Matt Bates has opened up on Primary Talent International’s return to independence, describing the move as “liberating” for the company.

The UK-based music talent agency was sold to ICM Partners in 2020, but went back to being independent in March following a management buyout after ICM’s acquisition by CAA.

In a new interview, Bates, who oversees all aspects of Primary as managing partner and CEO, says the split with CAA was “amicable”.

“There was an understanding that trying to merge Primary into CAA wasn’t necessarily going to work for everybody,” he tells Music Week. “It became obvious that there was scope to try and put something together and buy Primary back. It was always amicable.”

Bates led the deal to re-establish Primary’s independent status alongside former ICM founding partner and COO Rick Levy. Agent Ben Winchester also serves as a board member alongside the duo.

“It’s very liberating to be able to forge our own identity in the music world again,” reflects Bates. “There’s no outside investment, we’re not answering to people who want to see a [specific] profit margin. To be purely independently owned by the agents is such a rarity.”

“This year is going to be bigger, better and busier in every shape or form. It does feel that we are truly back now as an industry, which is wonderful”

The agency elevated current Primary agents Laetitia Descouens, Sally Dunstone, Martje Kremers, Ed Sellers and LA-based Simon Clarkson to partner status in the wake of the deal and went on to hire veteran New York-based agent Peter Nash from ICM as a partner in April. Nash brought with him a roster including Kings of Leon, Pet Shop Boys, Regina Spektor, Steve Winwood, and Travis.

The booking agency, whose roster includes almost 460 clients including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, and Patti Smith, operates from London, while maintaining a presence in Los Angeles and New York.

“This year is going to be bigger, better and busier in every shape or form,” says Bates. “It’s actually bigger than last year – no one thought that could happen. Talking to promoters, it’s the same across the board. So it does feel that we are truly back now as an industry, which is wonderful.”

Bates also discussed his expansion plans for the firm’s dance division.

“When we first talked about going independent, it was the first department that I identified as wanting to grow,” says Bates. “We’ve always had a really strong footing in the dance world. It’s something that is still thriving, still growing, and I feel very passionate about Primary making it a priority to grow that space.”

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Primary Talent International has hired Peter Nash as a partner, effectively immediately.

New York-based Nash is the eighth partner to join Primary Talent since it regained independence from CAA last month.

The veteran agent joined ICM from WME in 2020, the year ICM acquired Primary Talent. He worked closely with the Primary Talent team until the CAA acquisition in June 2022.

Nash brings with him a roster that includes Kings of Leon, Pet Shop Boys, Regina Spektor, Steve Winwood, and Travis.

“He will be a wellspring of guidance and support to our expanding roster of agents and clients”

“Pete’s joining the Primary family is tremendous news for the agency as a whole,” says Matt Bates, managing partner and CEO of Primary Talent International. “He brings with him a huge amount of experience as a leading international music agent. In his new role as a Primary Talent partner, he will be a wellspring of guidance and support to our expanding roster of agents and clients.”

Nash adds: “ICM’s acquisition of Primary Talent in March 2020 was the major factor in my decision to join ICM later that same year. Working alongside the exceptional Primary team during the pandemic and the challenging relaunch of the live music industry turned out to be greatly beneficial to my clients. I am delighted to be working with them again and joining their leadership team.”

Primary Talent International boasts a roster of nearly 460 clients including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, and Patti Smith Imanbek, Mitski, Rina Sawayama, Two Door Cinema Club, Wolf Alice, and Ziggy Marley.

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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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Paul Gongaware has launched a new agency alongside his wife, Layla, called the The Gongaware Group.

Previously, Paul worked as an agent in the dance division at ICM Partners, leaving around the time CAA acquired the company. Prior to that, he was an agent at WME for almost eight years.

Layla, meanwhile, has experience with owning and running her own company, having launched a fitness business in Los Angeles.

Paul told Pollstar that his departure from ICM was “arguably the best time ever” to launch The Gongaware Group, which already boasts a roster of 30 dance acts including Slushii, Sigala and Shane Codd.

“The bookings are there, the clients are there, the work ethic is there”

“It’s the biggest risk in our personal lives ever,” says Gongaware. “But I think we both believe in it so much that it’s a no-brainer for us regardless. The bookings are there, the clients are there, the work ethic is there. As long as we continue to give that to them and they believe in us, then this is going to be a really big thing.”

Gongaware says that almost all of their artists are currently out on tour, with an average of 20-25 shows taking place every weekend.

“For the time being, if we can do a thousand shows with 30 clients of the best opportunities, festivals, clubs, anything in between, then we’ll know we’ve been successful,” he adds.

The Gongaware Group’s roster also includes Aluna (formerly AlunaGeorge), Hannah Wants, Jerro, No Mana and DJ Soda.

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UTA has announced that leading executive Robert Gibbs has joined the agency as partner and co-head of its Atlanta office.

Gibbs was most recently head of music at ICM Partners, where he was the first African American department head of a major agency music department.

In his new role, Gibbs will join UTA Atlanta co-heads Rich Paul, Arthur Lewis, and Steve Cohen to help grow the agency’s footprint across music, sports, film, fine arts, television, podcasts and other areas.

“Robert’s experience in the industry, combined with his enthusiasm to help us build in Atlanta, made him the perfect choice to join UTA and our leadership team there,” says UTA CEO Jeremy Zimmer.

“Over the past several years, the momentum at UTA has been undeniable”

In addition to his role managing ICM’s global music division, Gibbs worked with clients including J Cole, Ari Lennox, PartyNextDoor, Roy Woods, JID, Bas, Earthgang, Cozz, Lute, Omen, SoFaygo and Mike Dimes.

New York-based music agent Kevin Jergenson and LA-based music agent Victoria Gutierrez, who both worked closely with Gibbs at ICM on several clients, will join him at UTA.

UTA and its partner company Klutch Sports Group announced the establishment of a significant on-the-ground presence in Atlanta last September.

“Over the past several years, the momentum at UTA has been undeniable,” says Gibbs. “Jeremy and the team have built an incredible business and culture which has resonated throughout the industry.  I am excited to join at this pivotal time and help expand the company’s business in Atlanta.”

Gibbs joins a growing list of former ICM agents to have moved on to pastures new since Creative Artists Agency (CAA) completed its acquisition of the company in June.

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APA (formerly the Agency for the Performing Arts) has recruited veteran talent executive Mitch Blackman.

“Mitch is a one-of-a-kind person and agent, who relates so well to artists because he is one himself. He brings a terrific group of artists across many genres that we are very excited to represent,” say APA CEO Jim Gosnell, APA president Jim Osborne and APA’s head of music Bruce Solar in a joint statement.

An accomplished trumpet player, Blackman began his career as an artist before making the jump to the agency world.

He joins Los Angeles-based APA after a 15-year stint at ICM Partners, where he served on the agency’s leadership committee.

“I love what’s happening at APA and am excited to join the team which now includes many great friends from ICM”

Joining Blackman in the transition to APA will be his entire client roster of more than 40 artists, including Blackbear, Robert Glasper, Kamasi Washington and Music Soulchild.

“I love what’s happening at APA and am excited to join the team which now includes many great friends from ICM, which makes this transition very comfortable for me and my artists,” says Blackman.

He joins a growing list of former ICM Partners agents who have made the jump to APA, including Andrew Rogers (global head of talent), Mike Hayes (senior vice-president, global concerts) and Chris Smith (senior vice-president, concerts and talent).

The list also includes talent agent Phoebe Burnham, chief communications officer Brad Turell, and three new agents in the alternative and factual programming department: senior vice-presidents Seth Lawrence and Ryan Wackerman and agent Katie Kolben.

In June it was announced that Creative Artists Agency (CAA) completed its acquisition of ICM Partners.

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Creative Artists Agency (CAA) has completed its acquisition of ICM Partners (ICM).

The acquisition, announced last September, was initially planned to close by the end of 2021 but was delayed while the US department of justice (DOJ) investigated its impact on the entertainment industry.

The completion of the deal – valued at $750 million by Hollywood Reporter sources, brings together two of the leading global agencies in entertainment and sports, and is the second major development to impact the agency world in the space of three months, following Wasserman Music’s acquisition of Paradigm UK’s live music business, which was announced in April.

As a result, the international live music agency landscape is now largely consolidated by just four companies – CAA, Wasserman, UTA and WME.

“Today marks a new chapter in the history of our company”

“Today marks a new chapter in the history of our company, positioning us better than ever to deliver extraordinary opportunities for many of the world’s preeminent artists, athletes, thought leaders, brands, and organisations in entertainment, sports, and culture,” says a statement by CAA’s co-chairmen Kevin Huvane, Bryan Lourd and Richard Lovett.

“We are thrilled to welcome our new ICM colleagues to CAA, and look forward to combining their expertise, relationships, and resources with those of our agents and executives around the world. Our diverse range of clients who entertain and inspire large global audiences have never been in more demand, nor have their opportunities been greater. With today’s addition of our new colleagues, the scope of possibilities for helping clients achieve their goals is limitless.”

“We couldn’t be more enthusiastic about our future together”

ICM brings to CAA a global roster of artists in film, television, music, comedy, theatre, games, politics and podcasting. Its music clients include Chaka Khan, Corinne Bailey Rae, D’Angelo, Dan Auerbach, Good Charlotte, J. Cole, Jerry Seinfeld, Jill Scott, Kamasi Washington, Khalid, Migos, Roger Daltrey, Rosanne Cash, Scott Stapp, Sheila E, The Black Keys and Trey Songz.

“Combining with the best-in-class agency to build an even greater representation company for our clients and our colleagues is the core strategic reason for this move,” adds ICM’s Chris Silbermann and Ted Chervin. “We couldn’t be more enthusiastic about our future together, and are energised by the sophisticated, forward-thinking representation we offer clients. This is the ideal next step for our companies.”

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Marvin Josephson, founder of ICM Partners, passed away on Tuesday (17 May) in New York, at the age of 95.

An official cause of death has not been announced.

“We mourn the loss of Marvin Josephson, one of the founders of ICM, who was universally respected as an agent, a leader and a man,” ICM Partners said in a statement. “We send our heartfelt condolences to his family.”

Born on March 6, 1927 in Atlantic City, New Jersey, US, Josephson was raised by immigrant parents. After serving in the US Navy during the twilight of World War II, he returned to the US to attend Cornell University and then night law school at New York University School of Law. Upon receiving his degree in 1962, Josephson started a job in the CBS legal department.

In 1955, Josephson began his own personal management company, drawing clients such as “Captain Kangaroo” producer and star Bob Keeshan. Josephson later converted the company into a talent agency upon entering the world of television personalities, representing figures such as Chet Huntley, Peter Jennings, Frank McGee, Don Hewitt and Reuven Frank. Later in his career, Josephson would represent Barbara Walters.

Josephson’s agency grew, eventually merging with the LA-based Rosenberg Coryell, which had Bing Crosby and James Garner among its client list. After buying out his California partners, Josephson’s company was renamed Marvin Josephson Associates (MJA).

“[Josephson] was universally respected as an agent, a leader and a man”

After acquiring Ashley Famous Agency in 1968, the combined agency was renamed International Famous Agency (IFA), though the parent company that owned IFA continued to be called MJA. MJA then acquired Creative Management Associates (CMA), a more film-focused agency as opposed to IFA’s emphasis on television and publishing.

Josephson served as chairman and CEO of the combined talent agency, which was renamed International Creative Management (ICM) and grew to become a huge operation in entertainment, representing clients such as Yo Yo Ma, Henry Kissinger, Steve McQueen, Margaret Thatcher and Colin Powell during Josephson’s tenure.

In 1992, Josephson passed control of ICM onto Jeff Berg, Sam Cohn and Jim Wiatt, though Josephson maintained a leadership role and continued to represent personal clients. In 2005, the company was sold to a private investor, Suhail Rizvi.

Josephson is survived by his wife, Tina Chen; his children, Celia Josephson, Claire Josephson, Nancy Josephson, YiLing Chen-Josephson and YiPei Chen-Josephson; his 16 grandchildren; his two great-grandchildren and his brother, Jack Josephson. He was predeceased by his son, Joe Josephson.

The family has asked that donations be sent to The Jewish Federations of North America to support families in Ukraine in memory of Josephson.

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The eighth edition of the International Festival Forum (IFF), ILMC’s invitation-only event for festivals and bookers, is now live.

More than 800 delegates are expected to attend this year’s gathering of the international music festival business, with many of the world’s leading booking agencies signed up as partners.

Wasserman Music, WME, CAA, UTA, ICM Partners/Primary Talent, ATC Live, X-Ray Touring, One Finiix Live and Earth Agency are among the first to back the 2022 edition and many of whom will present showcases featuring the hottest new talent.

Alongside the showcases, IFF 2022 will offer the usual plethora of networking, showcases, panels, and parties – all taking place between 27 and 29 September in London.

In addition, IFF has announced a new central hub, the Holiday Inn in Camden, which will be transformed into IFF Central for three days.

IFF has announced a new central hub, the Holiday Inn in Camden, which will be transformed into IFF Central

IFF Central will be exclusive to delegates and will host all conference sessions, complimentary delegate lunches, a late-night bar that’s open until the early hours, and ample space for private meetings.

The hotel also features 100 rooms for delegates in a range of categories, which can be booked at the same time as registering your pass. Room rates are discounted for IFF delegates but there’s a limited number available. Click here for more details.

Since launching in 2015, IFF has gained a reputation for showcasing the most talented emerging artists at early stages of their careers, including Idles, Slaves, Loyle Carner, Public Service Broadcasting, Lewis Capaldi and Shame.

Last year, IFF enjoyed a successful return to a physical event, with a programme that featured a double keynote interview with Melvin Benn and Folkert Koopmans.

More details of IFF 2022, including the provisional schedule, will be announced in due course. If you have an idea for a panel topic, speaker or presentation, please email Ruud Berends.

A limited number of super discounted earlybird passes are now available for just £345 (saving £150 on the full rate). Each pass includes access to all sessions and showcases, lunches, dinners, and some drinks. Click here to register.

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Session chair Tom Schroeder (Wasserman) recounted his first ILMC experiences when he was accosted by private jet brokers who were not exactly relevant for his jungle acts. As a result, he said he wanted to make this year’s agency session a little more accessible for all.

Jon Ollier (One Fiinix Live) spoke of his recent experience with the start of the Ed Sheeran tour and the excitement around it, noting that outdoor shows appear to be more exciting than those indoors.

Looking for the positives in the current state of live music, Schroeder reported that young acts who have come through the pandemic appear to want to have a lot more ownership of their careers, with Lucy Dickins (WME) agreeing that there is a culture shift happening among the younger generation.

Ollier opined that it’s not just a generational thing, but also financial, as lots of people are buying tickets late, meaning that promoters have to take a leap of faith in investing in their events in the hope that people do turn up at the last minute.

The agents said [ticket] prices are not likely to come down as the artist’s costs have also increased

Sally Dunstone (Primary Talent) told ILMC that avails appear to have reached a saturation point, making it tricky to get to that next step with new artists. But she said this forced agents to be more creative and look to work with different venues, for example.

“We have to advise the artist on how they get to that next step in the career and if that means telling them to wait, rather than go out now and do a tour that could harm their long term prospects,” said Dunstone.

She said that her decision to switch agencies was down to the pandemic, thinking in a more entrepreneurial manner and searching for new opportunities – a sentiment echoed by Ollier who launched his own agency, saying that it was the CAA ethos of exploring new avenues and trying to always find a brighter path, that had prompted him to decide to establish his own venture.

Looking at the year ahead, Ari Bernstein (ICM Partners) observed the effect that festivals might have on other touring, highlighting radius causes and the like as issues that need to be discussed. He said Covid had made him look around for all the other revenue sources that his clients as artists could benefit from, which was something that would strengthen the sector going forward.

Schroeder said the new breed of young manager wants their agents to be a bigger part of the artist’s journey

Bernstein agreed with Schroeder that the price of living is going to squeeze the fans and there will be an impact that we are yet to experience. He also cited the war in Ukraine, rising costs and higher ticket prices, but accepted that it is now part of an agent’s role to negotiate those challenges.

On the thorny question of ticket prices, the agents said those prices are not likely to come down as the artist’s costs have also increased. But they said acts are already looking to tour with smaller productions in a bid to save money, as well as considering sustainability matters.

Schroeder said the new breed of young manager wants their agents to be a bigger part of the artist’s journey, rather than just a cog in the wheel.

Dickins also applauded the entrepreneurial spirit among young acts and younger agents. “The artists that tell me what they want to do, not the other way around,” she revealed. “There are things they are telling me that I think ‘shit, I’ve got to read up on that,’” she added.

Turning to the future, Dunstone predicted that in three to five years’ time the business would be fully recovered and progressed from where it was pre-pandemic. “People are looking at content differently now,” she said citing acts that have done well through the likes of TikTok. “I think we’ll see a fresh batch of new headliners in five years’ time, that have come through the pandemic,” said Dunstone.

“The artists that tell me what they want to do, not the other way around”

Ollier joked that Dickins would be working at his agency in three years, but on a serious note, he said there would be a period of natural selection with artists, events and probably even agents.

“Change is good,” said Dickins. “It’s been boring to see the same headliners at festivals for 15 years. I’m excited about the change and I’m embracing it – it’s already happening.”

Schroeder noted that while festival programming had improved, diversity in the actual industry itself was poor, with Dickins agreeing that the business needs to be a lot better.

Schroeder concluded that this summer will be bumpy but that agents need to navigate it. Ollier said, “The art is going to get better and better, no matter what us industry idiots have got to do.” That struck a chord with his fellow agents, with Bernstein believing that there will be more doors opening for revenue streams than ever before, as people embrace entrepreneurial ideas and think outside the box.

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