In the concluding part of our interview with pop monarch Gary Howard, the UTA agent reflects on the second half of his career and shares his hopes for the future. Catch up on part one here.

Going Live
In the late 90s, Gary Howard realised that if he wanted to remain in music for the long haul, he needed to shake things up. “As a young lad, I genuinely thought anyone over 30 didn’t have a clue about music because they were too old. But at the age of 29, it dawned on me that I could not do nightclub PAs forever and needed to get into live music.

“The problem was I didn’t have a clue how to put a tour together. I didn’t know about spread-sheets, band end deals, production, etc. I tried some live bits at Mission Control, and my first attempt was PJ & Duncan, but I never went to a single show because I got fired the night before the tour started. And I realised it was because I didn’t know what I was doing, and I had no help at Mission Control.”

Determined to start working with live acts, Howard convinced Jason Donovan to return to touring. “That was the start, and my way in was working with artists like Tony Hadley, Go West, Bananarama, Peter Andre, and East 17.

Through Samuel’s management firm, ASM, Howard also worked with acts like So Solid Crew, Oxide & Neutrino, and Blazin’ Squad. “So I was really starting to cut my teeth, live wise, but despite the fact I owned half of Mission Control by that point, I knew after 17 years I had to move on. CAA and WME had arrived in town, and I needed more experience to get them to look at me. I needed to go somewhere where I’d get more support.

“With N-Dubz, the boys were geniuses and Tulisa just gave them that pop edge that was setting them apart from others”

“I met with the legendary Barrie Marshall and discussed setting up a new agency with him called Marshall Arts Talent. It was 2008, I left Craig D’Souza (now at WME) to take the managing director role at Mission Control. I told Craig when I left that Mission wouldn’t survive without me and had 24 months, tops. Craig left two years later and Mission perished.

“But I figured that if I was going to learn about the live business, who better to be around than Barrie Marshall?”

The only problem was that Barrie was so busy with clients such as Paul McCartney, Elton John, and P!nk that Howard had very few opportunities to work alongside him.

“I didn’t really get the full benefit of Barrie, but while I was there, I signed N-Dubz. I could see their potential for arenas, even though at that point, the only arena shows I’d done were with Simon Moran at SJM when we put together the Clubland Live tours. But I knew this band had that something, so I promised I would have them in arenas within three years. I did it in two.

“With N-Dubz, the boys were geniuses and Tulisa just gave them that pop edge that was setting them apart from others. Most people saw just another British urban band only doing clubs. I saw a group that made amazing songs and was mind blowing live. Before I signed them, I went to Amadeus nightclub in Rochester, a 3,500-cap venue on a Sunday afternoon, and it was just rammed, with every kid in that room singing every word to every song. They blew me away and still do to this day.

“That’s always been the difference for me with pop. I see it. I understand it. That’s maybe a lot to do with learning from Pete Waterman. He was the best to learn from, and I’m so proud that I have maintained my relationship with him after all this time.”

“Jason Donovan came in to see me, and all these metal heads were just freaking out”

Having recently enjoyed a sell-out comeback tour with N-Dubz, Howard contends that the trio were pioneers who helped pave the way for numerous UK urban acts. “For instance, back in the noughties, Wireless Festival had only been putting on big American acts and hadn’t had any British urban acts. But I told Steve Homer he should do it, and to be fair, he put N-Dubz on the main stage. And then Simon Moran put them on V Festival. And those performances opened the door for many others that had been locked in clubs to make the climb.

“That said, I also convinced Simon to book Peter Andre for V Fest, and he caused a roadblock, as I had predicted.”

Getting Support
Unsure about where to go next to further his career, a conversation with George Michael’s manager, Andy Stephens, put him on the right track. “Andy said to me that Neil Warnock was the best agent in the business – and that’s basically the reason I am where I am – because of Neil. I’m a big believer in the saying ‘go where you’re celebrated, not where you’re tolerated,’ and I felt that straight away when I met Neil.”

However, being at what was then The Agency Group was rocky to begin with. “For 19 years, I’d been at the top of the firm,” explains Howard. “I’d run my own companies, but suddenly, I was just part of this big chain, which sometimes means it takes a bit longer to get things done. I remember arriving with Dani [Simmonett] on our first day at The Agency Group. We came from a pop world that wore nice clothes and went to nice venues. The receptionist was covered in tattoos and had loads of piercings, and the whole feel of the place was rock and indie, and we were like, ‘What the fuck have we walked into?’”

But the pop department soon had the upper hand. “One day, Jason Donovan came in to see me, and all these metal heads were just freaking out. There’s always a buzz about the place when one of my clients comes to visit. Pop music does that to people – in pop, you’re a brand.”

“I was thrilled a few years later when the company announced that David Zedeck was coming onboard. It was literally a dream come true for me”

And while others might have panicked when the company was acquired in 2015, Howard was ecstatic.

“I was in New York with my family when I got an urgent message from Geoff Meall to call him. It was to hear that Neil had sold the company to UTA. I thought it was absolutely brilliant news because it meant I would finally be able to compete with William Morris and CAA, who had all turned me down before.

“In fact, on my first meeting with [UTA CEO] Jeremy Zimmer, when he asked me what the company could do to help drive growth, my immediate answer was ‘Get David Zedeck!’ So I was thrilled a few years later when the company announced that David Zedeck was coming onboard. It was literally a dream come true for me. This is the biggest pop agent in the world, and I knew the value of having him.”

Having clocked up 15 years at the company, Howard notes that his skills have developed markedly under Warnock’s tutelage. “Neil is an amazing soundboard,” he tells IQ. “Like all agents, I can get a bit above my station, but Neil can pull me down a peg or two when it’s needed, and I appreciate that, so it was a great move for me – and I’ve finally found someone who is willing to put their arm around me for support. Although Doris [Dixon] at Marshall Arts was also good at that, I have to say.”

With more than a decade of selling out arena tours for his popstar clients, Howard’s contribution is not taken for granted by building operators. Indeed, in addition to collecting the coveted Agent of the Year gong a couple of years ago from the world’s busiest venue, The O2, rumour has it that venue staff now refer to hospitality suite 210 as The Gary Howard Suite, given his perceived omnipresence, thanks to his acts dominating the calendar (and his love of watching shows).

“There’s a wall backstage at The O2 with all the promoters’ names on it that all the agents freak out about because we’re not on it – none of us. It’s outrageous,” observes Howard. “However, during the N-Dubz tour, someone added my name on the wall,” he adds, feigning innocence. “It stayed up there for quite a while, apparently…”

“I always had a very clear plan for Craig [David], as I knew he could fill arenas”

Comeback King
Addressing industry bias toward pop acts, Howard says it remains an issue, but the accusations of artists not being credible no longer stack up, as the revenues they can generate are very serious indeed. “Colleagues like Paul Ryan – who looks after Bring Me The Horizon and loads of cool bands – absolutely love my roster and the shows that we book for them.”

One act that his UTA peers always like to see in their offices is Craig David, whom Howard waged a long-term campaign to represent. “I was knocking on [manager] Colin Lester’s door for 16 years,” he states. “I represented Artful Dodger back in the day, plus all the spin-offs – Robbie Craig, Lifford, Romina Johnson, Michelle Escoffery… the only one missing was Craig David. At first, Colin ignored my calls, but I never gave up. I knew I would be Craig’s agent even if he and Colin didn’t.”

Eventually, Colin caved and opened the door, but it was not as straightforward as Howard had envisioned. “I have to be honest, I didn’t understand the TS5 concept at first. If you’re selling something and you don’t get it, it’s very difficult. But thankfully, [the late] Ben Kouijzer, one of our DJ agents who I brought on board explained it to me, and I got it.

“I always had a very clear plan for Craig, as I knew he could fill arenas.” Revealing his strategy, Howard says, “I wanted to go for the younger crowd first, so we just did festivals to begin with, performing as only Ts5 sets. I held back the arenas as we built the comeback.

“Craig coming back was a massive moment for me as an agent, as well as for him, because a lot of people were saying it was the greatest comeback of all time.”

“I got Steps back. I was over the moon because they are just the best people to work with, and I love them”

Having tempted many artists back out of their living rooms (Rick Astley and Jason Donovan, included), it’s another act that Howard cites as one of his biggest coups – Steps, who under his stewardship have enjoyed huge success with a number of sold-out arena tours since their comeback.

“I’d been banging on everyone’s doors for about four or five years, and finally, the feedback from [singer] Claire [Richards] was that everyone kept talking about the band reforming, but nobody put any money on the table.”

Arranging a meeting with Richards, Howard reveals that in the meantime, he turned to then Live Nation’s Steve Homer and Simon Moran to hammer out a deal. “They both trusted me and believed what I believed, so quickly came on-board. I walked into that meeting with Claire and put the money on the table. And I got Steps back. I was over the moon because they are just the best people to work with, and I love them.”

“Dani, my long-term assistant, says going to a Steps show is a cure for depression. She is so right – they are just the best, and it’s fun when you watch 15,000 people in an arena all doing the same dance moves. It always cheers you up.”

As the master of the comeback, Howard discloses his thinking behind persuading pop acts to get back together. “It’s definitely a ten-year thing,” he says. “You need that distance and to keep your powder dry. Look at what my good friend Solomon [Parker] did with Girls Aloud – he did a great job – along with Paul Franklin with McBusted and Five.”

“Barrie Marshall taught me that the two most important people to keep happy are the artist and audience”

Indeed, it’s a couple of acts Howard is working on with David Zedeck that have him most excited about the next couple of years.

“Leona Lewis looked at what we’ve done with Craig and everybody else and wanted us to represent her as we look to plot the next part of her live career. That was a lovely moment, knowing that this amazing artist could see the hard work and love we put in over the years on others,” he states.

“The act that I’m most excited about working on is Zayn. David Zedeck signed Zayn and brought me in as part of the team.

“Zayn is a very special and important client, and again, we had a clear plan in reintroducing him back to live shows and working closely with his manager Nicola Carson, who was extremely instrumental in building the plan, which we’ve been able to deliver with perfect results.

“We opened with a Shepherds Bush Empire show in May last year and then added a small run of underplays in the UK and US. It was the right thing to do: he loved it, and the audience loved it. Barrie Marshall taught me that the two most important people to keep happy are the artist and audience.

“The pent-up demand for tickets and fans sitting in the waiting room for all of his shows was outstanding. That build continues and we are kicking things off with three sold-out arena shows [25, 27, and 28 March] in Mexico City.

“Success is that I’m still in this business after 35 years doing what I love and that amazing artists still want to work with me”

“As we plot the future for Zayn, I can tell you that sales will continue to be stratospheric. The demand is a real eye-opener. David and I get constant emails from every major promoter globally to book Zayn.

“Zayn will be in stadiums – there’s no question about that. But it’s about doing the right things at the right time and, luckily, I’ve got 35 years’ experience behind me. But more than that I’m working with the best pop agent in the world, David Zedeck. We share the same values for our clients, we truly care about them. So we’re making sure that we get it right for Zayn.”

Success & Successors
As he celebrates his latest milestone in the business, Howard puts his longevity down to hard work and gut instinct.

“I started a career and didn’t have much help but was determined to make it this far. 35 years later, I’ve earned good money, I drive very nice cars, I own property, have nice holidays. Is that success? No! Success is that I’m still in this business after 35 years doing what I love and that amazing artists still want to work with me.”

He notes. “I’m the kid who got told I wasn’t going to make anything of myself, had zero qualifications to my name, and hit a low by signing on the dole.”

And when it comes to his favourite signings, Howard doesn’t hesitate: “My two kids – Kenzie and Mason. My second wife and I couldn’t have children, so we adopted. And, without a doubt, they were my greatest signing… well, depending on what day it is,” he laughs.

“I’m still yet to achieve one goal and that is to represent the biggest boy band in the world – so watch this space on that one!”

Indeed, his occupation is maybe rubbing off…

“Musically, my daughter is across everything like I was, and I think she could make a great A&R. My son is more academic and would make a brilliant agent. But they’re both still figuring out what they want to do, and given the path I’ve had, there’s no way I’m rushing them into any decisions.”

But no matter which career they choose, hard work will be the proven Howard family route to success. “My granddad taught me that more than anyone,” says Howard. “When he was in hospital in 1993 and I was a young agent, I’d go to visit him every day after work. But one Friday, I had a wedding to go to, so I went to see him during the morning, and he berated me for not being at work.

“He was dying but his message was, ‘What are you doing here? You should be at work, you have a career to build.’ And even 35 years in, I still have that drive to be more successful and sign more acts.”

Some say he’s at the top of his game, but Howard concludes that the best is yet to come. “As Neil Warnock says, I’m just starting out. I have some amazing things coming, and I’m still yet to achieve one goal and that is to represent the biggest boy band in the world – so watch this space on that one!”

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Currently celebrating 35 years in music, UTA agent Gary Howard is the undisputed agency king of pop, with a roster that includes Craig David, Steps, N-Dubz, and Zayn Malik. Here, he tells Gordon Masson about his route to the top – from shovelling shit (literally) to becoming the only agent named on The O2 arena industry wall of fame…

As a wayward teenager, Gary Howard was, perhaps, the only person who didn’t know what he was going to do for a living.

“I’m still friends with people I was at school with, and they all tell me that they knew what I’d end up doing for a living because I was obsessed with music: I was always playing music, talking about it, and singing,” he recalls.

School days are best forgotten, however. “I got expelled, sort of, when I was 15. I loved being at school but didn’t take it seriously enough. It was a fun place for me to have a laugh with friends. Plus, I loved sport – I captained the rugby team, got picked to represent my district, and represented the school at football and basketball,” he says. “But after a series of altercations, they told me on January 31st, 1986 that I was suspended until further notice. Then just before my 16th birthday in April, I found a job polishing hotel bathtubs that paid me £80 per week, cash-in-hand. Back in 1986, that was a lot of money. And come Friday night, I was spending all my money on my mates in the pub, having a great time. So, when the school asked me to go back and do my exams, I couldn’t see the point. I’d missed out on all the coursework, so I felt they were setting me up to fail. But meanwhile, I had a job and was making my own way in life.”

“I didn’t go to my first concert until I was about 15 – Madonna and Michael Jackson at Wembley Stadium”

Flitting from job to job, Howard reveals that one of his favourite jobs was also the most disgusting. “We were cleaning up industrial estates – cutting the grass, sweeping the kerbs. Up in Boreham Wood, behind this row of shops that backed onto Elstree Studios, there was an alleyway where we had to clean up dog shit. On those days, you’d always want to be driving the van because the driver would have the keys, meaning they could get into the back first to grab the shovel, because when you were shovelling, you’d deliberately miss the opening of the bag and cover your mates in shit… I think this is why, now, I can handle most things that are thrown at me.

“Even on that job, my mates would accuse me of singing just to try to get discovered, because they then filmed Top of the Pops at Elstree.”

Rewind
Passionate about music from day one, Howard grew up in the village of Istead Rise in rural Kent before his parents’ divorce saw him move to Gravesend, on the outskirts of London.

“In 1981, I was obsessed with Adam Ant and would play his album, Kings of the Wild Frontier, over and over. Amazing that one day [he would be sitting] in my office asking me to be his agent. My 11-year-old self would have died.

“But I didn’t go to my first concert until I was about 15 – Madonna and Michael Jackson at Wembley Stadium, and then Wembley Arena for Alexander O’Neal, who I also later represented.”

“I told my mum I needed to borrow the money as I knew that this was the thing I could make money from”

However, his passion for pop meant teenage Howard was a regular “at a lot of underage discos in Gravesend.” Indeed, the town’s DJ alumni included the likes of Eddie Gordon, head of A&R at Polydor, Pete Tong, and Steve Wolfe, was head of A&R at A&M Records.

“These guys really made me find my love of soul music, and they would also host personal appearances [PAs], which really engaged me – artists like Mel & Kim and Phil Fearon from Galaxy,” says Howard. “At around that time, I got into the ticket selling business. Things were different then as it was box office sales only. I lived in Gravesend and went to school in [small village] Meopham, so my friends struggled to buy tickets. It was my first lesson in supply and demand, I guess, because I would pop in and get everyone’s tickets, adding a few quid on top to ensure that I had enough for my ticket and to pay for my night out.”

Forever ambitious, Howard said his eureka moment came courtesy of one of those local DJs, Richard Smith. “He also worked as an agent for Worldwide Talent, with Albert Samuel and David Levy. And when he told me about what he did for a living, I realised that he was the first person I had ever met that actually wanted to go to work on Monday. And that was the lightbulb moment for me, having not known what I wanted to do for a living.”

Suitably impressed by Howard’s passion for music, Smith offered him a job as a tour manager. “It was 1989, so I was 19 at the time – the year before I became an agent. Richard told me that tour managers needed a car to drive the acts around to all the clubs. So I ended up borrowing £1,000 from my grandad to buy a big old Ford Sierra,” he recalls. “I told my mum I needed to borrow the money as I knew that this was the thing I could make money from. She backed me, and I will never forget her belief in me – I always wanted to make her proud of my success. She should have worked in A&R because she could hear a hit before anyone I ever met.

“My first job was touring a young act called Akasa, who was signed to Warner, for which I got paid something like £600 to do this very long tour… I say I got paid but Warners still owe me the money.”

“I got to know all the club managers, and I learned about routing without even realising it”

One advantage of the thousands of miles that he clocked up on the road delivering talent for PA performances was that in addition to gaining a good grasp of geography, his industry contacts were multiplying. “I got to know all the club managers, and I learned about routing without even realising it, given that back then every city had a club, and I went to all of them.”

When the work dried up, he found himself temporarily working on a building site. “I hated it. But it really taught me that I needed to find something full-time in music if I wanted to be happy.”

Luckily, Richard Smith recommended Howard to MK Artists, whose founder, Mario Kyriakou, was looking for someone to help build his agency, having just had massive success with (Dirty Cash).

“MK were based above a bakery, and there were three floors of offices: we were on the first floor, the second floor was empty, and the top floor was Simon Napier-Bell, who managed Wham! I remember seeing all his gold discs and being blown away. And then Simon Cowell moved into the empty office, and through him, I met Albert Samuel, who owned Mission Control agency with Pete Waterman.”

As he began to make a name for himself, Howard’s first proper signing, Xpansions, had a top ten hit with dancefloor filler Elevation, and people elsewhere in the business began to take notice of his talents.

“When I was tour managing, I’d worked with an artist called Lonnie Gordon, who had one massive hit: Happenin’ All Over Again. So, when an agent left her agency, Mission Control, Albert approached me. But when he offered me the job, he also told me he thought I was shit, and he didn’t think it would work out, so he put me on a commission rather than a wage. It was brilliant reverse psychology because I was determined to prove him wrong.”

“At one point in the 90s, I had seven artists in the top ten, and I had three years where I always had at least one act in the top 20”

Within a month, Howard was the agency’s top earner, prompting Samuel to review his decision. “I was put on a wage, which wasn’t that great, but I was in the proper music business, and I was getting respect.”

With Mission Control, Howard was working closely with many of Pete Waterman’s PWL artists, so other acts would flock to the company, and Howard’s first signing at the firm changed everything. “I started working with Right Said Fred, and on the first single [I’m Too Sexy], we went to number two in the charts and stayed there for six weeks, with Bryan Adams’ (Everything I Do) I Do It for You at number one. Then my second signing, 2 Unlimited, also went to number two with Get Ready For This for three weeks – also kept off the top spot by Bryan Adams. We couldn’t break number one, but it was a really great start.”

That success opened doors and established one of Howard’s most fruitful relationships. “It allowed me to have a first meeting with David Zedeck, who is a hero of mine. I was only 21 years old, but I knew Right Said Fred would break America, so I introduced David, and I think they gave him his first number one in America. In return, he gave me CeCe Peniston and Kym Sims, and I was just smashing it!”

While Howard was enjoying triumph after triumph: “At one point in the 90s, I had seven artists in the top ten, and I had three years where I always had at least one act in the top 20.” As a result, Howard would win agent of the year at Disco International Magazine’s annual awards, seven years in a row.

However, he notes that the bigger agency world was yet to grasp the contributions that British pop acts could make to their businesses.

“At the time, there was only really us and Louis Parker at Concorde doing pop; the others largely ignored what we were doing,” Howard recalls. “Louis was a gentleman, and I really looked up to him and respected him. Watching him, I learned how I should be as an agent. In fact, once we were at an after-show party, and because I was on my own, he invited me to join him and introduced me to his clients and others in the music industry. I was shocked that he could be so nice and amazed that he was giving away his contacts to me. But I realised that he didn’t live in fear of me stealing his acts. He was looking out for the little guy, and of course he was trying to get me to work for him. He tried a few times to persuade me to join Concorde but for various reasons that never happened.”

“The big agencies were all into rock bands, indie acts, and stuff like that. But it was a short-sighted approach”

Despite the lucrative business, for decades other agencies failed to see the value in pop acts. “The big agencies were all into rock bands, indie acts, and stuff like that. But it was a short-sighted approach because we were doing phenomenal business with JX, Phats & Small, Whigfield, Baby D, The Venga Boys, Undercover… the list is endless of those pop things that we did,” says Howard.

Overcoming reservations of dealing with academia – “I was very anti-student at the time,” – Howard recognised that student unions offered opportunities to expand his clients’ fanbases.

“At the time, they were booking bands and not club PAs, so I used the Endsleigh Insurance directory to contact student unions’ entertainment [ents] officers to persuade them to book my roster, pointing out that we were selling out 2,000-plus-capacity nightclubs. One person who helped me pioneer the university world was Steve Homer (now at AEG), who was at Sheffield Uni. I still take the piss out of Steve because he’s known for the massive acts that he’s worked with – Rihanna, Bruno Mars, loads of heavy metal bands – but I like to remind him he booked Whigfield off me, along with Mike Flowers Pops, and others.

“Steve distributed my roster and contact details to about 80 ents officers at a convention they were at and that’s how we became good friends – he was massively helpful to me, and I’ve never forgotten that.”

• The concluding part of IQ’s Gary Howard interview can be read here.

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CAA’s Maria May has been announced as the recipient of the International Music Summit (IMS) Legends Award 2025.

The leading agent, who is being recognised for her outstanding contribution to electronic music culture, will be presented with the award during The Beatport Awards on 24 April, with a dedicated industry lunch celebration held during IMS Ibiza.

News of her award comes shortly after May was celebrated in issue 132 of IQ Magazine. The feature, which covers her 30-year career, can be read here.

May and her team represent artists including David Guetta, Black Eyed Peas, Róisín Murphy, Sara Landry, Layla Benitez, Hernan Cattaneo, Hugel, Meduza, Marlon Hoffstadt, Malugi, Paul Kalkbrenner, Robin Schulz, Icona Pop, The Chainsmokers, Jonas Blue and Purple Disco Machine, among others.

Across three decades in the business, she has also worked with the likes of Frankie Knuckles, David Morales, Layo and Bushwacka, Hercules and Love Affair, Azari and III, Moloko, Soulwax , 2manydjs, Lee Burridge and X-press 2.

“To receive this recognition is both humbling and very exciting,” says May. “Not merely because of what it represents for my career, but because of what it stands for in the wider culture of electronic music. The first woman to be publicly recognised for her efforts with an award of this gravitas has been a long time coming.

“Watching electronic music evolve from underground rebellion to a global movement and being one of the many architects of the global business phenomenon that we have created and now being recognised for these efforts is something I never imagined when I went to my first rave.

“I really hope that this means the playing field is becoming more even and that the path to the top is wide open. Hopefully, we all will finally recognise the efforts of all the women in dance music and their roles in shaping the business to where it is now. Above commercial success, the most meaningful work for me has been building bridges between cultures, genres, generations, and genders. Fighting the fight when no one else would or could or cared.”

Beyond her role at CAA, May is a board member of female-led collective Lady of the House, which amplifies women’s contributions to the dance music industry. Additionally, she serves on the board of Beatport and the advisory board of the Frankie Knuckles Foundation. May was a founding advisory board member of the Association For Electronic Music (AFEM) for a decade and a long serving board member of Night Time Industries Association (NTIA).

“This award is not just about me. It’s for the women who came before me, the ones who were overlooked but laid the groundwork anyway”

“When I began this journey, the dance music industry wasn’t built with women in mind,” continues May. “Despite this, we were always there. Behind the decks, behind the scenes, on doors, artist management, agencies and in promoting and security. Doors did not automatically open unless we pushed them ourselves. Our community didn’t recognise our work.

“I stand on the shoulders of women who worked twice as hard as me to be taken half as seriously. Their tenacity, and their refusal to shrink has carried me forward every day. It has been my mission not just to succeed within this space, but to reshape it. I have worked to ensure that women, especially those without connections, without privilege, who come from places like I did are seen, heard, and supported to thrive.

“Because representation is not a trend, it is a responsibility. That purpose has guided my journey, whether through my day-to-day at my amazing agency CAA or supporting initiatives like Lady of the House, I have worked hard to bring more women into the room, and more importantly, to keep them there, empowered, paid equitably and respected.”

She adds: “This award is not just about me. It’s for the women who came before me, the ones who were overlooked but laid the groundwork anyway. It is for the women beside me now, fierce, brilliant, relentless who continue to strive. And it’s for the women still coming — who I hope will never have to ask for permission to belong here.”

May joins previous IMS Legends Award winners including Underworld, Nile Rodgers, Carl Cox, Fatboy Slim and Simon Dunmore from Defected.

“I have enjoyed watching Maria’s career grow from my first meeting with her in the offices of ITB in 1994, seeing her develop with her acts into a global force of nature when it comes to agenting talent,” adds IMS and AFEM co-founder Ben Turner. “Her role behind the scenes in affecting how the industry operates may not be seen by so many, but is felt by everybody. She challenges the industry to think and be better. She cares as much today as she did as an passionate agent in her early 20s on the dancefloor at Liquid in Miami listening to Frankie Knuckles and David Morales – which is how I will always visualise her!

“Both IMS and the clubbing industry of Ibiza are truly proud of her achievements. Electronic music is in a better place because of the person that is Maria May.”

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Booking agency and management firm EBB Music has officially expanded to the UK with the addition of agents Polly Miles and Jule Konrad.

The dual appointment will provide the Amsterdam-based company with an experienced team of bookers on the ground in the UK as it continues to build its reputation in the European market.

“For several years now I have worked with the EBB team, as a promoter and a UK booking agent,” says Miles. “I’ve always admired their unique and diverse roster along with their professional and approachable way of working.”

Miles and Konrad will bolster EBB’s eclectic European roster with acts such as Lady Wray, WITCH, Pachyman, Bacao Rhythm & Steel Band, Thumpasaurus and YARD.

“For me EBB excels in embodying two of my core values: carving out a space for artists who break boundaries, defy labels, and redefine the norm as well as nurturing talent from the very start to full-fledged success,” adds Konrad. “Having collaborated extensively on artists in the past, I’m proud to represent the UK office alongside my long-term colleague, Polly.”

“Our expansion into the UK is a major milestone for EBB Music”

Amsterdam-based EBB currently represents artists such as Altın Gün, YĪN YĪN, Too Many Zooz, Ali, Ile, Otoboke Beaver and Jambinai.

As part of the UK launch celebrations, EBB Music will be hosting a special welcome drinks reception at The Great Escape Festival in Daltons, Brighton on 16 May.

“Our expansion into the UK is a major milestone for EBB Music,” says CEO/co-founder Ronald Keizer. “With our established European and worldwide connections, we are positioned to bring a fresh, diverse roster of artists to the market.

“Our aim is to provide unparalleled booking services to our partners, while also offering artists exciting new opportunities to perform on global stages, along with offering extra service. We are happy to be working with Polly and Jule on expanding business in Europe.”

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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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Endeavor is being renamed WME Group after going private once again following the completion of its acquisition by majority shareholder Silver Lake.

The name change reflects the company’s focus on its representation businesses, which include talent agency WME, global marketing agency 160over90, IMG Licensing and Pantheon Media Group. US-headquartered Endeavor went public on the New York Stock Exchange in 2021.

The move has resulted in role changes for Ari Emanuel, who switches from Endeavor CEO to WME Group executive chairman, and Mark Shapiro, who becomes president and managing partner, WME Group, having previously served as Endeavor president and COO.

“Our ability to deliver landmark partnerships, career-defining business opportunities, and enduring cultural moments is amplified by this transaction and the formation of WME Group,” says Shapiro. “The Silver Lake team has proven time and again that they are all-in on representation and content, and our clients, partners, and employees will thrive under our new structure.”

Endeavor stockholders are entitled to receive $27.50 in cash for each share of Endeavor Class A common stock they owned.

“I am grateful to Egon and the team at Silver Lake for the trust they have placed in me as a founder and entrepreneur,” adds Emanuel. “Together, we have created and enhanced a foundation unlike any other to accelerate value creation for clients and partners across WME Group and TKO, which I am excited to continue to build and grow.”

“This remarkable moment – and the even more exciting future it launches – is thanks first and foremost to Ari Emanuel and Patrick Whitesell”

The company was formed as WME-IMG via the 2013 merger of music/media agency William Morris Endeavor and International Management Group, rebranding as Endeavor in 2017.

The firm will retain its controlling ownership stake in TKO Group – the publicly listed entity consisting of UFC and WWE. According to Silver Lake, when consolidating all of TKO’s value into Endeavor, the combined total enterprise value is $25 billion, making it “the largest private equity sponsor public-to-private investment transaction in over a decade, and the largest ever in the media and entertainment sector”.

Meanwhile, former Endeavor executive chairman Patrick Whitesell will become the CEO and founder of a new platform in partnership with Silver Lake to invest in and scale properties and IP across sports, media, and entertainment.

“This remarkable moment – and the even more exciting future it launches – is thanks first and foremost to Ari Emanuel and Patrick Whitesell, and to the relentless and ambitious strategic vision they have shared for more than 20 years to build Endeavor into a global powerhouse across talent, brands, and IP spanning entertainment, media and sports,” says Egon Durban, co-CEO and managing partner of Silver Lake.

“Silver Lake is proud and honoured to be their partners since 2012 as they have continued to build the company. Over this period, revenue has grown by twentyfold. Silver Lake has previously invested on six separate occasions to support Endeavor and now, with this latest investment, it is the single largest position in our global portfolio.”

WME‘s music roster includes the likes of Coldplay, Adele, Dua Lipa, Justin Timberlake, Bruno Mars, Pearl Jam, The Killers and Foo Fighters.

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Leading global music agency Wasserman Music has hired three key executives across its growing fairs & festivals, tour marketing, and worldwide agent teams.

Nashville-based Tim Beeding joins the company as SVP, fairs & festivals, where he will co-lead the division alongside fellow SVP Shannon Casey. Beeding previously spent more than two decades as an agent with CAA.

Los Angeles-based Doug Singer joins as VP of Wasserman Music’s global agent team, where he will represent artists including Vince Staples, SiR, Saint Levant, Majid Jordan, and Sleigh Bells, among others. Singer was previously a partner in WME’s music division.

“We’re thrilled to welcome Tim, Doug and Chloe to Team Wass as our business continues to expand and thrive around the world”

Finally, LA-based Chloe Garcia, previously served as tour marketing agent at WME, joins Wasserman as director of tour marketing, reporting to SVP marketing Sam Alpert. She will be tasked with helping drive the ongoing expansion of the firm’s global client service offerings.

“We’re thrilled to welcome Tim, Doug and Chloe to Team Wass as our business continues to expand and thrive around the world, and our commitment to serving our clients remains unmatched,” says Wasserman Music president Lee Anderson. “Each of them is a highly regarded leader in their area of expertise, and all of them are exceptional humans we’re proud to call colleagues and partners.”

Headquartered in Los Angeles, Wasserman’s presence spans 28 countries and more than 69 cities, including New York, London, Nashville, Chicago, Abu Dhabi, Amsterdam, Hong Kong, Madrid, Mexico City, Toronto, Paris and Sydney.

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To celebrate the work of some of the international live music industry’s pioneers, IQ Magazine has launched a new series, The Architects, in which we celebrate the key players who laid the foundations for today’s vibrant global business.

In our opening interview, which appears in full in the latest issue of IQ, ITB co-founder Barry Dickins shares his memories of how the industry was constructed – and some of the key names who helped establish the international touring circuit. Here are some of the highlights…

His origins in the business…
“My dad used to organise dances in Bishop’s Stortford, and I used to help him. That’s where I got the bug. I went to the Ilford Baths, where we’d put a false wooden floor over the pool, which was a bit of a recipe for disaster, but despite the odd scare or two, we actually never had a problem. I made more money in one night than I could make in a month at the Stock Exchange, so that’s how I got started.”

Going international…
“I was still a teenager, but I represented The Who, and I remember booking them into Scandinavia with a guy called Arne Worsøe, whose company was Bendix Music. There were some people taking bands to France and Germany, but my first deal was in Scandinavia. I think I’d read about Bendix somewhere, so I managed to find a number for Arne and called him up. At that time, there were two known promoters for Scandinavia: Bendix and SBA – Schneid Booking Agency, which was run from Sweden by a guy called Knud Thorbjensen who was getting stuff directly from America. So I got in touch with the Americans he was dealing with and persuaded them to come to England instead.”

“If I worked with people I thought were really good, I’d basically offer them everything”

The 90-10 split…
“I did a lot of business with David Geffen and Elliot Roberts, who managed a whole load of big American acts. So, we were agents, and we’d sell the act for a tour to the likes of John and Tony Smith for a guarantee, and we’d take our commission from that – and in those days, it was a 50-50 split. But then David and Elliot came to London for a meeting at Harold Davison and told us, ‘That’s not the deal anymore.’ They said, ‘We’re not working for you. We are supplying the talent, and the new deal is a 90-10 split: you get 10%, and we get 90%. No guarantee.’ The bottom line was that they were refusing to pay us a commission for booking the acts in England. I‘ve no idea if this had become a standard practice in the USA or if they just made it up.”

Relationships with promoters…
“If I worked with people I thought were really good, I’d basically offer them everything. The benefit of that would be that if you had a bunch of great acts, you could occasionally slip one in that wasn’t quite so good, and the promoter would do you a favour. He was great for my career, but Elliot Roberts was the worst when it came to out-of-office calls. He phoned me once from Tokyo at two o’clock in the morning, then three o’clock in the morning, then four o’clock. On the final call, my wife took the phone away from me and shouted at him: ‘Elliot, it’s four o’clock in the morning! Go fuck yourself!’ I was distraught. Elliot managed about eight of my acts – he was the original manager of the Eagles. But funnily enough, Elliot never called me in the middle of the night again.”

Starting up ITB in 1978…
“ITB was originally an equal three-way split between me, Rod [MacSween], and Don [Arden, artist manager] but our association with Don killed us on some acts while other acts couldn’t care less. Herbie Herbert, who managed Journey, just wouldn’t deal with us anymore, but it was bit unfair because Don only funded the company – he wasn’t involved in the day-to-day business at all. In fact, we never had an issue with Don, ever. And in the end, we bought out his share of the company in 1984 or ‘85, which took every penny of our money and sent us back to square one. But was probably the best deal we’ve ever done.”

“The way Live Nation has changed the industry – and is still changing it – is phenomenal”

Partnership with Rod MacSween…
“We’ve worked really well together over the years. When we started out, I was the one that brought most things in, and we had some very, very good years thanks to acts like Fleetwood Mac, Diana Ross, Yes… the list goes on. But that’s come full circle, and it’s now Rod that brings in most of the business. However, I’m enjoying a bit of a resurgence at the moment, because I’ve got Bob Dylan on the road, I’ve got Paul Simon coming up, as well as Neil Young and Billy Idol.”

Live Nation’s impact on the industry…
“[Michael] Rapino is a very, very intelligent man, and I’ve got a lot of respect for him,” says Dickins. “The way Live Nation has changed the industry – and is still changing it – is phenomenal. There’s no doubt that it’s been the driving force in making the business a lot more professional and serious.”

The new generation…
“It’s nice to have youngsters around you because of the way they do things. And it’s important to have different ears for new music. The youngsters in the office have always listened to music that I would never listen to unless they were playing it. They help keep us older folk young – well, young at heart, at least. It’s a lucky profession where not only can you surround yourself by youth but the nature of the business demands it, so that you can stay relevant. The health of the music industry depends upon youth, and it’s fascinating to see the creativity they bring to it and the ways in which artists present their tours, that we could never have dreamt were possible when we started out.”

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With co-headline runs increasingly emerging as a viable alternative for touring acts, leading agents have broken down the key factors driving the trend.

While the concept is long-established in the live business, the post-pandemic years have seen a noticeable uptick in the number of acts heading out on the road together.

Successful pairings have included Def Leppard & Mötley Crüe, who notched up more than one million ticket sales for their 2022 co-headlining tour of the US and Canada, and Charli XCX & Troye Sivan, who drew nearly 300,000 fans to their sold out 22-city North American run last year.

Other acts to have shared the spotlight include Lynyrd Skynyrd & ZZ Top, Beyoncé & Jay-Z, Death Cab for Cutie & Postal Service, Johnny Marr & The Charlatans, Kesha & Macklemore, Lamb of God & Mastodon, Tim McGraw & Faith Hill and Garbage & Noel Gallagher’s High Flying Birds, to name but a few.

Independent Artist Group (IAG) EVP, head of global music, Jarred Arfa tells IQ that co-headline outings can be an effective way of helping artists stand out from the pack.

“We have always tried to intelligently package artists to not only create more entertainment value for the consumer’s dollars, but also to create special events that get fans really excited about,” he says. “I think this trend will only continue to help artists to try to distinguish themselves even on the arena and stadium level.”

“If a fan can see two or more of their favourite acts on the same bill it’s a compelling reason to go to that show”

Arfa says the most successful joint headline tours involve artists that either come from a similar era or genre.

“I think people want to get super-served in the type of music they like,” he suggests. “A perfect example of this was our sold out stadium tour in 2023 with Def Leppard, Motley Crue and Poison. It was really like a travelling rock festival.”

ATC Live’s Alex Bruford sees obvious positives in the technique.

“The combination of the high volume of artists touring and increasing ticket prices, plus the associated costs of going to a show mean that adding value to the ticket is more important than ever,” he says. “If a fan can see two or more of their favourite acts on the same bill it’s a compelling reason to go to that show.”

UTA agent Olly Ward notes that co-headlining gives two artists the chance to play to bigger audiences, in bigger venues, than they might have done on their own headline tour.

“Artists and their teams are looking for ways to make touring affordable and impactful,” Ward tells IQ. “With such fierce competition for fans’ attention, a strong co-headline bill – if done right – can be create a really exciting proposition for fans: a chance to catch two of your favourite artists together in a unique pairing. It also means the two acts, with similar fanbases, are not headlining the same market at the same time and competing for same audience to buy a ticket.

“If the bill is genuinely standout, the pairing could ignite wider conversation among music fans. In so doing, there is the chance for the ticket sales to outperform what each artist may have sold on their own, respectively. Each artist in such a package would hope to win over the fans of the other co-headliner; so both acts ultimately grow their fanbases.”

“If the fanbases align and there is strong crossover; then the co-headline tour has the chance of doing very well”

Ward adds that other benefits include sharing costs and the show production.

“Playing in bigger venues can enable artists to present a larger scale of show production than they might have done when playing their own headline shows in smaller rooms, and there might be an opportunity to share some of the costs of that production and the wider touring between both artists,” he continues.

Upcoming joint-headlining runs include Kendrick Lamar & SZA, whose Grand National Tour hits stadiums worldwide from next month, and Busted vs McFly, who will share top billing across multiple UK arena dates this autumn, including five nights at The O2 in London. Collective Soul and +LIVE+ also announced their 2025 co-headlining US Summer Unity Tour this week.

“A good joint headline should ultimately feel unique to fans; a once-in-a-lifetime chance to see two great acts together,” adds Ward. “It is not necessary for the artists to be of the same musical genre, but thought should be applied to the fanbases of each artist in the co-headline package. If the fanbases align and there is strong crossover; then the co-headline tour has the chance of doing very well. That is more important than similarity of music between the artists.

“However, for a co-headline tour to truly work for both artists involved, there has to be an acceptance from both sides that the acts are of similar stature and prestige. If there is an imbalance – or perceived imbalance – then the tour will not work.”

That is not the only potential downside, advises Ward.

“Long term, a co-headline tour might have implications for each artist’s value with festivals,” he says. “Conversations with buyers need to be carefully navigated; post co-headlining it may be difficult to prove to a festival buyer your artist’s exact ticket worth; this could have ramifications for your artist’s slots and/or fees.”

“I think you have to have bands with a certain standing – a certain air about them and a certain attitude”

Iconic British bands Suede & Manic Street Preachers, who both rose to prominence in the early 1990s, first teamed up in 2022 to tour North America. They repeated the trick to visit Asia together in 2023, followed by a lengthy UK run last year when they performed at outdoor venues such as Cardiff Castle, Manchester Castlefield Bowl, Leeds’ Millennium Square and London’s Alexandra Palace Park.

The Manics’ agent Scott Thomas of X-ray Touring tells IQ the combination “just felt right”.

“There’s an alchemy to finding something like that,” says Thomas. “I think you have to have bands with a certain standing – a certain air about them and a certain attitude – and certainly with the Manics and Suede, it went together perfectly and they pushed each other on quite a lot live.

“It was tried and tested by the time we got to the UK, and we wanted that to happen before we took it to the biggest market and went outdoors. In general, we alternated [the closing act], so that kept everything fresh. Brett [Anderson, Suede singer] is such an amazing performer, and going out and following him always pushed us, and I’m sure Suede would say the same about the Manics on the nights they were closing. I think it is a rarity that you’re going to get a combination that works that well.”

Simplifying matters was the fact that Suede’s agent – Charlie Myatt of 13 Artists – was a former colleague of Thomas.

“It was very easy,” admits Thomas. “We work with the same promoters, we cooperate and bizarrely, I shared an office with Charlie back in the 90s at ITB when we were both junior agents, so I know Charlie very well and the crews and the artists, crew and management all know each other.

“Generally, it was a collaborative approach and we just split the work between us. As I said, it was a rarity that one could have that happen without someone wanting or needing to dominate, but it dovetailed together very smoothly.”

“We all know it’s an ego business. But I think some people need to step down from their throne in order to be able to play better venues”

Speaking at last year’s International Live Music Conference (ILMC) in London, Independent Artist Group vice-chair Marsha Vlasic suggested the acts do not necessarily have to be a perfect fit.

“As bigger acts are getting off the festivals and going into stadiums, the only way to do it is to piggyback and share the cost of the production,” she said. “It doesn’t have to be completely compatible, it’s just entertainment. When you think of packaging an act… it’s [about], how does this package look in terms of bringing in additional people and different audiences?”

Jan Digneffe of FKP Scorpio Belgium also weighed in, cautioning that convincing all parties of its merits was easier said than done.

“We all know it’s an ego business,” he said. “But I think that some people need to step down from their throne in order to be able to play better venues, and that will make the costs go down. It’s a more fun night for the punter anyway, so I see nothing but advantages. But to get it done, you need everybody on board.”

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Frank Carter’s alliance with the Sex Pistols is going from strength to strength as the group gears up to go international, Solo Agency head Charly Beedell-Tuck tells IQ.

The Frank Carter & The Rattlesnakes and former Gallows frontman initially joined forces with Paul Cook, Steve Jones and Glen Matlock of the Sex Pistols in August 2024 for three fundraising shows at Bush Hall to help secure the future of the West London venue.

Beedell-Tuck explains the punk-rock union first came to pass through Matlock’s son, Louis.

“He’s in a band and is friends with Frank,” she says. “It was super-organic and lovely. They decided to have a jam – for no other reason other than they were fans of each other – and got along well. Steve [Jones] is from Hammersmith and so is Paul Cook, so Bush Hall is one of their local venues. Paul knew the owners and there was a conversation about them closing down.

“They really wanted to try and do something to help, and that’s when they thought that would be a really cool thing to do. Everyone had history with the venue and wanted to do something, collectively, to try and save Bush Hall.”

“The reviews were incredible, and everyone felt like it was such a special moment”

The well-received stint, which features 40-year-old Carter on vocals in the absence of John Lydon, who is estranged from the band, led to a short UK tour last autumn where the collective performed the Pistols’ iconic 1977 album Never Mind the Bollocks… in its entirety.

“The Bush Hall shows sold out within seconds, but there were no plans to extend beyond that,” says Beedell-Tuck. “But the reviews were incredible, and everyone felt like it was such a special moment. Only then, did a conversation happen about whether it was something that would maybe continue.

“Off the back of that success, it felt like there was a lot more demand. Everyone had such a good time and that sparked conversations.”

Tour stops included venues such as Nottingham’s Rock City, Birmingham’s O2 Academy and O2 Forum Kentish Town in London.

“They all flew out pretty much in a few hours, which shows you how strong this package is,” adds Beedell-Tuck. “The guest list for some of the shows is pretty incredible too. You had the likes of Duff McKagan wanting to go to the shows, so you could tell [the Pistols] had played a big part in other musicians’ lives and journeys, as well as for the fans who attended the shows, too.”

Beedell-Tuck praises Carter for stepping up to the plate.

“Frank’s character is quite ‘no fucks given’, and I think he’s the perfect person to have made it his own,” she says. “He’s confident enough not to be trying to be anyone else – he’s doing it in the Frank Carter way and I think that’s why it’s special, because they complement each other so well without it being forced in any way. That’s where the magic has come from.”

“We’d definitely like to make sure we service as many markets as we can”

She continues: “You can tell that it’s just four guys who get on and are having a really good time, and that authenticity is felt throughout the crowd.”

The British unit, who play Teenage Cancer Trust at the Royal Albert Hall on 24 March, also headline Punkspring in Japan later this month, prior to a tour of Australia and New Zealand booked for April. A summer festival run will then follow including Download (UK), Hellfest (France), EXIT (Serbia), Interlaken (Switzerland), Jera On Air (Netherlands), Tsunami Xixón (Spain), Tons of Rock (Norway), Rock for People (Czech Republic) and The Town (Brazil).

North American dates could also be in the pipeline, while they will headline punk all-dayers in the UK at Glasgow’s Bellahouston Park (21 June) and Dreamland Margate (23 August), with special guests including the Stranglers and Buzzcocks.

“There’s a huge appetite,” reports Beedell-Tuck. “For the most part, festival lineups tend to be pretty consistent, especially at that level – there aren’t many artists that haven’t done that circuit – so I think this brings something quite fresh and exciting, where it’s just different.”

She concludes: “As we go into 2026, it’s the 50th anniversary of punk and, with your Amyl and the Sniffers and Lambrini Girls, the appetite for punk seems to be coming back, so I think all the stars are aligning to make this a special moment.

“Who knows what the future will hold? But given the success of this project, we’d definitely like to make sure we service as many markets as we can.”

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