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The New Bosses 2019: Melanie Eselevsky, Move Concerts

Continuing a series of interviews with IQ's 2019 New Bosses, Melanie Eselevsky is a talent booker at Argentina's Move Concerts

By Anna Grace on 11 Oct 2019

The New Bosses 2019: Melanie Eselevsky

The New Bosses 2019: Melanie Eselevsky

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 month 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.

New Boss number eight is Melanie Eselevsky, a talent booker at Argentina’s Move Concerts. The youngest New Boss of 2019, 24-year-old Eselevsky divides her time between studying law at the University of Buenos Aires and working for Move Concerts Argentina.

After starting out producing not-for-profit musical shows – in 2016 Eselevsky, with her friends, purchased the stage rights for Hereafter Musical, which they produced in a 500-capacity theatre for two seasons – she joined Move Concerts, initially as a production assistant, in early 2017. (Read the previous interview with Primary Talent’s Matt Pickering-Copley here.)


What are you busy with right now?
On the one hand, I am already working on 2020’s agenda. It’s a tough time because it is a presidential election year in Argentina and the exchange rate varies every minute because everything is unpredictable. On the other hand, Move Argentina has more than 20 shows for the third and fourth quarters of this year. I define myself as a “control freak” and I like to keep an eye on everything that is going on with each show. In our part of the world, we look after visas, hotels, production, ground transportation, etc. as well as everything else, therefore, there’s a lot on our plates.

Did you always want to work in the music business?
I’ve been attending concerts and other live events ever since I was a child and I had no idea that these kinds of jobs existed. I remember going to school with the daughters of a Sony Music executive, and thinking their life was so cool because they got to meet Shakira. I only found out later that there was the opportunity to really get involved through being in a concert promotion company.

What are some of the highlights of your career so far?
The past three years have been really interesting from a business point of view for me. I’ve had the opportunity to work with some great artists – Ed Sheeran, Shawn Mendes, Katy Perry, Green Day, Radiohead and Iron Maiden, to name a few.

That said, one of the show confirmations I enjoyed the most was Patti Smith a few months ago. I read she was playing São Paulo and I immediately asked if we could submit an offer because I believed in the show and such an iconic artist. The day of the on-sale all I could do was keep refreshing the sales report again and again. Now we are close to sell-out and I’m ecstatic that my gut feeling was right and I have gained a lot of confidence. I can’t wait until the show.

“I define myself as a “control freak” and I like to keep an eye on everything that is going on with each show”

How has your role changed since you started out?
I started at Move Concerts with a three-month probation period as a production assistant. I was supposed to handle administrative issues like organising vendor budgets and invoices. I remember one of my first work meetings where I was supposed to present all the budgets and just before I got in I had to google the word “forklift”!

During my first year, I was asked to help in a lot of different areas. This gave me a wider perspective of business, from visas, ticketing and merch to show settlements. I never thought I would end up in talent booking. Actually, when [Move Concerts Argentina MD] Sebastian Carlomagno first asked me to do this job at the beginning of 2017, I thought it was crazy. It took me almost a year to feel comfortable, but everyone has been truly supportive. [Move Concerts CEO] Phil Rodriguez and [lead promoter of Move LatAm] Fabiano de Queiroz were crucial in this process.

What’s the biggest lesson you’ve learnt while at Move?
To stop for a minute and think. This business is way too dynamic. We need to be ready to make tough decisions all the time. That’s why it is important to be able to put yourself on hold for just 60 seconds in order to see everything more clearly.

What, if anything, would you change about how the live industry is run today?
I consider myself really lucky because, above all, Move Concerts encourages trust and teamwork. Everyone has a lot of experience, but at the same time they are open to new ideas. The industry would be healthier if other companies worked on this same way.

What do you do for fun?
I would produce independent musical theatre shows with my friends. That’s what my background is in and I really love theatre.

“It is important to be able to put yourself on hold for just 60 seconds in order to see everything more clearly”

Do you have an industry mentor?
Everyone at Move Concerts has “mentored” me in certain way. I have developed the habit of discussing projects with the different departments – ticketing, marketing, logistics, administration – and offices across seven countries. These discussions enrich every single minute.

Betina Canalis has been a role model ever since I started working at Move. She taught me a lot about how to place an offer and how to “feel” the market. I call her every time I need advice.

What advice would you give to anyone who wants to get into, or is new to, the business?
When people ask me what my job is about, my answer is “getting what needs to be done, done”. So, be a “doer”. If you are really willing to do this, there are no ifs, buts or complaints. If you are not sure about it, it is probably not for you. Also, don’t be afraid to speak up. It may sound cliché, but if you don’t share your ideas, you don’t get anywhere. And finally – don’t forget to have fun. Working in entertainment is a privilege.

Where do you see yourself in ten years’ time?
Nowhere far from backstage. The adrenaline of live is something beyond description.


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