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New Bosses name one thing industry must change

Alumni from IQ Magazine‘s most recent class of New Bosses have identified areas of improvement for the international live music business.

A handful of the next-gen leaders shared their thoughts during Meet the New Bosses: The Class of 2021, at last month’s International Live Music Conference (ILMC).

Theo Quiblier, head of concerts at Two Gentlemen in Switzerland, believes the one thing the industry needs to get better at is normalising failure.

“We are in a fantastic industry where everyone is signing the new top artist or selling out venues or sealing huge deals with festivals but that’s just the tip of the iceberg,” he says. “I feel that we’re all a bit afraid of saying, ‘I went on sale with my favourite band and it didn’t go well’ – as simple as that.

“I feel that we’re all a bit afraid of saying, ‘I went on sale with my favourite band and it didn’t go well'”

“As a promoter, I could say, ‘Oh, I work with this top band,’ and people think, ‘That’s amazing, he must be rich,’ and, in reality, it’s your biggest loss of the year. We need little reality checks, and to say ‘I’m doing my best but I’m not the best’. Sharing insecurities is great because failure happens to everybody.”

Flo Noseda-Littler, agency assistant at Wasserman Music (formerly Paradigm UK), called for better pay for junior staff so more people can viably start their careers in the industry.

“Fair salaries for junior staff and internships so that it enables people in those positions to live in the cities in which they work,” comments Noseda-Littler. “By providing a free internship or a low paid job, you’re cutting off so many people who don’t have the ability to still live with their parents or be subsidised by their parents. And then you’re just reducing the number of people you can recruit and missing out on potentially really ambitious and amazing people.”

Anna Parry, partnerships manager at the O2 in London, echoed Noseda-Littler’s thoughts, adding that companies also need to improve their recruitment strategies in order to reach a more diverse pool of talent.

“This is a job that costs you a lot of time at your desk and a lot of time in your head”

“Companies really need to put more effort into understanding why people aren’t applying for these jobs, and then they need to create a lower barrier of entry for those types of people,” says Parry. “It’s not just saying, ‘Oh okay, well we posted the job on a different forum than we usually would’. It’s going to take a lot more of that to actually make a difference. We need to focus on that because it’s important our industry is representative of the artists we represent.”

Age Versluis (promoter at Friendly Fire in the Netherlands) on the other hand, is petitioning for a four-day workweek: “This is a job that costs you a lot of time at your desk and a lot of time in your head. Since Covid, we’re seeing a lot of people burning out and having trouble getting to that fourth or fifth gear.

“We forget that moving shows for two years to the same months is quite stressful. I think we could use some extra ‘me’ time.”

Tessie Lammle, agent at UTA in the US, echoed her peers’ points, adding: “I was going to say diversity or work-life balance but Theo’s point is huge. I think the younger generation is getting much better at [sharing insecurities].”

Each of the panellists appeared as part of IQ Magazine‘s New Bosses 2021, an annual list celebrating the brightest talent aged 30 and under in the international live music business. See the full list of the distinguished dozen here.

 


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The New Bosses: Remembering the class of 2021

The 14th edition of IQ Magazine‘s New Bosses celebrated the brightest talent aged 30 and under in the international live music business.

The New Bosses 2021 honoured no fewer than a dozen young executives, as voted by their colleagues around the world.

The 14th edition of the annual list inspired the most engaged voting process to date, with hundreds of people taking the time to submit nominations.

The year’s distinguished dozen comprises promoters, bookers, agents, entrepreneurs and more, all involved in the international business and each of whom is making a real difference in their respective sector.

In alphabetical order, the New Bosses 2021 are:

Subscribers can read full interviews with each of the 2021 New Bosses in issue 103 of IQ Magazine.

Click here to subscribe to IQ for just £5.99 a month – or check out what you’re missing out on with the limited preview below:

 

 


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The New Bosses 2021: Tessie Lammle, UTA

The New Bosses 2021 – the latest edition of IQ’s annual celebration of the brightest young talent in the live business today, as voted for by their peers – was published in IQ 103 this month, revealing the 12 promising promoters, bookers, agents, entrepreneurs that make up this year’s list.

To get to know this year’s cohort a little better, IQ conducted interviews with each one of 2021’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.

Catch up on the previous 2021 New Bosses interview with Dan Roberts, promoter at Live Nation in the UK here.

After graduating from Bentley University, Tessie Lammle began her career in the mailroom at UTA, rising through the ranks to become an agent who represents artists including The Aces, Tierra Whack, TLC, Pussycat Dolls, Lil Wayne, SAINt JHN and many more.

When traditional touring paused due to Covid-19, Lammle re-thought how artists could reach their fans and collaborated with UTA’s Music Innovation division to book various virtual performances and showcases.

A passionate advocate for other women in the music industry, Lammle is a founding member of UTA’s La Femme Majeure event series and is on the leadership board of the company’s Justice Now task force. Outside of UTA, she is a member of the MusiCares Next Generation Board, and she volunteers with Habitat for Humanity.


Can you tell us how you got involved with La Femme Majeure (LFM) and what its goals are?
A group of colleagues and I founded LFM in 2018. We wanted to create a space for young women in the industry where we could be ourselves and network comfortably. Our main goal is to focus on music’s next era of women leaders.

You interned at Universal Music and ICM – what advice would you give to others when it comes to landing meaningful internships?
There’s a common misconception that you must know someone to break into the industry. The best thing I did to get my foot in the door was to network. It also helps to remember that everyone was in the same situation in the beginning, so you might as well say hello, send an email, and reach out to your potential mentors on LinkedIn. Always lead with kindness.

The pandemic ‘pause’ narrowed the avenues for artists to connect with fans. Can you explain what you did to maximize opportunities for some of your acts?
Throughout the pandemic, UTA has driven success for our clients with our collaborative, 360-degree approach. As a full-service agency, our divisions are constantly communicating with each other.

“I thought that I had to see a live show to truly understand an artist and their potential, but this year has forced me to adapt”

When traditional touring was paused, we worked across all our departments and with new buyers to offer innovative opportunities to our artists. As a result, the agency was able to secure brand partnerships, drive-through concerts, livestreamed performances, publishing deals, film and TV roles, gaming collaborations, podcast hosting gigs, and more for our clients.

If you had a magic wand, what one thing would you change or introduce to improve the live music industry?
More diversity, equity, and inclusion across the board. There has been some great forward momentum and that’s what makes our industry exciting and forever evolving.

Where do you see yourself in five years’ time?
I’m not sure where I’ll be living in five years, or which new artists I’ll be representing, but I do hope to be working with an even bigger roster at UTA. I know I’ll still have a hunger to be constantly finding out-of-the-box opportunities for my clients that leverage all the company’s resources. I also hope in five years I will be able to keep a plant alive for more than three days and will be working my way towards having a family!

You signed a number of artists during lockdown. Were those difficult pitches, and can you say anything about how you tailor your career plan strategies depending on the artist and genre?
I always thought that I had to see a live show to truly understand an artist and their potential, but this past year has forced me to adapt. No two artists ever have the same goals, even within the same genre. I am a firm believer that you must cater to the artist first and hear their visions before you set a strategy.

 


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