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.
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.
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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ASM Global appoints EVP of business development
ASM Global has appointed Ed Sanderson as executive vice president of business development for Europe – a newly created role designed to drive the firm’s expansion across the continent.
Over the past three years, Sanderson has been spearheading the development of ASM Global in Asia, working on projects such as Kai Tak Sports Park in Hong Kong due in 2025.
He has an additional 17 years worth of experience across the venue, events, entertainment, sports and Recreation sectors.
According to ASM, Sanderson’s global perspective and proven track record in navigating complex commercial landscapes make him well-equipped to lead the company’s growth across Europe and the UK.
“Europe represents a dynamic and exciting market for us,” says Chris Bray, president of ASM Global Europe.
“Ed’s leadership and experience will be pivotal as we look to continue to invest in the fan experience in key cities, with key clients”
“Our recent successes in the UK, Portugal, Italy and Finland have reinforced ASM Global’s market-leading position, and this new role is another example of our commitment to further invest in the future growth opportunities that we see. Ed’s leadership and experience will be pivotal as we look to continue to invest in the fan experience in key cities, with key clients. His expertise will be instrumental in helping us to bring more best-in-class live entertainment experiences to millions more fans across Europe and we are delighted to welcome him to our European team.”
ASM Global’s network of more than 350 venues around the world collectively hosts 20,000 events and welcomes 164 million guests every year.
The company’s programming team delivers content to venues around the UK and Europe including Finland, Sweden and Germany – ranging from major sporting events including the Davis Cup, Arena Cross, football from the Swedish National Team, international boxing matches, as well as tours from artists of international acclaim including Elton John, Beyonce, Taylor Swift.
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The New Bosses 2023: Alfie Jefferies, The O2
The 16th edition of IQ Magazine’s New Bosses was published in IQ 121 this month, revealing 20 of the most promising 30-and-unders in the international live music business.
To get to know this year’s cohort a little better, IQ conducted interviews with each one of 2023’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
Catch up on the previous interview with Vladyslav Yaremchuk, programming director of Atlas Festival in Ukraine, here. The series continues with Alfie Jefferies, programming administrator at The O2 in London, UK.
Alfie Jefferies has been involved in the live music industry in various capacities since leaving education in 2012. Over the years, he has worked for a music education establishment (ELAM), teaching the next generation of young musicians about the options they have within the industry. He also fulfilled many personal ambitions and toured the world as a session guitarist (with Joel Culpepper), as well as forming a band (Glass Peaks) that took him all over the UK and Europe before coming to an abrupt halt when the world took a nosedive into a pandemic.
In 2022, Alfie began a new role within the programming team at The O2 and has impressed everyone with his dedication and work ethic.
IQ: Unlike most of your peers in the business, you have experienced what it’s like to tour as a musician. What advice would you give to people in the business to better look after the acts they work with?
AJ: Touring, especially as an independent artist, is so incredibly challenging, now more than ever. Taking the time to understand the individuals’ situations and reasons for doing the work they do is incredibly valuable. In my experience, musicians and artists choose that line of work because they find such great purpose in it. For a lot of artists/musicians, the choice to live in such a way that can be so exhausting and taxing on their mental and physical health is justified by the need to express their creativity and spread whatever message it is that they’re trying to get across in a meaningful way. I think by understanding that, encouraging open and honest discussion about things like finances, wellbeing and relationships can go a really long way.
The pandemic effectively shut down your hopes and dreams for Glass Peaks. Did you still play guitar, and can you see yourself going back to performing someday?
I had such a great time creating and performing with Glass Peaks, and I feel like we achieved so much together that we will always be proud of – it’s something that nobody can ever take away from us, which is a great feeling. That being said – it weirdly felt like a natural close to that chapter of my life. I do still play, and I think I always will! I feel like I got everything out of touring/performing that I wanted to. I would wholeheartedly recommend anyone with ambitions to start a band/musical project to do so at least once in their life – it’s a wild ride. I’ll chat to the other members, maybe we’ll plan a special ten-year anniversary show at The O2!
“Touring, especially as an independent artist, is so incredibly challenging, now more than ever”
You worked at ELAM for a while: how would you encourage the next generation to choose the live music sector for their careers?
ELAM are doing vitally important work in nurturing the future of the industry – if you’re not familiar with them, I would encourage you to check them out and see if there is any way you are able to support! I think it’s important that young people are informed about all the different opportunities available to them – the live music sector in particular has so many different pathways to explore. Raising awareness of this through things like providing work experience placements, delivering masterclasses/workshops and mentoring can be really beneficial ways to encourage young people to choose the live music sector as a career pathway.
Is anyone else in your family involved in music – or do they all think you are crazy for your choice of career?
Not at all! I expressed an interest in wanting to learn how to play the piano from quite a young age, and fortunately, my parents supported that and were able to ensure I had instrument lessons growing up. They have always been so supportive of my decision to work in music in whatever capacity it has been in over the years! I manage two bands (Bollo Bollo and Another Sky) outside of my job at The O2 – they all think I’m pretty crazy for taking on so much – but it keeps me busy, and I absolutely love the fact I’m able to work with artists whom I admire and balance that with my day job.
Where do you see yourself in five years’ time?
Honestly, I hope to still be learning new skills and working alongside inspiring people. Since starting my job within the programming team at The O2 in October 2022, I have met so many amazing people and been lucky enough to learn from them, receive advice and apply it to improve the way in which I work. I’d like to think I’ll still be working at The O2 – it’s such an amazing venue and the teams I work with across the business are full of extraordinary people with exceptionally creative minds – I feel I still have so much to learn, and this feels like the perfect environment to develop in!
“I know that as a cis white male, I need to be doing more to understand my privilege and educate myself as to why that is”
As a new boss, what one thing would you change to make the live entertainment industry a better place?
It’s difficult to narrow this question down to one thing, but championing diversity across the live entertainment industry is vital. The UK Music Diversity Report in 2022 highlighted a decrease in the total number of Black, Asian and ethnically diverse representation compared to 2020. I know that as a cis white male, I need to be doing more to understand my privilege and educate myself as to why that is. It’s important that we have what can sometimes be difficult conversations to determine the reasoning for this and take the initiative to action positive change. The same goes for highlighting imbalance across the gender spectrum, sexual orientation, and those with disabilities. Conversations need to be happening at every level as well as at the very top.
I’d also like to see more support for grassroots music venues. We all know the effects of COVID-19 saw the closure and awful struggles for so many small, independent venues (who already needed support before the devastating effects of a global pandemic). Far more needs to be done across the board to support venues at the grassroots level. A recent example of this was Enter Shikari committing to donating £1 from every ticket sold on their 2024 UK arena tour to the Music Venues Trust Pipeline Investment Fund. Much praise needs to go to them and their team, and I would encourage not only artists but also arenas themselves to consider ways in which they can show their solidarity and support.
Do you have any mentors you can turn to for advice?
Absolutely. I’ve been lucky enough to have met so many supportive individuals across the industry over the years. I owe a great deal to Sarah Slater (vice president of music & festivals at Ticketmaster UK) for assisting me in securing work experience for an artist management company many years ago and for providing advice over the years when I had been applying for various roles across the industry. I also need to make a special mention to Marc Saunders (senior programming manager) at The O2, who has been the most patient, supportive, and encouraging person I have ever encountered in a workplace. I feel very fortunate to work alongside him every day and know that I have a great deal to learn from him in the coming months and (hopefully) years!
“Far more needs to be done across the board to support venues at the grassroots level”
You’ve had a varied and interesting career path so far. What’s been your No.1 highlight so far from your life in music?
I feel blessed to have quite an extensive highlight reel from my life in music so far, but I genuinely feel that the last nine months since joining The O2 have been the most incredible so far. No two days are ever the same, and I encounter new, exciting challenges on a regular basis. I adore what I get to do for work every day, and whilst there can be curveballs and difficulties on occasion, these things have only served to improve my knowledge, build my confidence and allow me to improve my skills. I’m very, very excited about the future and cannot wait to see what is in store!
IQ 121 is available now. To subscribe, and get access to our latest issue and all of our content, click here.
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LGBTIQ+ List 2023: Stefan Lehmkuhl, BMG
The LGBTIQ+ List 2023 – IQ Magazine’s third 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 third 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. Check out yesterday’s profile with Katherine Koranteng, marketing & campaigns manager at Festival Republic in London, UK.
The series continues with Stefan Lehmkuhl (he/him/his), freelance curator & live entertainment consultant at BMG/Ruined My Rainbow in Berlin, Germany.
Stefan Lehmkuhl grew up in Münster thinking he was the only gay boy in the village. I never learned anything proper after school other than live entertainment and a bit of music journalism. At least, I didn’t get any certificates or degrees, until today.
I worked as stagehand, security, cup collector, paramedic, music journalist, then festival booker (Melt, Lollapalooza Berlin), tour promoter (Robyn, Fever Ray, The xx), co-founder & CEO (Goodlive), curator (Theater des Westens), you name it. Actually, I always got the feeling I was the only gay boy in the village in my career [as well]. It’s been a ride.
Around the age of 40, I got sober, took a break after corona, and sold my company shares [in order] to reflect on what it is that I wanted to do in the future.
Right now, I programme a beautiful theatre (Theater des Westens) in Berlin on behalf of BMG, working with a wonderful queer team, and am in the process of starting a queer-owned company called Ruined My Rainbow with some amazing people.
Tell us about the professional feat you’re most PROUD of in 2023 so far.
To have managed to set up a truly diverse team for the running of a new concert project at Theater des Westens. We didn’t manage to present a diverse enough lineup so far, but I’m proud to say that behind the scenes, from programming to production to stagehands to securities, we didn’t only go with the straight dudes that we all knew best. I wouldn’t say we excluded them, but they are certainly the minority on our payroll.
Name one queer act you’re itching to see live this year.
Cormac b2b fka.4ma.
What advice could you give to young queer professionals?
Probably the same as non-queer young professionals: set boundaries, don’t do anything you’re not feeling comfortable with; practice self-care; [give] your opinion and leave when you get bullied for [it]; connect with other queer and young professionals and support each other; ask your queer elders [Feel free to get in contact!]. I only say all this because I didn’t do any of it. I only recently started and see [now] what I missed out on.
“From programming to production to stagehands to securities, we didn’t only go with the straight dudes that we all knew best”
What’s the best mistake you’ve ever made?
After 20 years of working my ass off, I kind of earned my seat at the table of the top promoters in Europe, just to leave the industry when I got there. I would have seen that as a mistake if you would have told me ten years ago, but it was one of the healthiest decisions I ever made for myself. The job can be pretty toxic, and if I want to help and change things in the future, I needed to refill my batteries and reflect on my experiences.
In terms of challenges in the industry, what’s currently keeping you up at night?
In the face of the Rammstein ‘row zero’ [controversy], bubbling ‘Me Too’ stories of industry legends, gender-balanced lineup debates, and ongoing white cis-male dominance in the business, I wonder when the time of the next generation in the industry will finally come and when the outburst within the industry will finally be louder.
How do you see the live music business developing in the next few years?
Sometimes I worry that we see the same phenomenon in the industry that we see in society: first there is a glimpse of hope that things will change, and then the alliance of gatekeepers gains momentum again. I’m terrified of what’s happening in Europe politically; it feels like America’s ‘Gilead’ tendencies post-Trump are undermining the progress of the last [few] years. It is crucial for the industry to forge ahead, refusing to succumb to regression and instead embracing genuine progress. To achieve this, the industry must cultivate a greater sense of courage and boldness.
“After 20 years of working my ass off, I earned my seat at the table of the top promoters in Europe, just to leave the industry”
Name one thing you’d like to see the live music business change.
I’d love for it to become a truly diverse and gender-balanced environment, especially at management level. It will automatically turn into a less toxic and safer workspace that’s more attractive to work in for people.
Name one thing the industry could do to be a more equitable place.
Quotas in all fields of the industry: lineup, staff, security, management… all fields! (I know ‘equitable’ isn’t the same as ‘equal’ but both go hand in hand for me.)
Shout out to your biggest ally in the live music industry.
Melvin Benn.
Do you support any LGBTIQ+ causes?
Allout.org – at the moment, especially, [due to] the absolutely terrifying situation for LGBTQIA+ people in Uganda and potentially Ghana, Kenya, Tanzania, and for putting pressure on governments to issue humanitarian visas.
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