Entertainer 05/11/16
Jeffrey Chabon, Chabon Entertainment Group 08/22/02
Mike Chadwick, Essential Music & Marketing 08/01/12
Rob Challice, Coda Music Agency 03/27/13
Tom Chauncey, Partisan Arts 01/11/02
Tom Chauncey, Partisan Arts 10/04/11
Lisa Cherniak, Artists Against Racism (AAR) 07/20/01
Bob Chiappardi, Concrete Marketing 06/13/03
Joel Chriss, Chriss & Co. 10/04/02
Michael Chugg, Michael Chugg Entertainment 09/14/01
Michael Chugg, Chugg Enterprises 10/02/09
Gary Churgin, Harry Fox Agency 09/13/10
Vinny Cinquemani, S.L. Feldman & Associates 12/13/12
Barry Coburn, Ten Ten Music Group 03/28/11
Matthew Cohen, Green Room Productions 10/19/01
Ted Cohen, TAG Strategic 01/10/13
Lisa Cohen, Associated Booking Corporation 02/10/06
Steve Cohen, Music + Art Management, Inc. 03/09/07
Dan Cohen, Music & Memory 01/12/17
Michael Cohl - Part 1, S2BN Entertainment 03/06/13
Michael Cohl - Part 2, S2BN Entertainment 03/13/13
Bryan Coleman, Union Entertainment Group 02/14/12
Mamie Coleman, Fox Broadcasting 07/05/12
Dennis Condon, Disneyland Resorts 07/13/01
Peter Conlon, Peter Conlon Presents 05/20/05
Tony Conway, Buddy Lee Attractions 10/06/00
Allen Cook, TOURtech 04/16/15
Tomas Cookman, Cookman International 09/05/03
Alex Cooley, Alex Cooley Presents 07/12/10
David Cooper, Foxman.com 10/31/03
Jay Cooper, Greenberg Traurig, LLP 05/23/11
Julie Coulter, Near North Insurance Groups 06/07/01
Amy Cox, Deep South Entertainment 02/09/07
Michael O. Crain, Crain Law Group, LLC 10/09/13
Charlie Cran, The Strawberry Music Festival 04/05/10
Jim Cressman, Invictus Entertainment Group 06/06/12
Russ Crupnick, MusicWatch, Inc. 07/23/15
Todd Culberhouse, Vision Management /Vision Records and Entertainment 09/05/08
Tony D'Amelio, Washington Speakers Bureau 04/21/06
Ray Danniels, Standing Room Only Management, and the Anthem Entertainment Group 03/05/15
Ken Dashow, WAXQ-FM (l04.3 FM) - New York 09/08/06
Hal David, Lyricist 07/26/11
David Davidian, Independant Lighting Designer/Director 06/18/04
Anthony Davis, D&L Entertainment Services, Inc. 03/02/01
Chip Davis, American Gramaphone/Mannheim Steamroller 05/31/02
Mitch Davis, Tempest Entertainment 07/16/04
Jeff Dawson, Canadian Recording Services 06/08/08
Desiree Day, USO Celebrity Entertainment 08/10/01
Shauna de Cartier, Six Shooter Records/Six Shooter Management 10/23/13
Gene DeAnna, The Library of Congress 02/21/12
Vincent Degiorgio, Chapter 2 Productions 08/01/13
Tony DeLauro, DeLauro Management 12/23/04
Valerie Denn, Val Denn Agency 04/30/01
Val Denn, Val Denn Agency 03/06/14
Robert DePugh, Alligator Records 07/29/05
Tom Derr, Rock Ridge Music 10/29/04
Paul Dexter, Masterworks Lighting Design and Road Cases 12/10/04
Marty Diamond, Paradigm 01/22/10
Glenn Dicker, Redeye Distribution/Yep Roc Records 07/07/06
Barry Dickins, International Talent Booking Agency 06/06/13
Jim Digby, Event Safety Alliance 09/01/16
Mark Dinerstein, The Knitting Factory 11/17/06
Neill Dixon, Canadian Music Week 03/03/16
Thomas Dolby, Musician, academic, technologist, and author 11/09/16
Jasper Donat, Music Matters 2009/Branded 04/24/09
Jim Donio, National Association of Recording Merchandisers 04/22/11
Marc Dottore, M. Dottore Management 04/11/03
Tim Drake, The Roots Agency 12/12/08
Mike Dreese, Newbury Comics 11/23/11
Charles Driebe, Blind Ambition Management Ltd. 09/22/06
Jeremy Driesen, Ray Bloch Productions 09/07/01
Michael Drumm, Music Link Productions 07/18/08
Angie Dunn, Lucky Artist Booking 10/13/06
Jay Durgan, MEDIAmobz 11/09/11
Erik Dyce, City and County of Denver's Division of Theatres & Arenas 08/02/02
Erik Dyce, City and County of Denver’s Division of Theatres and Arenas 08/23/10
Paolo d’Alessandro, International Solutions 06/25/14
Ros Earls, 140dB Management 02/19/14
Art Edelstein, Festival Productions 12/01/02
Bruce Eisenberg, Audio Analysts 08/31/01
Martin Elbourne, The Glastonbury Festival 12/18/09
Michael Elder, Red Entertainment 03/17/06
Tod Elmore, Sixthman 11/24/06
Paul Emery, Clear Channel Entertainment 11/19/04
Arty Erk, Citrin Cooperman 04/27/16
Joe Escalante, Kung Fu Records 07/08/05
Colin Escott, Music Historian/Journalist 07/18/11
Ritch Esra, The Music Business Registry 09/27/02
Ritch Esra, The Music Business Registry 04/24/12
Mike Esterman, Esterman Entertainment 09/01/06
Jeff Eyrich, BePop Records 11/25/05
Bob Ezrin, Bigger Picture Group 05/24/09
Lisa Fancher, Frontier Records 08/09/10
Rick Farman, Superfly Productions 10/15/04
Ray Farrell, eMusic 06/09/06
Sam Feldman, S.L. Feldman & Associates 10/25/02
Bob Feldman, Red House Records 11/24/02
Charlie Feldman, BMI 08/26/05
Paul Fenn, Asgard Promotions 11/22/09
Debra "Fergy" Ferguson, TourDesign 08/01/03
Pete Fisher, Grand Ole Opry 09/11/09
David Fishof, David Fishof Presents 01/08/01
David Fishof, Rock 'N Roll Fantasy 10/05/08
David Fishof, Rock ’n’ Roll Fantasy Camp 02/28/12
Mike Flanagin, New England Country Music Festival 09/12/08
Joel Flatow, RIAA 12/13/11
Jim Fleming, Fleming Artists 03/20/10
Joe Fletcher, Joe Fletcher Presents 01/12/06
Jeff Fluhr, StubHub 10/06/06
Nancy Fly, The Nancy Fly Agency 04/02/04
Arthur Fogel, Live Nation 08/09/09
Martin Folkman, Independent Music Awards & Music Resource Group 08/11/06
Belle Forino, Fantasma Tours 03/18/05
Fletcher Foster, Universal Records South 07/31/09
Sam Foxman, Contemporary Productions 01/06/06
Todd Frank, 4Star Entertainment, LLC 01/24/03
Bob Frank, Koch Entertainment 01/09/09
Larry Frank, Frank Productions 01/17/11
Mike Fraser, Record Producer/Engineer 10/11/08
Carl Freed, Metropolitan Entertainment 06/22/01
Elizabeth Freund, Beautiful Day Media & Management 01/26/07
Harlan Frey, Roadrunner Records 07/11/03
Adam Friedman, Nederlander Concerts 06/22/07
Ted Gardner, Larrikin Management 04/25/03
Daniel Gélinas, Festival d’été de Québec 05/23/13
Marci Geller, Sonic Underground 08/15/08
Chris Gero, Yamaha Entertainment Group 10/26/16
Steve Gerstman, SGS 07/19/02
Sandra Gibson, The Association of Performing Arts Presenters 01/09/04
Sandra L. Gibson, Association of Performing Arts Presenters 01/16/09
Steve Gietka, Trump Properties 07/30/01
Steve Gietka, SMG Entertainment 03/19/14
Darren Gilmore, Watchdog Management 03/17/16
Daniel Glass, Glassnote Entertainment Group 10/16/14
Jake Gold, The Management Trust 04/13/01
Neil Goldberg, Cirque Productions 09/07/07
Harris Goldberg, Concert Ideas 06/27/11
Neil Goldberg, Cirque Productions 04/16/14
Martin Goldschmidt, Cooking Vinyl Group 09/29/16
Harvey Goldsmith, Harvey Goldsmith Productions 06/28/10
Michael Goldstein, RockPoP Gallery 11/09/07
Seth Goldstein, Turntable.fm 09/20/11
Anna Paula Goncalves, CEO Global Brand Appeal 08/20/14
Arnie Goodman, Blue Storm Music 11/15/02
Wesley Goodman, Red Entertainment 09/16/05
Richard Goodstone, Superfly Productions 01/27/06
Christie Goodwin, Photographer 03/18/15
Rob Gordon, What Are Records? LTD 02/01/02
Steve Gordon, Entertainment Attorney 08/06/04
Yoav Goren, Immediate Music & Imperativa Records 06/10/14
Mike Gormley, L.A. Personal Development 11/10/06
Jonathan Gosselin, Gosselin Marketing & Promotions 07/02/04
Richard Gottehrer, The Orchard 04/10/09
Sean Goulding, The Agency Group London 09/12/12
Jerimaya Grabher, RPM Direct 09/26/03
Mary Granata, The Granata Agency 09/06/10
Kelly Graves, Providence Performing Arts Center/Professional Facilities Management 01/20/02
Stan Green, Stanley A. Green Lighting and Productions 12/12/03
Mark Green, Celebrity Talent Agency Inc. / Bergen Performing Arts Center 08/12/05
Jeffrey Green, Americana Music Association 03/10/06
Paul Green, The School of Rock 07/06/08
Benjy Grinberg, Rostrum Records 12/06/11
Brent Grulke, SXSW 03/06/09
Michael Gudinski, The Mushroom Group 10/29/15
Phil Guiliano, CIE USA Entertainment Inc. & OCESA PRESENTS Inc. 03/25/05
Steve Gumble, SBG Productions 06/16/06
Greg Hagglund, Vivelo! 05/07/04
Rodney Hall, FAME Music Group 11/06/09
Rob Hallett, Robomagic 02/05/15
Craig Hankenson, Producers, Inc 02/23/06
Kerry Hansen, Wynonna Incorporated 10/03/03
Eric Hanson, Ted Kurland Associates 12/20/02
Eric Hanson, Tree Lawn Artists 03/23/07
Rusty Harmon, MTM Music Management 12/06/07
Ali Harnell, Clear Channel Entertainment Nashville 08/15/03
Bob Harris, 02/06/09
Evan Harrison, Huka Entertainment 12/08/16
David Hart, The Agency Group 02/20/04
Laura Hassler, Musicians without Borders 12/02/15
Abe Hathot, Musician, composer, and music producer. 12/21/16
Steve Hecht, Piedmont Talent 08/29/12
Travis Hellyer, Mezzanine 09/02/05
Janie Hendrix, Experience Hendrix 02/01/10
Nona Hendryx, Rhythmbank Entertainment 06/02/06
Dan Herrington, Dualtone Records 07/25/03
Sara Hickman, Sleeveless/Stingray 06/30/06
Dan Hirsch, On Board Entertainment 04/04/03
Nick Hobbs, Charmenko 12/14/01
Carel Hoffman, Hilltop Live/Oppikoppi Productions 11/07/12
Ian Hogarth, Songkick 08/09/11
Gene Hollister, Rose Presents 04/08/01
Rusty Hooker, Rock Steady Management Agency 02/16/01
Jake Hooker, Hook Entertainment 05/10/02
Martin Hopewell, Primary Talent International 04/19/02
Tom Hoppa, TKO Booking Agency 09/29/06
Bobbie Horowitz, Times Square Group 01/04/02
Barney Hoskyns, Rock's Backpages 11/01/11
Bruce Houghton, Skyline Music 10/27/00
Bruce Houghton, Skyline Music 01/22/14
Andi Howard, Peak Records and Andi Howard Entertainment 09/02/03
Barbara Hubbard, ACTS 09/12/03
Laurent Hubert, BMG US 11/12/15
Seth Hurwitz, I.M.P. 04/20/09
Ariel Hyatt, Author, and founder of Cyber PR 11/23/16
Mark Hyman, Ashley Talent International 11/09/01
Brett Hyman, Category 5 Entertainment 07/23/04
Bruce Iglauer, Alligator Records 08/17/01
Bruce Iglauer, Alligator Records 05/28/14
Doug Isaac, Super Bowl Concert Series Producer (EXI) 08/24/01
David Israelite, National Music Publishers' Association 11/29/08
Tom Jackson, Tom Jackson Productions 02/06/13
Jay Jacobs, Parc Landon 09/21/07
Larry Jacobson, World Audience 09/17/04
Audra Jaeger, The Management Trust 05/09/03
Ralph James, The Agency Group 01/31/11
Jeffrey Jampol, Jampol Artist Management 07/18/12
Jean Michel Jarre, International Confederation of Societies of Authors and Composers (CISAC) 06/19/13
Michael Jaworek, The Birchmere 05/08/09
Peter Jesperson, New West Records 11/03/06
John Jeter, The Handlebar 08/15/12
Mike Johnson, Groundrush Media 02/17/06
Mike Gormley & Jolene Pellant, Yes, Dear Entertainment 04/23/10
Susan Joseph, Justice Entertainment Group 02/21/11
Darren Julien, Julien's Auctions 10/25/10
Henry Juszkiewicz, Gibson Guitars 09/28/10
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
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
Josh Norek, JN Media, LLC 07/05/02
David Norman, Tour Manager 04/20/07
Mimi Northcott, Canadian Recording Services (CRS) 04/11/08
Bill Nowlin, Rounder Records 01/05/07
John Nugent, NY JAM Inc. 11/08/02
Andy Nulman, Just For Laughs 11/20/13
Sal Nunziato, NYCD 06/01/01
Bob O'Neal, Ryman Auditorium 06/28/02
Andrea Orbeck, Prehab Health and Fitness 03/15/10
Heather Orser, Toad's Place 01/29/01
Janet Oseroff, MultiMediaProperties 11/18/05
Marc Ostrow, Boosey & Hawkes 12/05/08
Riley O’Connor, Live Nation Canada 07/24/09
Jeremy Palmer, Buddy Lee Attractions 11/02/01
John Palmer, Megawave Records 08/31/07
Panos Panay, Sonicbids 12/23/05
Julien Paquin, Paquin Artists Agency 04/30/14
Graham Parker, WQXR-FM 11/26/14
Crispin Parry, British Underground 02/24/08
Donald Passman, Gang, Tyre, Ramer & Brown 04/09/10
Donald S. Passman, Gang, Tyre, Ramer & Brown 01/06/16
Bruce Patron, Overland Entertainment 07/28/06
Alexandra Patsavas, Chop Shop Music 09/27/11
Cheryl Pawelski, Omnivore Entertainment Group 09/26/13
Kerry Peace, Alligator Records 08/18/06
Eric Peltoniemi, Red House Records 12/14/09
Scott Perry, Sperry Media 03/11/05
Lawrence Peryer, Jr., 23 Omnimedia 11/07/08
John Peters, MassConcerts 06/07/11
Holger Petersen, Stony Plain Records 04/15/05
Jon Phillips, Silverback Professional Artist Mgmt/Controlled Substance Sound 08/29/08
Dave Pichilingi, Sound City 03/30/16
Vince Pileggi, Music Inc./Music Inc. Sounds 12/01/06
Eric Pirritt, Endit! Presents / The Fox Theatre 10/17/03
Neil Portnow, The Recording Academy 02/08/11
Louis Posen, Hopeless Records 04/04/11
Stephen Posen, Estate of Glenn Gould 01/23/13
Nadia Prescher, Madison House 06/20/03
Jeff Price, TuneCore 02/28/11
Tom Principato, Powerhouse Records 02/01/08
Roger Probert, Core Records 12/08/06
John "Grinder" Procaccini, JP Squared (JP2) 01/17/03
Mark Pucci, Independent Music Publicist 09/09/05
David Pullman, The Pullman Group 11/03/00
Rod Quinton, Saigon Sound System 04/18/11
Dolphus Ramseur, Ramseur Records 10/19/07
Jack Randall, Ted Kurland Associates 04/05/02
Jack Randall, The Kurland Agency 03/08/17
Debra Rathwell, AEG Live 05/03/13
Jeff Ravitz, Visual Terrain 02/08/08
Rich Rees, M.P.I. Talent Agency 09/19/08
John Reese, Freeze Artist Management 08/01/08
Bill Reeves, WRIII, Inc. 10/20/06
Stephen Rehage, Rehage Entertainment 07/30/04
Lisa Reiss, Pearl Productions 08/17/07
Salaam Remi, Composer, producer, musician and label executive. 01/08/14
David Renzer, Universal Music Publishing Group 08/23/09
Alison Richard, Universal Orlando Resort 05/06/05
Kelli Richards, The All Access Group 02/07/12
Gary Richards, HARD Events 08/29/13
Sam Righi, Waterfront Entertainment Group 05/30/03
Jon Rinaldo, Joker Productions 01/02/04
Geary Rindels, Geary Rindels Enterprises, Inc. 12/05/03
Doreen Ringer Ross, BMI 01/18/08
Lisette Rioux, Island Def Jam Music Group 05/16/03
Dave Roberge, Everfine Records & Everfine Artist Management 12/03/04
Sandy Roberton, Worlds End Producer Management 02/20/09
Ty Roberts, Gracenote 01/31/12
Bill Rogers, BRE Presents 07/13/07
Ian Rogers, Topspin Media 06/01/10
Benji Rogers, PledgeMusic 12/19/13
Dave Rose, Deep South Entertainment 09/15/06
Eric Rosen, Ronald S. Bienstock & Associates 05/25/01
Stuart Ross, The Ross Group 02/23/01
David Ross, President IAAM; Director, Show Me Center 09/23/05
Bobby Rossi, Ruth Eckerd Hall 02/28/03
Michael Rothschild, Landslide Records 04/29/05
Robert Rowland, Red Entertainment 06/13/08
Bill Royston, Mt. Hood Jazz Festival 03/07/03
John Rudolph, Bug Music 05/24/10
Elizabeth Rush, E.R.A. / Elizabeth Rush Agency 08/20/04
Aran Rush, Expo and Foro Imperial 02/16/07
Maurice Russell, Harry Fox Agency 10/21/05
Barron Ruth, Skyline Music 02/14/03
Andrea Sabata, Skyline Music 01/07/05
Numa Saisselin, Count Basie Theatre, Inc. 02/04/05
Ron Sakamoto, Gold & Gold Productions 01/16/10
David Salidor, dis Company 07/20/07
Shaw Saltzberg, S. L. Feldman and Associates 06/21/10
Bruce Allen & Sam Feldman, A&F Music 12/19/08
Mark Samuels, Basin Street Records 06/11/04
Jacqueline Saturn, Harvest Records 01/21/15
Tamara Saviano, American Roots Publishing 07/22/05
Tamara Saviano, Author, journalist, and producer 08/18/16
Michael Scafuto, Mountain High Entertainment 12/07/01
Steve Schankman, Contemporary Productions 12/21/01
Steve Scharf, Carlin America 10/11/02
John Scher, Metropolitan Talent 11/21/08
Al Schmitt, Producer/Engineer 02/13/10
Bobby Schneider, Tour Coordinator, Third Eye Blind 01/31/03
Jake Schneider, Madison House 04/02/14
Steven Schnur, EA Music Group 07/03/13
Elaine Schock, Shock Ink 02/19/10
Stacy Schott, Mad Booking and Events 08/22/03
Daylle Schwartz, Revenge Productions 08/19/05
Dean Sciarra, ItsAboutMusic.com 11/26/04
Joel Selvin, Author and Journalist 08/07/14
Jay Sendyk, Sendyk, Leonard & Company, Inc. 05/03/02
Peter Shapiro, Ideal Entertainment 04/16/04
Seth Sheck, Access Pass & Design 01/03/03
Seth Sheck, ACCESS Event Solutions 06/22/16
Seth Shomes, The Agency Group 11/12/14
Jay Sieleman, The Blues Foundation 07/18/03
Anya Siglin, The Ark 03/05/10
Bill Silva, Bill Silva Entertainment 10/19/10
Tom Silverman, Tommy Boy Entertainment 03/06/12
Steve Simon, Clear Channel Communications 05/14/04
Ralph Simon, Live Earth 07/06/07
Ralph Simon, Mobilium 04/12/11
Michael Simon, The Harry Fox Agency 08/14/13
Ron Simpson, RCS Productions 01/11/08
John Simson, SoundExchange 07/15/05
Dion Singer, Warner Bros. 12/07/09
Gram Slaton, The Community Arts Center 02/25/05
Owen Sloane, Gladstone Michel Weisberg Willner & Sloane 10/11/10
Peter Smidt, Eurosonic Noorderslag & manager Buma Cultuur 07/17/13
Garrison Snell, Gyrosity Projects 02/23/17
Mike Snider, Paradigm Talent Agency Nashville 05/17/11
Andrew Snowhite, Musictoday 05/04/01
Bruce Solar, The Agency Group 05/14/14
Nikki Solgot, Circle Talent Agency 02/18/15
Michael Solomon, Brick Wall Management 05/25/07
Mark Sonder, Mark Sonder Productions 07/25/08
Steve Sonnier, UIC Pavilion at the University of Illinois, Chicago 09/03/04
Kathy Spanberger, peermusic 06/20/12
Carolyn Specht, CIE USA Entertainment Inc. and OCESA PRESENTS Inc. 03/26/04
David Spelman, New York Guitar Festival 10/01/04
Jason Spiewak, Rock Ridge Music 04/07/06
Dan Steinberg, Square Peg Concerts 11/29/12
Dan Steinberg, Square Peg Concerts 02/18/05
Jeremy Stephan, Ventures, LLC 04/23/04
Walter Stewart, Mars Talent Agency 02/21/03
Gail Stocker, Gail Stocker Presents 11/12/04
Jon Stoll, Fantasma Productions 10/13/00
Jesse Stoll, AEG 06/27/09
Henry Stone, Henry Stone Music 06/24/05
Jason Stone, Live Nation New York 03/31/06
Howard Stovall, Resource Entertainment Group 05/28/04
Cameron Strang, New West Records 10/18/02
Don Strasburg, AEG Live Rocky Mountains 02/27/09
Barbara Strauss, Sovereign Ventures 05/12/06
Richard Stumpf, Cherry Lane Publishing 08/07/06
Patrick Sullivan, RightsFlow 10/25/11
Bernie Swain & Harry Rhodes, Jr., Washington Speakers Bureau 12/07/00
Dean Swett, Paramour Group 06/14/02
Jake Szufnarowski, Rocks Off 05/02/08
Marc Tanner, Chime Entertainment 12/22/06
Donald Tarlton, The Donald K Donald Group 04/12/02
Tess Taylor, Los Angeles Music Network 08/09/02
Race Taylor, WPLJ - New York 10/27/06
Race Taylor, WPLJ - New York 10/27/06
Chris Taylor, Taylor 03/15/09
Peter Tempkins, DeWitt Stern Group 03/16/01
Peter Tempkins, Momentous Insurance Brokerage 03/27/09
Lisa Tenner, Tenner & Associates (EAT'M) 08/06/01
Jeremy Tepper, Diesel Only Records 10/10/03
Allan Tepper, Bicycle Music Company 09/28/07
Martin Terefe, Kensaltown Studios 05/31/11
Milun Tesovic, MetroLeap Media 10/18/09
Mandar Thakur, Times Music 08/06/15
Jerry Thompson, Promoter Line Inc. 03/05/04
Jose Tillan, MTV Networks Latin America 12/02/05
Jon Tiven, Hormone Studios 08/05/05
Rob Tonkin, Marketing Factory 12/17/15
John "J.T." Toomey, 25/8 Management 11/15/11
Livia Tortella, Warner Bros. Records 01/10/12
Phil Tripp, IMMEDIA! 01/19/06
Claudio Trotta, Barley Arts Promotion 11/26/01
Chris Tsakalakis, StubHub 01/11/10
Ben Turner, Graphite Media 05/10/10
Steve Vai, Favored Nations Entertainment 04/26/02
John Valentino, Fantasma Productions 04/18/03
John Valentino, AEG Live SE 11/01/10
Don Van Cleave, Coalition of Independent Music Stores 04/09/04
Casey Verbeck, Partners in Music 06/06/03
David "Boche" Viecelli, The Billions Corporation 04/18/10
Ray Waddell, Billboard Magazine 08/27/04
Rob Waggener, Foundations Recovery Network 03/07/11
Jim Walczak, Racine Civic Centre 06/03/05
Jeff Walker, The AristoMedia Group 08/16/10
Carla Wallace, Big Yellow Dog Music 11/04/05
Russell Wallach, Live Nation Network 03/20/12
Steve Walter, The Cutting Room 10/24/08
Neil Warnock, The Agency Group 05/02/09
Diane Warren, Realsongs 08/14/09
Butch Waugh, RCA Label Group Nashville 01/10/03
Lauren Wayne, The State Theatre 05/09/12
Kirt Webster, Webster PR 02/03/16
Ken Weinstein, Big Hassle Media 04/22/05
Bruce Weinstein, Bethel Woods Center for the Arts 02/15/08
Larry Weintraub, Fanscape 05/18/01
Pam Weiser, Momentous Insurance Brokerage 10/11/11
Kevin Welk, Welk Music Group 01/24/12
D-J Wendt, Dmand Management 05/09/08
Alison Wenham, Worldwide Independent Network 02/13/09
Bill Werde, Billboard 08/03/11
Joel Whitburn, Record Research 11/13/09
Judd White, Tour Manager/Accountant 02/13/04
Jeff White, In Ticketing 12/16/06
Adam White, Author 09/14/16
Adam Wilkes, AEG Live Asia 10/13/16
Fenton Williams, 04/04/08
Del Williams, Right Arm Entertainment 04/18/08
Bryan "Birdman" Williams, Cash Money Records 09/13/11
Paul Williams, ASCAP 10/19/11
J.P. Williams, Parallel Entertainment 10/03/12
Kurt Willms, Green Room Productions 09/20/03
Chris Wilson, Heartbeat Records 03/02/07
Tony Wilson, Factory Records/In The City 06/01/07
Tom Windish, The Windish Agency 07/26/10
John Wiseman, XL Touring Video 05/05/06
Thom Wolke, Twincloud.com 02/08/02
Michael Wood, City Lights Entertainment 08/08/08
Keith Wortman, Blackbird Presents 03/22/17
Nigel Wright, Independant Record Producer 11/07/03
Dusty Wright, CultureCatch.com 07/27/07
Jeremiah “Ice” Younossi, A-List Talent 09/20/09
Gail Zappa, The Zappa Family Trust 10/02/14
Kevin 'Chief' Zaruk, Chief Music Management 06/10/15
Ron Zeelens, RAZco Visas 04/20/01
Rick Zeiler, Sidney Frank Importing Company 06/04/04
Danny Zelisko, Live Nation 06/19/09
Hillary Zuckerberg, Brick Wall Management. 07/09/04
Steve Zuckerman, Global Entertainment and Media Summit 03/22/02
Paul Zullo, Muze 01/23/04
Nanette Zumwalt, Hired Power 02/03/06

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