The New Bosses 2024: Triin Kalmu, Piletilevi Group

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

To get to know this year’s class a little better, IQ conducted interviews with each one of 2024’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.

On completing her degree in accounting, Triin joined ticketing specialists Piletilevi Group in 2018 as an assistant accountant, and after a few months was promoted to a full accountant. In October 2022, her climb up the corporate ladder continued when she was promoted to Group CFO. Last year, she became a Piletilevi Group board member, and in May 2024, she became a member of the supervisory board for Poland’s Biletomat ticketing service.

Why did you choose to pursue a career in the ticketing business?
The honest answer is that I did not choose to pursue a career in the company because it operates in the ticketing business. I ended up at the company through many fortunate coincidences, for which I am very grateful. I have been able to grow within the company and explore the different aspects of finance that this field entails. Certainly, working in the industry for 6.5 years has had a strong impact on how I view cultural events and has increased my attendance at these events. None of my family members are involved in the ticketing business beyond just enjoying the events.

In terms of expanding your network of contacts, are there any events, platforms or forums you attend that you would recommend to others?
A big way to expand the network is definitely through the acquisition processes, during which you meet many professionals and have the chance to work together, maintaining future contact thanks to LinkedIn. But there are also career-specific local yearly seminars to attend, usually provided by internationally known audit companies. There are also seminars held by banks to keep informed about their views on future changes in the economy which have an impact on people’s entertainment consumption.

What one thing would you like artists, fans, and other music industry professionals to learn about your country to persuade them to visit listen to some Estonian bands and artists?
Estonians are eager to consume and produce cultural experiences in impressive diversity. So when visiting Estonia, you can be sure that whether you are an artist, fan, or music industry professional, you will find plenty of options to enjoy.

“Estonians are eager to consume and produce cultural experiences in impressive diversity”

The growth of Piletilevi Group has been rapid. What are the challenges that you and your colleagues face while the business continues to expand?
When I joined the Group, Piletilevi operated in four countries. Today, the Group is active in seven countries, with four new countries and even more companies joining past and this year. Piletilevi acquired a company in Romania and another operating in the Czech Republic, Slovakia, and Poland in 2023, along with additional companies in Poland this year. Both organic growth and expansion have significantly increased our mediated GMV, from 100 million euros to almost 200 million euros during 2023. By 2024, we expect this figure to reach 300 million euros without additional expansion, equating to 15 million tickets sold. Rapid expansion definitely brings changes and requires adaptation to new situations, which is exciting and interesting but also challenging as it demands significant effort everyone involved.

One thing I would consider as challenge is that all companies have their own stategy, development products and brand which they adore and have been creating with care and excitement. During expansion and mergers, questions arise such as which brand to keep and which developed products provide the best possible service to customers. As much as there are people involved, there are opinions and emotions. Behind all the technical work and changes, there are emotions across the entire spectrum, with people trying their best to adapt to the changes.

In addition, every country has its own specifics that must be considered in system development and the creation of general guidelines. The challenge lies in harmonising all countries from every possible aspect, standardizing processes, and implementing them to be able to receive and deliver expected results. During rapid expansion, it is crucial to keep the focus and keep people informed about where and how we are moving, what our Group’s goal is, and what we aim to achieve together. By the end of the day, when companies have settled into the Group, the hard work behind it definitely creates a feeling of success, which underscores the purpose of putting your heart and effort into it.

“The highlight of my career is being noticed and trusted with such roles at a young age”

You’ve worked through the ranks at the company to become a board member. What’s been the highlight of your career so far?
I have been with the company for more than six and a half years, starting as an accounting assistant. Each year, I was entrusted with starting in a new position with higher responsibility, which is the main reason, alongside all other positive changes the company has undergone in recent years, I have not had the feeling I need to change the company to have the ability to grow professionally. Piletilevi Group is definitely a company where people are noticed which leads to creating long-term business knowledge inside the group as people feel valued and motivated to be part of this innovative international company. I consider the highlight of my career to be the fact that I must have done many things right to be noticed and trusted with such roles at a young age. The biggest highlight for me personally was actually the entire first year as Group CFO, during which many important changes were made from the company’s perspective. I also experienced significant personal growth during that first year, facing new situations and managing tasks that I was doing for the first time every day. It is still the case today, so the growth definitely continues.

What advice would you give to anyone who is trying to find a job in ticketing of the live entertainment business?
I think the answer is the same as in every other business sector: be trustworthy, keep your promises, take your work seriously, but don’t forget to have fun and definitely do not lose your cheerfulness! Be confident and brave enough to share your innovative ideas!

What is your favourite venue, and why?
In Estonia, it’s definitely the outdoor venue Tallinna Lauluväljak, which also hosts the National Song Festival which is very important for all Estonians due to historical background. During the summer, a significant number of international artists’ concerts are held at this venue. Imagine a warm summer night, whether sitting on your blanket on the grass or jumping and singing your heart out while enjoying high-quality concerts by international artists, with a view of the sea where the sun is setting. It’s something you wouldn’t want to miss and these concerts enjoyed there are something to travel back in your memories once in a while.

“Be trustworthy, keep your promises, take your work seriously, but don’t forget to have fun”

What events, tours or festivals are you most looking forward to in the year ahead?
I definitely will visit Banksy’s exhibition in Estonia as soon as possible, which has received amazing feedback from people who have already visited. So people visiting Estonia during summer highly recommended to go and experience the extraordinary art. In August, I am going first time to an Ed Sheeran concert which takes place in Kaunas. In September, I will be in Sweden enjoying Justin Timberlake’s show again after a 10-year break.

Do you have a mentor, or anyone you rely on to bounce ideas off?
We have very experienced people on the board, including one with impressive experience in ticketing and another very strong and long experience in CEO role of different companies in various sectors to bounce idea off. I believe we have good synergy thanks to our differences, as we share a strong focus, values and understanding of our Group goals. If I were to mention someone as a mentor in terms of leadership, I would definitely point out our Group CEO and shareholder and in terms of position specificity, our Group CA is definitely someone with whom I feel we can handle everything!

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
In our Group, we strongly focus on the ESG topic. Due to this, I see significant growth potential in how events are organised with greater consideration for the environment, making better and more sustainable choices that are possible without compromising quality. I believe that in the coming years, there will be a significant change among organisers regarding everything related to ESG and event organising.

What would you like to see yourself doing in five years time?
Based on today’s good feeling in Piletilevi Group, I can see myself being in the same company, acquiring new experiences and expanding my business-specific knowledge. Personally, I see myself happy, healthy and active, enjoying various events as much as possible in all the countries we are operating in.

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The New Bosses 2024: Tom Matthews, UTA

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

Tom has risen swiftly through the ranks and is enjoying a standout year. Alongside colleagues, Jbeau Lewis and Jules de Lattre, he aided the success of Karol G’s record-breaking Mañana Será Bonito tour. Demonstrating his ambition, Tom was recently made the point person for Asia in UTA’s London office, ensuring fellow agents find the best possible partners across the region while guaranteeing clients find their audiences on relevant Asian social media platforms like Weibo, WeChat, Douyin, Xiaohongshu, QQ, and more.

You’re working with some superstars, while also beginning to build your own roster. Are there any lessons you can learn from stadium acts that can help with those who are just performing their first club shows?
Whether it be a stadium show or a debut show in a 150-cap venue, the principles are still the same. The fan has purchased a ticket to see an artist give the best performance they can and that’s what I say to all of my artists. If you can get 150 people in a room, make sure that 150 of them want to buy a ticket to the next show and they tell five of their friends how incredible it was, and suddenly you’ve got a powerful multiplier on your debut show and you will see great growth in the market. I’m also huge on the visual aspect of a performance. The better the visuals, and the more immersive an experience can be, the more it gets shared across socials and that in itself is a great way to build your fanbase.

With all the competition out there, how do you persuade a new act to allow Tom Matthews to represent them?
The one main focus for me is ensuring that my clients really do get a fully tailored experience. One that matches both their long-term goals and also pays attention to the data points that we get from the online analytic tools that we have access or the information our IQ department is able to gather. It’s incredible how much further an artist can develop if you really pay attention to the markets in which their fans are organically engaging, both from a streaming and social media perspective. One artist may start to break in Germany and another may start to break in parts of Southeast Asia, and I make sure that we strategise around those important markets and build out the global strategy from there. Natalie Jane is a great example – we saw huge social media growth (through her 10M+ followers) and streaming growth in Germany, and she just sold over 3600 tickets in Germany alone on her recent European tour.

Do you have any mentors or people you can rely on to bounce ideas off?
Before becoming an agent I was lucky enough to spend the first half of my career at UTA as a booker to Gary Howard. Gary is still to this day my go-to for advice on navigating what can be at times a complex but incredibly rewarding career. I also need to give a huge shout-out to Jbeau Lewis (partner, UTA) and Jules de Lattre (agent, UTA) who I both work with on KAROL G. They’re not just colleagues, but also incredible resources who constantly share their expertise not just to me, but agents globally at UTA.

What’s the best piece of advice you’ve ever been given?
In the famous words of our global head of touring, Neil Warnock… “Pick up the [insert word of choice here] phone!”

“Seeing 500,000 in the queue to buy a ticket to the second night of Karol G at the Santiago Bernabéu stadium was surreal”

What’s been the highlight of your career so far?
Okay so this is a tricky one… Refreshing my laptop and seeing 500,000 in the queue to buy a ticket to the second night of Karol G at the Santiago Bernabéu stadium was quite a surreal experience, but also comforting knowing that we did the right thing and held a few more nights so we were definitely prepared! The shows in Madrid were without a doubt the best shows I have ever seen in my career.

The other highlight that springs to mind is, before I recently moved out of London back in June, I lived 15 minutes from North Greenwich, where the O2 Arena is. Having two nights sold out for Karol there was definitely a great moment for me after seeing the venue almost every day for two years and the shows were the same week that I moved out, so it was a really great send-off to that part of my life. I had my fiancé and parents there for the second night which made it all the more special.

And are there any particular platforms, venues, or events that you favour to discover new talent?
I’m definitely deep into the TikTok algorithm these days as I’m sure most of us are, but I still get great tips from people working in the industry, whether that be an A&R at a record label, a manager of a client or a promoter that I work with.

Which one act on your roster should promoters be keeping an eye on in the next few months?
asiris is a client of mine who I am sure will be on everyone’s radar in the next 12-18 months. Originally from Texas and now based in Virginia, he is one of the most talented songwriters I’ve come across in recent years. He recently released a song named ‘miramar’ which is a truly stunning record. Promoters – you know what to do!

“Kindness really isn’t a weakness, it is a key ingredient to a successful and fulfilling career for yourself”

You’ve recently been made UTA London’s point person for Asia – a massive market. How do you keep on top of everything that’s happening out there, business-wise, while learning about the nuances of cultural differences, language barriers, exchange rate fluctuations, and opportunities for clients?
Between all of the agents at UTA who book in this region, we ensure that there is a constant information flow between all of us. It’s not just me who gathers the data for this region, it’s agents who are booking there and providing feedback from their experiences, it’s information that we get from our promoter partners out in the region who provide us with their local expertise and it’s my responsibility and that of the of the wider team to be on hand to pass that information across to agents when needed. Being a global business, we also have point people based in our US offices, so in a 24-hour period it’s highly likely there is someone awake and on-hand to assist. I recently spent some time in Taipei and Shanghai for the Elijah Woods tour, and being on the ground seeing these venues first-hand and not just from seeing images online really does make a difference. It allows us to correctly advise our clients when we’re proposing our touring strategies.

As a new boss, what one thing would you like to change to make the live music industry better?
The relentless drive for success in the music industry can often overshadow the importance of kindness. As an agent, I see firsthand the toll that extensive touring and relentless pressure can take on artists and their teams. Burnout is a real threat, and it stifles creativity and long-term health. A kinder music industry attracts and retains talent who feel valued, respected, and empowered to do their best work. Kindness really isn’t a weakness, it is a key ingredient to a successful and fulfilling career for yourself and massively impacts the people you work with on a day-to-day basis in a positive way.

Where do you see yourself in five years?
I think it goes without saying that I want to continue to sign incredible artists to my roster and continue to develop live strategies for them on a global scale, but I also want to continue helping the next generation thrive in this business. I feel a tremendous amount of happiness seeing my fellow colleagues succeed and I would love to see my assistant grow into the incredible agent I know they will be one day. It’s down to me to make sure I’m giving them all of the tools they need to learn and succeed, the same as I was given by my mentors starting out.

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The New Bosses 2024: Sandro Thalmann, Mainland Music

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

Sandro found his way into the music industry through an internship at Mainland Music where, determined to follow the promoter route, he started booking artists alongside his regular work. During Covid, he began studying design at the Zurich University of the Arts but kept booking shows. And following the completion of those studies, he returned full-time to Mainland Music.

You recently completed a degree in design. Did those studies help with your day-to-day work at Mainland Music?
I wouldn’t say it helps me in my day-to-day business, but it certainly helps me in my way of working and looking at things in the music/live industry. In my studies, we learnt to communicate things in a new way. And to think things through again and again. The competition is huge, both for us as organisers or festival promoters and for the musicians/artists. To be successful, you have to break new ground, rethink things and be creative. I think you can definitely learn a lot from design. And I hope I can use these skills in the future.

What one thing would you like artists, fans, and other music industry professionals to learn about your country to persuade them to listen to some Swiss bands and artists?
You should be aware of the diversity in our country. Switzerland has four national languages, but many others are also spoken. This diversity is also reflected in music and culture. It’s always great to see when Swiss artists are successful beyond the country’s borders and inspire people. A great example of this is the Bern-based artist LEILA, for whom I book shows as a booking agent. Growing up as the daughter of bicultural parents (Swiss/Bosnian), she now writes, sings and performs her songs in English and is successful beyond borders.

“Seeing all the people having a great time at a gig you booked is an amazing feeling”

What’s been the highlight of your career so far?
I can’t break it down to one moment. Of course, the first sold-out event was a great feeling. Seeing all the people having a great time at a gig you booked is an amazing feeling. But for me, the most mentionable moments are when you can help build up an artist or a band from small bar shows all the way to huge festival gigs.

Where is your favourite venue?
This is a tough one. I once threw myself into the crowd from the balcony of the Volkshaus Zurich. That’s probably why I have to go with the Volkshaus. Otherwise, I always like going to Hafenkneipe for the sweaty pub vibe or to Exil Zurich for great hip-hop shows.

What events, tours or festivals are you most looking forward to in the year ahead?
I definitely want to go to Glastonbury next year. I’ve been watching the videos afterwards for years and regret never having been there. But I also always look forward to Swiss festivals like Gurten Festival, especially when you have a few artists playing there. Back in the day, I was a regular visitor at these festivals and a fan of the bands and artists playing there. Now being a part of it is amazing and always makes the Swiss festivals really special.

“It’s always great to see when Swiss artists are successful beyond the country’s borders and inspire people”

You’re obviously enjoying learning about the business as your career progresses. How would you encourage the next generation to choose the live music sector for their chosen career path?
The live music industry is a wild bunch where you can have a lot of fun, but also try out a lot and meet a lot of different people. I’ve worked my way up from an internship to marketing manager to concert promoter and learnt a lot in the process. I really appreciate these paths and have found a job that I can live out with great passion. I rarely or never get up in the morning and think “Shit, I have to work tomorrow”. That’s a luxury that I value incredibly highly.

Do you have a mentor, or anyone you rely on to bounce ideas off?
I don’t have a mentor, but I would like to mention a few names. Martin Schrader and Santosh Aerthott (former managing directors at Mainland) opened the door into the music industry back then and also gave me a bit of a indie and punk mentality, for which I am still grateful today. Fabio Serafini started at Mainland Music a year before me and he is a great colleague and also just a great friend from whom I have learnt a lot over the last few years. And last but not least Andrej Malogajski, head of touring and festivals at Mainland Music, is a great inspiration for me.

“The diverse scene in Switzerland should have a way more diverse industry behind it”

And what about meeting new contacts in the business – are there any conferences, festivals or other events that you have attended that been useful for networking?
As I promote a lot of shows for German artists, the Reeperbahn Festival in Hamburg is clearly number one for me.

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
I have highlighted the diversity in the Swiss music scene above. Unfortunately, this diversity is still lacking in the booking/promoter and also managing positions and this can also be felt in the programme of festivals and venues. Such a diverse scene should have a way more diverse industry behind it.

What would you like to see yourself doing in five years?
For now, I’m really enjoying promoting shows and there’s still a lot to achieve. But I also have to say that booking a whole tour of an artist is another challenge that has given me great pleasure. I would like to experience more of this in the future. I want to develop and realise ideas, both in the area of festival development and also in the development of artists.

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The New Bosses 2024: Raven Twigg, ASM Global

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

Raven started her career in 2012 as a freelance music blogger, before taking on a part-time position in customer services at Manchester Arena. There, she became a bookings assistant, before moving south to join Metropolis Music as assistant to MD Raye Cosbert. Raven was festival coordinator for the annual Somerset House Summer Series and Cloud X Festival, but now, back in booking mode, she is currently programming a number of UK arenas for ASM Global.

Your passion for music obviously drove you to be a blogger and to get a foot in the door at Manchester Arena. What advice would you give to teenage Raven now, given your experience of working in the business?
Teenage Raven is almost unrecognisable to me now, I would tell her that life doesn’t just present opportunities, you must grab them with both hands and never be afraid to throw your hat in the ring.

You are a volunteer advisor to the UNICEF Music Group. What does that entail and what is the aim of the group?
Being a voluntary advisor for UNICEF Music Group means that I offer my time and utilise my professional relationships to create ways in which the music industry can raise vital funds for the UNICEF Children’s Emergency Fund. I was privileged to be able to visit the supply warehouse in Copenhagen last year and it was completely sobering to see the amount of work they do, and the vast amount of aid needed for children stuck in conflict and in crisis all over the world. It was certainly a contrast to then return to tour rehearsals at AO Arena the next day that’s for sure…

Having worked for a promoter operation for a few years, you returned to the venue world last year. How does that experience help you in your day-to-day work as a programming manager?
After my five years in promoting world, I have been able to take a promoter insight with me to ASM Global. I better understand the concerns with the pricing of tours, which decisions lead to booking specific venues over others, and the best decisions for different artists. I also gained an understanding of the relationships between international touring, promoters, agents, and managers which I didn’t really have too much of an insight of before joining Metropolis Music.

My job at ASM Global is to keep our portfolio of UK venues booked and busy as well as fairly representing the promoter with each of our venue teams to ensure everything is smooth sailing from the initial avails request to the night of the show. Understanding the industry politics and flexibility of our industry is invaluable and I will forever be grateful for everything my time working at Metropolis has taught me.

“Life doesn’t just present opportunities, you must grab them with both hands and never be afraid to throw your hat in the ring”

In terms of expanding your network of contacts, are there any events, platforms or forums you attend that you would recommend to others?
On the conference front, I always try to attend The Great Escape and ILMC and I’ve been both a mentee and mentor at Futures Forum and I do find this to be tangible. I remember having a mentor session with Emma Bownes and discovering that she went to Hull University and, with me being a Grimsby girl, I felt really inspired to have that connection to the North with someone of her level.

Festivals are also a great place to mingle with names behind the emails and even just attending gigs and making sure to check in with people who may be there in advance so you can say hello in that setting, however this can of course be more costly. Women Connect UK, and She Said So events were helpful for me when I first moved to London, they’re free or pay-what-you-can events, and you meet so many like-minded peers in those rooms.

What has been the highlight of your career, so far?
I have to say, being stood outside Björk’s dressing room at The O2 was an absolute ‘pinch me’ moment. To then see her show transform the arena into this eclectic spectacle was surreal. Raven, from Grimsby, worked on a show with Björk, at The O2 Arena? That sentence still doesn’t compute in my brain.

Also working across shows with Tyler, the Creator after lawyers worked tirelessly to have his visa ban revoked so he could visit the UK again and sell-out three nights at Brixton Academy in minutes. Working on tours with queer icons and allies Charli XCX, St. Vincent, Jessie Ware, Kaytranada, and Janelle Monae, as well as working with Raye ahead of her BRITs success is priceless.

What events or tours are you most looking forward to in the year ahead?
Ah! There are so many. Maggie Rogers at Hackney Empire, Garbage at OVO Arena Wembley, Chappell Roan at O2 Academy Brixton, Charli XCX at The O2 – I can barely contain myself. I am unashamedly a Swiftie so I’m looking forward to seeing the show at Wembley Stadium in August. And I’m hoping to go to All Things Go festival in New York in September. That line-up… *chefs kiss*. I have to say, Troye Sivan’s most recent Arena tour was outstanding, we were lucky enough to have the show at AO Arena Manchester and OVO Arena Wembley.

“Being stood outside Björk’s dressing room at The O2 was an absolute ‘pinch me’ moment”

Before you started in music, did you know about roles such as programming managers? If so, how did you find out? And if not, likewise, how did you discover that such jobs existed?
Absolutely not. The sole reason I ended up programming was because my manager at the time, Miriam Stone, director of operations at AO Arena Manchester, refused to let me give up my arena host role when I was offered a job elsewhere back in 2016. She didn’t want to see me go so put in a good word for me in the central bookings department and the rest is history. I’m so pleased that I get to work with Miriam and the team again now I’ve rejoined ASM Global, some of the people in our Manchester HQ have known me from being a 19-year-old, hungover student. It’s remarkable they have any respect for me at all, haha!

You’re obviously enjoying learning about the business as your career progresses. How would you encourage the next generation to choose the live music sector for their chosen career path?
I would say if you had an interest in music and/or live events in general then look at your strengths. My strengths were writing and networking. So, I wrote about music and made sure to get to know everyone I could in each department at a venue to truly understand their roles. There are so many roles within the live music industry which go unnoticed but without the tour accountants, marketing execs, graphic designers, production crews, sound techs, event managers etc… then none of this would be possible.

Do you have a mentor, or anyone you rely on to bounce ideas off?
I couldn’t make it through this article without mentioning what a mentor Raye Cosbert has been to me over the years. I know that I could still pick up the phone to him any time and he would help me where he could (I think he’s forgiven me for leaving him now!) and he comes to me for advice with the queer artists he represents and has ideas for, which I really love.

More recently Brian Celler and James Harrison have been so supportive of me in my new role as senior programming manager and really put me on a pedestal. They come to me for my input and champion me in ways I’ve never known in my career to date and it’s given me the confidence to really excel in my role. I learn a lot from them and I’m looking forward to seeing how my career progresses during my time at ASM Global with both Brian and James to look up to!

And of course, my partner, Kelly Piercy. She’s a senior producer at Show and Tell Comedy and learning how comedy and podcast events can vary with music is insightful for my role with ASM Global. We both learned the ropes of promoting and touring through being promoter assistants and watching her thrive in her industry inspires me every single day. She offers me advice and support in a way that brings out the best in me and for that, I am forever grateful.

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
The one thing I would change would be the lack of diversity and inclusion in higher positions. I’m keen to see a more inclusive picture dominating the industry. Having inspiring women to look up to like Lucy Dickins who has always made time for me, is super important to me and I don’t doubt that it is for other women as they tackle the ranks of this unequal, male-dominated industry.

As a proud, queer woman myself, I’m excited about the LGBTQ+ movement happening in pop music right now. Seeing Billie Eilish, Chappell Roan, MUNA, Troye Sivan, Renée Rapp, Phoebe Bridgers, Lil Nas X, Ethel Cain, Kaytranada, Kim Petras and likes dominating the charts is a HUGE step in the right direction.

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The New Bosses 2024: Nikoline Skaarup, Down The Drain Concerts

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

Nikoline started her career in music with an internship at Danish online music media Bands of Tomorrow, where she quickly rose to become editor-in-chief. Having found a part-time position as marketing assistant at Down The Drain Concerts (DTD) in 2019, when Covid hit she split her time between working with youth activism at Danish non-profit organisation Rapolitics and with gender equality as music editor at global impact agency Girls Are Awesome. When DTD asked her to return in 2021, she didn’t hesitate and has since become a booker and promoter in her own right.

You have a bachelor’s degree in Philosophy and Communications. Is there anything from your university studies that helps you in your day-to-day life as a promoter?
I think in general it’s given me a natural habit of always viewing things from different angles and questioning a lot of things that may just be routine for others – which is probably also a bit annoying sometimes haha! One very concrete thing I’ve brought with me from my studies is what my professor in Ethics called “The Bullshit Detector” which was basically just tools to analyze arguments. I guess it’s always good to be able to detect a bad argument when you meet it.

You have been a champion for upcoming female artists. Who do you think people in the international music business should be keeping their eye on for the year ahead?
Oh my, where to start! There’s a new Danish artist I keep recommending to everyone. Her name is ILMA and she’s one of the coolest new artists I’ve heard in a long time. It’s her stage presence, songs, and her whole artistic universe that I’m super impressed with. Elyanna, METTE, Zsela and Karin Ann are some artists I’m also really excited about at the moment.

You have an impressive background in music journalism. Does working on that side of things help you develop any narratives when it comes to promoting talent?
I don’t really do any sort of music journalist anymore but I’m definitely still using what I’ve learned from back then when it comes to describing music and having opinions about music. I wrote so many music recommendations and I still use it today when I think about booking an act. I instantly start asking myself the same questions as I would then: Why is this artist interesting? What makes this artist stand out? Why should you prioritise seeing this act? If I can’t answer these questions, I probably wouldn’t recommend the artist back then, and I probably shouldn’t be booking that artist today.

What one thing would you like artists, fans, and other music industry professionals to learn about your country to persuade them to visit, or listen to some Danish bands and artists?
I would definitely highlight the audience culture here. I don’t know what it is, but I’ve heard a lot of artists saying that it’s special to play shows in Denmark because the crowd is so supportive. And I often have the same feeling when I’m at shows here.

“There’s definitely a movement of people wanting this industry to become more sustainable in the long run for its employees”

What is your favourite venue?
Ugh that’s a very hard question! But I think I’ll have to say VEGA in Copenhagen. It’s where I went to my first proper concert and it’s just such a beautiful house…

What has been the highlight of your career, so far?
Last year I booked a really incredible artist called Yemi Alade for NorthSide. It was her first show in Denmark, and I was in the crowd with some of my friends. There were these two girls just dancing and really enjoying themselves next to us, and after the show, my friend (who’s pretty outgoing) told them that I was the one who’d booked her. I got a bit embarrassed haha, but then one of the girls asked if she could give me a hug because she’d been waiting so long to see Yemi Alade who was also the reason why she’d bought her ticket. She was almost crying because the show had been everything she’d hoped for. That was a quite special moment to me because I felt so grateful that I could actually do something, that made another girl so happy!

What events, tours or festivals are you most looking forward to in the year ahead?
Soon, I’ll be going to a small festival in Tromsø, Norway, called Buktafestivalen. I’ve never been there before but it looks so, so beautiful! The War On Drugs are playing and I can’t imagine a better place to see them than surrounded by the amazing Norwegian nature. In November I’m promoting a show in Copenhagen with Saint Levant, an artist I really admire. I saw him at G Festival in The Faroe Islands last summer and just instantly fell in love with his music. So I’m very excited for that tour to kick off!

You’re obviously enjoying learning about the business as your career progresses. How would you encourage the next generation to choose the live music sector for their chosen career path?
I was very nervous about the whole business when I first started out. I’ve never been a super extroverted person so the whole networking part of the industry was quite a mouthful to me. Also, I’d heard all the stories about this being a super tough industry and about people being super nasty to each other. I’m not a thick-skinned person at all, and words can definitely get to me, so I was quite nervous about whether I was “right” for this type of industry or not. But it turned out – for me at least – that it wasn’t as scary in reality. Most people I’ve met have been super, super nice and kind people who share the same passion as me. I think there’s definitely a movement going on of people wanting this industry to become more sustainable in the long run for its employees. And I have so much faith in the next generation being even better at this.

“It’s easier said than done to ask stupid questions but it can be really crucial to do sometimes”

Do you have a mentor, or anyone you rely on to bounce ideas off?
I’m very lucky to be working closely with our head promoter Mads Sørensen who’s been in this business for decades. I had to learn everything from scratch as I had absolutely 0 experience from the promoting side of things when I initially started out as a promoter assistant. He’s always saying that there are no stupid questions and I think that is the most important thing someone can say to you when you’re new to something. It’s easier said than done to ask stupid questions but it can be really crucial to do sometimes.

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
If I was an actual boss, I think the most important thing to me would be to hire a diverse group of people for my team and create a healthy work environment for them. I feel like diversity in the live industry is often measured through posters and festival lineups. But having a diverse group of people working behind what the audience sees is just as important and probably the best way to secure diversity on stage as well.

What would you like to see yourself doing in five years time?
It’s pretty crazy to be saying because it’s such a privilege, but I hope to see myself doing what I already do: booking festivals.

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The New Bosses 2024: James Aiken, Aiken Promotions

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

James Aiken is a third-generation music promoter. His grandfather and namesake, James Aiken, founded Aiken Promotions in Belfast over 60 years ago, while his father, Peter, has continued to build the business over the past 40 years. In 2023, Aiken Promotions completed an acquisition of POD Festivals, where James has operated as a booker since 2020 and is now a director. POD operates two large festivals annually: Forbidden Fruit – a city festival (cap. 15,000) – and All Together Now (22,500) – a four-day camping festival based in County Waterford.

You come from a promoting family, but you’ve developed your own roster of acts – can you tell us about some of the talent you work with?
I am still quite early on in my career and learning but I am happy to say I work with exciting acts such as Dylan Gossett, Barry Can’t Swim, Bryson Tiler, Frankie Stew & Harvey Gunn, Paris Texas, Tiny Habits. It’s been great to work with Sugababes too, they are back bigger than ever! We just sold out Iveagh Gardens and are looking into the future for bigger plays.

Social Media platforms have played a massive role in some of the artists I work with. For example, with Dylan, his hit single Coal went viral on TikTok, especially in Ireland.

As a promoter, are there any particular events, forums or platforms that you visit to try to discover the next big act?
I think tracking and watching trends through varied mediums such as listenership, socials and also just believing in the artist and their music!

What has been the highlight of your career, so far?
Selling out the 3Arena for the first time.

Who on your roster should we all be looking out for in the year ahead?
Dylan Gossett, I think he has gone from strength to strength and there is plenty more to come.

Where is your favourite venue?
Vicar Street, I am being biased but I think the atmosphere in the venue is the best in Ireland.

What events, tours or festivals are you most looking forward to in the year ahead?
The Childish Gambino tour in December should be excellent. I am a big fan of his and he is never been to Ireland so it should be great.

“To be a success at anything you have to understand it fully”

You studied sport and exercise management at university. Can you see yourself also becoming a promoter in the sports side of the business?
I would never say never, but I think to be a success at anything you have to understand it fully. Until that time comes, I will stick to music!

Do you have a mentor, or any colleagues you rely on to bounce ideas off?
I would have to say Bren Berry. I have known Bren my whole life and he is has always time for me from a young age. When I got into the business, he gave me ample opportunities and always backed me. He is a serious promoter and is one of the most well respected names in the music and comedy industry. I am happy to call him a friend also!

Will Rolfe also, working closely on the festival side of the business across POD (which we acquired recently) with Forbidden Fruit Festival, All Together Now and launching In The Meadows. A totally different perspective on promoting and festival curation. We keep each other on our toes… on and off the football pitch.

As a new boss, what one thing would you change to make the live entertainment industry a better place?
People willing to pick up the phone more often and discuss rather than emailing back and forth, tone can often be misplaced and misinterpretations can be made through email.

What would you like to see yourself doing in five years time?
Hopefully still doing this with my family!

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The New Bosses 2024: Gerbine Ulehake, Mojo Concerts

To get to know this year’s class a little better, IQ conducted interviews with each one of 2024’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.

Gerbine began working for MOJO in 2015 as an intern at the North Sea Jazz Festival. Thriving in the role, she was offered a position as festival and booking assistant. In 2018, Kim Bloem asked her to become project coordinator and team up with her on her roster, while in 2021, she also started working for Leon Ramakers, adding shows like The Stones and Bruce Springsteen to her CV.

You’ve worked through the ranks at the company to become a promoter in your own right. What’s been the highlight of your career so far?
There have been multiple highlights throughout my career so far. The most memorable show I’ve worked on was the Rolling Stones in 2022. We had to cancel the show 30 minutes before stage time while fans were already in the stadium, because of Covid in the band, only to re-do the show three weeks later all over again. It was a massive team achievement that asked a lot from all of us in an already crazy year but for sure It’s one to remember. Then there are smaller highlights like booking my first show in Amsterdam (and immediately upgrading because of the good sales) or promoting my first sold-out main hall show for 1,400 fans. For me, getting the promotion to promoter has been the biggest highlight. Getting full trust and time from a company to go and do it on your own has been the biggest compliment I’ve ever received.

Who on your roster should we all be looking out for in the year ahead?
I’m really excited about promoting Mark Ambor. He has shown massive growth over the last six months and made The Netherlands one of his strongest markets. Being involved from such an early stage in his career has been really special. It’s so nice to know the entire team personally and I can’t wait to see where his growth will bring him.

As a promoter who is developing emerging talent, are there any particular events, forums or platforms that you visit to try to discover the next big act?
I’m focusing on TikTok as a platform a lot. I feel artists use this way more than their other social media platforms. It always feels like scouting acts there gives me a headstart to get involved with artists in an early stage of their career.

What advice would you give to anyone who is trying to find a job in live music?
Don’t focus on a certain job or company too much but try to find the right boss for you. Wherever you work, you need someone around you to give you chances and room to grow and learn to get to the place you want to go. The right person to work for might be worth more than a certain title that comes with a job.

Where is your favourite venue?
I don’t really have one to be honest. It totally depends on the artist and the kind of show.

“Don’t focus on a certain job or company too much but try to find the right boss for you”

What events, tours or festivals are you most looking forward to in the year ahead?
I always love festival season as it’s always an overload of (re-)discovering new acts. As part of the Pinkpop programme committee, I’m really looking forward to next year. Although we just had the 2024 edition, the festival is really developing into a new audience and it’s exciting to gradually see the programme and new generation of visitors find each other.

You’re obviously enjoying learning about the business as your career progresses. How would you encourage the next generation to choose the live music sector for their chosen career path?
It’s a business where you give a lot of yourself but you get so much back. By doing your work you create special moments for fans, and often for artists too.

Do you have a mentor, or anyone you rely on to bounce ideas off?
I don’t have an assigned mentor, but I have great colleagues and I’m surrounded by years of experience and love for the business.

And what about meeting new contacts in the business – are there any conferences, festivals or other events that you have attended that been useful for networking?
It’s so helpful to go abroad and meet people face to face. If you start to work on artists you are truly passionate about it really helps you to find ‘your people’ and agents out there.

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
In a business where everybody is giving so much, it’s so important to remember we are all passionate people looking for the same thing. I’d like to believe we all truly have the best interest at heart for artists and fans, but let’s not forget the passionate people behind the scenes too. Let’s keep it human.

What would you like to see yourself doing in five years?
I’d like to say I’m still at Mojo. I’m confident a lot of the acts I’m working on right now are able to grow to arena-level acts in the next few years. I hope I can get them to the stage they deserve to be on.

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The New Bosses 2024: Filip Košťálek, Colours of Ostrava

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

As a teenager, Filip started organising concerts for student bands, film screenings, and other cultural events in his hometown of Ostrava, and his efforts were rewarded when Colours of Ostrava offered him a temporary role at the festival. After two years, he was invited to become a full-time member of the festival booking team, starting with Czech and Slovak bands and progressing through smaller international artists to bigger names and headliners.

What one thing would you like artists, fans, and other music industry professionals to learn about your country to persuade them to visit your events, or to listen to some Czech bands and artists?
I think Czechs in general are very open, honest and friendly. This is what you experience when interacting with Czech artists and promoters but also when attending local events. Overall, we are very easygoing.

As a programmer, are there any particular events, forums or platforms that you visit to try to discover the next big act?
I like SXSW in Austin, Texas, but also Transmusicales in Rennes, France. Eurosonic and IFF are very effective too. However, to discover next big act, it is very valuable for me to speak with colleagues, agents, other promoters and also visit smaller, genre/regional-specific showcases and conferences.

What has been the highlight of your career, so far?
Every year is a highlight. Since 2015, each edition of Colours of Ostrava is groundbreaking for me — each year is different, offers new challenges, opens up new experiences and brings amazing moments to share with tens of thousands of people.

What advice would you give to anyone who is trying to find a job in live music?
Do not try to find a JOB in live music. You should start doing it because you love it, regardless of time or money. The second advice is: always respect colleagues. The live music industry is a teamwork.

“Do not try to find a JOB in live music. You should start doing it because you love it, regardless of time or money”

Your remit also includes the development of the festival – where do you find the inspiration for new ideas, and how do you gauge their success?
I take inspiration from everywhere around me: Media, films, internet, community events, sports events, travelling, leisure activities. Travelling is very important to me. I am trying to be receptive and store everyday impulses and experiences somewhere in the brain. Some ideas stay stored there for years before implementing them into the event.

As the festival is a package of many things, sometimes, it is very hard to measure the success – especially as we need to track emotions and feelings of people. Surveys are useful, data analysis from wristbands too, however, I think, that nowadays, you can get quick feedback from social media, especially from Instagram photos.

Do you have a mentor or anyone you rely on to bounce ideas off?
I am glad to be working with Zlata Holušová. She is the artistic director of the festival and 23 years ago she founded the festival in a city whose cultural and social conditions did not suggest the potential for one of the best international music festivals in Europe at all. She created this festival from scratch based on non-mainstream genres with a desire to discover new artists from all around the world. I think this desire, not to be shallow and fully absorbed by the mainstream despite the size of the event and to try to go to the heart of the music and ideas is very inspiring.

And what about meeting new contacts in the business – are there any conferences, festivals or other events that you have attended that been useful for networking?
I think this matches with the previous question of discovering next big act. Usually, the events that can bring in the new talent can also gather inspiring people who can do things. Nevertheless, I think, that very often, smaller events with 20-30 delegates are better to find real connections which go beyond business. As the live music industry is more a lifestyle than a job, I think, it is very valuable to have deeper relations to understand each other.

“Having more protection and advocacy in case of emergencies and concert cancellations would definitely be beneficial”

As a New Boss, what one thing would you change to make the live entertainment industry a better place?
Everyone involved tends to say that we are all equal partners in this industry. It would be great if this were really the case, both on a legal and on a human level. Everyone is fighting their own battle, but from the festival organiser’s point of view, we are exposed to a huge risk every year. We are now working with budgets in the millions of euros and our potential for success is really uneven compared to the extreme risk. That’s our business, but having more protection and advocacy in case of emergencies and concert cancellations would definitely be beneficial for healthy industry.

What would you like to see yourself doing in five years time?
I hope that I will be doing the same: working with music, exploring the boundaries of art and ideas and bringing joy and deep experience to wide audience.

You’re a big advocate for the Meltingpot programme at the festival. Can you tell us more about it?
I am glad that most of the people coming to our festival are entering the festival venue around lunchtime, so they are enjoying the festival all day all night four days in a row. Since morning, they are attending 13 stages of Meltingpot — panel discussions, interviews, key notes and workshop on the topics such as longevity, AI, ecology, education or world in change. At the moment, we are hosting more than 300 speakers from all around the world at this discussion forum. I’m proud, that our audience is open to listening and talking about different global and personal challenges. At first glance, this is far from a music festival vibe, but at second glance, this is the magic and essence of music – bringing people together, sharing ideas, all in a pleasant, friendly atmosphere, isn’t it?

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The New Bosses 2024: Emilia Backhaus, Karsten Jahnke

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

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

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

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

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

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

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

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

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

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

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

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

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

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The New Bosses 2024: Eli Gelernter, Wasserman Music

The 17th edition of IQ Magazine’s New Bosses, in association with Futures Forum, was revealed in IQ 129, recognising 20 of the most promising 30-and-unders in the international live music business.

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

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

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

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

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

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

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

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

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

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

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

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

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