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The New Bosses 2019: Charly Beedell-Tuck, Solo

Continuing a series of interviews with IQ's 2019 New Bosses, Charly Beedell-Tuck represents acts including Rothwell, Wild Front and Chinchilla at Solo Agency

By IQ on 18 Sep 2019

New Bosses 2019: Charly Beedell-Tuck

Charly Beedell-Tuck


The New Bosses 2019 – the biggest-ever edition of IQ‘s yearly roundup of future live industry leaders, as voted for by their peers – was published in IQ 85 last week, revealing the twelve promising agents, promoters, bookers and execs that make up this year’s list.

To get to know this year’s cream of the crop a little better, IQ conducted interviews with each one of 2019’s New Bosses, to discover their greatest inspirations and proudest achievements, pinpoint the reasons for their success and obtain advice for those hoping to be a future New Boss. Snippets of the interviews can be found in the latest IQ Magazine, with all interviews being reproduced in full online and on IQ Index over the coming weeks.

The second New Boss is 29-year-old Charly Beedell-Tuck, an agent at UK-based Solo. Londoner Beedell-Tuck graduated from Cardiff University in 2012 and went on to intern at various management companies before joining WME in 2013. Starting as a receptionist, she became Russell Warby’s assistant, working with acts including Foo Fighters, the Strokes and Johnny Marr.

In January 2017, Beedell-Tuck left WME for Solo, where her roster includes Rothwell, Wild Front, Chinchilla and Paradisia. She also books acts such as Boyzone, James and Imelda May with Solo managing director John Giddings. (Read the previous interview with Ticketmaster’s Bonita McKinney, here.)

 


What are you busy with right now?
Just wrapping up the last of my 2019 bookings: seeing through the last shows with James, who are coming to the end of their current cycle, finalising Wild Front’s headline tour and concluding the Boyzone farewell tour.

I’m working on a new project for 2020 called Generation Sex, which I am really excited to be a part of. It’s a supergroup that includes Billy Idol and Tony James of Generation X and Steve Jones and Paul Cook of the Sex Pistols, performing material from both bands. I’m also beginning to plot the touring strategy for Imelda May’s new album, working towards seeing one of pop artists, Rothwell, on her first European tour.

I will also continue to develop my roster of emerging artists, including Cruel Hearts Club (who will be touring with the Libertines), brilliant new signing Chinchilla and, following a successful summer of festivals, planning the next London headline show for afrobeat collective The Compozer.

Did you always want to work in the music business?
Yes, that is something I have always known. Growing up in London, there was a huge culture surrounding the live music scene, when I was at school I used to spend all my money on gig tickets. I probably went to at least three shows week (it drove my mum mad), so it feels surreal that my hobby has turned into a career.

Venues like the Astoria, Mean Fiddler, Metros and the Borderline were instrumental in our youth. Last week saw one of my artists, Get Cape. Wear Cape. Fly, play one of the last-ever gigs at the Borderline, before closing for good, which was incredible to be a part of but also bittersweet, as it was the last of the venues that we grew up in, that made such an impact on our lives.

“Being a part of the process and seeing your artists reach new milestones is what makes it all worthwhile”

What are some of the highlights of your career so far?
Watching any of the artists I have worked with reach new milestones in their careers, whether it’s Foo Fighters finally headlining Glastonbury after being forced to cancel the first time round, to Wild Front opening the main stage at the Isle of Wight Festival, being a part of the process and seeing your artists reach new milestones is what makes it all worthwhile.

What’s the biggest lesson you’ve learnt while at Solo?
Make sure you don’t email John Giddings anything that you don’t want to be forwarded on!

What, if anything, would you change about how the live industry is run today?
I think we are moving in the right direction, but certainly ensuring the structures within companies are shifting to allow for more women in higher positions. I think there is still a running narrative within the industry that tells young women, that at a certain point it becomes impossible to have a family and maintain a successful career. From my days starting out on reception at WME, to being an agent at Solo, I have always balanced my career with being a parent, something that I feel women should know is an option, and be confident about being able to achieve.

What do you do for fun?
Eat burritos and listen to the Vengaboys, something that has become a Friday tradition at the Solo offices!

Do you have an industry mentor?
I have been very fortunate to have two great mentors in my career thus far: Russell Warby and John Giddings. Russell Warby was the first agent I ever worked for, and he truly believed in me, giving me a lot of responsibility early on that helped shape me into becoming the agent I am today. We were a great team, and he will always remain someone that I look up to.

“John Giddings is the true definition of the word ‘mentor’ in every sense”

As for John Giddings, he is the true definition of the word ‘mentor’ in every sense, and I am so thankful for him taking me under his wing. He is the most loyal person I know, and has taught me so much about being an agent and conducting business in a fair and respectable manner. He constantly pushes me to succeed, giving me credit, when credit is due, something that is quite rare in such a competitive industry, and which I am so grateful for.

I think it is also important to mention some of my peers, who have been instrumental in the growth of my career. Kara James (WME) and Sophie Lobl (C3) whom I started alongside at WME and have since gone on to do incredible things in their careers; and Lily Crockford (Crockford Management) who I have developed a strong relationship with over the years, by helping each other and working closely together on a number of artists. I really respect and look up to all of these women, and think it’s just as important to recognise the power of your peers, as that of your bosses.

What advice would you give to anyone who wants to get into, or is new to, the business?
My nine-year-old son, Evann, recently told me he wants to get into the business, as he has decided he wants to be a DJ. To which my immediate response was, “Don’t do it, get a real job!”

For anyone new to the business, I guess my advice would be, as consuming and stressful as it may seem at times, it’s always worth remembering no one is dying, even if the font size on a poster is smaller than you agreed. (Trust me, I have got my ruler out many times!)

Where do you see yourself in ten years’ time?
Hopefully at the ILMC, being nominated for the Second Least Offensive Agent award!

 


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