The New Bosses 2024: Maria Costa, Rock in Rio Lisboa

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.

With a degree in languages, literature, and cultures, and a master’s degree in communication and culture, Maria Costa found an internship at radio station M80, before joining Rock in Rio Lisboa in 2016 as community manager. She now oversees festival strategy, management, and coordination of omnichannel content across platforms including Facebook, Instagram, Twitter, TikTok, LinkedIn, YouTube, as well as the official website, app, newsletter, influencer management, paid media, and performance campaigns.

There’s a misconception that social media is a free tool for marketing. You probably cannot talk about budgets, but how many people are on your team for Rock in Rio Lisboa?
While it’s true that creating a social media account is free, the notion that effective social media marketing is free is certainly a misconception. Let me take you back to about three years ago, during the onset of COVID-19 and the subsequent lockdowns. Many businesses, brands, and projects that were not yet online were suddenly forced to establish an online presence. Some did so on their own, while others chose to go professional from the start. During this period, there was a noticeable digital boom on social media among brands, as well as a shift in the perceived value of social media.

When competition is fierce, there is pressure to excel and stand out. This is where professional digital strategists come in. The difference between two similar brands, one managing social media professionally and the other doing it casually, is evident not just visually but also in terms of results. Some businesses may not feel the need to “upgrade” their social media presence, either because their target audience is not online or because their business is already well-established—both scenarios can be considered successes.

Regarding our digital and marketing team, we started with around five people in the early months and gradually expanded. This year, we integrated numerous audiovisual productions in-house, recognising the benefits of adding talented individuals to our team. Our distinctive and dynamic work rhythm enhanced our workflow and results, which proved advantageous when we created our own content production team.

“The possibilities presented by working diligently on social media platforms are impressive”

In June, during festival days, we had about 120 people working on social media coverage. This requires weeks of preparation, we have so many underline topics beyond just the music scene. Our structure included social media managers, copywriters, mobile producers, designers, photographers, videographers, video editors, audio technicians, assistant producers, a drone team, an influencer manager, analysts, among others, we also worked with creative and paid media agencies.

To wrap it up, between October 2023 and June 2024, we achieved over 34 million impressions on social media and produced more than 1,300 original pieces of content. During the two weeks of real-time coverage, we reached over 46 million impressions and posted more than 900 pieces of content. Special attention was given to Instagram, where we doubled our followers in ten months, and TikTok, which offered us significant opportunities to engage with our most avid Gen Z festivalgoers. The possibilities presented by working diligently on social media platforms are impressive, and we find ourselves competing with traditional media outlets—this is the future.

“Our close relationships with brand partners are vital to our success”

Rock in Rio’s events are synonymous with big brand partners. How do you work hand in hand with those partners? And how exciting is it to do so?
I love working with other brands. As a professional deeply immersed in the cultural and music spheres, I find it incredibly exciting and challenging to create those “sparkle” moments through collaboration. Partnering with brands from diverse industries might seem daunting at first due to differing themes and objectives, but we consistently find ways to align our messages and create cohesive narratives.

Our close relationships with brand partners are vital to our success. Some brands are already familiar with the music and festival scene, making collaboration seamless and innovative. Others might be more reserved, but we embrace the challenge of integrating their unique identities into our festival experience. We engage in numerous projects both before and during the event, including press conferences that are more like mini festivals themselves. Brands with naming rights on our stages or other activations bring an exciting “marriage” of themes and conversations to Rock in Rio.

The synergy between our team and our partners leads to truly memorable and impactful experiences for our audience, making these collaborations incredibly rewarding. Additionally, before and during events, we leverage the benefits of social media platforms through collaborative posts, story connections, and engaging content that resonates with both our audiences, enhancing the overall experience.

“This year, we fully embraced both Portuguese and English content/copy on social media, maximizing our reach”

Rather than being a Portuguese event, your festival is truly global. Can you tell us a little about your strategy to tell as many fans as possible around the world about RiR Lisboa, in multiple languages?
We’ve taken several steps to enhance our global presence. Leveraging our Brazilian roots, we maintain a strong connection with Brazilian communities worldwide, particularly in Europe and Portugal, which represent significant potential for us. This year, we fully embraced both Portuguese and English content/copy on social media, maximizing our reach. Additionally, we ran targeted awareness and performance campaigns on Meta and Google, focusing on Spain, France, and the UK, supported by an international press marketing strategy.

Our international artists were highly collaborative, which allowed us to make major lineup announcements through joint posts with them. This approach helped us engage with a global audience and directly connect with the artists’ fans. As a result, we saw ticket sales from over 100 countries, which we are very proud of. Post-event, the urgency to go global diminishes somewhat, but with the 40th anniversary celebration in Rio de Janeiro coming up in September, we will once again be in the global spotlight.

“AI tools help me with global research, finding references, and benchmarking”

I’m guessing AI is proving to be a useful tool for you – are there any tips you can give to your peers at other festivals around the world on how they can lean in to technology for mundane tasks, to allow you to be more creative in other parts of your work?
Initially, I was a bit hesitant about some AI innovations, but it’s clear they’re here to stay. The sooner you adapt to working with them, the more efficiently you’ll work. In fact, AI tools have proven to be quite beneficial in sparking my creativity, especially when starting inspirational projects. They help me with global research, finding references, and benchmarking. Additionally, they help me organise workflow and manage data effectively. For my design and video teams, I have no objections to using AI tools. My only stipulation is to emphasize that AI will never replace the human eye and sensibility. Everything must still be reviewed and refined through our own critical perspectives.

In your position, you presumably have to plan for many eventualities that don’t occur. Can you talk about the efforts that you and your colleagues make to ensure safety, and plan for communication with the audience for the likes of bad weather, for instance?
When we develop our 10-month communication plan, we start with a foundation, but the most challenging and unpredictable aspect is determining when we can announce headliners and the full lineup. This remains a variable that is intrinsic to our daily work. In the months leading up to our active communication for the next year’s festival edition, our focus shifts to art direction and visual identity. We dedicate our efforts to establishing the design guidelines for that edition, applying them both offline and online.

We also analyse insights from the previous year to continually improve. We assess what strategies yielded the best results, what was worthwhile, and what was unnecessary. These evaluations guide us in outlining various scenarios and their potential impacts for the next edition. On this project, our marketing team works closely with various other departments, fostering a collaborative environment where proactive approaches are encouraged across different teams.

“For anyone reading this who is seeking to work in social media, regardless of the industry, focus on studies with practical approaches”

For this special edition, we anticipated operational challenges related to the new venue, such as access, public transportation, new venue layout, stages, and areas. Our goal was to provide this information promptly; we released details about a month before the event. Our app was updated with schedules and practical information to help attendees right by that time. We strive to anticipate situations and prepare quick responses. Another critical component during the festival month is our business intelligence and analytics team. They play a vital role in monitoring and analysing online discussions, both on our social media platforms and across the broader web. This helps us identify and address operational or communication issues – big or small – quickly by verifying the source and adjusting or resolving the situation as needed.

Given your experience of the last decade, what advice would you give to the teenage Maria Costa, as she looked ahead at her studies and career?
It’s strange to say this, but I was never very keen on digital matters. I was probably the last one in my group of friends to get a Facebook profile and wasn’t particularly amused by it. I took my time, but I feel that my professional growth coincided with the rising importance of social media in professional settings. I wouldn’t call it luck, but the timing was quite right. So, the advice I would give to my teenage self would be not to be afraid to explore that path and to dive in as soon as possible.

For anyone reading this who is seeking to work in social media, regardless of the industry, focus on studies with practical approaches. Theory is just a small part of it; hands-on experience is crucial. Seek out internships or entry-level positions with brands and projects that interest you, immerse yourself in those scenarios, and take the initiative. Start as soon as possible because the pace is frenetic. Everything evolves and changes quickly. While you’re waiting to decide if it’s the right choice for your career, numerous changes can occur in this field, and your ability to adapt quickly can be a significant advantage.

“Managing over 120 people doing live social media coverage of Rock in Rio Lisboa 20 was an absolute dream”

What’s been the highlight of your career, so far?
The 20th-year celebration of Rock in Rio Lisboa was truly mesmerizing. For me, it was a great challenge starting last summer. We went to São Paulo to film a short documentary about 20 years in Lisbon, using The Town festival as the backdrop, alongside our main teams that have been in Lisbon since the beginning in 2004. The following 10 months were a rollercoaster of events, lineup announcements, new ideas, and watching the new venue grow. The team atmosphere was particularly joyful, with many young and inspiring people on the team and every senior manager and VP getting very emotional about this special festival edition. This all culminated in four epic days, three of which were absolutely sold out.

As we often say, we dream, and we make it happen. Seeing it unfold before us, witnessing the crowds cheering, rushing to the frontline, and watching the artists become emotional was extraordinary. It was surreal to see everything we had communicated for months come to life before our eyes. It’s something we produce and communicate with all our energy and hearts, but above all, it’s something we feel in the atmosphere, almost beyond ourselves. It’s like an ensemble created from a synergistic blend of incredible sources and resources, like an orchestra completed by our audience.

This all ties into our social media coverage and its inherent aspects. You must manage a lot of emotions at a fast pace and always be solution-oriented—stress, frustration, unexpected moments, joy, crowds going crazy, operational challenges, weather forecasts, and more. Managing over 120 people doing live social media coverage of the event was an absolute dream. It was a marathon, certainly with many ups and downs, but very rewarding for me as a professional, teaching me so many lessons.

“Rock in Rio was conceived as a festival for everyone, regardless of their background, beliefs, or appearance”

If you could change one thing about the live music industry, what would you propose to make it better?
I’m not sure I have a definitive answer, but a few things come to mind. Thanks to social media, we see talented individuals gaining recognition every day, and it’s striking how rapidly and fleetingly this can happen—both for better and worse. It’s alarming how quickly someone can rise to fame and just as swiftly disappear. Perhaps this rapid cycle has always been part of the industry, even in its offline era, though at a different pace. On a personal level, it concerns me that not all talented individuals receive the recognition and rewards they deserve. Conversely, the industry can sometimes put immense pressure on young talents, which can be overwhelming.

Another issue I think about is the perception of taste and value. Rock in Rio was conceived as a festival for everyone, regardless of their background, beliefs, or appearance, and it embraces artists from all genres. This year, for our special celebration, we launched a creative campaign with Dentsu Creative Agency called “All in Rio.” This campaign emphasised that “Rock in Rio” encompasses more than just rock—it represents Pop in Rio, Funk in Rio, Joy in Rio, Peace in Rio, Family in Rio, and Friends in Rio and so much more. The challenge is that sometimes people fail to appreciate the importance of diverse genres in our lineup, particularly popular music, and there can be reluctance to embrace this diversity.

Last but not least, if I could change one thing about the live music industry, it would be to establish a more structured and supportive framework for its professionals. The work is often underestimated, perceived as easy and enjoyable due to its cultural and entertainment aspects, but it’s highly demanding and seasonal. To improve this, I would advocate for clearer work structures, ensuring fair compensation and support for all professionals. There should be enhanced support for emerging artists through financial assistance and performance opportunities. Additionally, implementing robust health and safety policies is crucial, alongside offering educational resources to help professionals manage the business side of the industry. By creating a more balanced and sustainable environment, we could provide a solid foundation for lasting and fulfilling careers in live music.

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The New Bosses 2024: Louise Smit, Pieter Smit Group

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

Born and raised in the company that her father founded almost 45 years ago, Louise has been working at Pieter Smit Group for the past five years. With bases in six different countries and a fleet of 1,500 registered vehicles, there’s always a new adventure on the horizon, and being surrounded by people who love what they are doing, the event industry has a special place in Louise’s heart.

With artists looking at more sustainable ways to tour, trucking and transport is an obvious place to start. What initiatives are you working on to help touring become greener?
We always offer options for Hydrotreated Vegetable Oil (HVO), a renewable diesel produced by hydrogenating vegetable oils by Neste. HVO is considered a cleaner alternative to conventional fossil diesel because it can reduce greenhouse gas (GHG) emissions significantly by 90%.

Unfortunately, the availability of Neste diesel is limited, especially on the road. Therefore, we invested to have our own dedicated tanks for Neste MY Renewable Diesel™ fuel at our Pieter Smit yards, so that we can purchase in such large quantity to make the price difference between fossil and HVO lower for our clients. We implemented a compensation system in which we carefully calculate the usage of diesel and compensate for it by utilizing HVO at our yard. Besides the HVO, we are also exploring the electrification of our fleet. Our fleet contains at the moment 20 electric vehicles (B-vans). We are also aiming to kick off in the autumn a full electric theatre tour, on which we are currently working on with several partners.

We’ve been through two crazily busy years, since the post-pandemic return to touring. What have been the challenges in terms of making sure you have a big enough fleet, and trained drivers to service clients needs?
The biggest challenge is the seasonality of the event industry and to fit your resource model to the seasons. Flexibility is in our DNA and we are focused on finding solutions: We always find the way to get the job done. We work together with partners to be able to scale up, and I have to give a big shoutout for the effort and commitment of my colleagues; they make the magic happen and I am very proud of them. At this moment, we have 380 colleagues out on the road touring under the Pieter Smit flag and we set a new record last week on driving from Warsaw to Madrid in 38,5 hours.

You’ve worked through the ranks at the company to become CEO. What are your plans for the future of the company?
The plan for the company’s future is to ensure a smooth transition between the first generation leading the company for 44 years to the second generation, to prepare the company for many more decades to come.

What events, tours or festivals are you most looking forward to in the year ahead?
What excites me the most, is the variety. In the same week, I am visiting a huge Rock N Roll concert and a few days later I am attending the classical concert of the Dutch icon André Rieu. We have a variety of clients, from renting a splitter van to twenty-plus truck productions, and we are grateful for all of them to trust the Pieter Smit Group.

“The plan for the company’s future is to ensure a smooth transition between the first generation leading the company for 44 years to the second generation”

When it comes to company development, are there any particular events, forums or platforms that you visit to try to find new clients?
We have been visiting several conferences all over the world. They all vary from each other and each of them is an enriching experience because you always learn something new at every event from the panels and from the people you meet there.

You’re obviously enjoying learning about the business as your career progresses. How would you encourage the next generation to choose the transportation sector for their career path?
It is not the transport sector that I chose, but a service company in the event sector, being a small but crucial link: We support production excellence. I encourage the next generation to join this sector, because of its dynamic nature. There are many opportunities to make an impact.

Do you have a mentor or anyone you rely on to bounce ideas off?
I started in this business because it was founded by my father, which leads to a special connection with him. I am happy with his advice – although I do not always ask for it – he has my back. I am very grateful for the support from several people, especially my co-management and our advisory board. No matter the challenge, they are there and that is extremely powerful. Thank you!

As a new boss, what one thing would you change to make the live entertainment industry a better place?
Our credo is: The Show Must Go On. Within that credo, everyone’s personal life should prevail. The work-life balance is a challenge for many within our industry. My company and I want to work on balancing this work-life relation.

What would you like to see yourself doing in five years?
That the transition is successfully completed. That I lead a flourishing company of which both first and second generation look to with love and pride.

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The New Bosses 2024: Joshua McGuane, Ticketmaster

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.

With a long-standing history at Ticketmaster, Joshua McGuane worked across fan support and the company’s event programming ops teams before stepping into an executive leadership role. As vice-president of field operations, APAC, he is now responsible for overseeing and coordinating the operational support for all clients and operations support staff. The field operation teams work through all aspects of ticketing solutions, “from on-sale to entry,” ensuring seamless on-sales and frictionless entry in service of TM clients and fans.

Given the pace of technological development, how do you keep up with everything that is being rolled out in the world of ticketing?
It’s all about connections, keeping up with the right people across our global business so I know what products and innovations are in the pipeline. When it comes to the broader industry, I turn to social media and ticketing news sites to stay up to date with trends and events happening outside our immediate sphere.

You’ve worked through the ranks at the company to become a vice-president. What’s been the highlight of your career so far?
From the moment I started at Ticketmaster as a Contact Centre Operator, I fell head over heels with the industry and have been obsessed with what we do ever since. It’s hard to pick just one highlight but earlier this year I had the chance to attend a string of major events – the Sydney Royal Easter Show, P!NK and the 2024 Formula 1 Grand Prix. Being part of the experiences that our clients create for their passionate fans was just incredible.

Are there any particular events, or tours that you are particularly looking forward to in the year ahead?
At the beginning of the year, we went onsale with Pearl Jam – Dark Matter World Tour across Australia and New Zealand – selling over 200k tickets for shows kicking off in November 2024. Incredibly excited for this to hit our shores with shows on the Gold Coast, Melbourne, Sydney and Auckland.

What advice would you give to anyone who is trying to find a job in live music?
Forget about the 9-5 and dive in headfirst! We get to do some of the most amazing work preparing for events and experiences which requires tenacity. But there’s nothing like witnessing the joy on fans’ faces at an event you have worked hard on.

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?
This is one of the most exciting industries in the world to work in. If you’re someone who loves a challenge, thrives on learning new things and has a passion for music and events there is no better place to be.

Is there anything that live music can learn from sectors such as sport when it comes to the ticketing business?
The sports industry does a fantastic job of creating a sense of exclusivity for fans through stadium and club memberships which offer many benefits. While we see something similar with fan club memberships, there are still so many opportunities to unlock.

“Our industry can seem incredibly complex, and I’d love to see broader education on the opportunities in live music”

And what about territories – your remit covers an array of markets. What challenges do you and your colleagues face when it comes to dealing with those different cultures or countries where the infrastructure may be at other levels?
Of course, with different markets, there are always local considerations to operations and how to do business. It’s great to be able to work with people from different cultures and see that play out in live events.

Do you have a mentor, or anyone you rely on to bounce ideas off?
I’ve been incredibly fortunate to have many mentors throughout my career at Ticketmaster. Now, my main mentor is Gavin Taylor, our managing director in Australia. His guidance and industry experience have really helped shape my leadership style.

And what about meeting new contacts in the business – are there any conferences, festivals or other events that you have attended that been useful for networking?
Conferences are always a great way to meet new contacts. Some of the best that I’ve attended include the Ticketing Australia Conference, INTIX Annual Conference and Australasian VMA Congress.

As a new boss, what one thing would you change to make the live entertainment industry a better place?
Our industry can seem incredibly complex, and I’d love to see broader education on the opportunities in live music. This business has allowed me to combine my passion with my profession and I can’t speak more highly of it!

What would you like to see yourself doing in five years’ time?
In five years, I’d like to have moved up the ranks and have more countries, clients and people under my responsibility. I want to be mentoring the next generation of young leaders to help deliver and create incredible experiences around the world.

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The New Bosses 2024: James Aiken, Aiken Promotions

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The New Bosses 2024: Dotun Bolaji, Primary Talent

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.

Dotun Bolaji’s journey began during his university years whilst studying pharmacy, when he ventured into promoting club nights with artists such as Giggs, DJ EZ, Section Boyz, and AJ Tracey. He returned to his hometown and cultivated a vibrant network of creatives while promoting the live music showcase SuperLative. He worked at Runway agency before joining Primary Talent, where he has signed acts such as Ruff Sqwad, Blanco, Jgrrey, KOJ, Tia Gordon, and LZee.

You’re a big champion of Black British music and talent. How would you persuade others to pursue a career in the live music industry?
I would say education is key, both traditional and nontraditional. From diplomas, internships, attending industry seminars/conferences and personal research. There are various routes to building your knowledge of the various roles and connecting with people who are already working in the industry. With this, individuals can figure out what role might suit them best. In my opinion, music lovers who want to get into the industry tend to pursue the more traditional roles like management and A&Ring, without full knowledge of the various roles across less traditional segments (such as the live industry) or aren’t aware of different paths into these roles. To an extent, people can’t become what they can’t see. But from production to promotion, tour management to venue programming – there are a huge number of roles that suit people’s skill sets and interests.

Knowing I wanted to become a live agent (but not knowing quite know how), I spent time studying music business entrepreneurship at Notting Hill Art Academy. This gave me the opportunity to connect established agents – whose advice was more or less, “Just do it”, learn as you go and sooner or later, someone will notice your work and support your growth.

You studied pharmacy at university. Is there anything you’ve retained from your university studies that helps you in your day-to-day job now?
Certainly, for starters, I would say it’s helpful to actually like people! They’re both very people-oriented roles, so it goes a long way to enjoy connecting with people on a genuine level. I would also say, my ability to identify a problem, whether that be a patient’s ailment or a hole in an artist’s live strategy, and then provide an actionable solution translates across both roles. Practicing as a pharmacist can be a high-pressure, fast-moving role, with the need for attention to detail and well thought–through decision making. I’d say this ability to execute in such environments has followed me into my role as an agent.

“I definitely understand the struggles that come with being an independent promoter”

Your SuperLative showcase in Watford developed an impressive reputation. How did you go about finding the talent for those shows, as well as attracting an audience to see those unproven acts?
That was a lot of fun to work on! Founded by Radhika Wilson (now Lateral mgmt) and a group of music-loving friends, we were booking artists we loved and presenting them to our local circles. Superlative built trusted taste amongst our wider circles, which spread further mainly via word of mouth. Many much-loved genres/sounds were built within communities of people sharing what they loved – I think it was a similar thing here. It just grew organically. We were also filling a void of independent live music promoters, that wasn’t really around in Watford at the time. I now have the pleasure of working with Radhika on Jay Prince (who she manages and I represent), one of our favourite artists coming through at the time! I’m super excited for what he’s got coming, watch this space!

Having organised and promoted your own events, do you think this has made you a better agent partner for the promoters you now work with?
I definitely understand the struggles that come with being an independent promoter, struggles that are only exacerbated in the current economic climate. I also understand the key role these promoters play in maintaining talent pipelines and cultivating culture. I would like to think this has made me conscientious of negotiating fair deals for both my clients and promoters. It’s an ecosystem after all, it has to make sense for all parties.

Who on your roster should we all be looking out for in the year ahead?
Genuinely super excited across the board! With artists at different points in their careers, I expect you’ll be seeing a lot more of the likes of Blanco, Monster Florence, Jay Prince, Ruff Sqwad, Planet Giza, Jgrrey & Jords conquering larger and larger stages over the coming year. Newer artists such as Tia Gordon, LZee, KOJ, Izzy Withers, Motive 105, Xadi & Keys the Prince are creating a real tangible buzz across the industry; I’m excited to see them build on their debut headlines over the next year…the list goes on!

“One of my earliest memories of a live show was my parents taking me to a gospel concert at Royal Albert Hall and even at age 5”

As an agent, are there any particular events, forums or platforms that you visit to try to discover the next big act?
I’m one that always tries to catch the support act at shows – the number of times I’ve been blown away by an unassuming support act, I’d be silly not to! I also like spaces such as The Ultimate Seminar Live who do a fantastic job at cherry-picking exceptional talent and giving them the space to perform in front of both supporters and the wider industry. Of course, the likes of Dot to Dot and The Great Escape are good places to catch stage-ready acts.

What has been the highlight of your career, so far?
I’d struggle to boil down my highlights down into one moment! But sell-out shows from the likes of Jords, Planet Giza and Monster Florence have certainly been highlights. Considering his extreme talent and how deserved the slots were, seeing Blanco playing his sets at Glastonbury sticks out in my mind. Also, being voted Best Agent at the YMB Music Awards this year was an appreciated moment, especially when nominated amongst a lineup of talented agents.

Where is your favourite venue?
The Royal Albert Hall. One of my earliest memories of a live show was my parents taking me to a gospel concert at Royal Albert Hall and even at age 5, I remember being taken aback and the sound of artists like Nicole C. Mullen in the venue. I still have that feeling when I’m in the venue now, especially with the team at the venue pushing for innovative curation within the historic space. I often shed a tear that I missed Kano’s headline show there! I’m also a big fan of The Roundhouse… so maybe I’ve just got a weird thing for circles!

What events, tours or festivals are you most looking forward to in the year ahead?
If I were to choose one from each category; in terms of tours, after selling out their debut UK tour last year, I can’t wait for Monster Florence’s second UK tour this autumn, as well as seeing them expand out with their debut EU tour. Festival wise, I’m really looking forward to seeing Blanco play All Points East this summer. Blanco performing in front of his London crowd, amongst a 10/10 line-up of artists, is sure to be an unforgettable set! Lastly events; going up with Kiss Fm’s Ellie Prohan’s new quarterly club night platforming the next generation UK Rap is going to be great for the culture!

“[I want to see] increased government and private investment in culture, namely into independent promoters and events”

Do you have a mentor, or anyone you rely on to bounce ideas off?
Yes certainly. Having direct access to the experience of Steve Backman and Matt Hanner during my time in Runway was invaluable, especially with their drive and commitment to cultivate the next generation of industry talent. Now at Primary Talent International, working with the likes of Sally Dunstone and Ed Sellars has been amazing, with their willingness to answer questions and guide me through some of the finer intricacies of the live industry. Nothing grows in a vacuum, so having the right people around me has been hugely beneficial.

As a new boss, what one thing would you change to make the live entertainment industry a better place?
If I had the opportunity to change one thing, it would be to advocate for increased government and private investment in culture, namely into independent promoters and events, which is critical for nurturing emerging artists. If applied strategically, it’ll create more opportunities for artists to perform from the early stages of their careers. This not only helps them gain invaluable experience but also allows them to fine-tune their craft in front of live audiences. With more platforms, artists can develop their skills, experiment with their performances, and organically build dedicated fan base over time. I believe this would help ensure diverse and vibrant cultural scenes, and support the overall economic and social wellbeing of communities. This holistic approach would not only maintain the UK’s gigging culture but provide us with the globally exported headliners of tomorrow.

What would you like to see yourself doing in five years time?
At Primary Talent continuing to support the next generation of talent, whilst looking after a roster of global headliners. And hopefully sharing what I’ve learnt with the next generation of live industry talent.

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The New Bosses 2024: Austin Sarich, Live Nation

The 17th edition of IQ Magazine’s New Bosses 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.

Austin Sarich is a senior tour director at Live Nation, where he has been an instrumental part of the global touring team since joining in 2016.

Sarich’s upcoming tours include Usher’s global 80-date Past Present Future Tour, starting on 14 August, which includes ten sold-out nights at The O2 Arena in London and shows across Paris, Amsterdam, and Berlin, and Shakira’s highly anticipated sold-out Las Mujeres Ya No Lloran World Tour, which begins 2 November in North America.

Recently, Sarich oversaw Doja Cat’s global The Scarlet Tour, selling over 300,000 tickets, and Travis Scott’s Utopia – Circus Maximus Tour, which sold over 685,000 tickets and grossed over $95 million in North America and is currently playing off in Europe with over 200,000 attendees, grossing $23mn thus far. He also promoted Post Malone’s 2023 If Y’all Weren’t Here I’d Be Crying Tour, which sold over 1 million tickets and grossed over $100 million globally, and 50 Cent’s The Final Lap Tour, which sold over 1.1 million tickets across 16 countries.

Sarich’s other projects include Missy Elliott’s first headline arena OUT OF THIS WORLD – THE EXPERIENCE tour with Timbaland, Busta Rhymes, and Ciara which is currently making its way across North America.

Over the years, he has also worked on tours with Chris Brown, 21 Savage, Vampire Weekend, Snoop Dogg, Wu-Tang Clan, Nas, and more.

Your first three years in the business was on the ticketing side. Was switching to touring always your plan, or is something you gravitated toward as you got to know the industry?
Booking was always my long-term goal for working in the industry – starting in ticketing gave me a great knowledge of the fundamentals of the business as it relates to pricing, operations, and maximising revenue for clients.

You have some exciting projects coming up – are there any in particular you are looking forward to, for any reason?
Usher’s 80 date sold out arena run kicking off in Atlanta in August. Post Malone’s F-1 Trillion Tour, where he will be performing a collection of country songs from his new record and headlining iconic stadiums like Nissan Stadium in Nashville and Fenway Park in Boston. Plus Shakira’s Las Mujeres Ya No Lloran World Tour, kicking off in Palm Desert on 2 November.

As a tour director you must visit more places than most of your peers. Where is your favourite venue, and why?
Seeing a show at the Hollywood Bowl is always special to me – the iconic setting, atmosphere, and historical significance makes it one of a kind.

Do you have a mentor, or someone you can rely on to bounce ideas off?
I’m fortunate to work in a division with many talented & brilliant promoters, but Colin Lewis has always been a mentor to me since my first days in the industry – his dedication to his clients, staff, and craft creates an environment for many to achieve and thrive.

In terms of expanding your network of contacts, are there any events, platforms or forums you attend that you would recommend to others?
Just get out there as much as possible – go to as many shows as you can, go to the office, speak to your colleagues, learn who the next generation is. Don’t take for granted the natural connections and opportunities that can be made by just being present.

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