Asika: Potential of Africa’s event economy is huge
Afro Nation co-founder Obi Asika discussed his ambitions for the pioneering festival during Easol’s new masterclass series.
Since launching in 2019, Afro Nation has become the world’s biggest Afrobeats festival, spawning editions in Accra (Ghana), Miami (US), Detroit (US), Portimão (Portugal) and Balneario De Carolina (Puerto Rico). A Mexican edition had also been planned for September 2020, before the pandemic intervened.
Later this year, the festival will debut in Lagos, Nigeria – a country with “huge potential” according to Asika.
“Lagos is a huge one for us,” he said, during last week’s Creators in Session. “It’s been in the making – mentally, for me – for years. I feel like it opens up the whole continent and the whole country.
“There’s so much potential there – restaurants and clubs are packed – but large-scale events have been where things fall down. I’d love to prove the point that something large-scale can be done safely and in a quality way in Lagos because I think that would open up a lot of opportunities for everybody.”
“Lagos is a huge one for [Afro Nation]… it opens up the whole continent and the whole country”
Launching in Nigeria was also a personal goal for the British-Nigerian executive, who said that big agencies lacked knowledge about the market.
“In big agencies, I’d always hear conversations about promoters and they’d treat Nigeria a lot like Dubai or Saudi Arabia now where people ask for like three times the amount of money,” he said. “It really used to affect me, what I used to hear about it because obviously the promoters are not used to dealing with us. A lot of people made mistakes or didn’t understand how certain things work or certain deals work. I want to get respect for the continent.”
Outside of Africa, Asika said his sights are set on Brazil for further expansion of the Afro Nation brand. “We went to see [a location] and we love the idea. Once we’ve done Brazil, the loop will be closed. That, to me, will be an incredibly special show.”
In just four years, Afro Nation has achieved aggressive expansion but Asika, who is also the co-founder of Event Horizon and co-head of UTA’s UK office, said it wasn’t originally his intention.
“It wasn’t about doing a festival,” he explained. “It was about proving a point to the artist. As an agent, you’re trying to prove tickets. You take acts to certain levels to prove their worth and in the end, the big money made is at the festivals.
“I used to do Afro Nation for the artists, I don’t anymore…”
“We did some shows with Wizkid [who is represented by UTA] and we’d go back and say ‘He’s worth this now’ and I’d get knocked back. We got to the O2 arena [in London] with a show and that was basically Wiz’s headline show but we put a lineup underneath to make it a bigger ticket, like a festival, for the fans. Wiz came up with the name Afro Republic and I trademarked the whole thing. The partners were me, him and his manager.
“It was such a huge amount of work for me as an individual. You’re dealing with acts from different countries, who have not worked at these sorts of venues, and need visas etc. And then after the show, Wiz and his manager fell out and decided the brand was dead. I was so pissed off.”
Asika decided to call up SMADE, who promoted Afro Republic alongside Live Nation, and enlist him to help keep the idea alive. They would call the new incarnation Afro Nation.
“Then I called up Denis Desmond [head of Live Nation UK and Ireland] and told him about it. I asked if he wanted to be involved and he said ‘Yes, I’m going to buy it now’ and he did.”
The first edition of Afro Nation took place in Portimão’s Praia da Rocha beach in 2019, followed swiftly by an instalment in Ghana later that year.
“I’d rather not do [Afro Nation] than do it on the cheap”
“I don’t know how we got through [the Ghana edition] at times,” he said. “But it happened through the grit and determination of this team. I wanted to show the potential of the continent. That is a gift and a curse because it gets us into mad situations sometimes.
“Then we did Puerto Rico [in 2022] which was another challenging situation but it was a much easier location to do than Ghana. Pre-Covid, Puerto Rico was not a place that Americans visited much. But in Covid, a lot of Americans went because it was easier to get to. At the time we picked it, it was a perfect location because they needed events like ours – they don’t anymore.”
The Puerto Rico event didn’t return in 2023 but the Afro Nation team have kept busy with 2023 editions in Portugal and the US, alongside preparations for the Lagos debut. And while the brand has stayed the same, continuing to showcase Afrobeats hip-hop, R&B, amapiano, dancehall and reggae, Asika says the intention behind it has changed.
“I used to do Afro Nation for the artists, I don’t anymore… I do it for the customers,” he said. “For me, as a proud English person and a proud African who was often a minority, seeing the people who come to our show and what it means to them to be represented is why I’m so set on the quality of the brand. I’d rather not do it than do it on the cheap. I’d rather not do it for money.”
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IFF 2023: Execs talk driving audience engagement
A handful of top agents and festival bookers reflected on the power of festival lineups, audiences’ spending patterns and the impact of social media in the second panel of the 2023 International Festival Forum (IFF).
Moderated by Ticketmaster’s Dan Pearce (UK), today’s ‘The Audience Session — Community Matters’ panel brought together Niek Murraij (Pinkpop Festival, Netherlands), Virág Csiszár (Sziget Festival, Hungary), Sophie Roberts (United Talents Agency, UK), and David Mogendorff (TikTok, UK) at London’s Omeara venue.
As TikTok’s head of artist services across Europe, Mogendorff praised the impact the app has had in driving engagement and excitement towards annual summer festivities.
“It’s been an incredible year for festival content on TikTok,” he said. “We saw a huge amount of growth during the lockdown period. And over the last two years, we’ve seen some great content coming from artists and festivals, but mainly from fans.”
Having analysed around 100 festivals across the UK, Pearce pointed out that 2023 saw a 15% increase in ticket sales compared to last year. While it’s a “standout statistic”, he noted that it tends to change on a yearly basis, confirming a long-held theory that festival-goers care more about who’s on the lineup than the actual festival experience itself — which includes being in a safe environment, on top of other factors such as food & beverage and availability of facilities.
“Festivals have to be clever with the way they announce lineups… so that tickets can be purchased much earlier”
It’s a sentiment Roberts agreed with. “The lineup remains king,” she said. “It’s great that people care about the music, but that’s also been difficult for festival organisers because of the huge amount of stadium business happening right now,” also citing how vital lineup announcements are when it comes to selling tickets as quickly as possible.
“Add the fact that there’s only a finite amount of ad space, and people will only have a certain amount of attention for lineups coming out. Nowadays, festivals have to be clever with the way they announce lineups to ensure maximum attendance so that tickets can be purchased much earlier than they have been in recent times.”
“It’s a tricky situation to navigate, but we always want to announce lineups as early as possible,” Csiszár said. “Lineups are still very important to people, and the data being shown reflects this. Their satisfaction correlates with the acts booked to perform upon the official announcement.”
Another major talking point was the role of volunteer staff contributing to festivals, with Pearce also mentioning how some UK festivals received bad press for making volunteers pay a deposit that they will get back if they turn up to their allocated shifts accordingly. However, the rest of the panel were effusive in their praise for volunteers (Pearce stated they were the “lifeline of the post-pandemic festivals”), highlighting the important role they played as the industry continues to recover from the pandemic.
“We had a lot of last-minute volunteers this year,” Murraij said. “However, we were able to foster a great community with those who attended for work and did their duties in a diligent manner. We’re thankful for working with a focused group of volunteers, who consistently showed up for their shifts, and we can create a great bond with them for many years.”
“While it’s important to have local acts in our lineups, we have to manage international fans’ expectations”
Alongside the increased role of volunteers in ensuring that festivals run smoothly, the panel rounded off their discussion with the rising prominence of local/domestic talents in major shows — which has been another knock-on effect brought about by the pandemic.
“Over the last few years, we’ve seen a massive growth in local music and in the UK and other markets around Europe,” Mogendorff said. “Some of it has been caused by the decreasing influence the US has over the musical landscape as well, with talents from Africa and the Far East also racking up huge listener numbers in recent years.”
“I’m not sure that we’ll see a Dutch act headline a major festival yet, but compared to a decade ago, we’re certainly seeing more Dutch acts on our bill,” says Murraij. “They’re selling out venues like the 17,000-capacity Ziggo Dome in Amsterdam right now, and there’s bigger demand for domestic acts these days.”
However, Murraij did note that headliners will retain an international majority for the time being, which Csiszár agreed with. “While it’s important to have local acts in our lineups, we have to manage international fans’ expectations and have those global talents as headliners on the main stage,” she said. “Saying that, it’s very pleasing to see Hungarian artists do very well in stadium shows across the country.”
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The New Bosses 2023: Parker Glenn, UTA
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 Niklas Magedanz, promoter at Goodlive (DE) here. The series continues with Parker Glenn, a music agent at UTA (US).
Parker Glenn is an agent in UTA’s Music division representing a diverse range of clients including Chance The Rapper, FKA twigs, Polo & Pan, Yves Tumor, Durand Jones, Jordan Ward, Dorian Electra, Major League Djz and more. With a deep understanding of artists’ unique needs and unwavering support for their artistic vision, Glenn has emerged as a future leader in the music space.
Over the past 12 months, he has closed significant deals for his clients including: helping launch Chance The Rapper’s highly anticipated Acid Rap 10-Year Anniversary Shows in New York, Los Angeles and a sold-out show in Chance’s hometown of Chicago; guiding Polo & Pan’s rise by booking closing sets at renowned festivals like Lollapalooza, Outside Lands and Osheaga and booking milestone headline shows at iconic venues such as The Hollywood Bowl, Red Rocks and more; and facilitating South-African musical duo Major League Djz’s highly successful North American tour which marked the first Amapiano artist to tour North America.
Elevating Venezuelan artist, Arca’s career over the past two years, culminating in Glenn booking a groundbreaking new show and residency at the prestigious Park Avenue Armory in New York this October. Glenn’s commitment to the music industry extends beyond traditional dealmaking. As a proud member of UTA’s Justice Now initiative, Glenn actively contributes to the success of the organisation’s mission to dismantle boundaries based on social or racial identity in the industry.
Why did you choose to pursue a career in live music – is it something you studied at university, or is anyone else in your family in the business, for example?
It was kismet. I essentially got my start in music when I bought my first set of turntables and speakers in high school. I was already a music head so DJing and putting on shows quickly became a business for me. In college, I started organising shows at Cal Poly San Luis Obispo and as soon as I started working with agents, I knew that was what I wanted to do. It all hit very quickly.
What advice would you give to anyone who is trying to find a job in live music?
Be open, keep at it, and take every meeting you can get. You never know where a conversation might take you.
Who on your roster should we all be looking out for in the year ahead?
Jordan Ward is about to have a breakout moment. He’s an incredibly hungry and versatile artist from St. Louis signed to Interscope/No I.D.’s ARTium Recordings, and managed by Eddie Sikazwe. His debut album FORWARD has been one of 2023’s best and received cosigns from SZA and Tyler, the Creator, among others. His whole debut headline tour sold out immediately, and we’re backing that up with tours with Smino, JID, and also 6LACK coming this fall. Simply one of those artists you cannot deny – check him out.
Where is your favourite venue?
For me, you can’t beat an evening at the Hollywood Bowl – it’s always a privilege to be there.
“I always say I’d like to see more kindness. I’m big on that in my business…”
You brought Major League DJz to North America. How was that tour received and can you see the market for Amapiano acts growing?
Major League DJz tour was a smashing success. There’s so much excitement around the guys and the shows right now. I remember the first time I ever saw them – the energy in the room was palpable. I couldn’t stop raving about my experience for weeks.
The market for Amapiano acts is booming and Major League DJz is a major reason for it. The project with Major Lazer was a milestone. Wizkid, Burna Boy, Black Coffee and others have all been supporting as well. It’s a fairly new market in North America but the growth has been organic and we’re excited for the future of the genre.
UTA’s Justice Now initiative sounds interesting. Can you tell us a bit more about it?
Justice Now is an internal initiative that was created in response to George Floyd’s murder in 2020 to address social injustices within the music and entertainment industries. There are four different subgroups that make up Justice Now: Education, Empowerment, Mentorship and Fearless Imagination. I’m a member of the Education group where we meet quarterly to discuss various topics and create an open dialogue amongst our team.
As a new boss, what would you like to change to make the live music industry a better place?
I always say I’d like to see more kindness. I’m big on that in my business and always try to foster an environment where we treat others with respect, especially in the tough moments.
What events, tours or festivals are you most looking forward to in the year ahead?
There are quite a few events coming up in the next year that I’m looking forward to. From the client side, we have a very exciting show coming up for Major League Djz in October. Polo & Pan’s penultimate slot at Portola in San Francisco will also be a special one. And I’m shamelessly excited to see what U2 brings to the Las Vegas Sphere for Achtung Baby.
As an agent, are there any particular events, forums or platforms that you visit to try to discover the next big act?
For me, the two keys to finding the next big act are making it a point to listen to others, and the second is to never stop being curious. If you do those two things well and believe in your taste, the rest will follow.
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UTA ups Brandi Brammer to SVP global music ops
UTA has elevated Brandi Brammer to senior vice president of global music operations.
In her new role, Brammer will lead the day-to-day operational work of UTA Music, spanning human resources, legal and business affairs, finance, facilities and technology initiatives.
Previously, Brammer served as UTA’s vice president of people and business partnerships. She will continue to be based in Nashville.
“I’m thrilled to take on this new leadership role during such a pivotal moment in the growth and evolution of UTA Music,” Brammer said. “This is such an incredible opportunity to foster synergy across so many integral parts of UTA music on a global scale with the most talented people in the business.”
“I’m thrilled to take on this new leadership role during such a pivotal moment in the growth and evolution of UTA Music”
Before joining UTA in 2021, Brammer served as vice president of human resources at WME and led HR for the music division. She also previously worked at CAA, helping triple the size of their Nashville office and eventually overseeing HR for the company’s music and sports divisions across the Southeast.
Earlier in her career, Brammer worked at the Academy of Country Music as director of events.
“Brandi’s an exceptional leader who has played an integral role in growing our presence in Nashville and beyond. Her deep experience, proven track record and collaborative approach will be an invaluable asset as UTA music continues to expand globally and scale our business on a global stage,” said Scott Clayton, UTA partner and co-head of global music.
Over her 20-year career, Brammer has been recognised for her work to increase the representation of women across the music industry. Dozens of women she has hired and mentored are now agents or executives within the industry.
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LGBTIQ+ List 2023: Christina Austin, UTA
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, starting with Christina Austin (she/her), a music agent at UTA in the UK.
Christina Austin is a music agent at the London office of leading global talent, entertainment, sports, and advisory company UTA. She currently works with several diverse artists on her roster, including Molchat Doma, Cheddar Gorgeous, Alina Pash and ZAND.
In addition to artist representation, she is a member of UTA Proud, the agency’s LGBTQIA+ employee resource group, as well as UTA’s women’s committees.
Christina joined UTA after working in music venues across London for seven years, starting out as a cloakroom attendant at Matter and going on to become part of a team at Brooklyn Bowl London, booking artists like The Bronx, Martha Reeves, and Frank Carter & The Rattlesnakes in less than two years.
Tell us about the professional feat you’re most PROUD of in 2023 so far.
Signing the first drag artist out of the London office, the legend that is Dr Cheddar Gorgeous. My love for Cheddar pre-dates UK Drag Race stardom; their creativity and philanthropy are unmatched. I’m beyond proud to be working with such an icon alongside the most wonderful queer team.
Name one queer act you’re itching to see live this year.
One is not possible: ZAND, Christine and The Queens, and Rebecca Black, among so many others.
What advice could you give to young queer professionals?
Never alter who you truly are for the sake of someone else’s comfort. Or my recent favourites: “If it’s not going to matter in five years, it doesn’t matter now” and “I am a rich man.” Credit: Cher.
“There needs to be a new system put in place that’s not centred around a ‘CIS-tem'”
What’s the best mistake you’ve ever made?
Saying yes to something WAY out of my comfort zone, and here we are, six years later.
In terms of challenges in the industry, what’s currently keeping you up at night?
The lack of opportunities for queer artists outside of the existing ‘check-mark criteria.’ There needs to be a new system put in place that’s not centred around a ‘CIS-tem.’
How do you see the live music business developing in the next few years?
Currently only 6.7% of women in the live industry are in senior executive positions. Getting this to 50% is the goal – tough but not impossible. I hope to see gender-balanced festivals and more female/non-binary people in the driving seat.
“I hope to see gender-balanced festivals and more female/non-binary people in the driving seat”
Name one thing you’d like to see the live music business change.
I want to see more young people given a platform. Fresh ideas and a nurturing environment should be the starting point.
Name one thing the industry could do to be a more equitable place.
Listen (in full!) to people, regardless of title, without interrupting. Everybody deserves to finish their sentence.
Shout out to your biggest ally in the live music industry.
He is now ex-industry as he chose the quiet life, but this one goes out to Moz.
Do you support any LGBTIQ+ causes?
The Outside Project
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LGBTIQ+ List 2023: Meet this year’s queer pioneers
IQ Magazine has revealed the LGBTIQ+ List 2023 – the third annual celebration of queer professionals who make an immense impact in the international live music business.
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.
The 20 individuals comprising the LGBTIQ+ List 2023 – as nominated by our readers and verified by our esteemed steering committee – are individuals that have gone above and beyond to wave the flag for an industry that we can all be proud of.
The third instalment comprises agents, promoters, tour managers, marketing executives, consultants, founders and more – all of whom identify as LGBTIQ+ and, in the face of adversity, have made enormous contributions to their respective sectors.
In alphabetical order, the LGBTIQ+ List 2023 is:
Christina Austin, music agent, United Talent Agency (UK)
Hila Aviran, director of entertainment & tours, PixMob (US)
Johanna Beckman, senior creative curator and promoter, FKP Scorpio Sweden (SE)
Amy Greig, booking agent, Runway Artists (UK)
Adem Holness, head of contemporary music, Southbank Centre (UK)
Kane Kete, client development manager, Ticketmaster (AU)
Ippei Kimura, booking/marketing/tour manager, Creativeman Productions (JP)
Katherine Koranteng, marketing & campaigns manager, Festival Republic (UK)
Stefan Lehmkuhl, freelance curator & live entertainment consultant, BMG/Ruined My Rainbow (DE)
Lucy Mackenzie McNae, tour manager (Josef, Twin Atlantic), Two and a Half TMs (UK)
Saskhia Menendez, innovator at Keychange, board of directors at F-List Music (UK)
Dev Mistry, global internal comms manager, DICE (UK)
Frederik Diness Ove, founder, Queer Music Agency (DK)
Boyan Pinter (Boiadjiev), founder/director, SPIKE Bulgarian Music Showcase (BG)
Scott Robson, event manager, ASM Global (UK)
Roman Samotný, director, Queer Slovakia (SK)
Marie-Christine Scheffold, senior booking agent manager, Selective Artists (DE)
Karim Siddiqui, senior booking manager, Live Nation (US)
Areti Tziorta, marketing manager, TEG Europe (UK)
João Pedro Viana, music agent, WME (UK)
Throughout the next month, IQ will be publishing full-length interviews with each person on the LGBTIQ+ List 2023.
Subscribers can read the full Pride edition now. Click here to subscribe to IQ from less than £8 a month – or see what you’re missing out on with the limited preview below.
Check out 2022’s cohort of queer pioneers here, and 2021’s cohort here.
UTA hosts gala opening for new London office
Leading global talent agency UTA has marked the opening of its new London office with a gala opening event attended by clients and industry leaders.
Designed by award-winning architectural firms Gensler and Modus Workspace, the 28,000 sq ft space occupies two floors at One Newman Street W1, at the intersection of Fitzrovia and Soho.
The site will house the company’s music department and other divisions, and is close to Cunard House, the new home of UK talent and literary agency, Curtis Brown Group, which became part of UTA last year.
“This expansion reflects UTA’s growing investment in bringing UK and European clients more opportunities to make an impact around the world
“London is one of the world’s great cultural and commercial centres, and this expansion reflects UTA’s growing investment in bringing UK and European clients more opportunities to make an impact around the world,” says Jeremy Zimmer, CEO and co-founder of UTA. “We’re excited to move into our new London home, creating a vibrant hub for our expanding team and range of capabilities across entertainment, sports and business.”
UTA’s London office will continue to be co-led by music agents Neil Warnock MBE and Obi Asika. The firm first established a presence in London with its 2015 acquisition of The Agency Group, and swooped for London-based Echo Location Talent Agency in 2021.
Speaking to Variety, UTA president David Kramer says the firm plans to maintain its co-agent relationships “with the biggest and smallest agencies” in the UK.
“We realise the importance of the UK market and the talent that comes out of that market and the agent’s right to represent that talent at the very beginning of their career,” says Kramer. “We feel it’s a privilege to get the right to represent with those partners. So, we are very careful about making sure they feel completely in the loop on everything we’re doing. And they do the same for us.”
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CAA’s Emma Banks wins top Music Week Awards honour
CAA London co-head Emma Banks collected the top honour at last night’s 2023 Music Week Awards in London.
The leading agent was presented with The Strat – awarded annually to an industry icon – by singer and CAA client Becky Hill.
Video tributes came from the likes of Live Nation’s Denis Desmond, SJM Concerts’ Simon Moran, WME’s Lucy Dickins, Peter Mensch and Tara Richardson of Q Prime, and Banks’ CAA longtime colleague Mike Greek, as well as artists such as Katy Perry, Florence Welch, Jack Black, Paramore and Chad Smith of the Red Hot Chili Peppers.
“I can’t think of anybody who deserves it more,” said Desmond. “Over the years, you’ve built a fantastic business. Your many groundbreaking achievements are well recognised in what was a male-dominated business. You were firm; you were fair. You think of the long-term interests of your artists. You have no problem telling it like it is, and that it is not always about the money.”
“You’ve had a fantastic career so far, you are one of the most influential music agents of all time and deserve – really deserve – all the accolades you receive,” added Greek. “You’re a champion for your clients, an inspiration to all of us that know you, and you’ve made such a positive difference to so many lives, be it clients, be it colleagues or friends. It’s been an amazing ride to work alongside you all these years, and long may that continue.”
“We will be a far worse place if Brixton Academy doesn’t exist”
Banks used her acceptance speech to encourage more support for grassroots venues (“These venues have given so many important artists their start. We can’t let that die”), while also rallying people to support the campaign to save O2 Academy Brixton from closure.
“We will be a far worse place if Brixton Academy doesn’t exist,” she said, while also paying tribute to touring crew and staff (“The people that get up first and go to bed last”).
Hosted by BBC Radio 1’s Vick Hope, the sold-out event took place at Battersea Evolution and was attended by more than 1,400 industry guests.
Winners in the live categories included Kilimanjaro Live (Live Music Promoter), which also triumphed at the inaugural LIVE Awards last year, UTA (Live Music Agency), Reading & Leeds Festival (Festival of the Year), Dice (Ticketing Company) and Leeds’ Brudenell Social Club (Grassroots Venue: Spirit Of The Scene). In addition, The 1975’s manager Jamie Oborne of All On Red Management was named Manager of the Year.
Emma Banks and Mike Greek will deliver a joint keynote at this year’s International Festival Forum (IFF), taking place between 26-28 September in London. After more than 30 years of working together, the powerhouse duo behind CAA’s London office will share the conference stage for the first time ever.
This year’s keynote is due to take place at 11.30am on Thursday 28 September at IFF’s new home, Omeara, in south London.
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UTA announces huge round of promotions
Leading global talent agency UTA has announced 65 promotions across 20 departments.
The promotions encompass an array of divisions, including Music, Motion Picture Literary, Unscripted Television, Klutch Sports Group, Production Arts, UTA Entertainment & Culture Marketing, Media Rights, MediaLink, Endorsements & Voiceover, IQ, Brand Studio, Business Affairs, Corporate Strategy, Culture & Leadership, Finance & Accounting, Fine Arts, Information Technology, People, Theatre, and UTA Speakers.
Those newly elevated in music include London-based agent Sean Hendrie and coordinators Jack Benson, Eli Hanavan, Maria Kanatous, Elie Low, Cassie Trimble and Sydney Wilke.
“These promotions reflect our longstanding tradition of investing in our people”
“These promotions reflect our longstanding tradition of investing in our people,” says UTA president David Kramer. “As UTA continues to aggressively expand our footprint and our offerings to clients, I’m excited to recognise our colleagues who make our exceptional service to clients possible every day.”
The majority of those promoted to agent came up through UTA’s agent training programme. Women constituted more than 50% of the promotions announced, while more than 30% of those elevated identify as people of colour.
The promotions come amid a period of substantial growth and diversification for UTA. Over the past two years, highlights have included UTA’s acquisition of MediaLink, its acquisition of leading UK talent and publishing agency Curtis Brown Group, the purchase of publishing agency Fletcher & Co., and a strategic partnership with global investment firm EQT.
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Live Nation elects Rich Paul to board of directors
Live Nation Entertainment today announced the election of Rich Paul to its board of directors.
Paul is the founder and CEO of Klutch Sports Group, as well as head of sports at UTA where he also serves on the board. UTA invested in Klutch in 2019 and the two companies recently opened an Atlanta office, setting up a full-service base of operations in the city for artists, athletes, musicians and brands.
Paul represents some of the world’s top athletes, helping them make strategic decisions about professional playing careers as well as develop successful brand and business ventures.
“Rich brings a valuable perspective from sports, business, entertainment and more,” says Greg Maffei, chairman of the Live Nation board of directors. “We’re fortunate to welcome him as a new addition to our board.”
Michael Rapino, president and CEO, Live Nation Entertainment, adds: “Rich understands what it takes to help talent develop a long and successful career. His input will be a great addition as we continue driving more value for artists and their fans through live shows.”
“Rich understands what it takes to help talent develop a long and successful career”
Rich comment: “Live Nation’s artist-centric approach to business makes this a really natural fit for me. Going to an event live is one of the most powerful ways to experience sports and music, and I look forward to contributing to the company and the industry in this new way.”
Paul has received a number of accolades for his excellence and innovation within the industry, including being named GQ’s 2019 PowerBroker of the Year as well as The King Maker on Sports Illustrated’s 2019 cover, and being honoured on Variety’s Variety500 list of the most influential business leaders shaping the global media industry.
Klutch Sports has also been recognised by TIME on their inaugural TIME100 Most Influential Companies List. He has also become well known for using his influence to power important social impact – driving the reversal of what was known as the Rich Paul Rule which would have banned agents without a college degree from representing NCAA student athletes.
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