Accidentally falling into the agency world, Maria May has helped to define the parameters of dance music over the past 30 years, allowing such talent as David Guetta, Paul Oakenfold, Black Eyed Peas, The Chainsmokers, Róisín Murphy, Paul Kalkbrenner, Robin Schulz, Meduza, Hugel, Sara Landry, and Lee Burridge to achieve global fame and long-term careers.

While her academic abilities perhaps had her parents and teachers predicting a job in the city, Maria May’s evening routine introduced her to a world in which she would ultimately become one of the global powerbrokers.

Born in Bedfordshire, Maria Hutt, as she then was, grew up in west London where her parents ran a pet shop – sparking a lifelong love of animals. “My dad, John Hutt, was also a security guy and did loads of different jobs before ending up as head of security at Wembley Arena and Wembley Stadium,” says May. “So I went to concerts from a very young age – my first gig was ABBA, when I was six or something, at Wembley Arena. It changed my life. That’s probably why I’m into disco.”

That serendipitous behind-the-scenes lifestyle became part and parcel of May’s daily ritual. “When I was 11, I got into a really good school – City of London School for Girls. At the end of each day, I’d catch the train to Wembley, watch a show, and then get a lift home with Dad. I’d often be doing my homework during sound check. And so I saw everything – Prince, Michael Jackson, Madonna, Pink Floyd, Luther Vandross, Tina Turner, Spandau Ballet, Tears for Fears, Dr Hook, you name it. And often I saw them on multiple nights.”

While she was still unsure about what to pursue as a career, a seed had been planted. “I was at the venue often till 10 or 11 o’clock, so I got used to being a night owl at an age where most people had never even been to a gig. Ultimately, after each show, I’d go backstage, and I really got into the atmosphere of all the hustle and bustle. Otherwise, I worked for my parents at the shop and did a load of part-time jobs to earn money. And then the rave scene hit and everything changed.”

“We pretty much were the architects of where the electronic scene sits right now”

While May seemed destined for higher education, acid house presented a different route entirely. “I just announced I didnt want to go to uni,” she recalls. “Mum and Dad’s reaction was that if I wasn’t going to university, I had to get myself a job. As a result, I found myself working at a recruitment firm, and within about three months, I was running the payroll across two agencies, because I just found the work really easy. And then I saw a job advert for an assistant at a private recording studio in West Hampstead, which was owned by Robert Howes, and at the time was rented to Alan Parsons and Eric Woolfson.

“It was a great job – once a week, they’d give me the tapes, I’d drive down to Abbey Road to get them mastered, and I’d hang out with the studio manager there. My parents were quite impressed, because I was on a decent salary, so they sort of relaxed. And meanwhile, I was in this crazy world of latenight studio sessions, with different people like Squeeze, Aled Jones, and Gary Barlow popping in all the time. It was fun, but I didn’t really understand that I was in the music industry… I was just turning up every day to make sandwiches and coffee, do invoices, and run errands.”

Mixing with musicians and DJs soon led May to rave culture. “I started going out with this guy, Chris Binns, who was running the World Party illegal raves. We did quite a few massive events, and I got caught up in that whole scene. I basically wasn’t going to bed four days a week because I was dancing in fields. I was very tired, but I was having the time of my life while trying to hold down my day job.”

However, that was all set to change, thanks to Phil Nelson, manager of the Levellers. “He rented an office opposite the studio, and he’d come over to collect his post, and we’d always have a chat. Then, one day, he asked if I’d like to be his assistant. Being 18 years old and not even knowing who the Levellers were, I just went, ‘Yeah, that sounds great.’”

Not everyone in the Hutt family was as enthusiastic. “I remember an item on the TV news about the Levellers as the whole counterculture thing was blowing up. They were sort of portrayed as the devil, and my parents were not impressed.”

But it was May’s work with the band that sparked her passion for activism and first got her noticed on a national scale.

“I was young and opinionated, but they put me in my place a lot and taught me loads about myself”

“The government had announced the Criminal Justice Bill and the Levellers decided they were going to fight it, so they got me to run their campaign. The challenge was to get the message out about all the rights the government was trying to take away from people. We didn’t have a budget, so we did all sorts of mad things: we blagged free adverts in the music press, we did billboards on Vauxhall Bridge, we organised marches, and it was so successful that I got profiled in The Times and The Big Issue which, for a teenager, was a bit mad.”

The campaign would also introduce her to David Guetta manager Caroline Prothero, who at the time was working at Ministry of Sound, and who, after meeting May, insisted that everyone entering the club needed to sign the petition against the Criminal Justice Bill.

In a stint that at one point saw May singing backing vocals for the band, she describes her time with the Levellers as an experience that shaped the rest of her adult life. “They were brilliant to work with,” she says. “I was young and opinionated, but they put me in my place a lot and taught me loads about myself. I learned about politics, and that’s something that has remained a big thing for me – being actively involved in trying to make people aware what the ramifications of new legislation might be on their lives. The Levellers were true human beings, who did the right thing, always, no matter what the consequences, and that really inspired me.”

The subsequent beneficiaries of May’s creative campaigning and strategic skills have included a number of music-related trade bodies and organisations. She is a founding board member of the Association For Electronic Music (AFEM) and also a former board member of the Night Time Industries Association (NTIA). Meanwhile, she sits on the boards of the Frankie Knuckles Foundation and Lady of the House and is also on the executive board of Beatport.

The Accidental Agent
While other friends had gone to university and even enjoyed the luxury of gap years, May had been working since she was 17 and, at 21, decided she needed some time out.

“I had a new DJ boyfriend who ran clubs like Indulge in Brixton. We’d go to Ministry of Sound to see [David] Morales and Knuckles and [Tony] Humphries, and otherwise, I decided I was just going to sit around for six months and have a nice time. But then the Levellers’ agent, Charlie Myatt, introduced me to David Levy who he worked with at ITB. David was in the dance music side of things, and when he asked me about my musical influences and I named Chaka Khan and Jazzy Jeff, he said he wanted to give me a job on the spot.”

“There were many situations where I had to deal with people who were not very nice because I was a woman”

As a result, in early 1995, May embarked on a new journey, alongside Levy. “I barely knew what an agent did, and on day one, David handed me a list of promoter contacts and got me to call them to ask if they wanted to book Paul Oakenfold. And shortly afterward, I met Paul himself. It was just before he started to really blow up. But basically, me, David, and Paul made it up as we went along, and we pretty much wrote the book, and I only now realise the importance of all the stuff we did in the 90s – Paul taking things dance music mainstream through supporting the likes of U2 and Madonna on tour, for instance.”

May also cites dance music matriarch Judy Weinstein as a big supporter. “If I’m in New York, I make sure I visit Judy. She has been a huge influence on me, and in those early days, she helped David and I build the business internationally.”

Lauding Levy as her mentor, May states, “We were an absolute dream team. He was fierce, and I learned so much from him. In fact, I introduced him to one of my best friends, Irina, and they got married. We remain close, and the lovely thing is that our kids are friends. I spend every summer with David and his family in Ibiza. I love him. He’s one of my dearest friends, and the 17 years that I worked with him were just the best, because in that time, we worked with everyone – we pretty much were the architects of where the electronic scene sits right now in terms of superstar DJs, headline billing, and residencies.”

She continues, “Before us, there were no dance agents. It was David, me, and a handful of others. And there were certainly no other women. As agents, we were treated like second-class citizens, because the larger live music business didn’t understand our world. But we were quietly making shit loads of money for our clients, so it was a fantastic time during which I learned how to be an agent.

“David never let me make a mistake; he’d always catch them before they went out, so he absolutely protected me. In saying that, there were many situations where I had to deal with people who were not very nice because I was a woman. But David defended me to the hilt. He was absolutely invested in my success.”

“I’ve grown with the client, and we’ve just been able to do the most amazing things all over the world”

That working relationship ended when Levy departed for William Morris in 2010. “I totally understood his decision,” says May. “He’d gone as far as he could go. And it allowed me, perception-wise, to come out of his shadow. He never treated me that way, but I know other people in the business saw it that way.”

Levy’s departure also helped solidify May’s own roster. “Of course, David took most of his artists with him, but a lot of acts who I had worked with day-to-day decided to stay with me – 2manydjs, Soulwax, Paul Oakenfold, David Guetta, and Róisín Murphy, for instance.”

While May remained at ITB for a couple more years, in 2012, she decided it was time for a change. “The likes of David Guetta, 2manydjs, and Soulwax were really big, and I ended up getting a few more assistants. At the same time, the industry was waking up to the power of electronic music and the money that can be made. As a result, a lot of the American agencies were trying to lure talent away, so maybe it was insecurity on my part, but I really felt I needed to be at a major agency so that I could better represent a client like David Guetta, for instance.

“I’ve been at CAA for nearly 13 years, and I made the decision to come here because Emma and Mike treated me so well. Back in 2012, CAA didn’t have an existing dance or electronic department, so one of the big attractions was coming in to set it up and do it globally.”

Recognising idiosyncrasies, she adds, “I don’t think I’m that easy to work with. I’m all over the place with my train of thought. But at CAA, there’s a genuine sense of looking after each other.”

Among the beneficiaries of May’s stewardship is Guetta, who has been at the top of the tree for decades. “It was just obvious he was gonna be a huge pop star even though he’s still a DJ,” says May. “Maintaining the DJ side of it has always been critical to his career path, and it’s something that we’ve pretty much pulled off in the sense that he makes commercial pop hits but does lots of underground stuff as well, so he’s now doing major festivals and stadiums as a headliner, like a pop artist with huge production. That’s been a brilliant relationship in the sense that I’ve grown with the client, and we’ve just been able to do the most amazing things all over the world.”

“Setting the building blocks is something I’m pretty proud of, even though we were just doing stuff instinctively”

Team Disco
While there were early suggestions that May’s department at CAA be named “EDM,” she insisted on the “Team Disco” moniker that she and assistant Gina Gorman had adopted at ITB. “In London, there are 11 of us, while in America, we’re up to around the same number including agents and assistants – it’s no longer a niche business; it’s huge! But there’s still lots of room for this business to grow. The scenes are constantly evolving with new talent and new genres coming through.”

Looking back to the original Team Disco at ITB, May was one of the pioneers in cementing Ibiza’s place at the centre of the electronic music business. “I was part of the first residencies in Ibiza, thanks to Danny Whittle who wanted to do a residency at Pacha with Paul [Oakenfold]. He told me that if it worked, he also wanted to do it with Death Mix – David Morales, Frankie, Satoshi Tomiie, and all of those guys, and obviously I repped all of those people. The Paul Oakenfold residency was massively successful, and the rest is history.

“Being part of that and setting the building blocks is something I’m pretty proud of, even though we were just doing stuff instinctively. We didn’t really know whether it was gonna work half the time, but it did, so well done us,” she laughs.

Again, she names Judy Weinstein as one of the architects behind the strategy that propelled dance music to a global phenomenon. “It’s a partnership, and the managers who understand that are the best people to work with,” states May. “But I also represent a lot of artists that don’t have managers, so I work with them directly.”

Drawing comparisons to the worlds of rock and pop, she notes, “A DJ schedule is 365 days a year if you want it to be. It’s not built on a model where an album comes out and you’re touring and then you have a year off. I do a lot of live acts as well – Black Eyed Peas has been a fantastic relationship for me, because their management, Polo Molina and Seth Friedman, always trusted me with access to their diaries. I never imagined that I could be their agent, but Rob Light signed them to CAA, and then phoned me to ask if I wanted to be the Black Eyed Peas agent. I just love things that end up being beautiful happy accidents.”

“Suddenly I was working with this guy that I knew from my local area who turned into a massive act”

Losing Talent
Of course, for every happy accident there’s a flip side, and May admits that losing clients can be tough. “I was sad to lose Soulwax and 2manydjs – that was probably the biggest loss of my career, and of course they went to David Levy. That was a wake-up call because I realised that while David is my friend, he’s also my rival. We got through it, but I didn’t handle it very well in the beginning. It happened as soon as I started at CAA, and I’ll always remember going to see Emma Banks, and she was really clear, telling me that CAA didn’t employ me for my acts; they employed me because they believed in me.”

Indeed, May highlights the support her bosses and colleagues provided during some of her darkest moments. “About six years ago, my dad got very ill, and the company allowed me to do whatever I needed to do, so I made the job work around being a single parent with two kids and a dying dad,” she recalls. “And then six months after Dad died, my mom was diagnosed with an inoperable brain tumour and needed round-the-clock nursing. It was a horrible time, but Emma and Mike and everyone at CAA were amazing.”

Career Highlights
Thankfully, the good times vastly outnumber the bad, and May has had some spectacular highlights in her career to date.

“David Guetta at Masada in Israel – I was the first person to do it with a major artist,” she says of her most memorable shows. “I also did Paul Oakenfold on the Great Wall of China before anyone had ever done it. Róisín Murphy at sunset on West Holts at Glastonbury is always fucking amazing – Róisín is one of my favourite partnerships. I’ve loved every second of being her agent, and I genuinely can’t wait for her next record.”

May also cites X-Press 2 as a standout client. “My relationship with their manager, Chris Butler (currently the manager of Jalen Ngonda also repped by CAA), is fantastic. He gave me my first band, Red Snapper, and when I’d been their agent for about a year, we sold out the Astoria, and I just remember being so proud. So, when X-Press 2 blew up, it was just brilliant, as I’d known [DJ] Rocky from growing up, and suddenly I was working with this guy that I knew from my local area who turned into a massive act.”

“Being able to make stuff like that happen that has a legacy is just the cherry on the cake”

She also talks fondly of American talent David Morales and the late Frankie Knuckles. “They taught me all about the New York club scene, and I’d go there every other month. It’s the privilege of a lifetime to know those guys – the originators of house music – and bring them to Europe. Frankie was an enduring friendship that I really am very grateful for. He was an amazing man, and I loved him, so it was really hard when he died.”

May’s association with the godfather of house music continues to this day, through her work as a board member of the Frankie Knuckles Foundation, and she recalls ways in which their relationship helped elevate one act to iconic status.

“I repped Hercules and Love Affair for a long time, and he brought this collection of music to me that included a track called Blind, and his biggest wish was for Frankie to work on remixes. So, I asked Frankie if he would do it, and he was a bit non-committal, so I kept nagging him, and in the end, he said he’d do it for me. And Frankie’s Blind remix is one of the club-defining tracks, even now. So being able to make stuff like that happen that has a legacy, is just the cherry on the cake.”

The Darling Buds of May
While May’s life ultimately revolves around her children, her devotion to her clients’ careers, and the growth of electronic music, means her workaholic approach is more of a vocation than a job. “I’m hugely proud of my two kids,” she states. “They are my greatest achievement.”

Within Team Disco, May works closely with colleague Jen Hammel in CAA’s London office. “We’re a bit of a dynamic duo,” she comments. “[Jen’s] proved to be a formidable agent. She’s just killing it, and I love working with her.”

The Future
With 30 years under her belt, May’s love for her craft shows no sign of waning, and she remains committed to helping guide the careers of a new generation of talent amidst an ever-accelerating pace of evolution in the dance sector.

“Due to TikTok and streaming, we’re starting to see genres changing really quickly,” she observes. “Being able to create longevity is definitely becoming more challenging, and it’s up to us agents to help our clients achieve prolonged careers, if that’s their goal.

“Our job (as agents) now is to slow time down and take more care, be totally confident in our artists”

“But at the moment, there seems to be a desire for people to just rinse the shit out of things. It’s almost like pop, and a lot of people are spending an awful lot of money on social media in order to maintain their careers, because there’s a lot of stuff that comes along that’s super hot, super firing, and doing massive numbers. But by the second summer, the kids have moved on.

“I also find that the leverage-on-leverage-on-leverage model, which was really strong in the dance music scene for many years, may be on the way out. For example, people who hit 25m streams would leverage that number, then they’d leverage on the leverage. I’ve never really bought into that. I prefer taking my time, underplaying, believing in the artist long-term, and building a fanbase that will stick by them. There’s definitely a style here within Team Disco (and at CAA in general), where we try our best to sign career artists, because we want to be part of that journey.”

Predicting both short-term and long-term growth for dance music, she tells IQ, “It’s interesting, China is definitely coming back strong again for electronic, and Southeast Asia seems to be really pumping again, post-Covid. Holland is doing extremely well in terms of certain sounds, certain scenes – and there are really strong ticket sales.”

Breaking new markets is also on May’s radar – an ambition that she believes is easier given the genre her clients occupy. “If you are a DJ, and it’s just you and a tour manager when you start out, you can go anywhere. And you have no costs, really, because the promoter pays for your flights. You can go anywhere you want, and we send people into new territories all the time. And the artists that come to you saying, ‘I just want to tour these markets and build my career,’ they’re the keepers. They’re the ones that put the graft in.”

Naming new clients such as Marlon Hoffstadt, Malugi, Jammer with Más Tiempo (a label/events brand owned by Jammer and Skepta), and Arcadia (Glastonbury structure and field), May concludes that the electronic sector is facing a bright future as dance music has established itself as a mainstay across most major festivals with more and more headliners coming from Team Disco’s roster.

“Our job (as agents) now is to slow time down and take more care, be totally confident in our artists, and help build long-term artist careers based on real ticket sales and exceptional experiences for the artist and the audiences,” she concludes.

“We need to achieve that in the most authentic and fan-led way possible – guardian angel-like – while having the experience, the knowledge, and the confidence in how to do that. I am lucky to be at CAA and to be surrounded by other people doing exactly that every single day.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

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.

Passionate about the performing arts, Emilia Backhaus majored in theatre and media studies before interning at Reeperbahn Festival. Inspired by her mother’s stories of legendary promoter Karsten Jahnke, she landed an apprenticeship at Karsten’s company, and two years later, began working alongside CEO Ben Mitha on international acts such as Blackpink, Childish Gambino, Ludovico Einaudi, and Diana Krall, while this summer, she has been focusing on Taylor Swift’s stadium shows.

Having a background in theatre, you probably approach the music side of things from a different perspective than most of your peers. How would you encourage more people with a similar background to explore careers in live music?
I was always a little conscious about not having a background in music but I think it sometimes helps as you can see the bigger picture of a performance, experiencing the music as a fan would rather than focusing too much on minor technicalities like a drum missing a beat or a guitar being slightly off. You don’t have to have booked your first gig at 13 in your local youth club or know every Rolling Stones song. You can major in theatre and still end up being involved in Taylor Swift shows. The live music industry offers a wide variety of jobs, so in the beginning, I tried to experience as many aspects of it as I could: working in a venue, as a local promoter, at a record label, and eventually settling in the tour department. Take your time, find your niche, and don’t be intimidated by men in the industry who have played guitar since they were two years old.

You work with a lot of drag acts. How have you seen that scene develop during your time in it?
I have been really interested in the US drag scene for a while now and I was really happy to see more and more people in Germany recognising the amazing performances that drag acts offer. The bigger acts are still coming from the US, but I do see a lot more local artists getting a platform, which is amazing and what we should be working towards. I think the German drag market is still in its early stages, but there is a lot more to come. It’s important for me to get more people to see the extravagant, funny, and highly political sides of drag. And who wouldn’t be amazed by Sasha Velour starting her show singing dressed up as a chair?

“I think the German drag market is still in its early stages, but there is a lot more to come”

Diversity is very important to you. In your opinion, what could the rest of the German industry – and indeed the entertainment business globally – be doing to improve the situation?
Realising that diversity is a chance and that it will take us further, rather than setting us back. We need the people who are currently making the decisions to make space for others. Decision-makers should mentor the next generation, hand over responsibility, and step back when necessary. For instance, one approach that stuck with me: no highly important meetings after 3 PM, to allow people who work part-time due to care work to still participate. So to everyone currently making decisions: open the door, grab a chair, and invite new people to the table! And everyone: talk openly about your salaries. Transparency is an important step toward equality.

You’ve been working on the biggest tour in history. Without giving away any trade secrets, what are some of the things you’ve learned about working with Taylor’s team on these historic shows?
The importance of an NDA… But talking about our team, it takes a lot of people to make something like this happen. With such a strong team and a broad variety of competencies on site, there is always a solution. Not having a decade or more of industry experience, there were situations where I lost my cool, but I was always reminded that everybody knows somebody who knows someone that can fix the problem. It was incredible to see the whole team working together on these shows.

What has been the highlight of your career so far?
Being involved in the Taylor Swift shows in Hamburg was definitely a highlight. Working on it for over a year, practically moving into the stadium before the shows, and then watching her pop out of the stage. Seeing everything come together after all the hours we put in and watching a sold-out stadium cheering for the artist, knowing I had been a part of something this big was very moving. There might have been a tear, but that might have also been due to the lack of sleep.

“Being involved in the Taylor Swift shows in Hamburg was definitely a highlight”

And what about any low points?
Working from my kitchen table during the pandemic in my one-room apartment was tough. First postponing the shows I was really excited about for the third time and then eventually canceling them. It took a lot during that time to remember why we are doing this. But as soon as I got away from that kitchen table and back into the venues, it came back to me.

What’s the best advice you have been given?
There are two: Be kind. Even if you have slept for two hours and the artist’s name is nowhere to be found on the hotel’s list. Be kind and look for solutions. A phone call goes a long way. In most cases, it is better to just call than to write three emails.

What would you like to be doing in five years’ time? 
Hopefully being on your 35 Under 35 list! And keep being involved in new approaches to promoting live entertainment and maybe bringing Taylor Swift back to Germany with another era or two.

What do you do outside of work to relax?
I am annoyingly passionate about films and cinema. That is where I spend a lot of my time. I enjoy completely falling into the plot of a film or a play. That is probably why I enjoy extravagant show productions so much. I always have. I also play squash, so hitting a ball against a wall for 45 minutes and the cinema is a pretty good mix to keep me balanced throughout this sometimes hectic day-to-day.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

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.

Eli Gelernter’s roster includes some of the most-celebrated young stars in the world, including RAYE, Tyla, Kehlani, Wet Leg, FLO, and Ryan Beatty. Based in Los Angeles, Eli has had a special focus on expanding Wasserman’s business at Pride events across North America, which helped establish RAYE’s career on her debut US tour in 2021; Pride events also helped build a touring base for Australian singer G Flip, who went on to sell out their North American tour this year.

 You started out as an intern and climbed the ladder. What would be the best advice you could give to your younger self, now, looking back on when you first started?
Remember that it takes ten years to become an overnight success.

Do you have a mentor or someone you can rely on to bounce ideas off?
My mentor in the business is my boss, Wasserman Music EVP Marty Diamond. We have been working with each other for almost a decade, and while he thinks of us as partners now, he is the best-sounding board for me as I grow and learn as a young agent. We support and believe in each other, through and through.

Your roster for a young agent is super impressive. How did you manage to secure such exciting talent early in their careers?
Trusting my gut, signing compelling and provocative talent, and believe wholeheartedly in every artist that I work with. I try to always sign artists that aren’t just a variation of something else that is currently popular. I never have been, or ever will be, one to follow a trend of “this is the next blank.” Why be next when you can be first?

And are there any particular platforms, venues, or events that you favour to discover new talent?
I find the majority of my clients through personal and professional relationships, and there are a couple of people in particular whose taste I value most, and who I can bounce ideas/music off of for feedback when I am scouring the internet. More so now than ever, agents are signing clients prior to them even doing their first live show.

The festival circuit in Europe is a great way to build artist fanbases. Is the same thing true in North America; can social media speed up breakthroughs; or does the age-old rule of putting the miles in on the road still deliver the best results for emerging acts?
It’s a fusion of the two. I don’t think you can expect a festival performance to go viral or get attention online if it’s not an excellent show. I very much believe in quality over quantity when it comes to festivals and touring, because it can be detrimental to someone’s career if they have a half-baked performance. But if a festival performance is personal, thoughtful, and inspiring – like Chapell Roan has been doing this season – it can change an artist’s career and life.

“Remember that it takes ten years to become an overnight success”

You’re from Pittsburgh, and you’re now in Los Angeles. But where is your favourite venue, and why?
Before living in LA, I was in NYC and have a special place in my heart for the Bowery Ballroom. While I was in college, I sold merch there for extra cash while interning, and it is very full circle now that I book clients there as an agent.

You’ve leveraged a number of Pride events to help grow the fan bases for some of your artists. Is that a route you would recommend to others, or have these been very specific campaigns where the events and talent made sense?
I think every artist’s path is different, but for those where it does make sense, I find Prides to be a very effective method of discovery that goes beyond just LGBTQ+ audiences.

What’s been the highlight of your career to date?
It’s incredibly difficult to pick one, but our client RAYE went on her first North American tour in October 2023 and did a handful of meet-and-greets per show. I was at the first chunk of dates, and watching RAYE’s personal interaction with her fans is absolutely heartwarming, and unlike anything I have seen throughout my career thus far. It reminded me how music can be such a uniquely deep and personal connection between creator and listener.

What tours, shows, or events are you most looking forward to in the year ahead?
I am excited for the world to see our client Tyla live, she is about to shut down the world with her show! Also, Kehlani and FLO are going on tour with each other this autumn in North America, which will be the show of the year for R&B lovers like myself.

As a New Boss, what one thing would you like to change to make the live music industry better?
More kindness in the industry, treating others the way you want to be treated. It’s a pretty elementary concept but you’d be surprised how some fail to grasp it.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

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.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

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.

Cerys Vaughan began her career as a show rep in Leicester, as a teenager, running the shows at small venue, Firebug, while also stage managing at Handmade Festival in Leicester. While at the University of West London studying for a foundation degree in Events Management, she interned at the Association of Independent Festivals, helping to organise and run their Festival Congress event in Cardiff in 2014.

Post degree, she returned to Leicester, show repping once again, before landing a job as a promoter assistant at DHP Family, assisting Dan Ealam in London and working across acts like Ed Sheeran, Mystery Jets, The Growlers, and Calum Scott.

She moved to ATC Live six years ago, initially as agent assistant to Chris Meredith, but has since moved across lots of rosters to her current role as Will Church’s assistant working on a roster that includes Big Thief, Japanese Breakfast, Julia Holter, Snail Mail, Whitney and more. She also assists Alex Bruford on Fontaines D.C.

You’ve been involved in live music since you were a teenager – was someone else in your family involved in the business, or was there something or someone else who prompted your interest?
I grew up in a family that loved music, but no one in our family or life worked in the arts, so I had no connections to that world at all (and hadn’t even considered the potential of a career in it). I finished school and was trying to decide what I wanted to do with my life, deferred university for a year (Events Management at UWL), and was working in a bar in Leicester that had a venue attached. The venue booker, John Helps, asked one day if I’d like to try out show repping to get some events experience before going to university. It turned out that I loved it and ended up repping all the gigs and running the door before, during, and after university.

You were very successful at getting your foot in the door at the start of your career. What advice would you have for others who are looking to forge a career in the music industry?
Approach your local music venue and ask if they need anyone to run the door or if you could assist a show rep some nights – working on the ground at gigs is such valuable experience. You’ll learn so much about what it actually means to run a show, and it’s a great way to meet people in the industry and start to build a network.

You were on the promoting end of the business to start off with. What prompted you to move to the agency side?
I was still trying to work out what I wanted to do with my career, and a job coming up at ATC felt like a good opportunity to try something different. The idea of getting to work on shows taking place all across the world was really exciting, so I made the leap haven’t looked back since.

IFF, The Great Escape, and Futures Forum are great events to attend early in your career

In terms of expanding your network of contacts, are there any events, platforms or forums you attend that you would recommend to others?
IFF, The Great Escape, and Futures Forum (the young person’s day at ILMC) are great events to attend early in your career. Many of the international industry professionals travel to these, giving you the opportunity to put some faces to your ever-growing network of email addresses.

You work across quite a number of clients. What has been one of the biggest highlights of your career, so far?
I’ve worked with Fontaines D.C. for five years, and watching their growth has been incredible. A standout moment was at the end of their Hammersmith Apollo shows when they played ‘I Love You.’ Everyone was singing along, and red confetti with ‘I Love You’ written on it fell through the air. That moment was pretty magic, and I’ve kept a piece of that confetti on my dressing table ever since.

Is there anyone in your life that you see as a mentor, or who helped you learn the ropes?
Alex Bruford – he’s the busiest man I’ve ever known but he’ll always find the time to answer your questions, to guide you through a tricky problem or to give you a shout-out for doing a great job on something.

“It’s our duty to make sure every person along the way feels safe, comfortable and fully able to enjoy themselves”

As a new boss, what one thing would you change to try to improve the live music business?
We still need further diversity in the workforce across race, gender, religion, sexual orientation, disability and socio-economic backgrounds. Not only for the artists we are representing but also for the fans we are putting the shows on for. It’s our duty to make sure every person along the way feels safe, comfortable and fully able to enjoy themselves, and that’ll only be possible when all corners of society are represented in the planning.

Further understanding and care of mental health in the industry. It can be a highly stressful career, and even small improvements in employee care can prevent burnout and keep people feeling supported and valued. ATC Live provide an EAP (employee assistance program) that offers a 24/7 helpline, counselling sessions, and access to expert advice. Knowing that your employer is committed to providing this support feels incredibly reassuring.

What would you like to be doing in five years’ time?
Continuing to work alongside amazing artists and their teams, being a part of their journey as their careers grow feels very special. You never stop learning in this career so hopefully I’ll be wiser too.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Respected music agent and former artist manager Nigel Morton has died following a short illness.

Morton, who joined East Yorkshire-based folk, blues, acoustic, Americana and world music specialist Strada Music International in early 2023, passed away peacefully in hospital on Monday (4 March), surrounded by his family.

Starting out as a local newspaper journalist covering gigs in Chelmsford, Essex, Morton became an agent in 1978 and worked with acts such as John Cooper Clarke, UK Subs, Jimmy Cliff, Jefferson Starship, Bruce Cockburn, Isaac Hayes and Billy Bragg.

“Nigel was not only a valued member of our team at Strada Music but also a cherished friend to many,” says a statement by the agency. “He brought immense talent, dedication, and passion to everything he did, leaving an indelible mark on all who knew and worked with him.

“He took great pride in his role and valued each and every one of his artists and promoters”

“He took great pride in his role and valued each and every one of his artists and promoters, always striving to provide the highest level of service and care.

“Our deepest sympathies go out to all who knew and loved Nigel. While he will be greatly missed, his spirit and legacy will continue to resonate in the memories and hearts of all who had the privilege of knowing and working with him.”

In 1982, Morton discovered New Model Army, who he went on to manage for a decade, and also guided the careers of artists including The Almighty and Eliza Carthy as owner of Totally Obnoxious Management. He later worked with Rob Challice and the late Steve Strange at Challice’s F.A.B., before launching Moneypenny Agency.

Strada will release information on funeral arrangements and plans to celebrate Morton’s life once details are finalised.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Former agent Mike Hinc, whose client roster included the likes of The Smiths, Morrissey, Primal Scream, The Birthday Party, and The Sisters of Mercy, has died at home in France. He was 70.

Fiercely proud of his father’s Polish ancestry, Hinc studied Sociology and English literature at Bedford College, University of London, before finding himself a job at the Roundhouse as head of security. He next moved to the Institute of Contemporary Arts, where he launched the legendary ICA Rock Week programme.

In 1981, he joined Rough Trade Agency, which under his leadership evolved into All Trade Booking a few years later. He subsequently went on to co-head Cloud Music Agency with Richard Cowley.

Always interested in art, Hinc studied for his MA degree at Hertfordshire University, where he also lectured on the music industry. Upon his retirement as an agent, he became an accomplished artist and split his time between Ware in Hertfordshire, England, and France, where, in 2003, he relocated to the city of Carcassonne, where he also cared for his ailing mother until her death a year ago.

Despite enjoying a successful new career as an artist, Hinc also continued to represent The Sisters of Mercy as their agent.

“Mike was grizzly, curmudgeonly, but most of all cuddly”

“Mike was grizzly, curmudgeonly, but most of all cuddly,” says long time friend Eric Longley, former MD of Factory Records. “He was always a gentleman and when Morrissey’s new management advised a change of agents, his response summed him
up: ‘If that’s what Morrissey wants, that’s what he should have.’ To be fair, Morrissey was equally gentlemanly and both acted very professionally toward each other.”

Upon learning of Hinc’s death, Morrissey wrote, “Mike was The Smiths live booking agent… very funny and very irreverent in the spirit of the Blenheim Crescent age. He was also very intelligent whilst being next to incomprehensible… which was perfect for the exciting psychic disorder of Rough Trade.

“Along with Geoff Travis, Scott Piering, Jo Slee, Martha DeFor, Richard Boon and Pat Bellis, he worked very hard for the Smiths from the very beginning, and his cramped All Trade hut within the record label was a hideaway sanctum of busy blackboards and choking cigarette smoke. He was much admired by John Peel and John Walters, and this certainly helped the Smiths to move quickly. I was thankful then, and I’m thankful now.”

Hinc is survived by his brother David, and half sister, Anna.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

Live Nation Finland has appointed Annika Oksanen to head the company’s booking agency for domestic artists, effective January 1 2024.

Oksanen has been working for Live Nation Finland as an agent and promoter since 2017.

Other milestones in a career that began at former Helsinki nightclub Nosturi include stints at various Finnish festivals; ticketing company Tiketti; and as Cat Power’s personal assistant.

She was named Agent of the Year by Music & Media in 2021 and was honoured with the Top 20 under 30 award in 2018, handed out by the Nordic network of music export agencies, Nomex.

“Annika is a top performer who is respected inside and outside the house”

Oksanen will be working alongside fellow agents Elsa De Campos, Valter Filosof, Matti Kaunisvesi, Miska Nipuli, and Jukka Varmo at Live Nation Finland’s booking agency, which represents Anna Puu, Samu Haber, Anssi Kela, Pate Mustajärvi, Olavi Uusivirta and international names regularly touring abroad, such as ALMA, Insomnium, Poets of the Fall.

“It felt like the right moment to take on this new challenge and role,” says Annika Oksanen. “I have a vision for how we will take Live Nation’s domestic representation and expertise forward in partnership with artists and their teams. We want to build long-term artist careers, and I believe that this is best achieved through smooth collaboration between labels, management and live.”

Tomi Saarinen, CEO of Live Nation Finland, adds: “Annika is a top performer who is respected inside and outside the house. She conveys a caring attitude. She gets things done with a good swing. This is a great opportunity for her and all our partners.”

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

The 16th edition of IQ Magazine’s New Bosses was published in IQ 121 this month, revealing 20 of the most promising 30-and-unders in the international live music business.

To get to know this year’s cohort a little better, IQ conducted interviews with each one of 2023’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.

Catch up on the previous interview with Holly Rowland, an agent at Wasserman Music (UK) here. The series continues with Jamie Shaughnessy, a music touring agent at CAA.

Jamie joined CAA in 2015, where he served as an assistant to several agents in the company’s music touring division in London, across a variety of clients and acts. He was promoted to coordinator in 2020 after completing CAA’s trainee programme in Los Angeles. Despite the trials brought about by the Covid-19 pandemic, specifically within the live touring space, he was promoted to agent at the end of 2021 and has since built a roster of exciting artists from genres across the globe.

Jamie’s first stint in the music industry came after completing his A-Levels, when he secured an apprenticeship at Channel 4 working across music licensing and sync alongside their in-house agency, 4Creative. He then held a similar role at Princess Productions/Shine TV before joining Warner/Chappell as a music consultant within their production music team.

When did you first realise you wanted to have a career in the music industry – and is anyone else in your family involved in music?
No one else in my family is involved in music in a professional capacity but my earliest and fondest memories comprise of my parents playing the records of artists from all over the world – from reggae to rock and Motown, to acts like Orchestra Baobab and Bueno Vista Social Club. I think this is what really fired up my initial interest and passion in music. My family all have such a varied taste which really fed into the music I’d then go on to love.

Looking back…burning CDs, watching music videos over and over again when you could text in to make a request (shout out and R.I.P to Channel U) and weekly trips to HMV is when I really began to spend the majority of my time consuming music. When I discovered YouTube and iTunes it was a wrap, I’d be scouring the web for my next favourite artist for hours on end (but had to stop when my mum needed to jump on the phone and disconnect from the dial-up internet). At this point, the idea of working around something I love sounded great but I had no idea if it was possible or what roles were actually out there. For a long time, I thought being the tour manager meant you were just hanging out with the artist and partying all the time, not actually managing a tour…

Most teenagers probably don’t know that jobs in music licensing and sync, as well as booking agents exist. How did you find out about these career paths?
I think it was a combination of a little bit of luck and being inquisitive. My first job at Channel 4 as an apprentice came as a bit of a surprise. I was applying for any internships that had ‘music’ in the description via Gumtree and then looking for opportunities via the apprenticeships database. There was a role listed at a ‘National Broadcaster’ which involved ‘sundry tasks’ working with music rights and clearances. In all honesty, I had no idea what it meant and it didn’t sound the most exciting. I applied for the role, forgot I had done so, then had a phone call a month later asking to come in for an interview at Channel 4. I couldn’t for the life of me remember applying for the position so asked for them to resend me the job description so I could prep. I was rattled! Somehow, I landed the apprenticeship, it was one of the best experiences of my life and the perfect entry role into the industry. From there I moved around in similar positions within sync and licensing. I then realised I wanted to be in a role that felt a bit more hands-on while working closer to artists, I wasn’t sure exactly in what capacity that would be – the areas of A&R, management and live all sounded interesting and engaging to me. I then saw an assistant role at CAA advertised online – again, I had no idea who CAA were or what the role of an agent entailed but I thought I’d give it a go. There was definitely an essence of fake it until you make it…

“Having strong relationships across all sectors is integral to being able to do the job well”

In terms of expanding your network of contacts, are there any conferences, events, platforms or forums you attend that you would recommend to others?
Over the years I attended events that The Young Guns Network organised and always found them super useful for making meaningful connections and getting insights into different areas of the business, especially for anyone just starting off in the industry and who needs a bit of a guiding light. The Ultimate Seminar was really helpful for that too. Events like The Great Escape, ILMC, IFF, Venues Day and Eurosonic are always really beneficial to be at, especially for anyone in the live space. Other than that, I’d recommend getting down to gigs and showcases for new artists at the smaller independent venues.

Your path to CAA included stints in broadcasting and at a music publisher. Does that experience help shape any of the work you do as an agent?
In my earlier positions, I had to make sure I was always up to date with new artists and releases and have an understanding of what music would work to a certain brief, so I definitely think those honed skills and having that awareness have helped me as an agent. Another huge component of those previous roles and in my current role is relationships, as it is across the industry. Having strong relationships across all sectors is integral to being able to do the job well.

You had the chance to work in Los Angeles as part of CAA’s trainee programme. What lessons did you take from that experience – and is working at one of the company’s other offices something you’d like to do in the future?
I learnt to appreciate the London Underground! I had an incredible time in LA and forged some strong relationships with colleagues over there who are now close friends. I was reminded just how small the planet was and how important it is to not just build but maintain the new connections you form as you never know when you’ll need to call on them. I learned how to embrace challenges and new experiences that might seem intimidating at first but inevitably help you to become a more proficient person. I love travelling, meeting new people and seeing new places so would never say no to the opportunity of spending time in one of our other offices around the world.

Where is your favourite venue for checking out emerging talent?
I’ll always keep an eye out for the showcases and multi-act line-ups at the smaller intimate venues like The Lower Third, The Social and Paper Dress Vintage. Jazz Café always do a wicked job with their programming, especially with acts from around the world who might be playing their first show in the UK.

“[The industry] still doesn’t feel anywhere near enough reflective of both society and the music output we see”

How would you encourage other young people to pursue a career in the music industry?
For young people just getting started in the industry I’d always recommend trying out different areas within the sector. Even if you have the smallest inkling or interest towards one of the areas – whether that’s live, radio, A&R, management, PR, legal etc. – be curious and work out how you might be able to get some exposure within that space. I think it’s always better to try something out and find out it might not necessarily be for you, as opposed to looking back and wishing you’d given it a go. Work experience and networking are key to building a career within the music industry so I’d suggest trying to gain an understanding and familiarity of each field while meeting as many people as you can along the way as this is what will help you grow.

You have a growing roster of talent who you represent. Which acts do you think people should be keeping a close eye upon in the year ahead?
I feel extremely lucky and privileged to be working with an incredible roster who are all working really hard to hone their craft and breakthrough. SuperJazzClub are a collective from Accra and had a great run of shows earlier this year, their show at The Great Escape was absolutely rammed and a bunch of people couldn’t get in, which almost included myself – a good problem to have! Maeta is an amazing R&B act from the US and if you haven’t heard of Durand Bernarr please check out his Tiny Desk Concert, it’s incredible. Ama Lou, Cruza, Somadina and Femi Tahiru all have new music on the way which I can’t wait for people to hear. Yazmin Lacey is absolutely killing it, you have to check out her performance of Late Night People at Glastonbury. BXKS is making real waves in the UK rap/Grime scene. I’m really excited too about Naomi Sharon who is from Holland and recently signed to OVO. JACOTÉNE is from Australia, has an unreal voice (to put it lightly) and is ready to take on the world. Keep your eyes on LULU too…

As a new boss, what would you like to change to make the live entertainment industry a better place?
I’ve read this segment of this series for the last several years and I would’ve hoped I wouldn’t have needed to say what’s been said previously on improving the diversity of the workforce behind the scenes but there’s still so much work that needs to be done. It does feel in some regards that things are slowly getting better and that within some parts of the industry, you’re seeing more people from ethnic minority backgrounds in roles. However, it still doesn’t feel anywhere near enough reflective of both society and the music output we see across the board. If companies and institutions are actually serious about changing the industry in this way, I feel that a whole lot more needs to be done when it comes to outreach to schools and communities that might not be aware of the inner workings and opportunities within the industry. This would only be one part of making meaningful and positive change, there’s so much progress yet to be achieved in eliminating racial inequality within the sector and beyond.

I definitely don’t have the answers, but I feel collectively we all sincerely need to be working towards a more sustainable and greener way of operating otherwise we won’t have a live entertainment industry to improve. As the saying goes, there’s no music on a dead planet.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.

The LGBTIQ+ List 2023 – IQ Magazine’s third annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.

The ever-popular list is the centrepiece of IQ’s third Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.

To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.

Throughout the next month, IQ will publish a new interview each day. Check out yesterday’s profile with Areti Tziorta, marketing manager at TEG Europe in Birmingham and Bristol, UK.

The series continues with João Pedro Viana (he/him/his), music agent at WME in London, UK.

João Pedro Viana is a music agent at WME, where he has consistently prioritised the career growth of multiple queer artists. Viana now represents the acclaimed Jake Shears internationally, an artist who has had a remarkable impact in bringing queer culture to the mainstream. Viana also represents one of Brazil’s most streamed artists and queer icons, Gloria Groove, whose debut album Lady Leste reached the #1 spot of the Spotify’s World Top Album chart on release week. In less than a year, Groove established herself as one of Brazil’s most streamed artists with a triple diamond album and she’s now on a path to become a global success.

Tell us about the professional feat you’re most PROUD of in 2023 so far.
I’m very proud of the work I have been developing with Gloria Groove. We just had her over for her first proper UK visit, which started on the mainstage at Mighty Hoopla and finished with an insane sold-out show at Heaven with everyone singing every single word. There’s huge interest coming from everywhere; we can see she will be a big star.

Name one queer act you’re itching to see live this year.
Romy. I love her new tracks.

What advice could you give to young queer professionals?
For years, I believed that I would never have a seat at the table because I didn’t know how to hold a conversation about football. I’m extrovert and incredibly social, but my god… building relationships with the industry boys was difficult. I would find myself right in the middle of it, holding a pint and smiling with absolutely NOTHING to say. That isolating feeling had a deep impact on my confidence. There was nothing wrong with me or them, and the conversational topic ‘football’ is just a small example.

It felt indeed like a male/hetero-dominated environment, and the lack of diversity (and representation) was validating both perspectives, that they were the main story and that I was marginal. Today, the climate is slightly different; I believe there’s space for many main stories… At least, I’m finding space for myself, and it’s quite liberating. My advice to you is that you surround yourself with the people that enable you. Your talent is the combination of your imagination, patience, and resilience… but confidence is a different game. You need support and mentorship, and the biggest mistake is thinking that you will win alone.

“In my 15 years working in music, I have encountered ONE SINGLE trans person”

In terms of challenges in the industry, what’s currently keeping you up at night?
In my 15 years working in music, I have encountered ONE SINGLE trans person. It’s alarming. I suspect it’s correlated with the total lack of representation, and as a result, trans people don’t aspire to become music professionals. This is deeply problematic, and I feel people don’t care. What people said about gay people in the ‘80s during the AIDS epidemic, they’re saying now about trans people. It’s shocking! I strongly believe that an industry that profits from trans artists should be more vocal about protecting trans lives.

How do you see the live music business developing in the next few years?
The appetite for stadium shows is higher than ever. Demand and offer are rising, with ticket prices rocketing. And at the same time, we see a lot of festivals with stellar line-ups struggling to sell. People are looking for these experiences because they want to have the time of their lives, and I feel big stadium acts have been consistently offering that. It feels that festivals will probably need imagination if they want to compete. I think, in the next ten years, we will see a major creative shift on the experiential side of things.

Name one thing the industry could do to be a more equitable place.
72% of Billboard’s Power List 2023 are men – Fact! Representation matters – Fact! Do I need to connect the dots here?

Shout out your biggest ally in the live music industry.
Rob Markus, Lucy Dickins, David Levy, and Levi Jackson. These are the people that enable and encourage me every day. Couldn’t be more grateful to them.

Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.