Continuing a series of interviews with the 2021 New Bosses, IQ speaks to Paris Harding, promoter at SJM
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Continuing a series of interviews with the 2021 New Bosses, IQ speaks to Tessie Lammle, booking agent at UTA in the US
By IQ on 29 Sep 2021
The New Bosses 2021 – the latest edition of IQ’s annual celebration of the brightest young talent in the live business today, as voted for by their peers – was published in IQ 103 this month, revealing the 12 promising promoters, bookers, agents, entrepreneurs that make up this year’s list.
To get to know this year’s cohort a little better, IQ conducted interviews with each one of 2021’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
Catch up on the previous 2021 New Bosses interview with Dan Roberts, promoter at Live Nation in the UK here.
After graduating from Bentley University, Tessie Lammle began her career in the mailroom at UTA, rising through the ranks to become an agent who represents artists including The Aces, Tierra Whack, TLC, Pussycat Dolls, Lil Wayne, SAINt JHN and many more.
When traditional touring paused due to Covid-19, Lammle re-thought how artists could reach their fans and collaborated with UTA’s Music Innovation division to book various virtual performances and showcases.
A passionate advocate for other women in the music industry, Lammle is a founding member of UTA’s La Femme Majeure event series and is on the leadership board of the company’s Justice Now task force. Outside of UTA, she is a member of the MusiCares Next Generation Board, and she volunteers with Habitat for Humanity.
Can you tell us how you got involved with La Femme Majeure (LFM) and what its goals are?
A group of colleagues and I founded LFM in 2018. We wanted to create a space for young women in the industry where we could be ourselves and network comfortably. Our main goal is to focus on music’s next era of women leaders.
You interned at Universal Music and ICM – what advice would you give to others when it comes to landing meaningful internships?
There’s a common misconception that you must know someone to break into the industry. The best thing I did to get my foot in the door was to network. It also helps to remember that everyone was in the same situation in the beginning, so you might as well say hello, send an email, and reach out to your potential mentors on LinkedIn. Always lead with kindness.
The pandemic ‘pause’ narrowed the avenues for artists to connect with fans. Can you explain what you did to maximize opportunities for some of your acts?
Throughout the pandemic, UTA has driven success for our clients with our collaborative, 360-degree approach. As a full-service agency, our divisions are constantly communicating with each other.
“I thought that I had to see a live show to truly understand an artist and their potential, but this year has forced me to adapt”
When traditional touring was paused, we worked across all our departments and with new buyers to offer innovative opportunities to our artists. As a result, the agency was able to secure brand partnerships, drive-through concerts, livestreamed performances, publishing deals, film and TV roles, gaming collaborations, podcast hosting gigs, and more for our clients.
If you had a magic wand, what one thing would you change or introduce to improve the live music industry?
More diversity, equity, and inclusion across the board. There has been some great forward momentum and that’s what makes our industry exciting and forever evolving.
Where do you see yourself in five years’ time?
I’m not sure where I’ll be living in five years, or which new artists I’ll be representing, but I do hope to be working with an even bigger roster at UTA. I know I’ll still have a hunger to be constantly finding out-of-the-box opportunities for my clients that leverage all the company’s resources. I also hope in five years I will be able to keep a plant alive for more than three days and will be working my way towards having a family!
You signed a number of artists during lockdown. Were those difficult pitches, and can you say anything about how you tailor your career plan strategies depending on the artist and genre?
I always thought that I had to see a live show to truly understand an artist and their potential, but this past year has forced me to adapt. No two artists ever have the same goals, even within the same genre. I am a firm believer that you must cater to the artist first and hear their visions before you set a strategy.
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