Touring powerhouses back Fair Ticketing Reforms
Live Nation, CAA, UTA, Wasserman Music and WME are among more than 20 music organisations to come out in support of ticketing reforms.
Fans & Artists Insisting on Reforms (FAIR) Ticketing is appealing for policymakers to combat ticket touts by giving artists the right to decide how their tickets can be sold, transferred and resold, and for speculative ticket selling and other deceptive practices used to sell tickets to be made illegal.
In addition, the coalition is demanding the expansion and and stricter enforcement of the 2016 BOTS Act and for resale sites that serve as a “safe haven” for touts – and knowingly sell tickets that are illegally acquired – to be fined.
Finally, it is calling for all-in pricing across all ticketing marketplaces introduced nationally so that fans know the full cost of a ticket plus fees right upfront.
“Bots and scalpers cause chaos in the current onsale process, leaving lots of fans disappointed,” says Michael Rapino, president and CEO of Live Nation, which launched the Fair Ticketing Act last month. “Artists are fiercely protective of their fans and we need to make sure laws help artists control their concert intellectual property and how their tickets are sold. That would be a big step forward in helping fans buy tickets at the prices artists set.”
“FAIR Ticketing reforms give more control over ticketing to the artists so they can get tickets to real fans and prevent unauthorised resellers from charging exponentially more than face value”
Other high-profile supporters of the reforms include The Azoff Company chair and CEO Irving Azoff, Wasserman Music EVP and managing executive Sam Hunt and WME global head of contemporary music Lucy Dickins.
“No one cares more about fans than the artists,” says Azoff. “FAIR Ticketing reforms give more control over ticketing to the artists so they can get tickets to real fans and prevent unauthorised resellers from charging exponentially more than face value. I hope Congress will pass legislation for the good of artists and their fans.”
“Ticketing can be a frustrating and confusing experience for fans, and technological advancements in the space often end up being double-edged swords,” says Hunt. “FAIR Ticketing reforms are a crucial leap toward creating a process that is equitable and transparent to all parties.”
Dickins adds: “There is no doubt that change is needed in the current ticketing ecosystem to protect our clients and their work. The FAIR Ticketing reforms would provide the necessary tools to empower artists and creators who know their fans best while putting an end to deceptive ticketing practices.”
The artist coalitions, management groups, music labels and agencies to have signed on to back the “artist and fan friendly reforms”, include the following:
724 Management
Black Music Action Coalition (BMAC)
Creative Artists Agency (CAA)
Crush Music
The Core Entertainment
Endeavor
Faculty Inc.
Full Stop Management
Gellman Management
Laffitte Management Group
Live Nation Entertainment
Music Artists Coalition (MAC)
REBEL
Red Light Management
Salxco
Songwriters of North America (SONA)
United Talent Agency (UTA)
Universal Music Group
Vector Management
Wasserman Music
Wolfson Entertainment Inc.
WME
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ILMC 35: Industry heads tackle big topics
ILMC 35 kicked off with the traditional Open Forum session with this year’s host, Maria May from CAA, addressing a swathe of issues, while looking back on a monumental year for live music around the world.
May noted various statistics about the growth of the business in 2022, including the fact that ticket prices for Pollstar’s top 100 tours had increased by more than 10%, before posing a question to her guests about whether those biggest-selling productions should be doing anything to support the grassroots side of the business.
Obi Asika from United Talent Agency noted that the year ahead was looking like it would be the strongest he has ever had, reporting that his dance music and afrobeat acts were doing great business. And answering a question about the stadium business harming grassroots, he stated, “I’m more worried about the stadium effect on festivals. But I don’t see it as an issue; it’s just different.”
“We have to be brave and inclusive if we want to have new headliners”
When it comes to helping grassroots acts, he added, “We have to be brave and inclusive if we want to have new headliners.”
Q Prime Management’s Tara Richardson contested: “There’s a whole generation of ticket buyers who have skipped [going to] sweaty clubs because they have been stuck indoors during the pandemic.”
But she agreed that perhaps stadiums could support grassroots venues through sponsorship or some other system. “The record labels and publishers develop talent, but the live side seems to be the only part that does not throw money back toward grassroots,” she observed.
Addressing the issue of spiralling costs, Herman Schueremans of Live Nation Belgium admitted that most people in the business had not expected such big rises. “The bottom line is that it’s a thing of give and take – listen to each other and be nicer to each other,” Schueremans pleaded. Looking back at 2022, he reported, “By respecting people and paying part [of the money] in advance and the balance the day after show, it worked really well.
“You cannot avoid rising costs – you have to live with it and deal with it. It might mean we have to work harder but earn less. Making a profit is important, but it’s not the most important.”
“The live side seems to be the only part that does not throw money back toward grassroots”
On a related note, talking about all the various challenges that the live sector is facing, Asika pointed to the example of some of his African artists who have had all kinds of obstacles to overcome to establish careers outside of their own countries. “However complex it is, we can figure it out,” he said. “There are enough ideas and enough good people to figure it out – it’s part of the fun.”
Tackling the controversial topic of dynamic pricing, John Meglen from Concerts West noted, “Most shows do not sell out, but at the very high end it’s a very simple supply and demand issue [and] dynamic pricing is a business decision. If you sell a ticket for $100 but then watch it be resold for $500, the artist should be receiving that money, not the tout.”
Meglen suggested that blaming the ticketing system for any issues was a cop-out. “It’s up to us to set those business rules – we cannot be blaming the ticketing systems, he said. “We have an issue of pricing, and we have a resale issue. We need to make sure that the money [remains] in our business. If we’re getting market value for our tickets, the artists are going to earn more and it’s not someone outside business making the money.”
Q Prime’s Richardson drew comparisons with the price of theatre tickets when it comes to tour pricing, but also had a pragmatic idea on how the teams involved in tour planning could better handle the subject. “Maybe there needs to be a middle ground where we involve tour accountants before we route – and we have a plan A, plan B, and plan C for the tour and the production, depending on the ticket price.”
“We have an issue of pricing, and we have a resale issue”
The session also looked at how the live music industry can attract a more diverse workforce, with the speakers agreeing that more needs to be done – from the top of the business downwards – to make true and meaningful progress.
Engaging in a debate regarding the environmental impact of the live music sector, Schueremans revealed, “At Rock Werchter 2022 we recycled or recouped 95% of our plastic. It was a hell of a challenge, but we did it and we should not just be doing it as festivals, we need to do it at all shows.”
However, Richardson concluded that rather than beat up the festivals and tours, “We’d be better off having a huge industry lobby to do something about the six big companies who are contributing most to carbon emissions.”
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Music agent Beckie Sugden joins CAA
Beckie Sugden has joined Creative Artists Agency (CAA) as an agent in the company’s music touring department.
Sugden, who will be based in CAA’s London office, joins from Primary Talent International.
Her client roster includes artists such as Anderson .Paak & The Free Nationals, Noname, Mick Jenkins, T-Pain, Ghostemane, Mac Ayres, Soulection, and Joe Kay.
“We are thrilled to have Beckie join our team and contribute her talents to the work we do for our artists”
“We are thrilled to have Beckie join our team and contribute her talents to the work we do for our artists,” says Emma Banks, co-head of international touring/co-head of CAA London. “She has a proven track record for success in the representation business and, in just a couple of days, has become an integral part of the CAA team here in London.”
Sugden began her live music career as the founder of her own agency Mixedtape, and went on to serve stints at X-ray Touring and also spent five years at The Agency Group (later UTA) and WME.
When sidelined from her daily work by the pandemic, Sugden decided to do whatever she could to help get the industry back on track and at the end of 2020, she trained with St. John Ambulance as a volunteer vaccinator. This included studying subjects such as immunology, as well as practical training in injections and first aid. She has since volunteered across multiple sites in the UK and has administered hundreds of vaccines.
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APA boosts touring division with six promotions
APA (Agency for the Performing Arts) has ramped up its touring division with six promotions.
Jon Moss and Griffin Perkiel have been upped to music agents while Becca Wilson becomes head of tour marketing.
In addition, Paul O’Loughline, Max Rosenfield and Nina Swift were named to music department coordinator positions.
The promotions come as APA continues to grow its music department since CAA’s acquisition of ICM Partners.
In the last six months, a number of senior music agents from the latter two companies have moved to APA, bringing extensive rosters with them.
Mitch Blackman, Mike Hayes and Chris Smith switched from ICM, Steve Kaul from CAA, as well as Josh Lanham and Sam Sauerhaft who came over in comedy touring from ICM and from management, respectively.
Those agents brought with them more than 200 artists including, Aly and AJ, Jon Bellion, blackbear, Belinda Carlisle, Cypress Hill, Go-Go’s, JAX, Ms. Lauryn Hill, Theory of a Deadman, Kamasi Washington, and comedy touring acts including Martin Lawrence, Mike Epps and Felipe Esparza.
“We have greatly enhanced our music touring footprint over the past six months, by signing over 200 exciting artists who come to us through the many established agents from major agencies that we brought to APA,” says Bruce Solar, APA’s head of music.
“We have greatly enhanced our music touring footprint over the past six months”
“The promotions today of Jon and Griffin to agents, Becca to Head of Marketing and Paul, Max and Nina to coordinators, are richly deserved and gives us the added people power we need to smoothly handle our growth, while rewarding a strong group of diverse young executives who have earned their promotions by making it happen for our clients.”
Moss began his career in 2015 in management at Frank Salomon Associates in New York. He joined APA in January 2020, assisting Christianne Weiss, VP & head of adult contemporary and later Craig Newman, VP & head of performing arts.
With Weiss and Newman, Moss worked with clients such as Smokey Robinson, Frankie Valli, Micky Dolenz, Marie Osmond, Bachman Cummings, STARSHIP, The Fab Four and more. Moss is responsible for booking Fairs and Festivals for the Concerts Department, and currently works with clients Al Olender, Isabel Pless, and Mikaela Davis.
Perkel, upon graduation, was hired into the mailroom of APA, where he worked for Guy Richard. Perkiel briefly moved to Live Nation but quickly returned to the agency world at ICM Partners to work in the contemporary music department.
As an assistant to Mike Hayes, Perkiel focused on developing younger artists, coordinating tours for national artists and handling festivals. During the ICM/CAA [Creative Artists Agency] merger, Griffin joined Hayes at APA as department coordinator. Now promoted to agent, Perkiel is heavily involved developing his own clients while supporting a wide range of businesses within the APA Music Department. He currently works on BabyJake, Riz La Vie, Ayleen Valentine, The Lagoons and Skizzy Mars, among others.
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The Chicks announce 2023 world arena tour
The Chicks have announced a 37-date world tour, with dates in the UK, Europe and North America.
The trio – formerly known as the Dixie Chicks – will kick off the tour on 20 June at Spektrum in Olso, Norway, eventually finishing up at Toronto’s Scotiabank Arena on 18 September.
The CAA-repped band’s UK run of shows will be The Chicks’ first dates in the country for seven years and support will come from Maren Morris.
“This last year on the road has been a whirlwind for us, but it’s time to bring the party to the UK and Europe,” say The Chicks. “We can’t wait to see everyone and play for all our fans across the pond – it’s been a long time coming, and we can’t wait to get back!”
The Chicks released their fifth studio album ‘Gaslighter’ in 2020. The trio’s comeback album was co-produced by Jack Antonoff and was their first since 2006’s ‘Taking The Long Way’ – the group’s last album released under the Dixie Chicks name.
JUNE
20 – Oslo, Spektrum*
21 – Stockholm, Avicii Arena*
23 – Amsterdam, Ziggo Dome*
27 – Cardiff, Cardiff Castle*
28 – Glasgow, OVO Arena*
30 – Dublin, 3Arena*
JULY
2 – Birmingham, Utilita Arena*
4 – Manchester. AO Arena*
21 – Tulsa, BOK Center^
22 – Little Rock, Simmons Bank Arena^
25 – Louisville, KFC Yum Center^
27 – Nashville, Bridgestone Arena^
29 – Knoxville, Thompson-Boiling Arena^
30 – Greensboro, Greensboro Coliseum^
AUGUST
2 – Columbia, Merriweather Post Pavilion^
3 – Bethel, Bethel Woods Center for the Arts^
5 – Gilford, Bank of New Hampshire Pavilion^
6 – Saratoga Springs, Saratoga Springs Performing Arts Center^
10 – Hershey, Hersheypark Stadium#
11 – Canandaigua, CMAC#
13 – Bangor, Maine Savings Amphitheater^
16 – Columbus, Nationwide Arena#
17 – Grand Rapids, The Van Andel Arena#
19 – Des Moines, Iowa Fairgrounds#
25 – St. Paul, Minnesota State Fair^
26 – Madison, Kohl Center Arena#
29 – Kansas City, T-Mobile Center#
30 – Omaha, CHI Health Center Arena#
SEPTEMBER
1 – Sioux Falls, Denny Sanford Premier Center#
5 – Vancouver, Pepsi Live at Rogers Arena*
7 – Calgary, The Scotiabank Saddledome*
8 – Edmonton, Rogers Place*
10 – Saskatoon, SaskTel Centre*
12 – Winnipeg, Canada Life Centre*
15 – Ottawa, Richcraft Life at Canadian Tire Centre*
16 – London, Budweiser Gardens*
18 – Toronto, Scotiabank Arena*
Maren Morris will be supporting dates marked with *
Ben Harper will be supporting the dates marked with #
Wild Rivers will be supporting the dates marked with ^
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Futures Forum: Emma Banks, Sammy Andrews & more
Emma Banks (CAA), Sammy Andrews (Deviate Digital) and Kirstie Loveridge (AEG) are among the latest slate of execs to join ILMC’s Futures Forum, taking place on Friday 3 March at the Royal Lancaster Hotel in London.
Banks, CAA’s co-head, and agent Bilge Morden are set to trade perspectives on the industry during OK, Boomer: Closing the Generation Gap, Part II.
Andrews will moderate the discussion on developing online talent during Live After TikTok and Loveridge will chair True Sustainability, looking at a holistic approach to the topic.
Also joining the one-day discussion and networking event for the next generation of live music industry leaders are Lizzie Ford (CAA) on Now That’s What I Call 2023, Mira Silvers (FORT Agency) on The Young Entrepreneur and Seny Kassaye (FORT Agency) on Meet the New Bosses: Class of 2023.
Alongside new speakers, Futures Forum has unveiled its ever-popular mentoring scheme.
The industry heavyweights that are joining the scheme as mentors are:
Alan Day (promoter, Kilimanjaro Live)
Beckie Sugden (booking agent, Primary Talent International)
Guy Dunstan (managing director, ticketing & arenas, NEC Group)
John Talbot (business development director, AXS)
Lucy Fenner (commercial director, Alexandra Palace)
Lucy Wood (head of music, Roundhouse)
Marc Saunders (programming manager, AEG Presents/The O2)
Marcia Titley (managing director, Eventim Norway & Sweden)
Ollie Rosenblatt (director, Senbla)
Raye Cosbert (managing director, Metropolis Music)
Rebecca Prochnik (creative strategy and growth, UTA)
Ruth Barlow (director of live licensing, Beggars Group)
Summer Marshall (agent, CAA)
View the full provisional schedule here, read more about all speakers confirmed for Futures Forum 2023 by clicking here or buy tickets here.
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CAA signs Web3 entertainment company Hume
Creative Artists Agency (CAA) has signed Web3 entertainment company and record label Hume as it bids to encourage growth among virtual artists in the entertainment industry.
CAA, which hired Joanna Popper from HP as its first chief metaverse officer last August, will help Hume identify and create opportunities across areas including licensing and merchandising, brand partnerships, live events, and film and television.
“Hume is fundamentally changing the way fans interact with their favourite artists, experience their music, and benefit from their loyalty,” says CAA agent Phil Quist.
“Together, we believe we can help usher in a new era of musical talent and artistry,” adds CAA agent Jonathan Rodrigues.
A Web3 record label and an in-house entertainment studio, Hume remixes community-building with music creation, digital identity, and storytelling to “redefine the way fans engage with their favourite virtual artists”.
“Working with CAA presents an opportunity to bridge the gap between traditional media and Web3 to bring metastars into the mainstream”
Hume raised $11.7 million (€10.7m) in 2022 from investors such as TCG Crypto, Gmoney, Aloe Blacc, Cooper Turley, and Evan Bogart.
Angelbaby is the first in the firm’s roster of “metastars” – virtual music artists who blur the lines between the digital and physical worlds – and has performed at Art Basel, Fluf Haus LA and SXSW, and opened for both Chromeo and Dillon Francis. All 300 of the NFTs for his latest single All Gold Spaceship sold out within 10 seconds.
“By combining the latest technology with artful storytelling and music, we’re redefining what it means to be an artist,” says Hume co-founder and chief artist officer Jay Stolar. “Working with CAA presents an opportunity to bridge the gap between traditional media and Web3 to bring metastars into the mainstream.”
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CAA cuts ties with Kanye West after antisemitic slurs
Creative Artists Agency (CAA) no longer represents longtime client Kanye West, a representative of the company this week told The New York Times.
The agency has represented West for touring since 2016, during which time he has not been on tour.
The move comes after the US rapper this month posted antisemitic slurs on social media and wore a shirt with a slogan associated with white supremacists.
His remarks prompted an antisemitic and white supremacist group to unfurl a large banner above a Los Angeles overpass, which read “Kanye is right about the Jews,” over the weekend.
The music industry has subsequently begun to distance itself from the rapper, with executives including UTA CEO Jeremy Zimmer and Endeavor’s Ari Emanuel encouraging the boycott of West.
West and his G.O.O.D. Music imprint are no longer a part of Def Jam Recordings
Per The Times article, West (now known as Ye) and his G.O.O.D. Music imprint are no longer a part of Def Jam Recordings. Ye’s artist contract with the label expired following the release of 2021’s Donda, although it’s unclear if he was expected to continue the partnership with his longtime label home prior to his recent anti-Semitic outbursts.
The 45-year-old rapper had already burned bridges in the industry when he pulled out of headlining this year’s Coachella just over a week before it was due to start.
He was also disinvited from performing at the Grammy Awards last spring after erratic behaviour and, in July this year, LA-based production company Phantom Labs sued West, for allegedly owing $7.1 million for unpaid work.
The fashion world is also beginning to cut ties with West, with Balenciaga confirming last week that it “no longer has any relationship nor any plans for future projects related to this artist”.
Also, today (25 October), Adidas released a statement announcing it has officially ended its partnership with the rapper.
“Adidas does not tolerate antisemitism and any other sort of hate speech,” it reads. “Ye’s recent comments and actions have been unacceptable, hateful and dangerous, and they violate the company’s values of diversity and inclusion, mutual respect and fairness.”
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The New Bosses 2022: Dan Rais, CAA
The 15th edition of IQ Magazine’s New Bosses was published in IQ 114 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 2022’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
Catch up on the previous New Bosess 2022 interview with Clara Cullen from Music Venue Trust here. The series continues with Dan Rais, brand partnerships agent at CAA in Columbia.
Daniel (Dan) Rais is a music brand partnerships agent at Creative Artists Agency (CAA). After graduating from the University of Southern California with a degree in music business, Rais worked in artist management, synch licensing, and digital strategy before eventually joining CAA’s in 2017.
Now based in London, Rais is part of a global team that represents the full CAA music roster, helping to build his clients’ careers outside of traditional touring through commercial endorsements, social media/ PR campaigns, and branded/private events. In this role, Dan has worked closely on partnerships for artists like David Guetta, TEMS, Charli XCX, and Bimini, and has closed deals with various household name brands like Samsung, Reebok, and Balenciaga, just to name a few.
Originally from Bogotá, Colombia, Dan lived in four different countries before moving to London, learning multiple languages along the way, and developing an international mindset that helps him explore opportunities for a diverse set of clients around the world.
You have lived and worked in a number of countries with very different social and economic backgrounds. How has this experience helped with the way you approach client proposals?
Our clients are also from very different backgrounds, so I think these experiences have ultimately helped me become a better advocate for them. I may not be an expert on any one specific genre or scene, but having been exposed to many languages and nationalities growing up, I learned the importance of respecting cultures regardless of whether I identified with them. So, when we get a partnership proposal where a brand is looking to tap into an artist’s culture and reach their fans, I’m very protective to make sure the artist’s voice is being heard and that the collaboration is as authentic as possible.
Your career prior to CAA saw you work across an array of music sectors. Would you encourage others to do the same?
Yes, absolutely. Everyone has a different path and I really admire people who have always known exactly what they wanted to do. But personally, I had no idea where to start. So I figured it out on the go and learned from different opportunities as they came up. This helped me understand different ways of working and communicating, gave me a wider perspective on the entertainment landscape, and ultimately guided me to where I am now. Most importantly though, I feel like it’s key to go through some early challenges in your career to teach you how to deal with difficult people and situations. Even if you land your dream job right away, it’s not always going to be a walk in the park, so I’m definitely thankful to have had a bunch of teachable moments in jobs that didn’t work out early on. I was then much better prepared for the challenges that came at a job I actually wanted to grow into.
As a new boss, what one thing would you change to make the live music industry a better place?
We’re facing a lot of different challenges as an industry right now so it’s hard to pick just one issue. But I’m a strong believer in working on yourself before you go out and change what you feel is wrong around you. So from that perspective, I think the industry needs to double down on hiring and nurturing long-term careers for people from more diverse backgrounds, giving more opportunities to women, people of colour, the LGBTQ+ community, as well as people from different socioeconomic backgrounds. Having fresher perspectives throughout the industry and especially in positions of power should hopefully make us better prepared to tackle all the rest of it.
“The industry needs to double down on hiring and nurturing long-term careers for people from more diverse backgrounds”
What was the biggest challenge for you in your work during the pandemic – and have any of those Covid lessons benefited your work now that life is returning to normal?
Our partnerships group was actually pretty lucky in that it actually got busier than ever during the pandemic. But even though we were getting tons of projects off the ground, it was still really hard to work in a constant haze of uncertainty, not knowing whether anything you booked would survive the constant cancellations, reschedules, and other changes that kept hitting due to the evolving pandemic. Ultimately though, I think the fast-paced nature and endless problem-solving of that time gave us really thick skin to deal with issues as we’re returning to normal. Tough times for sure but I think it made us more resourceful, efficient, and calmer under pressure.
Where would you like to see yourself in five years’ time?
I officially made agent pretty recently, so it feels like I’m still just getting started, to be honest. But I feel very lucky to be at a company where I can keep learning, become part of artist teams early to help develop their careers, and continue to expand our buyer base so that we’re doing more consistent deals outside of Europe and North America. If I can keep doing all that in the next five years and still be regularly going to shows while balancing a young family, I think I’ll be in a good spot.
Do you have any mentors that you can turn to for advice?
100%. I’m very lucky to have close friends and family I can turn to whenever. But also, within CAA specifically – it’s an apprenticeship business – so you grow by working closely with your bosses as you learn the trade. Shout out to Nathan Gregory, Bradlee Banbury, and Neil McSteen, who not only taught me the ropes of this business but have also become strong mentors for me across LA and London. The collaborative nature of the company also means I’ve been in the trenches with legendary touring agents who’ve been doing this for decades, so that’s also an incredible privilege.
“The collaborative nature of [CAA] means I’ve been in the trenches with legendary touring agents”
What has been the highlight of your career, so far?
I’ve had a lot of proud moments watching artists I’ve worked with play big venues, win awards, make chart history, and all the rest of it. But from a pure partnership perspective, I always go back to this Cardi B x Tinder deal I worked on when I was living in LA. It was called the Swipe-Off and it had a super simple premise – the US university that swiped right the most on the app over a certain period would get a free concert from Cardi B on campus. This was right off the heat from Bodak Yellow, leading up to the release of her debut album and Coachella performance, so Cardi was on an absolute rocket ship and the competition got a ton of engagement.
The school that ended up winning was a technical university in Massachusetts with a 10k-cap arena on campus and there were lines around the block with people trying to get the free tickets. I remember Cardi had just released the song Drip which has a line that goes “looking like a right swipe on Tinder” – it was a massive coincidence and had absolutely nothing to do with the campaign, but when she played it at the show, the kids went wild. The timing couldn’t have been more perfect in terms of the artist’s star power growing while the fan competition went on – such a great example of a partnership that actually delivered an unforgettable moment for fans.
What comes first when you are putting together a deal – the brand with a budget or the client with a great idea?
Deals happen in both ways all the time. We are often taking specific client tours, events, and ideas out to market, just as we are regularly pitching clients for brand campaigns that already have a specific brief and budget.
But I think the best partnerships are a bit more fluid than that. It might start with a general brief or a seed of an idea from a client, but the more trust you build, the more you can help a brand properly buy into an artist’s vision and help shape a project into something that works for everyone. The fun part is figuring out how to build that bridge so that the brand’s needs are being met while getting the best possible deal for your client.
See the full list of 2022 New Bosses in IQ 114 here.
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The New Bosses: Introducing the class of 2022
The 15th edition of IQ Magazine‘s New Bosses can now be revealed, highlighting 20 of the most promising 30-and-unders in the international live music business.
New Bosses 2022 inspired the most engaged voting process to date, with hundreds of people taking the time to submit nominations. The final 20 comprises executives working across agencies, promoters, ticketing companies, charities and venues in 12 different countries.
In no particular order, the New Bosses 2022 are:
Benji Fritzenschaft, DreamHaus (DE).
Clara Cullen, Music Venue Trust (UK).
Dan Rais, CAA (CO).
David Nguyen, Rock The People (CZ).
Daytona Häusermann, Gadget ABC (CH).
Grant Hall, ASM Global (US).
James Craigie, Goldenvoice (UK).
Kathryn Dryburgh, ATC Live (UK).
Resi Scheurmann, Konzertbüro Schoneberg (DE).
Seny Kassaye, Fort Agency (CA).
Agustina Cabo, Move Concerts (AR).
Sönke Schal, Karsten Janke Konzertdirektion (DE).
Steel Hanf, Proxy Agency (US).
Steff James, Live Nation (UK).
Stella Scocco, Södra Teatern (SE).
Vegard Storaas, Live Nation (NO).
Lewis Wilde, DICE (UK).
Zoe Williamson, UTA (US).
Jonathan Hou, Live Nation (US).
Maciej Korczak, Follow The Step (PL).
Subscribers can read shortened profiles of each of the 2022 New Bosses in issue 114 of IQ Magazine, which is out now. Full-length Q&As will appear on IQ in the coming days and weeks.
Click here to subscribe to IQ for just £7.99 a month – or check out what you’re missing out on with the limited preview below:
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