Angus Baskerville to launch new indie agency
Angus Baskerville, the longstanding 13 Artists director and booking agent is moving to new independent agency Pure from 1 January 2022.
The move was announced in an email circulated this afternoon. Others CC’d on the email with a Pure Represents email address include Simon O’ Neill, Brooke Rayner, Hayley Morrison and Aimee Burn – all of whom were previously known to be working for 13 Artists.
Artist manager and Baskerville’s wife Jodie Harkins was also copied in on the email with a Pure Represents email address.
After working as an artist manager and in A&R at London Records, Baskerville joined 13 Artists as an agent in 2004, becoming a partner in 2010. In 2019, Baskerville opened a second 13 Artists office in London, at Tileyard Studios.
Speaking to IQ last year, he said: “I do believe the independent sector has the possibility of thriving in 2021 and beyond, as we’re required to modernise and refresh approaches to the way we work – and do that quickly.”
IQ has contacted Baskerville for comment.
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Agents of Change: The agency business in transition
On 20 October, five US agents, all formerly of Paradigm Talent Agency, announced the formation of Arrival Artists – a brand-new booking agency with offices in New York, Los Angeles, Chicago and Seattle, a roster that includes the likes of Sufjan Stevens, Khruangbin and BadBadNotGood, and a partnership with European agency ATC Live for global representation of acts shared across both rosters.
Following the termination of hundreds of jobs by the Hollywood-headquartered global agencies since the start of the coronavirus pandemic, it’s the kind of news observers of the agency space have come to expect – a group of agents from one multinational join forces and go independent – and follows the launch of two other new US indies, TBA Agency and Mint Talent Group, in late August and mid-September, respectively, and the likes of Route One Booking and Jon Ollier’s One Fiinix Live in the UK earlier this month.
The resurgence of the independent agency, and the apparent fracturing of the corporate giants following years of consolidation, is being watched closely in the broader live music world, where rumours abound of further agency launches and rebrands – including in Europe – in the months ahead.
Nowhere is this more the case than in London, where recent mergers include Primary Talent with ICM Partners and K2 Agency with Artist Group International. And while uncertainty reins, takeovers, strategic pacts and new ventures will all be under consideration for every business.
“It’s clearly a very challenging time for anyone working in live music at the moment,” says ATC Live’s Alex Bruford, whose roster includes Nick Cave, The Lumineers, Metronomy, Black Pumas and Fontaines DC. “No matter the size of the business, if your company relies on live touring, and there is no touring, it’s very difficult.”
“The idea in agency culture has long been geared towards an idea of ‘the bigger the better’”
“Clearly, we all have had to face major challenges in 2020, and we will continue to have significant challenges thrown at us for some time,” agrees Angus Baskerville, partner at 13 Artists, who works with artists including George Ezra, Brittany Howard, Jamiroquai, Michael Kiwanuka, Benjamin Clementine and Paolo Nutini.
But are ATC Live, 13 Artists and other UK-based indies such as ITB, Asgard, Midnight Mango and smaller boutique firms, better placed than their corporate cousins to survive, and even thrive, during the current crisis? With concert activity on hold, is it actually a blessing to be free of the structure of a large company – and are we witnessing a new era of independence in live music booking, the likes of which we haven’t seen for the best part of a decade?
Bigger: not always better
The past seven months have done much to expose some of the myths of pre-Covid thinking within the business, according to Earth Agency’s Rebecca Prochnik, who represents artists including Skepta, JME, AJ Tracey and Nines. “The idea in agency culture has long been geared towards an idea of ‘the bigger the better’,” explains Prochnik. “For a long time, the structural strategy of the larger agencies has been upscaling teams around artists, to provide a more intensive job. While I understand the reasoning, the model creates a lot of employment volume, and in fact the potential for disconnection that has never made full sense to me.”
“Sometimes I look at some of the bigger agencies, and you have too many agents or bookers squabbling over every artist that comes in,” echoes Obi Asika, founder and CEO of Echo Location Talent (Marshmello, Da Baby, Wizkid, Chase & Status, Pendulum, Major Lazer, Giggs). “Many artists have multiple agents, in part to ensure no one agent has too much power over the wider agency. That’s not workable anymore. There’s no guarantee this [a concert-stopping pandemic] won’t happen again – you’ve got to be careful of your overheads.”
“Some large businesses will have been better protected than other large businesses going into this, and I’m sure it’s the same for the smaller ones,” adds Baskerville. “Saying that, I do believe the independent sector has the possibility of thriving in 2021 and beyond, as we’re required to modernise and refresh approaches to the way we work – and do that quickly.”
“Independent companies have been able to be more nimble and adapt faster to new ways of working”
For many of the bigger, multinational agencies, the financial impact of this “surplus” is amplified by huge levels of corporate debt, which in some cases amounts to many times their annual revenues.
According to investment banker Lloyd Greif, Endeavor – the parent company of WME – is shouldering a staggering US$5.1 billion debt, while CAA has $1.15bn coming due in 2026, in addition to a $125 million revolving credit facility. Paradigm, meanwhile, is believed to owe around $80m, following multiple debt-financed acquisitions over the past decade.
Paul Boswell, of Free Trade Agency (The National, Tones and I, Wilco, Tash Sultana, Violent Femmes), says he believes that while the live entertainment shutdown is “clearly bad for all,” it will “hurt those that practice borrow-and-buy capitalism the most.”
“As an independent business, we’ve always been careful not to fall for the seductive culture of living beyond our means: even if money is flowing, we’ve stayed low to the ground on spend,” adds Prochnik. “We’ve always had a culture of working remotely – of needing an office solely for the wellbeing and connection of our staff community, rather than for external business. Throughout my career, I’ve taken my meetings in cars, in cafes, in parks, on the phone… It’s really only ever mattered that I can relate well and do a creative job for my clients as needed.
“What Covid’s done is blow away the myth that an independent attitude is a quirk. Big offices, gleaming receptions, plaques on walls, meeting rooms, games rooms, listening rooms… At the end of the day, those things are all just optics, and ones which suddenly seem tremendously outdated. None of those things shape business in a meaningful way…”
“When the dust settles, there are going to be huge changes”
“The importance of having an office as a status symbol – that, for me, has gone,” adds Asika. “You don’t need a shiny office, and you also don’t need people coming into work every day; if you don’t trust the people working for you, that’s a problem. I’ve enjoyed being at home with my family, and I want that flexibility for my business and staff.” “This virus is terrible, but there are potentially worse ones in the future,” he adds. “And when that comes, you want to be the little speedboat nipping around, not the big cruise liner…”
Agrees Prochnik: “Independent and smaller agencies tend to have a shared personality of sourcing and creating whatever there is to do, thinking outside the box, breaking moulds in order to make business work. I think this inherent culture of flexibility, nimbleness and creating value out of thin air is invaluable in these new times.”
“We’ve seen with companies across our sector, from agencies to promoters to ticketing companies, that often the larger the organisation – and therefore the higher the overheads – the harder hit they have been,” says Bruford. “In many cases, independent companies have been able to be more nimble and adapt faster to new ways of working, new opportunities and the changing landscape.”
The great equaliser
According to Asika, “When the dust settles, there are going to be huge changes” across the agency sector as a result of the current “correction.” “From the value of artists, to where people work, what people have started in this time, what new companies pop up… there are all these things happening in the background, and it’s going to have a long-term impact,” he predicts.
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“We’ve been rubbish”: Agents tackle diversity in IQ Focus panel
The evolving role of the booking agent, the increasingly crowded 2021 circuit, and the agency sector’s shaky record on diversity were among the topics discussed during yesterday’s IQ Focus session, The Agency Business 3.0.
Hosted by ILMC MD Greg Parmley, the session – the latest in IQ’s Focus virtual panel series – checked in with CAA’s Maria May, UTA’s Jules de Lattre, Paradigm’s Tom Schroeder and 13 Artists’ Angus Baskerville to see how the business has changed, three months after the world went into lockdown.
“It’s been proper bonkers these past few months,” said Schroeder, who recalled how, back “in February, we were saying, ‘We’re going we need 20 laptops’ [for people to work from home], and other people going, ‘You’re mad; it’s the flu!’
“We’ve gone from that,” he continued, “to ‘Is Glastonbury going to wobble’, to ‘Is Glastonbury 2021 going to happen…?’”
Despite the speed at which circumstances changed – as well as ongoing uncertainty about when live music will return in force – Schroeder said, as an agent, he’s never felt a more essential part of the music industry ecosystem.
“The majors [labels] have seen they cannot get traction for an artist without shows,” he explained. “I spent 20 years telling people that – I didn’t know if it was true, but now I know it’s true. Gigs are an absolutely integral part of the music food chain. I feel more valuable than I have before.”
May said a “day doesn’t go by” when she doesn’t receive an offer for things like “livestreamed shows, or pre-recorded sets being put into a virtual universe”, a la Travis Scott in Fortnite.
“It’s a good time for us to realise that we’ve been really, really rubbish at this, and we’re going to do something about it”
“As agents we all need to be across this massively,” she explained. “Nothing will replace a live music experience, ever – but with most of the shows that are successful, people can’t go to them, as they sell out too quickly. So this [livestreaming] is something that will become in standard in future.”
“Over the past few months we’ve all become experts in the livestream space,” agreed de Lattre, “which has enabled us to go to our clients and say, ‘Here are the pros and cons of the various ticketing providers, here are the different broadcast platforms, here are the different production options…’”
“The idea of our role as advisors, as consultants, as having expertise in the live space and in lots of different areas, I think gives us a reason to exist more so than ever,” he continued. “I think it’s that dimension, rather than just booking tours and taking commission, that is key.”
The growth of virtual concerts, he added, “has really forced us to innovate, and think creatively about ‘What can we learn here?’”
“I think over the next few months we’re going to see increased production values, and people offering opportunities for artists to perform,” predicted Baskerville, “and perhaps monetise, in a meaningful way, some of those performances. We’re involved in a couple of acts playing at Alexandra Palace this week at a streaming event the Wireless people are putting together, and the production values are incredible…
“In the long term, hopefully [these virtual shows] something we can learn from, and use those skills in future.”
Following the events of Black Out Tuesday and the launch of #TheShowMustBePaused, talk turned to racial diversity in the live music industry and (given the panel’s make-up) the agency business specifically.
“Over the past few months we’ve all become experts in the livestream space”
“CAA are very publicly out there and actively working hard… we’re looking at how we recruit, how we employ, how we bring people up, how we create departments and how we bring focus and light to these issues,” said May. “Last week was a great moment for the creative industries to step back, take stock and realise how much work there is to do in this area.”
“I think agencies throughout the UK are terrible at this, and that includes my company,” opined Schroeder, taking a different tack to May. “There just isn’t the representation there, and we have to look at why.
“What we need are some tangible results. One of the most startling bits from last week [Black Out Tuesday] was the brands which put a black square up, saying, ‘We’re going have a think’, and getting called out on it…
“I hated the Insta-moment of the whole thing, so I’m not going to use this opportunity to say what we’re doing at Paradigm. I’ll come back in a year and tell you then. It’s a good time for us to realise that we’ve been really, really rubbish at this, and we’re going to do something about it.”
“I think there’s a risk that the emotion and severity of last few weeks could lead to a rush to respond that isn’t genuine,” added de Lattre, who said the industry must be asking itself, “How can we do this in a genuine, long-lasting way?
“We’re going to be scrutinised for how well we’ve done in the coming weeks and months. The honesty and the dialogue so far is the best we’ve done, but there’s so much more to achieve. It’s for us to prove ourselves from here.”
Looking to 2021, May said it’s going to be challenge to provide space for new acts on already crammed festival bills, with many events choosing to re-book the majority of their 2020 acts.
“With the new acts coming through, it’s going to be difficult, because for the most part we’ve moved everyone into 2021,” she explained.
“It’s important that the events which happen next year happen well”
“If we want to have support for our newer acts, we’re going to have to be willing to work with festivals and promoters if we want to have conversations about the few slots they have left,” said de Lattre, referencing the ongoing renegotiations between artists and promoters of artist deals signed pre-Covid-19.
“There is a need for an adjustment,” said Schroeder. “In 2021 we all desperately need a super successful summer, to make money, for people to survive, for people get their jobs back, and for punters to have a wonderful experience.”
“What Covid will have done is put a pause, if not a stop, on some of those silly deals” from before the crisis, he added.
“We all need to work together very closely so we know clearly on what basis we’re confirming events,” added Baskerville. “But there’s an appetite among agents, managers and promoters to work it all out. […] It’s important that the events which happen next year happen well; if we all support them and work together we’ll be able to achieve that.”
More than anything, concluded de Lattre, the coronavirus has ushered in a period of “reflecting, not just about our work lives, but about lives in general, and there’s an incredible amount of change to come.
“It’s been an absolutely unbelievable year, charged with the promise of change and a more collaborative spirit within the business, and with real potential for change in diversity and inclusion. These are all incredible things that I don’t think anyone could have dreamt of really happening.
“So if we can turn a positive out of all the challenges and the anguish, I think we’ll have done well from this year.”
Booking agents unite for next IQ Focus
Continuing the weekly IQ Focus virtual panel discussions, this week sees a line-up of senior figures from the agency world step up.
Titled The Agency Business 3.0, the session streams live on Facebook and YouTube on Thursday 11 June at 4 p.m. BST/5 p.m. CET.
For multinational agencies juggling investors, cashflow and large numbers of employees, the Covid-19 crisis has presented significant challenges. And for the smaller boutique outfits, the hiatus in touring is no less impactful.
But when the business does return, will this period have changed how agencies are structured, and how they work? What routes back do agents see working, and what new opportunities might emerge? In an industry fuelled by creative thinking, what comes next?
Joining chair and ILMC head Greg Parmley will be CAA’s Maria May, Paradigm’s Tom Schroeder, 13 Artists’ Angus Baskerville and United Talent Agency’s Jules de Lattre.
The popular IQ Focus sessions have run since April, with previous topics having included the festival summer, grassroots music venues, major venues, mental health and wellbeing during lockdown, and innovation in live music. All previous sessions can be watched here.