Agent Gary Howard’s 35 years in music: Part 2

In the concluding part of our interview with pop monarch Gary Howard, the UTA agent reflects on the second half of his career and shares his hopes for the future. Catch up on part one here.

Going Live
In the late 90s, Gary Howard realised that if he wanted to remain in music for the long haul, he needed to shake things up. “As a young lad, I genuinely thought anyone over 30 didn’t have a clue about music because they were too old. But at the age of 29, it dawned on me that I could not do nightclub PAs forever and needed to get into live music.

“The problem was I didn’t have a clue how to put a tour together. I didn’t know about spread-sheets, band end deals, production, etc. I tried some live bits at Mission Control, and my first attempt was PJ & Duncan, but I never went to a single show because I got fired the night before the tour started. And I realised it was because I didn’t know what I was doing, and I had no help at Mission Control.”

Determined to start working with live acts, Howard convinced Jason Donovan to return to touring. “That was the start, and my way in was working with artists like Tony Hadley, Go West, Bananarama, Peter Andre, and East 17.

Through Samuel’s management firm, ASM, Howard also worked with acts like So Solid Crew, Oxide & Neutrino, and Blazin’ Squad. “So I was really starting to cut my teeth, live wise, but despite the fact I owned half of Mission Control by that point, I knew after 17 years I had to move on. CAA and WME had arrived in town, and I needed more experience to get them to look at me. I needed to go somewhere where I’d get more support.

“With N-Dubz, the boys were geniuses and Tulisa just gave them that pop edge that was setting them apart from others”

“I met with the legendary Barrie Marshall and discussed setting up a new agency with him called Marshall Arts Talent. It was 2008, I left Craig D’Souza (now at WME) to take the managing director role at Mission Control. I told Craig when I left that Mission wouldn’t survive without me and had 24 months, tops. Craig left two years later and Mission perished.

“But I figured that if I was going to learn about the live business, who better to be around than Barrie Marshall?”

The only problem was that Barrie was so busy with clients such as Paul McCartney, Elton John, and P!nk that Howard had very few opportunities to work alongside him.

“I didn’t really get the full benefit of Barrie, but while I was there, I signed N-Dubz. I could see their potential for arenas, even though at that point, the only arena shows I’d done were with Simon Moran at SJM when we put together the Clubland Live tours. But I knew this band had that something, so I promised I would have them in arenas within three years. I did it in two.

“With N-Dubz, the boys were geniuses and Tulisa just gave them that pop edge that was setting them apart from others. Most people saw just another British urban band only doing clubs. I saw a group that made amazing songs and was mind blowing live. Before I signed them, I went to Amadeus nightclub in Rochester, a 3,500-cap venue on a Sunday afternoon, and it was just rammed, with every kid in that room singing every word to every song. They blew me away and still do to this day.

“That’s always been the difference for me with pop. I see it. I understand it. That’s maybe a lot to do with learning from Pete Waterman. He was the best to learn from, and I’m so proud that I have maintained my relationship with him after all this time.”

“Jason Donovan came in to see me, and all these metal heads were just freaking out”

Having recently enjoyed a sell-out comeback tour with N-Dubz, Howard contends that the trio were pioneers who helped pave the way for numerous UK urban acts. “For instance, back in the noughties, Wireless Festival had only been putting on big American acts and hadn’t had any British urban acts. But I told Steve Homer he should do it, and to be fair, he put N-Dubz on the main stage. And then Simon Moran put them on V Festival. And those performances opened the door for many others that had been locked in clubs to make the climb.

“That said, I also convinced Simon to book Peter Andre for V Fest, and he caused a roadblock, as I had predicted.”

Getting Support
Unsure about where to go next to further his career, a conversation with George Michael’s manager, Andy Stephens, put him on the right track. “Andy said to me that Neil Warnock was the best agent in the business – and that’s basically the reason I am where I am – because of Neil. I’m a big believer in the saying ‘go where you’re celebrated, not where you’re tolerated,’ and I felt that straight away when I met Neil.”

However, being at what was then The Agency Group was rocky to begin with. “For 19 years, I’d been at the top of the firm,” explains Howard. “I’d run my own companies, but suddenly, I was just part of this big chain, which sometimes means it takes a bit longer to get things done. I remember arriving with Dani [Simmonett] on our first day at The Agency Group. We came from a pop world that wore nice clothes and went to nice venues. The receptionist was covered in tattoos and had loads of piercings, and the whole feel of the place was rock and indie, and we were like, ‘What the fuck have we walked into?’”

But the pop department soon had the upper hand. “One day, Jason Donovan came in to see me, and all these metal heads were just freaking out. There’s always a buzz about the place when one of my clients comes to visit. Pop music does that to people – in pop, you’re a brand.”

“I was thrilled a few years later when the company announced that David Zedeck was coming onboard. It was literally a dream come true for me”

And while others might have panicked when the company was acquired in 2015, Howard was ecstatic.

“I was in New York with my family when I got an urgent message from Geoff Meall to call him. It was to hear that Neil had sold the company to UTA. I thought it was absolutely brilliant news because it meant I would finally be able to compete with William Morris and CAA, who had all turned me down before.

“In fact, on my first meeting with [UTA CEO] Jeremy Zimmer, when he asked me what the company could do to help drive growth, my immediate answer was ‘Get David Zedeck!’ So I was thrilled a few years later when the company announced that David Zedeck was coming onboard. It was literally a dream come true for me. This is the biggest pop agent in the world, and I knew the value of having him.”

Having clocked up 15 years at the company, Howard notes that his skills have developed markedly under Warnock’s tutelage. “Neil is an amazing soundboard,” he tells IQ. “Like all agents, I can get a bit above my station, but Neil can pull me down a peg or two when it’s needed, and I appreciate that, so it was a great move for me – and I’ve finally found someone who is willing to put their arm around me for support. Although Doris [Dixon] at Marshall Arts was also good at that, I have to say.”

With more than a decade of selling out arena tours for his popstar clients, Howard’s contribution is not taken for granted by building operators. Indeed, in addition to collecting the coveted Agent of the Year gong a couple of years ago from the world’s busiest venue, The O2, rumour has it that venue staff now refer to hospitality suite 210 as The Gary Howard Suite, given his perceived omnipresence, thanks to his acts dominating the calendar (and his love of watching shows).

“There’s a wall backstage at The O2 with all the promoters’ names on it that all the agents freak out about because we’re not on it – none of us. It’s outrageous,” observes Howard. “However, during the N-Dubz tour, someone added my name on the wall,” he adds, feigning innocence. “It stayed up there for quite a while, apparently…”

“I always had a very clear plan for Craig [David], as I knew he could fill arenas”

Comeback King
Addressing industry bias toward pop acts, Howard says it remains an issue, but the accusations of artists not being credible no longer stack up, as the revenues they can generate are very serious indeed. “Colleagues like Paul Ryan – who looks after Bring Me The Horizon and loads of cool bands – absolutely love my roster and the shows that we book for them.”

One act that his UTA peers always like to see in their offices is Craig David, whom Howard waged a long-term campaign to represent. “I was knocking on [manager] Colin Lester’s door for 16 years,” he states. “I represented Artful Dodger back in the day, plus all the spin-offs – Robbie Craig, Lifford, Romina Johnson, Michelle Escoffery… the only one missing was Craig David. At first, Colin ignored my calls, but I never gave up. I knew I would be Craig’s agent even if he and Colin didn’t.”

Eventually, Colin caved and opened the door, but it was not as straightforward as Howard had envisioned. “I have to be honest, I didn’t understand the TS5 concept at first. If you’re selling something and you don’t get it, it’s very difficult. But thankfully, [the late] Ben Kouijzer, one of our DJ agents who I brought on board explained it to me, and I got it.

“I always had a very clear plan for Craig, as I knew he could fill arenas.” Revealing his strategy, Howard says, “I wanted to go for the younger crowd first, so we just did festivals to begin with, performing as only Ts5 sets. I held back the arenas as we built the comeback.

“Craig coming back was a massive moment for me as an agent, as well as for him, because a lot of people were saying it was the greatest comeback of all time.”

“I got Steps back. I was over the moon because they are just the best people to work with, and I love them”

Having tempted many artists back out of their living rooms (Rick Astley and Jason Donovan, included), it’s another act that Howard cites as one of his biggest coups – Steps, who under his stewardship have enjoyed huge success with a number of sold-out arena tours since their comeback.

“I’d been banging on everyone’s doors for about four or five years, and finally, the feedback from [singer] Claire [Richards] was that everyone kept talking about the band reforming, but nobody put any money on the table.”

Arranging a meeting with Richards, Howard reveals that in the meantime, he turned to then Live Nation’s Steve Homer and Simon Moran to hammer out a deal. “They both trusted me and believed what I believed, so quickly came on-board. I walked into that meeting with Claire and put the money on the table. And I got Steps back. I was over the moon because they are just the best people to work with, and I love them.”

“Dani, my long-term assistant, says going to a Steps show is a cure for depression. She is so right – they are just the best, and it’s fun when you watch 15,000 people in an arena all doing the same dance moves. It always cheers you up.”

As the master of the comeback, Howard discloses his thinking behind persuading pop acts to get back together. “It’s definitely a ten-year thing,” he says. “You need that distance and to keep your powder dry. Look at what my good friend Solomon [Parker] did with Girls Aloud – he did a great job – along with Paul Franklin with McBusted and Five.”

“Barrie Marshall taught me that the two most important people to keep happy are the artist and audience”

Indeed, it’s a couple of acts Howard is working on with David Zedeck that have him most excited about the next couple of years.

“Leona Lewis looked at what we’ve done with Craig and everybody else and wanted us to represent her as we look to plot the next part of her live career. That was a lovely moment, knowing that this amazing artist could see the hard work and love we put in over the years on others,” he states.

“The act that I’m most excited about working on is Zayn. David Zedeck signed Zayn and brought me in as part of the team.

“Zayn is a very special and important client, and again, we had a clear plan in reintroducing him back to live shows and working closely with his manager Nicola Carson, who was extremely instrumental in building the plan, which we’ve been able to deliver with perfect results.

“We opened with a Shepherds Bush Empire show in May last year and then added a small run of underplays in the UK and US. It was the right thing to do: he loved it, and the audience loved it. Barrie Marshall taught me that the two most important people to keep happy are the artist and audience.

“The pent-up demand for tickets and fans sitting in the waiting room for all of his shows was outstanding. That build continues and we are kicking things off with three sold-out arena shows [25, 27, and 28 March] in Mexico City.

“Success is that I’m still in this business after 35 years doing what I love and that amazing artists still want to work with me”

“As we plot the future for Zayn, I can tell you that sales will continue to be stratospheric. The demand is a real eye-opener. David and I get constant emails from every major promoter globally to book Zayn.

“Zayn will be in stadiums – there’s no question about that. But it’s about doing the right things at the right time and, luckily, I’ve got 35 years’ experience behind me. But more than that I’m working with the best pop agent in the world, David Zedeck. We share the same values for our clients, we truly care about them. So we’re making sure that we get it right for Zayn.”

Success & Successors
As he celebrates his latest milestone in the business, Howard puts his longevity down to hard work and gut instinct.

“I started a career and didn’t have much help but was determined to make it this far. 35 years later, I’ve earned good money, I drive very nice cars, I own property, have nice holidays. Is that success? No! Success is that I’m still in this business after 35 years doing what I love and that amazing artists still want to work with me.”

He notes. “I’m the kid who got told I wasn’t going to make anything of myself, had zero qualifications to my name, and hit a low by signing on the dole.”

And when it comes to his favourite signings, Howard doesn’t hesitate: “My two kids – Kenzie and Mason. My second wife and I couldn’t have children, so we adopted. And, without a doubt, they were my greatest signing… well, depending on what day it is,” he laughs.

“I’m still yet to achieve one goal and that is to represent the biggest boy band in the world – so watch this space on that one!”

Indeed, his occupation is maybe rubbing off…

“Musically, my daughter is across everything like I was, and I think she could make a great A&R. My son is more academic and would make a brilliant agent. But they’re both still figuring out what they want to do, and given the path I’ve had, there’s no way I’m rushing them into any decisions.”

But no matter which career they choose, hard work will be the proven Howard family route to success. “My granddad taught me that more than anyone,” says Howard. “When he was in hospital in 1993 and I was a young agent, I’d go to visit him every day after work. But one Friday, I had a wedding to go to, so I went to see him during the morning, and he berated me for not being at work.

“He was dying but his message was, ‘What are you doing here? You should be at work, you have a career to build.’ And even 35 years in, I still have that drive to be more successful and sign more acts.”

Some say he’s at the top of his game, but Howard concludes that the best is yet to come. “As Neil Warnock says, I’m just starting out. I have some amazing things coming, and I’m still yet to achieve one goal and that is to represent the biggest boy band in the world – so watch this space on that one!”

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