LGBTIQ+ List 2024: Zoe Maras, 97 Joyride Agency
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the past month, IQ published a new interview each day. Catch up on yesterday’s interview with Sam Oldham (she/her), venue director of The O2.
The series concludes with Zoe Maras (she/her/they/them), founder and artist services at 97 Joyride Agency.
Zoe Maras is a graduate of a Bachelor of Entertainment Business Management and received DUX of the 2017 prestigious Elizabeth Cass Award for outstanding academic achievement. Since the completion of her studies, she has created her own company, 97 Joyride Agency, specialising in artist management, artist bookings, A&R, touring and events, with over six years of industry involvement within various artist-focused roles across Australia.
Zoe is also the co event-manager for The Courage Collective and has been a mentee for the Women In Music Programme in association with the Australian Independent Records Association and the Australian Government, as well as the Co-Pilot Program, continuing to work toward sustaining and establishing herself as a queer, sober, gender-diverse professional within the music industry.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
Other than being nominated for this, I think the biggest feat that I am most proud of for this year so far was being invited to sit at the TPI Awards’ first-ever sober table earlier in the year. My dear friend and fellow tour manager Joanne Croxford had a vision and brought it to life, fully crowd-funding the table within days, with donations coming from far and wide and from some pretty big industry heavyweights. It is firsthand proof that times are changing and spaces not only deserve to exist but need to exist and I felt really proud being able to represent sobriety in music in such a trail-blazing way, alongside fellow sober roadies and allies. It was made all the more special after over 25 hours of flying to get to London, as that trip was also the first ever international travel I have done both alone and for business. Here’s to kicking goals!
“The biggest challenge is the stigma and nuance people place on a-spec people”
What’s your most pressing challenge in the industry right now?
I think the two most prevalent and urgent things are the effects that the cost of living crisis is having both on our lives personally and also on our industry, as well as there still being a very unfortunate gap in marginalized representation in our tours, venues, workspaces and all around. Community in both aforementioned challenges is key, not just now but always.
Tell us about a professional challenge you’ve had to overcome as a queer person in this industry.
Where do I start? I’ve always had a saying that “marginalized people have to walk into a room and prove themselves not once but twice and then some”. As someone who is openly asexual, my experiences are quite niche, however, generally speaking, the biggest challenge is the stigma and nuance people place on a-spec people and the repercussions this unfortunately has and whether or not people are willing to sit with their discomfort to make space for people like me to exist and create without judgement.
Name one thing the industry could do to be a more equitable place.
Bridge and address both the pay gap and the other gaps that are being still placed on marginalized people by simply existing. Representation matters and one of the easiest ways we can tackle this issue is by applying change in our immediate circle first and foremost.
“They were one of the first venues to welcome me with open arms when I moved to Melbourne and I haven’t turned back since”
Name one queer act you’re itching to see live this year.
There are so many to choose from, but the first artist to spring to mind is Angie McMahon who is playing at one of my favourite Melbourne venues, The Forum, making the show extra special. I’ve always loved words, songwriting and a good lyric and her music, and particularly her lyrics, either put me in a nostalgic awe-filled standstill or make me cry in the weirdest places such as parks, bus stops and on Melbourne trams, just to recall a few places. True story.
Do you have a favourite queer space?
Does my immediate friend group count? If it doesn’t, I’d like to nominate one of my other favourite Melbourne venues which is The Last Chance Rock and Roll Bar. Although it is not marketed to the public as an ‘official’ queer space, it is so implied. I am there regularly for gigs or a pub feed, and the owners Shane and Leanne also recently did the huge thing of saving The Tote which was such a pivotal thing for the DIY punk community not only in Melbourne but Australia. They were one of the first venues to welcome me with open arms when I moved to Melbourne and I haven’t turned back since. Oh, also, shout out to Damien from The Brighton Birdcage in Brighton who I recently met on my travels. Their shop in Brighton is fabulous and so queer-friendly and well worth a visit if you’re into extravagantly queer things.
“I am a firm believer that representation matters”
Shout out any LGBTIQ+ cause(s) you support.
Any queer space making a difference and providing support for their community has my support.
How do you like to celebrate Pride?
I celebrate myself with things such as simple as little treats and mental health check-ins and also within the a-spec and queer communities around me. I feel very privileged to be able to openly exist as asexual and gender diverse thanks to being able to live in Melbourne and if it wasn’t for representation and a safe environment to accompany that, I still don’t think I’d be ‘out’ unfortunately. I am a firm believer that representation matters and that if someone can see it then they can be it so if I can openly present myself as queer (which if anyone has seen me in real life then I definitely present this way ha) then maybe I can help someone else celebrate their pride as well.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Sam Oldham, The O2
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Sam Booth (he/him), director of sustainability at AEG Europe.
The series continues with Sam Oldham (she/her), venue director of The O2.
Sam brings a wealth of experience from 20+ years working in venue management. Overseeing all aspects of The O2’s operations, production, guest experience and various contractor management, Sam’s dedication and enthusiasm upholds the venue’s commitment to excellence.
As the former venue director at The Roundhouse, Camden, Sam was responsible for venue operations, events, visitor experience, sustainability, security, technical and production, special projects and H&S. She also sat on the Diversity & Inclusion Working Group.
Sam’s expertise has cemented her place as a trusted voice within the industry and is often invited to share her knowledge on security, safeguarding and H&S-related panels. Earlier in her career, Sam led operations at Mountain High Ski Resort, California, and was operations director at the National Ice Centre & Motorpoint Arena, Nottingham.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
The work we’ve done around accessibility at The O2 is fantastic and I’m really chuffed that first and foremost, we’re doing it well, and secondly that our staff and partners have wholeheartedly thrown themselves into it. The teams at The O2 have really engaged with this project, and we’ve already had feedback from guests who may have previously been nervous or sceptical about attending a large venue, thanking us for making their experience so seamless. The fact that we are making live entertainment accessible and available to all makes me very proud.
“Diversity and allyship within our industry are so important”
What challenges are you facing in the venue business currently?
Recruitment for hourly event staff remains a big challenge for our industry, in particular in the midst of the cost-of-living crisis and off the back of the pandemic. Our event teams are the face of our business, and having a skilled frontline workforce is absolutely key to us delivering a great guest experience.
How do you see the live music business developing in the next few years?
I would love to see more women and members of the queer community get the opportunity to showcase how incredible they are. Diversity and allyship within our industry are so important, and I hope that in the future we are celebrating even more artists like Madonna and Kylie who for years have been firm champions of the community.
“I’m so proud of what we’ve achieved so far”
How do you promote inclusivity in your workplace and bring together queer employees?
Our Pride Employee Network Group is brilliant at this. I am one of the group’s leads, and over the past few years, we’ve run a range of events geared towards allyship, inclusion and education. From more serious talks and webinars about personal experiences of being in the queer community to our latest Drag Bingo night with Miss Aisles earlier this year (which was epic!), I’m so proud of what we’ve achieved so far, and we’ve got lots more to come this year…
Name one thing the industry could do to be a more equitable place.
LIVE does a really good job with talks and seminars and ILMC has some great panels – if more organisations can follow suit we’ll continue to raise awareness and celebrate success.
“I would love to see more women and members of the queer community get the opportunity to showcase how incredible they are”
How do you celebrate Pride?
I might nip into Ye Olde Rose and Crown in Greenwich and sing along to a few show tunes…
Shout out your biggest ally in the live music industry.
Helen McCabe and Jay Bourley. They’ve both been fierce allies to me throughout my career and have really had my back.
Shout out any LGBTIQ+ cause(s) you support.
Stonewall. They’re an amazing charity who I try and support in any way I can. They’ve played such a huge role in shaping the history of our community and continue to influence hearts and minds across the world. So inspiring.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Sam Booth, AEG Presents
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Ross Patel (they/them), CEO, board director, consultant, talent manager, and DJ for LIVE, Whole Entertainment, RossPatelCo, MMF, UMA Ent, and Polyamoross.
The series continues with Sam Booth (he/him), director of sustainability at AEG Europe.
Sam Booth started his career as an event producer working on wildly diverse projects, from Adidas fashion shows in New York to floating wine bars on Clapham Common. However, he’s always been concerned about the environmental impact of the work he was producing, so during the pandemic he studied at the Cambridge Institute of Sustainable Leadership to help provide more rigor to the decisions he was making. This opened his path to working first in sustainability consulting, and then at AEG, where he can happily bring together my two big passions – events and sustainability.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
Developing and leading the launch of the world’s first carbon-removed arena shows at The O2 with The 1975 is definitely the highlight so far! The intention of these shows is to work with all stakeholders at an event (from catering through to the artist and fans) to raise funds which will be used to remove the equivalent amount of carbon generated by the shows from the atmosphere. These aren’t usual offsets but genuine, science-based techniques that durably store carbon out of harm’s way and are key to achieving global net zero. It could be a real game changer and we’re so excited to see how the model develops!
“I’m a huge believer in the power of education to break down barriers”
What’s your next big sustainability project at AEG Europe?
This year is all about firming up our path to net zero. We need to undertake some detailed work around our gas usage, figure out our approach to dealing with fan travel and continue working with brand partners to address the emissions of the products we sell in the arena. We’re also rolling out training to all our employees to ensure they know how to make more sustainable choices in their day-to-day roles.
You’re a member of the PRIDE group at AEG Europe, what kinds of things do you get up to?
The PRIDE group covers a lot of ground – from queer history walking tours of Soho to trips to ABBA Voyage and drag bingo. Allies are welcome to join any of our activities and we’re keen to bring more education and awareness-raising sessions into the business too.
“Each and every member of the community continuing to live proudly and loudly makes that equitable future ever closer”
Name one thing the industry could do to be a more equitable place.
I’m a huge believer in the power of education to break down barriers. This can take many forms, from publicising the stories of industry leaders from diverse backgrounds to in-depth seminars or discussions on a particular topic like trans rights. Also, each and every member of the community continuing to live proudly and loudly makes that equitable future ever closer, every day!
Shout out your biggest ally in the live music industry.
This has to go to my boss, the COO of AEG John Langford. He campaigned for a sustainability role at AEG, supported my onboarding and consistently champions the causes of the LGBTQI+ community and sustainability. A leader to look up to!
Shout out any LGBTIQ+ cause(s) you support.
Although not a specific LGBTQI+ cause, I volunteer with SHOUT, a mental health text support service. We regularly get members of our community texting in during their times of need, and it’s a real pleasure to help them when they need.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Ross Patel, LIVE/MMF/Whole Ent
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Rivca Burns (she/her), director of From the Other and acting head of music at Factory International.
The series continues with Ross Patel (they/them), CEO, board director, consultant, talent manager, and DJ for LIVE, Whole Entertainment, RossPatelCo, MMF, UMA Ent, and Polyamoross.
Ross Patel is a CEO, founder, board member & consulting advisor with 15+ years of diverse experience in music, media, entertainment, sustainability & tech. Passionate about strategy and talent management, creating platforms to launch and support creatives, talent, brands, and events with social impact at the heart.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
I’ve been sitting on the Live Green steering committee for a couple of years now as a representative for the Music Managers Forum 1500+ membership. It’s been great to see the group grow and build momentum as everyone shows up and makes their contributions. Recently I’ve had the pleasure of leading an initiative with the brilliant Carol Scott (Live Green Chair/Tait) and a fantastic and diverse working group of stakeholders from across the industry to draft sustainable clauses for live booking contracts. Carol, myself and Tom Schroder (who has been instrumental in getting the clause to the major agencies) presented the work on a panel at the GEI conference. That felt pretty significant. The climate issue has always been and will always be one of intersectionality so I’d like to think this work means a better future for everyone and a more conscious approach to our business. It feels like it could have some real lasting impact.
“Culturally, we need to increase awareness around the various privileges we all hold in order to allow us to act in a way that uses them to help others”
As a manager, what’s your most pressing challenge in the industry right now?
I feel like I’d need a while to fully cover this off! In an attempt to keep it brief… I’d say rising costs across the board in the industry plus the more general cost of living crisis plus mega stars taking all the money and giving very little back comparatively and having a UK government that doesn’t care for the arts has put the majority of people in the industry in a very hard position… *and breathe*. I’d like to see the work that’s going on with ticket levies (stadiums and arenas to contribute a small portion of sales to local grassroots music organisations) get over the line. This would help massively with creating economic buoyancy and a more sustainable business model in the live sector, while also helping to address a necessary shift in the culture and perspective of giving.
Name one thing the industry could do to be a more equitable place.
Putting the effort in to view things through an intersectional lens as often as possible feels like a great place to start. There is still a lot of education that needs to happen around this. Culturally, we need to increase awareness around the various privileges we all hold in order to allow us to act in a way that uses them to help others. We’re lucky enough to have brilliant organisations tackling certain ‘isms’ such as Attitude Is Everything which is committed to improving access for those with access needs in the industry, She Said So which is helping to increase femme representation, the Trans Creative Collection which works with creative trans (+ allies), the Black Music Coalition etc. The list goes on! It’s amazing to see these groups making a difference in their organisations and delivering ‘bottom-up’ change. Now we need tangible ‘top down’ systemic change to protect those most vulnerable in society and to create a culture where everyone feels safe and can thrive.
“Everyone deserves a chance of living happily”
Name one queer act you’re itching to see live this year.
I can’t just name one… so much amazing talent out there… Jess Hands and I are playing B2B at QYSP Festival in London – can’t wait for that. Chloe Cailet, Jake Sheers, Kim Petras, Grace Sands, Absolute.
Do you have a favourite queer space?
I have a few! This year I took on the talent-buying role at Club Love in Bristol. It’s an incredible event with a wonderful team led by Tam who puts their heart and soul into every detail of decor, production and play spaces without compromising on the music and DJs. The same can be said for Pinky Promise, Joyride and Body Movements that I’ve had the privilege and pure joy of DJing at in the past… and hopefully will get invited back again in the future. I also love the vibe at Howl and am looking forward to going to Quench soon. I’ve heard nothing but good things! Would also recommend Trash, Riposte and Riot.
“This sense of Pride is something I’m learning to cultivate and nurture within myself on a daily basis”
Shout out any LGBTIQ+ cause(s) you support.
I was involved in a fundraiser for Jess Hands which raised money to pay for vocal cord surgery. It was incredible to see the difference the surgery made in this wonderful person’s life and was a reminder of how powerful and essential gender-affirming healthcare is. Everyone deserves a chance of living happily. I think we have a duty as conscious beings to strive to make that possible for as many beings as possible. Any LGBTIQ+ organisations that are working towards that goal get my vote. But also more than specific causes, I would encourage anyone to support marginalised groups and/or people directly. This can be through gofundme campaigns or by ensuring that intersectional diversity and inclusion are always being considered. Platform and pay fairly people in marginalised groups. Hopefully one day we won’t need the organisations that currently work in these spaces!
How do you like to celebrate Pride?
Quietly… and sometimes loudly! This sense of Pride is something I’m learning to cultivate and nurture within myself on a daily basis. The more I’m able to, the more I feel like I’m becoming a better, more compassionate, more whole person. It’s something that I like to think I bring with me everyday, quietly, when I show up, however I choose to or feel comfortable with on any given day. I also like to go all out when the opportunities arise. Last year I really did lean into the pride celebrations. My pride started at Outloud Festival in West Hollywood, LA. An incredibly well-programmed event by a good friend, Sam Hiller and the JLA team. I also went to Brighton, London and my first Manchester Pride with Absolute and Demi Riquisimo. This year’s pride months will be starting with the Mighty Hoopla in London followed by Brighton Pride. Who knows where else from there… perhaps some readers will hit me up with recommendations!
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Rivca Burns, Factory International/From the Other
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Rhys France (he/him), corporate and private events booker at CAA.
The series continues with Rivca Burns (she/her), director of From the Other and acting head of music at Factory International.
For the past 15 years, Rivca Burns has been a freelance creative programme producer. More recently, she’s worked as director of From the Other, home to the nearly 20-year-old new music festival Sounds From the Other City in Salford, Fat Out Fest, and music residency program Samarbeta. Having programmed and produced Festival Square for Manchester International Festival since 2019, she is also currently the acting head of music at Aviva Studios, home of Factory International.
She also co-chairs the Greater Manchester Music Commission and sits on the board of Manchester Music Cities, as well as holds the reigning title of Manchester’s Cultural Hero, as voted for by BBC Introducing and City Life.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
Stepping into the acting head of music role has been huge, not only following the inimitable Jane Beese but also stepping into a building that has so much potential and opportunity for artists, audiences and the city – it’s a real honour. Having spent my whole working life calling Manchester home, the Music City that encompasses its borders is greater and more exciting than ever before – especially in its grassroots – and this venue is another step to solidify that as artists can now play in Manchester at every step of their career.
“The industry needs to recognise that misogyny in music is very much still a thing”
What’s your most pressing challenge in the industry right now?
There are a number of things: from supporting the grassroots, funding to artists from streaming services, ticket prices and audience behaviours, through to equality and diversity in the industry. There are so many things I could pick on but I’m going to focus on something very close to me, and that is that the industry needs to recognise that misogyny in music is very much still a thing. Following the damning report at the start of the year, that in my opinion has not had enough action or follow on attention, there are some huge issues to tackle to make a change.
There is still a huge gender pay gap, unequal childcare set ups and nowhere near enough women in positions of power, there are not enough women in backstage areas in technical roles, or in A&R or label positions shaping the artists we hear daily and crucially there are not enough women in mixing and mastering positions. Until these scenarios change and become more meaningfully equal then nothing will change and women will still be at risk in this industry, it requires much more acknowledgement and action.
Tell us about a professional challenge you’ve had to overcome as a queer person in this industry.
Being taken seriously. I think because I look so young due to my androgynous looks and the way I dress as a queer person, it’s sometimes hard to get taken seriously and get the right attention in ‘the room’. But I continue to be authentically me, live by my values and support those around me to be the best they can be.
“This year is full of incredible queer icons performing live”
Name one thing the industry could do to be a more equitable place.
Copy the football set-up and create an independent body that can collect a nominal ticket levy from large arenas, and a percentage of profit from large streaming suppliers and labels to create a self-supporting industry fund that can support the grassroots; from artists to venues to labels and everything in between.
Name one queer act you’re itching to see live this year.
There are so many; from the haunting beautiful vocals of Anohni & the Johnsons to the legendary Beverley Glenn Copeland through to the much-anticipated return of queer powerhouses Gossip and the superstar that is Janelle Monae; this year is full of incredible queer icons performing live. I’m also really excited about trying to see Alice Longyu Gao again as well, such an amazing live set, and it’s been far too many years since Serpentwithfeet performed in the UK. Sorry that was six!
“I continue to be authentically me, live by my values and support those around me to be the best they can be”
Do you have a favourite queer space?
Islington Mill in Salford is a queer hub/mecca of Greater Manchester that has been operating as a venue since the mid-noughties and has seen so many people come through its doors from Grimes, Christeene, Peaches, Hunx & his Punx, Ssion even Bjork. The main club space is currently being run by Partisan Collective and there are so many upcoming and underground queer nights and artists starting up there. It is a proper Queer Utopia.
Shout out any LGBTIQ+ cause(s) you support.
Mermaids are doing some incredible work for trans youth who have my full backing, alongside charities such as the Proud Trust, George House Trust and the LGBT Foundation who all continue to do such important work for different humans in the queer community.
How do you like to celebrate Pride?
Pride is a protest, let’s not forget, so the parade for me is always at the heart of a Pride celebration. Community groups and charities are so important to queer culture; to provide support and community when people often feel left without one and this is so clearly visible in the diversity of groups you see marching year in, year out. But also it’s about friends and raising people up and providing platforms, so I spend a lot of time doing just that and do the rounds of many of the alternative pride events that happen across Manchester.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Rhys France, CAA
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Priscilla Nagashima (she/her), VP of engineering at DICE.
The series continues with Rhys France (he/him), corporate and private events booker at CAA.
Rhys France is a member of the Music Brand Partnerships team at CAA, serving as the corporate & private events booker. He works across a diverse music roster, from legendary icons to new emerging talents. Originally from Australia, Rhys began his career in Shanghai, China. There, he spent five years as a music promoter, booking artists for performances across Asia. Eight years ago, he relocated to London where he has since collaborated with hundreds of artists on thousands of shows across the world while working in the live music touring industry. Additionally, Rhys is one of the leaders of the CAA LGBTQ+ Alliance, contributing to annual Pride events, charity partnerships and yearly programming.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
Connecting with client Kim Petras backstage at her sold-out Apollo show earlier this year about the impact she has had on me personally and the queer community was pretty special. In that moment I was proud to work for an agency that represents such influential LGBTQ+ talents.
Tell us about a professional challenge you’ve come across as a queer person in this industry.
Learning to integrate my queer identity into my professional life has been a challenge. I’ve always tried to be proudly and unapologetically myself, in all spaces at all times. But when I was younger, I felt pressure to conform to heteronormative expectations to be taken seriously in a professional setting. Over time I learned the power and strength of my own authenticity – that this is what made me unique – and the sky was the limit.
“[Feature] more queer, trans and non-binary artists prominently in campaigns, playlists, line-ups and award shows”
You’re involved with CAA’s LGBTQ+ Alliance. What do you hope to achieve through the alliance?
Being a leader of the Alliance at the CAA is a complete privilege. As a group, we aim to achieve an inclusive work environment for all LGBTQ+ colleagues and foster a safe space for everyone. We meet regularly and through open dialogue and discussion, our Pride Panel event aims to amplify queer voices and stories and celebrate the unique perspectives and experiences that queer artists/professionals bring to the table. Our panel last year was filmed and shared worldwide with thousands of colleagues.
Name one thing the industry could do to be a more equitable place.
I’ll always be pushing for more queer visibility and representation in all aspects of the industry. Featuring more queer, trans and non-binary artists prominently in campaigns, playlists, line-ups and award shows, as well as ensuring more opportunities for queer artists to showcase their talent and reach wider audiences. We have a lot of progress to make in these spaces.
“Over time I learned the power and strength of my own authenticity – that this is what made me unique – and the sky was the limit”
Name one queer act you’re itching to see live this year.
One is going to be impossible. One client on this list is Durand Bernarr, an absolute vocal powerhouse, who you can catch at We Out Here. Fellow Aussie, Troye Sivan, at Wembley will be iconic, Charli XCX’s arena show at the O2, queer icon Kylie Minogue at BST, and shout out to Mighty Hoopla – my favourite weekend of the year where I’ll be excited to catch Gok Wan & Jodie Harsh to name a few.
Shout out any LGBTIQ+ cause(s) you support.
We previously partnered with Stonewall Housing, which provides specialist housing advice, advocacy and support for LGBTQ+ people who are homeless or at risk of homelessness. They do amazing work.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Priscilla Nagashima, DICE
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Pembe Tokluhan (she/her), founder and CEO of Petok Productions.
The series continues with Priscilla Nagashima (she/her), VP of engineering at DICE.
Priscilla Nagashima brings over 18 years of expertise in product, engineering and AI/ML across music, marketing, ticketing, payments and mobility systems. As an advocate for LGBTQIA+ rights and diversity in STEM, she drives inclusive initiatives within her product and engineering team at DICE. She holds an MSc in Software Engineering from the University of Oxford and is recognised for her strategic tech leadership and extensive public speaking engagements at global events like TEDx.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
It was so cool working behind the scenes with the team at DICE to see some massive events selling out so quickly and smoothly on our platform – Primavera Sound, Sónar and several Boiler Room shows to name a few.
What’s your most pressing challenge in the industry right now?
Competing with bots, touts and ticket scammers. DICE has always focused on how we fix ticketing for fans with features – like our Waiting List and mobile tickets locked to smartphones – that are hassle-free for fans but a nightmare for touts. It breaks my heart to see people selling through unofficial channels, sometimes to their detriment. With the evolution of AI and more sophisticated software, the fight must continue.
“I am proud that my engineering leadership team at DICE has a majority female representation, with most coming from diverse backgrounds too”
Tell us about some of the work you’ve done in DICE’s Pride 365 Employee Community Group.
I have proudly and actively championed LGBTQIA+ inclusivity at DICE as the executive sponsor of our Pride 365 ECG (Employee Community Group). The group focuses on LGBTQ+ issues, policies, events, product features and community-building, with incredible people promoting inclusivity within the company and beyond. My work with them has been on coaching, supporting initiatives and pushing for change, helping make company-wide policies or product features happen faster to benefit our community.
How do you ensure engineering leadership reflects a mix of gender identities, neurodiversity, and LGBTQIA+ representation?
I come from a diverse background, having been born and raised in Brazil to a half-Brazilian and half-Japanese family. Being a queer woman of colour in tech also means I have fought, throughout my career, to do whatever was necessary to bring more diversity to the table in whatever position or company I worked for. I am proud that my engineering leadership team at DICE has a majority female representation, with most coming from diverse backgrounds too – whether in terms of gender, race, sexual orientation or neurodiversity. But as much as I have championed it and made it a topic for our agendas, the truth is that this was only possible by working closely with other teams, pushing for diversity in our talent pool and putting provisions in place to guarantee inclusivity and fairness throughout the hiring process.
“We all agree that bringing more representation and different voices to the table is wonderful, but very few out there are walking the walk on that”
How do you see ticketing technology developing in the next few years?
With the cost of living crisis, people are becoming more picky about how they spend their disposable income. Going out is expensive so it’s a matter of finding the right things at the right price. This is where I think the commoditisation of AI will thrive and become more popular but only the companies that think of fans and have amazing user experiences will stand out.
Name one thing the industry could do to be a more equitable place.
Invest more actively in the education and employment of people in disadvantaged communities. Overall, we all agree that bringing more representation and different voices to the table is wonderful but very few out there are walking the walk on that.
Name one queer act you’re itching to see live this year.
Billie Eilish. Brownie points if Lana del Rey joins her on stage for a duet, just like at Coachella.
“Being a queer woman of colour in tech also means I have fought, throughout my career, to do whatever was necessary to bring more diversity to the table”
Shout out your biggest ally in the live music industry.
Corrie McLean, DICE’s head of artist development programmes. A legendary human being, an endless fountain of energy and the real queen of queers at DICE.
Shout out any LGBTIQ+ cause(s) you support.
Massive shout out to Goal Diggers FC, a non-profit women’s and non-binary football club in East London that makes football accessible regardless of ability. I have been part of the club for over a year and can say it’s such an inclusive, open and supportive community, embracing people from all backgrounds. The club has its regular night out event in Hackney called Murder On Zidane’s Floor (MOFZ) – you’ve gotta look it up!
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
Strength in numbers: How firms are diversifying the workforce
When the global live music industry began its recovery from two years of lockdowns, many organisations found that their workforce had been significantly depleted. However, as a business that has often been criticised for its lack of diversity, a concerted effort began to try to improve the makeup of the teams of professionals behind the scenes that help artists go on tour and perform at festivals.
Forward-thinking companies and organisations have embraced the concept that a diverse workforce helps deliver a healthier balance sheet, as it better equips operators to cater for artists and fans from all walks of life while acknowledging that different people have different needs, both in the workplace and at live music events.
“Think about the differently abled community or those who are neurodivergent,” poses Lindsay LaBennett, Wasserman Group’s VP of impact and inclusion. “From an employer, they need a space where who they are naturally is accepted and appreciated. So, if you are on the spectrum – say being social takes too much energy out – you should be able to come to work and not have to go to the happy hour, not have to participate, because you do your best work when you aren’t having to be social.”
A 14-year staffer at Wasserman, LaBennett has been working in her DEI role for the past four years, but her interest in inclusive business practices and equity-based initiatives dates back to 2016.
“We have a diverse roster – it’s not cookie-cutter music: we have a mix of people, and we need our staff to reflect that”
“For me, it was the Colin Kaepernick situation that caused an internal shift,” she tells IQ. “I wanted to be part of the solution for Wasserman when it comes to making sure we are advocating for communities and that we are addressing our own inclusivity gaps. I was doing this internally since 2016, but at the end of 2020, I created the role that I’m in now.”
Describing that development as “staff-driven and corporate stamped,” LaBennett recalls that various colleagues were calling for DEI to become a priority. “We had people across our business saying that we needed someone whose role was to focus on it 100% of the time. And our leadership, Casey Wasserman, completely agreed.”
Such employee-driven demand is a common thread among the companies IQ spoke to for this report. “AEG worldwide has made DEI a corporate priority, appointing a DEI director that leads its efforts,” explains Samantha Fernandez, VP of global partnerships at AEG Presents. “However, it has had a number of employee network groups for far longer, which have highlighted and created spaces for various employees.” Those network groups include Pride AEG, of which Fernandez is the executive sponsor.
But it’s not just the multinational corporations that are making moves to improve the makeup of their staff, as Hilary Walsh, general manager at London-based agency Pure Represents, attests. “This is our third year in operation, and we are now a team of 15 people,” she states. “Angus [Baskerville], and his wife, Jodie Harkins, who set the company up, worked very hard on their planning for diversity in the workplace because we have a diverse roster – it’s not cookie-cutter music: we have a mix of people, and we need our staff to reflect that. As a result, we really strived to hire people from different backgrounds, so that when our artists come into our office, they’re able to see a diverse bunch of people who are working on their behalf.”
“Our success is how our fans and how our communities look at us”
She adds, “We’re not just diverse in terms of ethnicity, it’s in ages as well. We have an intern who came to us through Small Green Shoots and she’s brilliant. She’s 22 years old, so she has her finger on the pulse, and she comes at it from a completely different background and train of thought. That diversity in age is something that we actively look for when we recruit, because if we all like the same kind of music, nothing’s going to change.”
Multiple Benefits
Fostering diversity in the workplace doesn’t just help with A&R activities, as the positive impact it can have when dealing with consumers is having a major effect on hiring practices for those sectors that are fan-facing.
Launched in late 2015 with an employee count of just six people, Oak View Group’s impact on the global venues business has been nothing short of seismic, with a current headcount of close to 50,000, “And we’re on our way to 60,000 probably before the end of the year,” says chief people & culture officer, Ann Jackson.
Stressing the importance of having a diverse workforce, Jackson says, “Our success is how our fans and how our communities look at us. We can build buildings or manage buildings or provide services, but if the people think we don’t look like or represent their community, or don’t share the same feel or vibe, that’s not success. So, it’s important to our business model that we can get out there and be very intentional on our hiring process.”
“The language that we use in job postings and adverts has become more crucial than ever”
That sentiment is echoed by others in the venues sector. “We have a really strong local presence in the cities where we operate, with the majority of our staff coming from the immediate area,” says Lee Bayman, ASM Global’s HR director for Europe. “We’re going through a process of building our talent team at the moment, and what I hear in a lot of the interviews is that the candidates are existing customers, which is super positive, especially as I know that our existing employees also continue to be customers at our venues.”
He notes that ASM Global is currently updating its systems and processes to help with recruitment, with DEI being central to those manoeuvres. “There’s a lot of underground work that we need to do, and it’s not glamourous, but it’s essential to provide us with the tools that we need to then go on to the likes of social media to help with our recruitment drives,” he explains.
Elsewhere, Bayman says that advertising in trans publications and Pride magazines is helping broaden the search for new employees. “I don’t think we particularly struggle to get the message out in this industry, as live events are an open door to everyone. But the language that we use in job postings and adverts has become more crucial than ever, as we try to give people a feeling of what the culture is at ASM Global.”
Noting that Pure Represents uses specialist recruitment consultants, Walsh says the company also relies on trade publications to communicate about job vacancies.
“We’re always mining for where else we can find people: What are their locations? What other organisations can we get into partnership with?”
“We will advertise in the usual suspects of IQ Magazine and Music Week to reach a target bunch of people that we know want to work in music. If I put an ad in [the mainstream press], it might not achieve that goal,” says Walsh. “We’ve also had success advertising with Black Lives in Music, but finding all the right avenues is tricky, so we’re always open to hearing about new places where we can connect with a wider target audience.”
Walsh adds, “Being small and independent, we can choose who we work with to reach a diverse target audience. And that’s why working with a company like Small Green Shoots is really beneficial because they came with a whole selection of CVs to choose from.”
Detailing the OVG strategy for finding new staff, Jackson says, “Our head of talent acquisition and our head of DEI work very closely together to make sure that we’re always mining for where else we can find people: What are their locations? What other organisations can we get into partnership with?”
And with the venue conglomerate entering markets in the likes of Latin America, Asia, and the Middle East, education about cultural differences is hot on the agenda for the OVG recruitment teams.
“What really moves the needle is when we have our cis straight allies coming to the table”
“We need to make sure we understand the local culture by trying not to only have an American-centric view of everything,” stresses Jackson. “We try to make sure our Oak View Group values align with the local culture by talking to local people and engaging local HR professionals as well.”
Taking the Middle East as an example, Jackson says, “We need to learn what employee expectations are beyond the employment laws. From an employee experience perspective, we want Oak View Group to be a great thing in the Middle East, with our employees as our ambassadors, so it requires a lot of research and listening to our local partners.”
Education
DEI training is also becoming more important internally at companies working in live entertainment, and numerous specialist consultants and organisations now offer guidance and tuition on aspects such as inclusive language and behaviour.
For her part, Fernandez believes that training needs to start with senior management. “What really moves the needle is when we have our cis straight allies coming to the table,” she tells IQ. “When a boss starts using gender-neutral references to their partner, it really makes a huge difference. That’s started to happen quite a bit at AEG, which has a lot to do with these education programmes, and diversity training – when you highlight it, it really does start to make its way through.”
“Not everyone is a behemoth like Wasserman, but there are small things that we can all do every day to be more equitable”
Externally, Fernandez reports that AEG has developed a long-standing relationship with the LGBTQ Center. “Our ‘Pride at AEG’ group has spent time there in various ways, including a recent career session where we brought folks from all divisions of AEG to a moderated panel where young people were able to fire questions at us. The idea was to give them an idea of the various roles that exist in entertainment. I oversee brand partnerships – a job I didn’t know existed when I was younger. So we need to tell young people that there are careers out there for them.”
That scenario also rings true for Walsh. “Growing up, I never knew there were jobs like a music agent or a lighting designer. It would be amazing if we got to a place where career guidance at schools might involve real live examples of people speaking to the pupils: ‘I am an agent, and this is what an agent does.’ If we were able to engage with high-school-aged people, that’s where we could find the most diverse array of potential new recruits.”
In terms of outreach, LaBennett tells IQ that Wasserman Group has historic relationships with Black colleges and Hispanic-serving institutions. “We partner with them with the intention of bringing our expertise to the students, because having people [from the industry] visit college campuses is so much more meaningful than just reading books or listening to lectures or podcasts.”
But she is cognisant that the resources of the corporate world should be used to help the wider sports and entertainment sectors. “We’re aware that a lot of smaller companies don’t have the resources or budget, but we want to educate them and say, ‘Don’t let those be hurdles to being equitable.’ Not everyone is a behemoth like Wasserman, but there are small things that we can all do every day to be more equitable.”
“Our main focus is creating safe spaces for the LGBTIQ+ community to connect with each other”
Under the Microscope
With Pride month events filling the calendar over the next few weeks, companies operating in the live entertainment sector are acutely aware that the makeup of their workforce is being scrutinised by event attendees and the talent who entertain them.
Detailing some of AEG’s Pride initiatives, Fernandez says, “Our main focus is creating safe spaces for the LGBTIQ+ community to connect with each other – and that also goes for our LGBTIQ+ staff and allies.
“AEG is an official sponsor of LA Pride, and we have a quite a large presence there. And then we do various internal events throughout the year. Last year, for instance, we screened a documentary by the Trevor Project and had a Q&A afterwards.”
However, noting that it can be difficult for some people to talk about their identity, Fernandez observes, “It’s not often that you’ll interview somebody and they’ll say, ‘Hi, I’m part of the LGBTIQ+ community.’ That’s a really interesting challenge – how to ensure we are casting a wide net when it comes to hiring, as it relates to the LGBTIQ+ community, but still wanting to protect people’s identity if they want it protected.”
“I think folks are expecting some kind of sort of visible commitment to diversity”
When it comes to recruitment, ASM’s Bayman observes that job candidates are more assertive than ever, asking probing questions of HR professionals in terms of DEI policies, sustainability, and staff support structures.
“It’s important to use the recruitment process to help people understand what your company culture is, but you also need to be prepared to be transparent and honest about what their role might be, both when it’s crazily busy and when it’s a quiet day, otherwise people start working for you and the reality is nowhere near what they might have expected,” he says.
Homing in on the kinds of proactive elements that can entice people from all walks of life to consider live music as a career path, Fernandez says, “I can speak mostly to the LGBTIQ+ community, of which I am a part. I think folks are expecting some kind of sort of visible commitment to diversity, both in the events that we do and the lineups that we book.
“There was a lot of press that came out of Coachella this year about the number of female queer artists, which was amazing to see. For our employee base, those kinds of things bring us a lot of, for lack of a better word, pride.”
“In the time that I’ve been at AEG, the leave policy for a non-carrying parent, and for a carrying parent more than tripled in both cases”
Fernandez applauds her employer for listening and reacting to the needs of staff. “In the time that I’ve been at AEG, the leave policy for a non-carrying parent, and for a carrying parent more than tripled in both cases. For somebody who is in a same-sex partnership, and who has both carried children and been a non-carrying parent, it really made a huge difference for our family.”
At Wasserman, LaBennett comments, “In my experience, what people need from their employer is to be able to show up authentically and to have a space where they feel a sense of belonging – they want to see other people that look like them. Imagine having a disability and when you come to work you see someone else with that same disability: there’s an instant connection and instant community. Whether you are Black, Hispanic, Asian, part of the queer community, you want to see people who are walking your walk.”
Results
While endeavouring to build truly diverse teams is crucial to 21st-century commerce, establishing protocols to measure company progress can be a difficult proposition.
“We do employee testimonials to ask how they feel about new things we implement. So we’ll check-in with people three months down the line to gauge opinions as a kind of measure,” says Jackson of some of OVG’s efforts to track DEI results.
“At the end of the day, if we’re not making a difference, what are we doing?”
“We attach it to competencies within our performance management. Have we seen an increase in our hiring? Have we seen diversity improvement among suppliers coming to work at OVG? So, where we have data, we collect it to figure out ‘is this good enough for us?’ To be honest, so far, it’s not, but we’re giving ourselves grace because we know that we are committed to it.”
Fernandez notes that AEG carries out attitude-based surveys, quizzing staff if they feel connected to the work environment and if they feel their identity is being celebrated. Meanwhile, the company’s DEI and HR teams calculate changes in workforce demographics on an annual basis.
For a smaller company like Pure Represents, results are easier to assess. “We just need to look around the office to see the results,” says Walsh. “We heavily promote inclusion as one of Pure’s fundamental principles. So, when we have A&R meetings, for example, we invite marketing, we invite the intern, and everyone is encouraged to share their thoughts on the artists that we’re talking about. You can do that when you’re 15 people. If you’re in an office of 200 people, you may have less of a voice.”
Agreeing on the importance of monitoring progression in building diverse teams, LaBennett says, “We’re constantly challenging ourselves to come up with creative [key performance indicators] and metrics because, at the end of the day, if we’re not making a difference, what are we doing?”
“In order to get your bonus or to get promoted, there’s a DEI behaviour that we’re looking for”
One Wasserman-related yardstick she points to involves its college music business programme. “It boils down to whether we are able to hire the students: Did they secure an internship? After they secured an internship, were they offered full-time employment? If we’re able to say Wasserman hired eight interns, and of those eight, four of them are returning and two of them are getting full-time jobs, that’s a metric that matters.”
Indeed, in a move designed to ensure that those results continue to improve, Wasserman has integrated DEI participation into every employee’s performance review. “In order to get your bonus or to get promoted, there’s a DEI behaviour that we’re looking for,” explains LaBennett.
“That might be something as simple as working with a Black-owned caterer when you’re hosting an event. Or if you are going to go speak to college students, making sure you include people that are neurodivergent. There has to be some sort of element of your work that is equitable and inclusive.”
Challenges
While real strides are being taken across the live music entertainment business to fill vacancies with individuals from marginalised groups, the task facing recruiters is not without its difficulties.
OVG’s Jackson comments, “Underrepresented people, whatever group they’re part of, want to be valued. It’s our task to understand what is important to them, whether it’s through their culture or religion or whatever group they’re part of, and we need to show a value to that, rather than discount them or being deaf to them.
“This industry has historically been led by white males – and it still is – but the employees we’re hiring now need to be given the confidence that [they] will one day be the industry’s leaders. We want them to be leaders in 15, 20 years, and we will try to put things in place to let them see that we’re supporting that for real and that they have a long-term home here.”
“Being able to stick with it is crucial, because results are not immediate”
Considering career progression, LaBennett flags up staff retention as an ongoing battle. “It’s hugely important because career growth usually comes when you’ve been here for a while, then you get elevated to senior director or vice president. But, if we’re not able to retain that talent in the first place, that’s going to negatively impact our diversity ambitions.”
LaBennett also highlights empathy fatigue as a real challenge in the drive to embrace DEI initiatives. “In 2020, the world was revved up about the need to be more equitable and the need to help certain communities,” she recalls.
“Basically, we’re talking about biases – race and gender and sexuality and religion in the workplace – and 15 years ago, we weren’t doing that. Matter of fact, we were consciously staying away from it.
“Being able to stick with it is crucial, because results are not immediate. With DEI work, we’re sowing seeds and then we’re watering the seeds and then getting the sun to come in. But we won’t bear that fruit anytime soon.”
Work in (Good) Progress
As companies throughout the sector meet potential new employees who fully expect favourable DEI terms – often before they even agree to attending a job interview, those key policies are becoming essential throughout the industry, as suppliers and contractors are also being urged to step up their game.
“The bottom line is the more diverse a team you have, the more diverse the clients you’re going to attract”
“We have, like, a very robust supplier diversity programme here in the States,” Oakview Group’s Jackson reveals. “We gather data on suppliers, we measure that, and we set goals on how we want to grow, year over year.”
Pure’s Walsh observes, “At interview level, we find that potential employees often have read the ‘people and planet’ section on our website, where we outline our policies on diversity and sustainability. They also take a keen interest in our links to Earth Percent, Small Green Shoots and Black Lives in Music, the interviewee looks at the company holistically and its culture – it’s no longer just about the salary offered.”
LaBennett states, “The bottom line is the more diverse a team you have, the more diverse the clients you’re going to attract. If you go to a music festival right now, you’re not seeing one kind of person: you’re seeing a myriad of people from different backgrounds. If we aren’t recog- nising that those are the ultimate people that our artists are trying to reach, then we’re failing.”
Walsh concludes, “Every day is a school day – there’s constantly new challenges, and what worked last week might no longer work this week. But so long as everyone is open to that, and open to learning, then I think we’re going in the right direction.”
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Pembe Tokluhan, Petok Productions
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Paul Lomas (he/him), booking agent at WME.
The series continues with Pembe Tokluhan (she/her), founder and CEO of Petok Productions.
Pembe Tokluhan is a multidisciplinary backstage creative specialising in live audio, stage, production and tour management. She has a background in youth work, public speaking and diversity consultancy.
She is the founder of Petok Productions, a production company recognising women, trans and non-binary people working behind the scenes, screen and lens. In 2022, Petok introduced Petok Academy, its training division dedicated to providing shadowing, mentoring, and training opportunities for individuals from marginalised communities.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
In Q1 of 2024, Petok Productions received over £30K+ to develop and grow the business. We have a very exciting year ahead of us that we can’t wait to share with you all!
What’s your most pressing challenge in the industry at the moment?
The gender imbalance and lack of diversity is something that’s really apparent in the industry and needs to change. It’s important to see representation, the only way we will attract more diverse people into industry is by hiring diverse people.
“Give new people an opportunity to get their foot through the door, don’t just hire your mates”
How do you see the live music business developing in the next few years?
Hopefully by seeing more diversity and representation in all sectors.
Name one thing the industry could do to be a more equitable place.
Give new people an opportunity to get their foot through the door, don’t just hire your mates.
Shout out your biggest ally in the live music industry.
A massive shout out to the legendary Joanne Croxford (and a few other amazing people out there calling things out – you know who you are!)
Shout out any LGBTIQ+ cause(s) you support.
Raze Collective. The Common Press. The Outside Project. The Cocoa Butter Club.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.
LGBTIQ+ List 2024: Paul Lomas, WME
The LGBTIQ+ List 2024 – IQ Magazine’s fourth annual celebration of queer professionals who make an immense impact in the international live music business – has been revealed.
The ever-popular list is the centrepiece of IQ’s fourth Pride edition, sponsored by Ticketmaster, which is now available to read online and in print for subscribers.
To get to know this year’s queer pioneers a little better, we interviewed each of them on the development of the industry, the challenges that are keeping them up at night and more.
Throughout the next month, IQ will publish a new interview each day. Catch up on yesterday’s interview with Luke Mulligan (he/him), director at Circa 41.
The series continues with Paul Lomas (he/him), booking agent at WME.
Paul Lomas is a booking Agent at WME, having previously worked at X-ray Touring, Festival Republic and Eventim Apollo. He currently lives in Hackney with his boyfriend and their three-year-old dog named Melon. He’s lived in London for the best part of 16 years after coming to university in 2008 to study media and cultural studies. He enjoys live music and festivals, dining out, travelling, and dog walks on the weekend.
Tell us about the professional feat you’re most PROUD of in 2024 so far.
Watching clients I work with take huge steps in their careers. One of my acts Somebody’s Child went from playing Omeara in Feb 2023 to selling out their biggest headline show to date at Heaven in April. Seeing that growth from 300 to 1,100 people in the space of 14 months was really amazing for me and I’m very excited for the next album and what’s to come. I work on Cigarettes After Sex alongside my boss Josh Javor and to watch their rapid rise over the last 18 months has been incredible. Three sold out nights at Eventim Apollo last year and now two nights at The O2 later this year. They are a great band that I love working with.
“Diversity and inclusion are becoming a massive part of working life in general and it’s great to see it being taken seriously”
What’s your most pressing challenge in the agency business right now?
I wouldn’t say it’s pressing but I think managing expectations for new artists is important. As much as we’d all love to get every festival slot and a big tour support for our developing acts in the first year, it’s not as easy as that, so I think it’s important to be honest from the get-go with any new artist you start working with on what is possible in the early stages and not make too many promises. There are certain things you should work towards rather than rush into right away. Also not taking on too many artists too quickly. It’s easy to get caught up in a buzz act that everyone is after and want to sign everything, but if you end up with too many at the same level you end up competing with yourself.
Name one thing the industry could do to be a more equitable place.
I think as an industry, the live world is doing pretty well. This IQ Pride List is a great example! Diversity and inclusion are becoming a massive part of working life in general and it’s great to see it being taken seriously. At WME, we have dedicated colleagues who work on inclusion and advocacy and have inclusion programmes you can sign up for where there are organised events and conversations on an ongoing basis. It would be great to see more companies do this.
“It’s important to support anything that has to do with mental health or homelessness due to issues with coming out and not being accepted by family and friends”
Name one queer act you’re itching to see live this year.
Chappell Roan! Her album has been on heavy rotation since it came out last year and I’ve watched loads of videos of her playing on talk shows, live sessions and her Tiny Desk performance – she’s just amazing and so much fun.
Shout out your biggest ally in the live music industry.
Maddie Arnold at Live Nation (who was on this list in 2021!). We met at university in 2008 and have been best friends ever since. It’s great to have such a close friend doing the same thing as you and it’s a pleasure to watch her do so well and I have no doubt that she’ll be one of the top promoters in the country in no time!
Shout out any LGBTIQ+ cause(s) you support.
MindOut and akt are great causes that stand out to me that are helping people in need. It’s important to support anything that has to do with mental health or homelessness due to issues with coming out and not being accepted by family and friends.
Get more stories like this in your inbox by signing up for IQ Index, IQ’s free email digest of essential live music industry news.