The New Bosses 2024: Dotun Bolaji, Primary Talent

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business. 

To get to know this year’s class a little better, IQ conducted interviews with each one of 2024’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.

Dotun Bolaji’s journey began during his university years whilst studying pharmacy, when he ventured into promoting club nights with artists such as Giggs, DJ EZ, Section Boyz, and AJ Tracey. He returned to his hometown and cultivated a vibrant network of creatives while promoting the live music showcase SuperLative. He worked at Runway agency before joining Primary Talent, where he has signed acts such as Ruff Sqwad, Blanco, Jgrrey, KOJ, Tia Gordon, and LZee.

You’re a big champion of Black British music and talent. How would you persuade others to pursue a career in the live music industry?
I would say education is key, both traditional and nontraditional. From diplomas, internships, attending industry seminars/conferences and personal research. There are various routes to building your knowledge of the various roles and connecting with people who are already working in the industry. With this, individuals can figure out what role might suit them best. In my opinion, music lovers who want to get into the industry tend to pursue the more traditional roles like management and A&Ring, without full knowledge of the various roles across less traditional segments (such as the live industry) or aren’t aware of different paths into these roles. To an extent, people can’t become what they can’t see. But from production to promotion, tour management to venue programming – there are a huge number of roles that suit people’s skill sets and interests.

Knowing I wanted to become a live agent (but not knowing quite know how), I spent time studying music business entrepreneurship at Notting Hill Art Academy. This gave me the opportunity to connect established agents – whose advice was more or less, “Just do it”, learn as you go and sooner or later, someone will notice your work and support your growth.

You studied pharmacy at university. Is there anything you’ve retained from your university studies that helps you in your day-to-day job now?
Certainly, for starters, I would say it’s helpful to actually like people! They’re both very people-oriented roles, so it goes a long way to enjoy connecting with people on a genuine level. I would also say, my ability to identify a problem, whether that be a patient’s ailment or a hole in an artist’s live strategy, and then provide an actionable solution translates across both roles. Practicing as a pharmacist can be a high-pressure, fast-moving role, with the need for attention to detail and well thought–through decision making. I’d say this ability to execute in such environments has followed me into my role as an agent.

“I definitely understand the struggles that come with being an independent promoter”

Your SuperLative showcase in Watford developed an impressive reputation. How did you go about finding the talent for those shows, as well as attracting an audience to see those unproven acts?
That was a lot of fun to work on! Founded by Radhika Wilson (now Lateral mgmt) and a group of music-loving friends, we were booking artists we loved and presenting them to our local circles. Superlative built trusted taste amongst our wider circles, which spread further mainly via word of mouth. Many much-loved genres/sounds were built within communities of people sharing what they loved – I think it was a similar thing here. It just grew organically. We were also filling a void of independent live music promoters, that wasn’t really around in Watford at the time. I now have the pleasure of working with Radhika on Jay Prince (who she manages and I represent), one of our favourite artists coming through at the time! I’m super excited for what he’s got coming, watch this space!

Having organised and promoted your own events, do you think this has made you a better agent partner for the promoters you now work with?
I definitely understand the struggles that come with being an independent promoter, struggles that are only exacerbated in the current economic climate. I also understand the key role these promoters play in maintaining talent pipelines and cultivating culture. I would like to think this has made me conscientious of negotiating fair deals for both my clients and promoters. It’s an ecosystem after all, it has to make sense for all parties.

Who on your roster should we all be looking out for in the year ahead?
Genuinely super excited across the board! With artists at different points in their careers, I expect you’ll be seeing a lot more of the likes of Blanco, Monster Florence, Jay Prince, Ruff Sqwad, Planet Giza, Jgrrey & Jords conquering larger and larger stages over the coming year. Newer artists such as Tia Gordon, LZee, KOJ, Izzy Withers, Motive 105, Xadi & Keys the Prince are creating a real tangible buzz across the industry; I’m excited to see them build on their debut headlines over the next year…the list goes on!

“One of my earliest memories of a live show was my parents taking me to a gospel concert at Royal Albert Hall and even at age 5”

As an agent, are there any particular events, forums or platforms that you visit to try to discover the next big act?
I’m one that always tries to catch the support act at shows – the number of times I’ve been blown away by an unassuming support act, I’d be silly not to! I also like spaces such as The Ultimate Seminar Live who do a fantastic job at cherry-picking exceptional talent and giving them the space to perform in front of both supporters and the wider industry. Of course, the likes of Dot to Dot and The Great Escape are good places to catch stage-ready acts.

What has been the highlight of your career, so far?
I’d struggle to boil down my highlights down into one moment! But sell-out shows from the likes of Jords, Planet Giza and Monster Florence have certainly been highlights. Considering his extreme talent and how deserved the slots were, seeing Blanco playing his sets at Glastonbury sticks out in my mind. Also, being voted Best Agent at the YMB Music Awards this year was an appreciated moment, especially when nominated amongst a lineup of talented agents.

Where is your favourite venue?
The Royal Albert Hall. One of my earliest memories of a live show was my parents taking me to a gospel concert at Royal Albert Hall and even at age 5, I remember being taken aback and the sound of artists like Nicole C. Mullen in the venue. I still have that feeling when I’m in the venue now, especially with the team at the venue pushing for innovative curation within the historic space. I often shed a tear that I missed Kano’s headline show there! I’m also a big fan of The Roundhouse… so maybe I’ve just got a weird thing for circles!

What events, tours or festivals are you most looking forward to in the year ahead?
If I were to choose one from each category; in terms of tours, after selling out their debut UK tour last year, I can’t wait for Monster Florence’s second UK tour this autumn, as well as seeing them expand out with their debut EU tour. Festival wise, I’m really looking forward to seeing Blanco play All Points East this summer. Blanco performing in front of his London crowd, amongst a 10/10 line-up of artists, is sure to be an unforgettable set! Lastly events; going up with Kiss Fm’s Ellie Prohan’s new quarterly club night platforming the next generation UK Rap is going to be great for the culture!

“[I want to see] increased government and private investment in culture, namely into independent promoters and events”

Do you have a mentor, or anyone you rely on to bounce ideas off?
Yes certainly. Having direct access to the experience of Steve Backman and Matt Hanner during my time in Runway was invaluable, especially with their drive and commitment to cultivate the next generation of industry talent. Now at Primary Talent International, working with the likes of Sally Dunstone and Ed Sellars has been amazing, with their willingness to answer questions and guide me through some of the finer intricacies of the live industry. Nothing grows in a vacuum, so having the right people around me has been hugely beneficial.

As a new boss, what one thing would you change to make the live entertainment industry a better place?
If I had the opportunity to change one thing, it would be to advocate for increased government and private investment in culture, namely into independent promoters and events, which is critical for nurturing emerging artists. If applied strategically, it’ll create more opportunities for artists to perform from the early stages of their careers. This not only helps them gain invaluable experience but also allows them to fine-tune their craft in front of live audiences. With more platforms, artists can develop their skills, experiment with their performances, and organically build dedicated fan base over time. I believe this would help ensure diverse and vibrant cultural scenes, and support the overall economic and social wellbeing of communities. This holistic approach would not only maintain the UK’s gigging culture but provide us with the globally exported headliners of tomorrow.

What would you like to see yourself doing in five years time?
At Primary Talent continuing to support the next generation of talent, whilst looking after a roster of global headliners. And hopefully sharing what I’ve learnt with the next generation of live industry talent.

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