Movers & Shakers: UTA, AEG, DWP
Music agents Zach Iser and Caroline Yim have joined UTA, where both will serve as partners and agents in the music department.
The Los Angeles-based pair join UTA from WME, which they joined in 2021 as partners and co-heads of hip-hop and R&B. Prior to that, they were with CAA for three years.
Both have a proven track record of working with some of the biggest names in hip-hop and R&B, including Anderson. Paak, Doechii, Kehlani, SZA and Future.
“We’ve long admired the way Zach and Caroline discover, nurture and build the careers of artists,” says UTA president David Kramer. “We’re thrilled to welcome them to UTA and have our clients benefit from their command of the hip-hop and R&B arena. We will continue to invest in music and remain focused on providing our artists with the absolute best pathway to thrive.”
Elsewhere, AEG global partnerships veteran Paul Samuels has been elevated to president, having clocked in 17 years as executive vice president.
In the US, Danny Hayes is leaving Danny Wimmer Presents, where he has served as chief executive and partner for more than a decade. Wimmer will resume the top position.
During Hayes’ time at the company, DWP has grown into one of the largest rock festival promoters in the country with a staple of events that include Aftershock Festival in Sacramento, Bourbon and Beyond and Louder than Life in Louisville, Inkcarceration in Ohio, Sonic Temple in Columbus, Ohio and Welcome to Rockville in Daytona Beach, Florida.
Kerem Turgut, meanwhile, has announced his departure from All Things Live Middle East, where he was a promoter for over a year. The 2023 New Boss, who has previously worked at Dubai Opera and Zorlu Performing Arts Centre in Turkey, has not announced his next role.
“We’ve long admired the way Zach and Caroline discover, nurture and build the careers of artists”
Live entertainment company Opry Entertainment Group (OEG) has named Tim Jorgensen as vice president of operations on its Austin, US, team.
In the new role, Jorgensen will lead OEG’s Block 21 businesses in the city, including ACL Live, 3TEN and W Austin. In addition to leading strategic direction for the Block 21 complex, he will oversee day-to-day operations at ACL Live and 3TEN. Jorgensen will report directly to Gary Scott, COO at Opry Entertainment Group.
Jorgensen previously worked at ASM Global, overseeing arenas, stadiums, convention centres and theaters and helping launch the Thunder Ridge Nature Arena in Missouri. He also recently served as president of full-service production labour company Crew One Productions, leading strategic acquisitions and overseeing its festival division. He previously held leadership roles at Live Nation and House of Blues Entertainment.
Defected, the UK-based record label and festival promoter, has appointed Steven Braines as its new head of events.
Starting this month, Braines will take over from Nick Mizzi who departs the business in May. Braines will report into Defected’s global director of events & talent George Pritchard, driving the strategies for the touring Defected, Glitterbox and D4 D4nce brands.
Braines co-founded the award-winning international label and inclusive events series He.She.They alongside Sophia Kearney, launching events in more than 20 countries, including takeovers with Glastonbury, Coachella, a multi-year residency at Amnesia Ibiza and collaborations with brands such as Apple, Adidas and Ballantines.
Braines, who was recognised in IQ‘s first-ever LGBTIQ+ List, will continue to fulfil his commitments at He.She.They alongside his new role at Defected.
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FOCUS Wales expands conference programme
FOCUS Wales, the country’s largest music industry event, has expanded its conference programme with a raft of new sessions.
The conference and showcase event, set for 8–10 May in Wrexham, brings together over 400 industry professionals and more than 250 artists from across the globe.
This year’s conference is dedicated to building a healthier future for music, exploring evolving best practices, artist well-being, sustainable industry growth, and fostering a more equitable landscape for both performers and industry professionals.
In line with this theme, IQ will host Watershed Moment – The Next Generation of Music, a panel that will assemble emerging professionals to discuss the evolution of the music business. The session will feature Molly Palmer, founder of a new digital radio station supported by an R&D grant from Radio Cymru; Duncan Smith, booking agent at Earth Agency and former BBC producer and programmer at the Royal Albert Hall and Katie Morgan, a programming manager at ASM Global.
For the first time, FOCUS Wales will feature a live episode of The Money Trench podcast, offering an in-depth exploration of the inner workings of the music industry. Produced by Tape Notes and hosted by PPL, The Money Trench is the brainchild of music journalist Mark Sutherland, whose career spans Billboard, NME, Rolling Stone, Variety and BBC Radio 6 Music.
“This flagship event showcases our homegrown talent whilst strengthening Wales’ position on the global music stage”
In partnership with the conference and showcase event, Eisteddfod Genedlaethol will host a panel on support networks for women in music, featuring Ani Glass, Heledd Watkins (HMS Morris), Adjua and Tara Bandito. This conversation will highlight the support available for women navigating the music industry, including institutional and artist-led initiatives that are fostering opportunities within Wales and internationally.
Building on last year’s discussion, Cardiff University will present a session on music and language in Cymru and Aotearoa, featuring Māori artists Jordyn with a Why and MOHI. This panel will explore the developments of Prosiect Pūtahitanga, offering a unique opportunity for cultural exchange, joined by a delegation from Aotearoa.
These events will take place alongside previously announced panels curated by LIVE, PPL and Music Venue Trust, as well as a keynote talk by Neil Ingham, executive director of Samaritans, discussing the transformative impact of deep, empathetic listening in suicide prevention.
“FOCUS Wales exemplifies the creative spirit that makes Welsh culture renowned worldwide, and we’re very proud to be supporting the organsation via Creative Wales again in 2025,” says minister for culture, skills and social partnership, Jack Sargeant. “As we celebrate its 15th year, this flagship event showcases our homegrown talent whilst strengthening Wales’ position on the global music stage.”
The FOCUS Wales industry conference will take place alongside the festival’s 250+ strong lineup of artists performing across 20 stages in Wrexham city centre over the three-day event. Nova Twins, Gruff Rhys and Sprints top the bill.
Delegate passes are on sale now via focuswales.com. Passes grant access to all conference events, private networking sessions, the pre-festival showcase, the online delegate database, and all live performances with priority entry.
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The Secret of Success: Gracie Abrams tour report
The first time Gracie Abrams stepped on the Eras Tour stage, she was a rising artist. By the time she took her final bow, she was an undeniable star.
In 2016, Abrams posted a faux album cover with the caption “only for a school project but a girl can dream, right.” If you can dream it, Abrams proves you can do it.
Less than a decade later, her sophomore album, The Secret of Us, would rocket up the global charts, with hits like Close To You and That’s So True going viral across various platforms, including the one she made that wish on.
The whirlwind, worldwide demand that followed her chart-topping LP has been nothing short of remarkable. What started as a theatre-level jaunt has swiftly upgraded to arenas across Europe, Australia, and a second North American leg as Abrams rides an unstoppable trajectory into major venues and fans’ hearts around the world.
With The Secret of Us Tour’s global trek, Abrams’ intimate-yet-grand performances and stellar songwriting have solidified her place as a voice for the next generation.
Felt Good About You
Abrams first broke onto the music scene by posting herself singing online. Covers quickly turned into two EPs, and she started her performance career by hosting cosy online “bedroom shows” from her Los Angeles home.
“Performing in stadiums on Taylor Swift’s Eras Tour undoubtedly exposed her to an even wider audience”
After a run playing grassroots gigs across her native US, and two 320-capacity shows at London’s Omeara, she completed her first international outing in 2022 with the This Is What It Feels Like Tour in support of her second EP. With a sold-out small theatre tour and a stint opening for Olivia Rodrigo under her belt, Abrams released her debut album, Good Riddance, in 2023 and announced a headline run in support.
“Something was really happening at this point,” says agent Andy Cook of CAA, who has worked with the artist since 2019.
In 2023, Abrams found herself doing double duty, headlining shows across North American, European, and UK theatres while pivoting to open for Taylor Swift on what would become the highest-grossing tour of all time.
“Gracie has spent years building a loyal fanbase, but performing in stadiums on Taylor Swift’s Eras Tour undoubtedly exposed her to an even wider audience,” says Lesley Olenik, Live Nation’s SVP of touring.
Tour manager Mackenzie Dunster, who’s been on tour with Abrams since her first in 2021, says she witnessed the profound impact the experience had on the performer she has evolved into.
“Not only did she get a masterclass education from witnessing Taylor and the Eras team operate, but she also got the opportunity to understand how her own performance played in rooms those sizes. She took stock of how different it is to play to large vast crowds. She paid attention to what fans responded to, how to flow and fill the space on a big stage, and what moments musically felt more impactful,” she says.
“We decided that Gracie had enough going on to justify pushing into arenas in most markets”
Abrams then hit Australia in January 2024, where she sold out her biggest venues to date and broke merchandise records in venues across the country, according to Cook. Demand has only ballooned from there.
The Secret of Us dropped in June 2024 to widespread fervour and acclaim, landing on top of the charts in the UK, the Netherlands, Canada, and Australia. She scored her first No. 1 hit with That’s So True off the album, due in part to its virality online.
After the first leg of this support tour, Abrams returned as the final opener of The Eras Tour, even taking to the stage in Toronto to perform alongside Swift for their collaboration, us.
Let It Happen
After sales for the initial North American stint of The Secret of Us Tour blew up, Abrams’ team decided it was time to take things up a notch internationally.
“We decided that Gracie had enough going on to justify pushing into arenas in most markets. Knowing how strong the US sales were helped when making that decision,” explains Cook.
“Most markets went straight into arenas in Europe on this tour, but not all. There were a couple of markets that Gracie had never been to before, where we had to be a bit more conservative to begin with. But ultimately, we ended up upgrading those and moving into full-size arenas, and they all sold out very comfortably.”
“To say we underplayed Paris is a big statement, but we could have sold a few thousand more”
After rehearsals for the European leg at Madrid’s Fluge Audiovisuales, the touring team readied for 19 shows in 32 days across February and March, with major stints featuring two stops in Madrid, four across Germany, and six in the UK.
Abrams’ history in Paris is a strong example of how meteoric her rise has been, from selling out the 900-capacity Trabendo in May 2022 to shifting 14,000 tickets for an Accor Arena show less than three years later.
“To say we underplayed Paris is a big statement, but we could have sold a few thousand more,” says Live Nation France promoter Armel Campagna. He’s worked with Abrams throughout all her shows in the region and marvels at her rapid development from a budding pop artist to a poised performer.
Following her arena-headlining stint across Europe – where she sold more than 200,000 tickets across the run – Abrams is heading to Asia for the first time. The leg spans seven shows in seven countries, beginning in Singapore’s Star Theatre (5,000) and finishing 16 days later at Bangkok’s UOB Live (6,000).
A massive expedition across Australia and New Zealand follows. She’ll perform multi-night runs in Sydney, Brisbane, Melbourne, and Perth, with one-off shows in Auckland and Adelaide also in high demand. Her promoters in the region, Frontier Touring’s Louis Schlaghecke and Susan Heymann, have experienced seismic demand for the singer.
“We’re currently tracking to 150,000 sales on this run, with all shows sold out. It’s a fantastic escalation from Gracie’s last sold-out run here in 2024, where she sold around 22,000 tickets,” says Schlaghecke.
And Australia was where Abrams levelled up in venue sizes on the previous run. Is Down Under the biggest market for Abrams outside of her native US? “It did feel that fans here were early adopters of Gracie, but it’s fantastic to see the rest of the world is quickly getting on board and recognising just how talented she is,” says Heymann.
“She’s got the young audience and the young followers, and she’s a great songwriter from the young generation”
Abrams will spend the summer back in Europe on the festival circuit, performing at the likes of Glastonbury, Rock Werchter, Mad Cool, and Lollapalooza Berlin. Her run includes a performance at the LN-backed, 40,000-capacity Main Square Festival in Arras, France, which Campagna praised as a commitment to building new audiences.
“More and more artists tend to skip festivals to prioritise the headline business. [But] for the long-term vision, it is strategic to not forget to play for people who don’t know all your songs by heart,” he says.
Where Abrams goes, hair bows follow, with a core fanbase composed of young girls that are known for wearing butter-yellow-accented ensembles and bows in their hair. But all signs point to a rapidly expanding audience as she capitalises on mainstream success.
She’ll also play in Poland for the first time during the 75,000-capacity Open’er Festival in Gdynia to reach untapped audiences in new markets.
“She’s got the young audience and the young followers, and she’s a great songwriter from the young generation. There will be quite a mixed audience at our festival, and we are building the audience with people who are trying to experience something new,” says festival organiser Mikołaj Ziółkowski.
“We got to the end of the year, and the production literally doubled in size as ticket and venue sizes stepped up”
Right Now
With a step up in fanbases and venues came room for a sized-up production.
“We’d originally planned for a tour half of this size in terms of production. We got to the end of the year, and the production literally doubled in size as ticket and venue sizes stepped up,” says Stuart McPherson of transport firm KB Event.
For the European leg, the production gets compressed into ten trucks, alongside one merchandise truck, which McPherson describes as “quite compact.”
The stage design, brought to life by tour creative director Michael Brown, is straightforward – a singular riser in front of a semi-transparent video screen, a prom-esque shimmering backdrop, and accenting lights reminiscent of a theatre marquee. There are no interludes, no dancers, and no costume changes, with Abrams’ songwriting and authentic performance commanding the audience’s unwavering attention.
“The set design asked for an industrial look to the risers, so the support framing was not dressed to create that effect and to shine light through,” says Guy Forrester of All Access. The staging firm provided the main stage riser and rising B-stage platform, the latter of which is new to the European leg.
A stripped-back set puts Abrams and her four-member band centre stage, which is primarily where she performs throughout the show. She’ll kick off her shoes, gallivant across the stage’s tiers, and kneel to audience level as she runs through her discography.
“Gracie wanted to acknowledge her early days and invite the crowd into that space where it all began for her”
In the middle of the show, Abrams leaves the main stage to reveal a standalone keyboard nestled in a replica set of her childhood bedroom, lifted on hydraulic scissor lifts above the surrounding audience. An intimate setting in a vast arena – and symbolic of her Covid-era bedroom livestreams – the set is a reflection of the stretched hand she extends to her fans, both through her songs and the interactive conversations in between.
“Gracie wanted to acknowledge her early days and invite the crowd into that space where it all began for her,” says production manager Mike ‘Mac’ McAree, adding that Brown searched for exact replicants of her room’s furnishings to recreate the space.
The streamlined production features complementary video backings – like that of cloudy skies, sparkling projections of Abrams, or peaceful lakes – and multi-hued lighting, key in transforming the set for each song. McAree highlighted the production’s use of an automated, unmanned follow-spot system zactrack as a unique show element.
“It follows Gracie’s movement across the stage and moves the spotlights accordingly. The lighting team calibrates two small tracking devices, and we place them in Gracie’s wardrobe before the show.
“When she walks the stage, the spotlights follow her around. It’s a really impressive production tool and super cost-effective,” he explains.
Organisation and efficiency were pivotal to the success of the tour, with the main challenge coming from scaling the production up. Yet, “everyone across all departments has risen to the challenge exceptionally well,” McAree says.
“The joy we all have working for her is 100% a reflection of how she leads and runs her business”
Us.
The secret to success, despite the challenges? Teamwork and collaboration, as underscored by her agents, promoters, suppliers, and teams alike.
Abrams has worked with LA-based production firm The Beehive, of which PM McAree and TM Dunster are a part, for all of her tours. The Beehive’s founder Vinnie Ferra has worked with Abrams since 2020, helping conduct her virtual shows.
“From the early days, she would even touch the lighting console to spin the wheel to pick the colours she liked, [and now sends us] thorough examples [of] what she’s looking for.” He continues, “Gracie cares so much about her team and crew. The joy we all have working for her is 100% a reflection of how she leads and runs her business.”
Dunster adds to that: “When you work with good people, challenges just don’t feel as challenging.”
Abrams has four CAA agents behind her: Carole Kinzel and Shirin Nury for North America and Cook and Emma Banks for the rest of the world.
“It feels like we’re just getting started – Gracie is going to go on to even bigger and better things. It’s really exciting to be part of. She has a fantastic team, and there’s a very open line of communication between everyone,” Cook says.
“This touring team is nothing short of incredible”
Relationships with her promoters and suppliers were established early on and span across her tours. Live Nation France’s Campagna speaks highly of her evolvement, bolstered by the people around her.
“At the end of the show, there are crew credits, and you see every single person working, with their faces and smiley pictures. That just shows how that camp is doing things, and that is absolutely part of our success. She feels confident and well-surrounded,” he says.
Gracie’s manager, Alex DePersia, knows this to be true: “This touring team is nothing short of incredible,” she says. “It’s strategic, supportive, and kind. I love that we have so many day-oners, but those who have joined along the way have folded so easily into the family unit. This team has helped make touring such a beautiful experience for Gracie, and I’m so grateful to them,” she adds.
I Knew It, I Know You
With a handful of viral soundbites in her repertoire, Abrams is translating that digital success into genuine connections during her live performances. No matter the venue size, her collaborators speak positively about her ability to connect with fans offline as well as on.
“One thing that very quickly becomes apparent working with Gracie and her team is that there is a lot of thought and effort that goes into creating a positive and inclusive environment for her fans,” says Live Nation UK promoter Anna-Sophie Mertens, who is facilitating Abrams’ six-show charge through the market that “sold out with ease.”
“She dug in and did every capacity room and moved up step by step”
During her London show at the 20,000-cap O2, she referenced her humble beginnings with two shows at Omeara in ‘21, expressing gratitude to the fans who’ve supported her along the way.
“But now instead of 200 people screaming every word, it’s upwards of 18,000, which is so cool to witness,” Dunster says.
“She dug in and did every capacity room and moved up step by step. She also cares so deeply about giving fans the best experience possible and staying as connected to them as possible that she has been relentless in doing the work necessary to ensure that.”
Audiences interact directly with Abrams during shows, as she breaks up the stream of songs by responding to questions or accepting artwork from adoring fans. She’s handing out guitar picks early on and enthusiastically saying “I love you!” to the crowd before 20 minutes have rolled by.
“Gracie is very personable and will make everyone in the room feel comfortable and seen, and you can see the special bond her fans have with her because of this energy,” Mertens says.
“Gracie has connected with her audience in many ways, and I think that has been key for the demand she has generated across the world”
Virality may have a hand in her worldwide stardom, but her performances show there’s more behind the magic than an earworm.
“There usually needs to be more than just a song or two going viral for an artist to be able to sell tickets… Gracie has connected with her audience in many ways, and I think that has been key for the demand she has generated across the world,” says Ricardo Gómez, promoter at OCESA.
The Latin American promoter will bring Abrams to Mexico City for the first time to close out the ‘deluxe’ tour in August, with her two shows at Pepsi Center WTC selling 16,000 tickets. Gómez commends the team’s communication throughout the process of bringing Abrams to Mexico for the first time. “Everyone was aligned, and we all had the same goal in mind, and I think the results speak for themselves.”
Risk
The road to stardom has not been without difficulties. Abrams postponed two shows on the North American leg due to a vocal injury and was forced to reschedule three dates (in Brussels, Nottingham, and Leeds) on the European jaunt because of an unspecified illness.
For an artist with extremely limited time away from the stage – “We’ve toured non-stop since the first day she set foot on stage,” Dunster says – time for rest is seemingly few and far between. Her camp praises her dedication to the craft, signalling that putting in the hours is how Abrams likes to operate.
“She is one of the hardest working artists that I’ve ever come across. The demands on her time are insane, but she’s not just an incredibly hard-working artist, she does everything with such class. She’s a real force of nature,” Cook says.
“The tour’s success is a true reflection of her talent and authenticity as an artist, but the biggest driver is her deep connection with fans”
Despite her schedule being packed to the brim, Abrams quickly rescheduled the Nottingham and Leeds shows to follow the original UK/EU tour closer in Dublin, with Brussels expected to follow.
She’ll spend the vast majority of this year on the road, with the ‘deluxe’ leg bringing her back to North America from July to August after her festival slots over the summer. Two sold-out shows at Madison Square Garden (19,500) await Abrams in NYC, a true achievement for the 25-year-old singer who first hit the road less than five years ago.
Where Do We Go Now?
It’s pretty clear that the only way is up for Gracie Abrams. Supported by a powerhouse team in all departments, her knack for sincere performances and personable connections with fans will likely propel her to even bigger stages.
“The tour’s success is a true reflection of her talent and authenticity as an artist, but the biggest driver is her deep connection with fans – when you’re in the venue, every single fan is belting [out] her lyrics, crying, and most of all, connecting with the community around them,” Olenik says.
This tour will take her to Asia for the first time, but South American fans will have to wait a bit longer for Abrams’ debut in the continent – “It’s impossible to fit everything in one tour, but she’s set for a long touring career ahead and will continue to hit new cities in the future,” Olenik adds.
Mertens echoes this sentiment: “Demand certainly exceeded inventory, which shows you how much of a fanbase Gracie has built in only a few years – we’re confident that she will build on this success with even bigger and better things to come.”
On the road from online streams to the headlining shows of her dreams, Abrams has grown into a spectacular star in quite a short period. She’s learned from the best of the best, as her collaboration with Swift and experiences on Eras stages have been a formidable part of her journey to the top of the bill.
Nobody can say for sure what the future holds for the singer-songwriter, but what is sure is that Gracie Abrams wants to be close to her fans – both online and on stages across the globe.
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IQ 134 out now: Gracie Abrams, Gary Howard…
IQ 134, the latest issue of the international live music industry’s leading magazine, is available to read online now.
In the April 2025 issue, Gordon Masson chats with UTA agent and undisputed king of pop Gary Howard about his 35 years in the music business.
Elsewhere, Hanna Ellington talks to the architects behind Gracie Abrams’ The Secret of Us trek about the pop star’s unstoppable trajectory while DJ Mag editor Carl Loben unpacks the Electronic Music Report 2025.
As prospects for Türkiye’s live music industry grow, Adam Woods looks into the country’s challenges and opportunities. Meanwhile, Derek Robertson dives into the cutting-edge innovations, logistical challenges, and the fierce competition defining the high-stakes video and screens business.
One month after ILMC, this issue looks back on some of the sessions, highlights, and nautically themed shenanigans that took place during the 37th instalment.
For comments and columns, Lloyds Private Bank’s Etiksha Patel outlines five key banking tips for touring artists and Black Lives in Music founder Dr Charisse Beaumont discusses over-policing and licensing bias at Black and ethically diverse events.
A selection of magazine content will appear online in the next four weeks but to ensure your fix of essential live music industry features, opinion and analysis, click here to subscribe to IQ – or check out what you’re missing out on with the limited preview below:
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The changing face of live classical music
Special live orchestral productions by artists such as Cypress Hill, Beck and Stewart Copeland are helping bring classical music to new audiences, as efforts to “future-proof” the genre intensify.
That’s the verdict of international music and arts management company HarrisonParrott, which has established a roster of diverse, multi-faceted artists and projects through its Polyarts agency.
“We’re the bridge to the classical world, which is sometimes very different to working on commercial projects,” explains HarrisonParrott Group (HPG) CEO Moema Parrott. “We usually deal with all of the classical details, so handling the creation of the scores, the conductors and working with the orchestras and the venues.”
Memorably, Polyarts worked alongside Primary Wave and X-ray Touring as consultants on Cypress Hill’s concert at the Royal Albert Hall with the London Symphony Orchestra last summer. The booking was inspired by a scene from The Simpsons, in which the hip-hop group accidentally booked a gig with the LSO while intoxicated.
“It was an absolutely dream project,” Parrott tells IQ. “I had seen The Simpsons episode it was all linked to, and so we recreated that with the LSO. It came about because with Polyarts, we work with big artists who have management and agents already – usually either as classical consultants, classical managers or as an agent – it varies depending on the structure. And in this case, we just reached out.
“We knew about the project through the LSO. It hadn’t worked about four or five years ago, and so we picked it up, reached out their management, and then created it from scratch with the LSO. We filmed it with Mercury Studios, so it’s now in cinemas for a limited run and there’s a classical album coming out in June, and they’ll probably be coming back to do it again with some completely new arrangements.
“That was really a dream project, because the coverage we got was absolutely phenomenal.”
“We want to continue to be at the forefront of leading the change in classical and future-proofing the industry”
In tandem with Silva Artist Management and SJM, the company is also involved with Beck’s upcoming two exclusive orchestral performances at the Hall next month with the BBC Concert Orchestra, plus Stewart Copeland’s career-spanning Police Deranged for Orchestra tour.
“We’ve been working with Stewart Copeland since 2016 or ’17,” says Parrott. “We actually co-manage him now, because his real focus is more and more classical. He’s also a film composer, so he works with Oliver Stone and Francis Ford Coppola, and we’ve developed a really amazing relationship over the years. He is one of the most inspiring people I work with.”
What’s more, Parrott believes such productions stand alone, without cannibalising an artist’s traditional live business.
“It’s a whole different world,” she argues. “It’s an additional, evergreen, prestigious, beautiful rendering of the music, that just makes it bigger and more high impact. And it can exist alongside their main career trajectory and be complementary.”
Based in London, Munich and Paris, HarrisonParrott was founded by Moema’s father, Jasper Parrott, in 1969, with Moema taking the helm in 2023. The firm’s history of fusing rock and pop artists with classical dates back to the 1970s, with examples such as Led Zeppelin at the Reykjavik Festival in 1970 and Metallica with the Berliner Symphoniker at the Berlin Wall in 1999.
“We are very ambitious,” she says. “We’ve always been change-makers, and we want to continue to be at the forefront of leading the change in classical and future-proofing the industry for the benefit of all. We have to build new audiences and work in a different way with all partners, and change the mindset, and access is vital.
“The core repertoire is key, but we have to find a way to break out of the niche and that is complicated, because traditionally, popular is seen as ‘bad’, and we need to change that and push the barriers and broaden the scope of what’s possible.”
Parrott continues: “Investing in new music is one of the key points. We have to focus on contemporary classical music so we’re not just repeating the full repertoire of 200 years ago all the time. We have to invest in composers and new music.”
“We want to change the perception that classical artists are a niche, different animal”
Rafi Gokay Wol, HPG’s senior director, arts partnerships & tours, dance & international, detects a post-pandemic sea change in the sector.
“People say classical music is a dying art form, which is absolutely not right. There is so much activity and we work in every corner of the world,” he notes. “We’re becoming more creative collaborators with promoters and with artists to try to develop and produce new project for the marketplace, and that comes through very in-depth conversations with them. We are also trying to give our ideas to them, but also take ideas from the industry. And after Covid, there seems to be a greater openness and appetite to do different things.
“We are working on trying to lead this diversification in this industry. In the past, it was very much a transactional business model when it comes to management, and we’re trying to turn that on its head.”
HPG has also driven touring projects such as Icelandic pianist Vikingkur Ólafsson’s tour, which spanned six continents, and Finnish conductor Klaus Mäkelä’s 88-date city run and work as chief conductor of four of the world’s biggest orchestras. Ólafsson’s dates were linked to an album, replicating the commercial model. He has also collaborated with the singer and fellow Icelander Laufey.
“Dalia Stasevska, another conductor we work with, created her own playlist [2024’s Dalia’s Mixtape via Platoon] and released single after single, which is very uncommon for the classical world,” adds Gokay Wol. “So they have embraced the pop and rock model as well, which is an interesting development.”
“We want to change the perception that classical artists are a niche, different animal,” stresses Parrott. “Classical artists should not be seen differently to commercial artists.”
In summary, Parrott says classical music sits at a crossroads, with “significant changes” required in the years to come.
“I think it’s a real turning point,” she concludes. “The subsidised model for many classical venues and orchestras is becoming redundant, so commercial business models need to be adopted.
“The crucial factor for everyone is, how do we bring in new audiences and build new audiences to reach younger and broader and more diverse audiences for the future? Because that’s a real issue. That also means lobbying with governments in terms of music education, because that has a butterfly effect on the whole industry, from musicians to audiences who appreciate classical music. But it’s an opportunity in crisis.
“In my view, significant changes need to be made in the next five to seven years, in every single area of the classical music business, if we want to future-proof the industry.”
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Agents x managers mental health package announced
Tonic Music and The Christopher Meredith Foundation (CMF) have announced a new mental health support package exclusively for music agents and managers.
The new package includes free 1-to-1 therapy sessions, peer groups, skills workshops and training courses, designed specifically for agents and managers working in music.
It builds on the success of the Tonic Rider programme, which provides assistance for music artists, crew and industry professionals. Registration is open now.
“The team at Tonic Music have long recognised the gap of specialist mental health support for music agents and managers,” says Steph Langan, the mental health charity’s founder and CEO. “We are both delighted and humbled to receive the support of the Christopher Meredith Foundation who recognise this Agents x Managers package can create a meaningful positive impact, both for music agents and managers and the industry more widely.
“We hope this initial package is the first step towards increasingly tailored mental health support for people working in the music industry.”
The first phase of the package will include access to psychotherapy and counselling sessions with a qualified therapist with experience working in the music industry, along with 12 spaces on two Peer Support Groups, 20 spaces on Emotional Resilience and ACT Skills workshops, and 16 spaces on Mental Health First Aid and Suicide First Aid Lite courses.
“We believe this package of mental health support for music agents and managers will have a significant positive impact upon the music industry”
“We are delighted to be launching a bespoke package of mental health support for music agents and managers, who are often not included within conversations around mental health in the music industry, despite experiencing similar and other unique stressors within their work,” adds programmes lead Jeordie Shenton.
“By offering a combination of therapy sessions, peer groups, skills workshops and training courses, we believe this package of mental health support for music agents and managers will have a significant positive impact upon the music industry.”
Prior to the official start date, an Introductory Webinar will be hosted from 7-9pm on Monday 7 April. Click to register here.
CMF was set up by the family of the late ATC agent Chris Meredith, who passed away at the age of 37 in September 2019 after suffering from depression.
“From going above and beyond to make sure the artists he was working with could perform, to supporting local venues and maintaining a beautifully unassuming nature with everything in between, Chris simply loved music and people,” says CMF head Nick Gaunt. “The Christopher Meredith Foundation seeks to continue this, as Chris’ legacy, whilst also addressing the industry’s mental health challenges in the hope that one day we will have a music industry where everyone thrives.”
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Our 2025 policy platform can empower the UK’s live industry
2025 is shaping up to be an exciting and impactful year for LIVE as we establish the LIVE Trust (more on that below) and see our partnership with the Labour government deliver policy advances that address concerns and unlock opportunities for all in live music. Advances that will supply the economic growth for which the government is so desperate and send a clear message to the global live music industry that the UK remains the best place to tour.
To truly have an impact and deliver the best possible trading environment for us all, we need to focus our efforts where they matter most. The groundwork was laid in our 2024 manifesto, so now, our 2025 policy platform can empower the UK’s live music industry. And we do this work knowing we have a UK government that values our sector as an economic powerhouse, bringer of
joy, and source of soft power on the global stage. A government that believes in the power of music and wants to see more opportunities for more shows and festivals in more towns and cities across the UK.
The LIVE 2025 policy platform has six focus areas:
Kickstarting growth – Strengthening the sector and wider economy
LIVE will leverage its strong relationship with government and its plans for a new industrial strategy (launching this spring), to put live music at the heart of economic policy for the first time. This is an opportunity to push forward on reforms to VAT, tax, and business rates while also seeking export support, planning reform, improved skills provision, and investment to accelerate the green transition.
LIVE is committed to working closely with government to continue to improve and strengthen Martyn’s Law prior to it going live in 2027
Breaking down barriers to opportunity – Addressing the damage to EU touring post-Brexit The government is committed to delivering improved touring arrangements and access to more economically viable live performance opportunities. Negotiations with the EU will commence in the near future, and LIVE will play a pivotal role in ensuring government understands the required outcomes and has the most compelling data and evidence available with which to argue its case.
Ensuring a safer Britain – Making Martyn’s Law work for everyone
Live music has always prioritised its audiences and the public, with venues and events placing great emphasis on staffing, training, and procedures to deliver engaging and safe experiences. Martyn’s Law is an important new piece of legislation that needs to be implemented in a way that works for everyone. LIVE is committed to working closely with government to continue to improve and strengthen Martyn’s Law prior to it going live in 2027.
Making the UK a clean energy superpower
LIVE is committed to helping build a sustainable live music sector by accelerating its transition to net zero through increased funding and technical support and continuing to shape a unified vision for climate action in the UK’s live music sector. Delivering robust regulation of the secondary ticketing market, LIVE has worked closely with government on their plans for ticketing with a view to countering touts and secondary platforms while ensuring steps to increase visibility around pricing are appropriate.
“There is so much more we could be doing if the climate was right”
Establishing the LIVE Trust
In response to the crisis in grassroots music, the LIVE Trust has been created to deliver vital funding in support of grassroots venues, festivals, and the artists that play them and promoters that work with them. LIVE, alongside its members, has been at the forefront of developing the LIVE Trust and will play a key role in overseeing these efforts to safeguard the grassroots, boost the wider economy, and strengthen relationships with government.
Separately and together, the component parts of this policy platform show our values as a sector – partnership, inclusion, progression. Our sector generated over £6bn for the UK economy in 2023, but there is so much more we could be doing if the climate was right. And the crisis in grassroots music shows that interventions are needed to relieve the pressure on the venues, festivals, artists, and promoters that drive this critical layer of our ecosystem. LIVE will continue to act as a critical friend that will hold those in power to account while seeking to galvanise policies that align with the government’s own missions to kickstart economic growth, break down barriers to opportunity, ensure a safer Britain, and make the UK a clean-energy superpower. There are so many positive wins to be secured off the back of this partnership approach. I look forward to writing about them in IQ this time next year.
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ATC Group acquires two live music venues
Independent music company ATC Group has announced the acquisition of two UK music venues, Brighton-based Concorde 2 and Volks.
Via its Joy Entertainment Group subsidiary, the firm has increased its ownership of 600-cap live music venue Concorde 2 to 80% and secured full ownership of JTR Productions for a total of £2.49 million (€2.97m). JTR provides bar and associated services for festivals including Brighton’s On the Beach (cap. 80,000) and Pride in the Park as part of Brighton Pride Festival (50,000).
Separately, Joy has acquired 60% of 300-cap late-night venue Volks for £400,000. ATC snapped up a 60% stake in Joy in February 2024, through which it gained an initial minority interest in Concorde 2.
“The increased ownership of Concorde 2, together with Volks, means that the group’s foothold in the live venue and festival space is now further strengthened, and will enable ATC to leverage industry insights from its wide range of services and touch points across the music value chain to drive intelligent, data-led live bookings aligned to consumer demand,” says the firm.
“By expanding our live events and experiences segment through Concorde 2 and Volks, we have reinforced our presence in this space”
London-headquartered ATC, whose portfolio includes agency ATC Live, ATC Management, merchandise firm Sandbag and livestreaming business Driift, listed on the Aquis Growth Market in London in December 2021. It revealed last month that it was considering a switch to the London Stock Exchange after more than doubling its revenue in 2024.
According to the company, the latest deals will enhance its “cross-selling potential”, while strengthening its “ability to offer end-to-end service delivery to artists across an increasing range of creative and commercial needs”.
“Live events remain a crucial part of the music industry, and by expanding our live events and experiences segment through Concorde 2 and Volks, we have reinforced our presence in this space,” says ATC Group CEO Adam Driscoll. “Importantly, it aligns with our ambition to provide a fully integrated service, supporting artists across every aspect of their careers, and enhances our extensive music services platform to create a better connection between the artist and the fan.
“We are delighted to be working with the teams at Concorde 2 and Volks who bring a wealth of experience of operating independent venues and who share our values and ethos of preserving and supporting independent music venues. With their established reputations in prime locations, both venues are well positioned to contribute meaningfully to the group’s future growth.”
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FOCUS Wales dedicated to ‘healthier future for music’
FOCUS Wales, the country’s largest music industry event, returns to Wrexham between 8–10 May.
The conference and showcase event brings together over 400 industry professionals and more than 250 artists from across the globe.
This year’s conference is dedicated to building a healthier future for music, exploring evolving best practices, artist well-being, sustainable industry growth, and fostering a more equitable landscape for both performers and industry professionals.
Neil Ingham, executive director of Samaritans, will open Focus Wales 2025 with a keynote on the transformative impact of deep, empathetic listening in suicide prevention. Cardiff University will return to share updates on Prosiect Pūtahitanga, reflecting on music and language connections between Cymru and Aotearoa, alongside a visiting delegation from New Zealand.
Another session, led by PPL, will examine evolving priorities for labels, artists and their teams, weighing the balance between data-driven strategies and more traditional, fan-focused campaigns. Speakers will include Katherine Cantwell (Heavenly Recordings), Brad Kulisic (Lambrini Girls/Pigsx7), and Joe Howden (Dark Arts Digital). Meanwhile, Meg Devereux (Marshall) will be joined by Nova Twins and Henca Maduro (New Skool Rules Festival) to explore ways to better support grassroots musicians in building sustainable, long-term careers.
LIVE, meanwhile, will host a panel exploring what it takes for artists to break through to headliner status in 2025 and beyond, with insights from Nicklas Damkjær (Roskilde), Dev Sherlock (SXSW), Connor Cupples (Crosstown Promotions), Megan Evans (Deer Shed Festival), and Beckie Sugden (CAA Agency).
This year’s conference is dedicated to exploring evolving best practices, artist well-being, sustainable industry growth and more
British Council Wales will lead a discussion on the role of showcasing in fostering peaceful cultural exchange, with contributions from Ísleifur Thorhallsson (Iceland Airwaves), Alona Dmukhovska (Music Export Ukraine), Cecilia Soojeong Yi (DMZ Peace Train Festival), Asifuzzaman Khan (Dhaka International Folk Festival), and Login Kochishki (PIN Conference).
The Music Venue Trust will host a hands-on workshop to help attendees articulate their ethical values and demonstrate social responsibility — key factors in securing funding and building a resilient, future-proof industry. In addition, a series of panels and workshops will be presented by leading industry organisations such as PRS Foundation, PRS for Music, Sound Roots, Beacons Cymru and Eisteddfod Genedlaethol, alongside the festival’s new media partner, IQ magazine.
Beyond the conference, FOCUS Wales will facilitate international partner showcases hosted by M for Montreal, BreakOut West, Nova Scotia Music Week, Catalan Arts, Spanish Wave, CNM France, Westside Music (Sweden), Way Up North (Denmark), Wide Days (Scotland), and more to be announced.
Among the guests heading to Wrexham this May are KEXP’s Senior Programming Advisor & Variety Mix DJ/Host Kevin Cole, journalist and podcaster Mark Sutherland, Jose Marihno and Caroline Thiévent from Radio France Internationale (RFI), Jean-Louis Brossard, co-founder of the legendary French festival Transmusicales, Michel Attia, Head of Bookings and Events at Austrian national radio station FM4, Paola Wescher, director of booking at Last Tour PT and founder of Latina in Brazil, and Anne Runge, a curator and promoter who programmes Northern Germany’s acclaimed Fusion and at.tension festivals.
The FOCUS Wales industry conference will take place alongside the festival’s 250+ strong lineup of artists performing across 20 stages in Wrexham city centre over the three-day event.
Delegate passes are on sale now via focuswales.com. Passes grant access to all conference events, private networking sessions, the pre-festival showcase, the online delegate database, and all live performances with priority entry.
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Equal pay, a seat at the table: Women demand equality
Equal pay has been named the top accelerator for gender equality by women working in the international live music business.
With International Women’s Day taking place tomorrow (8 March) under the theme of Accelerate Action, IQ asked executives to name one thing that would make the industry a more equitable environment for women.
“To create a more equitable industry for women, equal pay is essential—without it, there is little incentive to stay or advance,” says Jana Posth, festival director of Rock am Ring in Germany.
Rauha Kyyrö, FKP Scorpio’s co-president of touring & artist development, reiterated the sentiment, adding: “Regardless of an employee’s gender, the industry should pay equal wages.”
But as many executives pointed out, transparency around salaries is the first step to eradicating the gender pay gap. Wasserman Music’s Flo Noseda says that this should start early in the process, when companies are advertising a position.
“Let’s see who’s really delivering progress and who’s delivering rhetoric”
“[Adverts] that say “competitive” or “DOE” usually means “underpaid” and when there is no gauge at all it can waste people’s time and mean that people (especially women) can be underpaid from the offset,” she tells IQ.
One Finiix Live’s Jess Kinn would like the transparency to go a step further, with companies forced to publish everything from policies to promotions.
“I’d like to see a body with teeth – like the DCMS – survey the top 50 music companies in the UK with questions about how their gender equality policies are actually working in practice eg: What proportion of your promotions went to women in the last year? What proportion of your leadership team are women? What are you doing to encourage women into the industry? Make the results public, then we can really see who’s delivering progress and who’s delivering rhetoric.”
Having spent the majority of her career as “the only woman in certain rooms,” ASM Global’s Anna Sjölund has called for better representation in the boardroom.
“Women belong in all places where decisions are being made. It shouldn’t be that women are the exception,” she said, quoting Ruth Bader Ginsburg, the late American lawyer and fierce advocate for gender equality and women’s rights.
“Stop defining us by our gender e.g. a female agent”
“In our industry there are still plenty of rooms where the women are the exception and the ones that have the power to change that are the men in majority,” she continues. “If you never leave your seat – no one else gets the chance to fill it.”
Sam Oldham, venue director at The O2, agrees but warns companies that it’s not enough to just have token representation at the table. “Actively seek out diverse perspectives. Make a concerted effort to ensure all voices are heard and provide a safe space to do so, in which minorities feel comfortable coming forward with their views.”
As Ticketmaster’s Sarah Slater points out, the board room isn’t the only place that women’s voices and ideas should be heard and praised. “Hype women up—especially when they’re not in the room. Create space for their voices where they’re often overlooked. Amplify their work, share opportunities, and make sure they get the recognition they deserve. No gatekeeping—just lifting each other higher.”
CAA agent Beckie Sugden, meanwhile, is keen to remind the industry that colloquial language plays a key role in gender equality.
“Stop defining us by our gender e.g. a female agent etc,” she says. “I’ve never heard anyone say male agent before so why is this defining tag necessary for women? In my example I am an agent that happens to be a woman not a female agent! I have to check myself on this also as it so deeply entrenched in how we talk about ourselves and women in general. Until the language and narrative, we use daily changes nothing will change. The tags reinforce us as second class citizens on so many levels!”
“Pay us equally, respect our boundaries, and stop expecting us to do your admin!”
As Mojo’s Kim Bloem underscored in her Q&A, flexible hours and working conditions are crucial components for women juggling a career and motherhood.
Roundhouse’s Lucy Wood echoes this sentiment, adding: “I think it would be a great thing for organisations to adopt a policy of allowing parents to expense evening/night care costs, in my case this would be covering babysitting while I’m out at gigs, but could be for anyone with caring responsibilities more generally.”
LIVE’s Gaby Cartwright, meanwhile, says that raising awareness among individuals who do not menstruate or experience menopause is crucial to making the industry a more equitable environment.
“It’s important to highlight how menstruation and menopause can significantly impact both the day-to-day lives and professional experiences of individuals in the workplace, especially within the industry,” she tells IQ. “By fostering this understanding, we can create more supportive and inclusive environments that accommodate the needs of all employees.”
Put simply by Raven Twigg, ASM Global: “Pay us equally, respect our boundaries, and stop expecting us to do your admin!”
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