The LGBTIQ+ List

Pronouns: him/he/his Co-founder, HE.SHE.THEY. Based: London, UK brainzo@theweirdandthewonderful. com Linkedin.com/in/stevenbraines/

Tell us about a personal triumph in your career. In terms of HE.SHE.THEY., being the first events brand to ever be taken on by William Morris this month is insane. Last year, nearly 2 million people tuned into our Global Pride Stream with Beatport, and in 2022 we’ll hopefully be diversifying dance floors in 20-30 countries. We’re talking to buyers from China to Brazil and we’re still 100% independently owned by Sophia Kearney and I, which feels like a result in itself.

What advice could you give for young queer professionals? One of the ways I had to act was that I wanted to be the best manager and best promoter, not just the best queer one. It’s a different mindset and one that gets me over the imposter syndrome, most of the time, and away from glass ceilings. If you treat a difference as a USP rather than a weakness you will go further as others will view the difference in that way too.

Tell us about a professional challenge you often come across as a queer person in the industry. I literally had people tell me to be “less gay” or to “tone it down because the client is a man’s man.” So, all kinds of nonsense. I don’t pander to bigots; they simply do not get to work with me or my clients and, to be honest, you can be successful and bypass them. Our clients work in 40+ countries, selling out shows and winning awards, so we’re living proof.

What one thing could the industry do to be more inclusive? People should celebrate difference rather than thinking of anything that deviates from cis, straight, white and male as some kind of problem to be overcome or feared. Our line-ups with HE.SHE.THEY. are inclusive and intersectionally diverse. It’s really easy because talent and ability is spread diversely, too, and if you book based on talent, diverse line-ups naturally occur.

A cause you support. The closest to my heart is A Doll Like Me who make dolls of kids with limb differences and other differences so that they can play with a doll that looks like them and they don’t feel othered. Click here for A Doll Like Me’s Gofundme page.

How could the industry build back better, post-pandemic? The reason more cis, straight, white men play festivals and get signed to record labels is very much related to the fact that the majority of A&R’s, agents and programmers are also cis, straight, white and male. The gatekeepers need to be more diverse to allow talent supported to become more diverse, and, in turn, the audience would broaden too. We found that first-hand with our HE.SHE.THEY. events and label releases. Pronouns: him/he/his Director of tour marketing, UTA Based: London, UK Uk.linkedin.com/in/hillsean

Tell us about a personal triumph in your career. Managing and leading the promotional strategy for the Swedish House Mafia reunion in 2013 was an incredible moment in my career. It was a combination of ground-breaking experiential marketing, creative partnerships, visual artistry and a jaw-dropping live headline performance.

What advice could you give for young queer professionals? Persevere and never give up. I have had many rejections on my journey but you can’t lose focus of what it is you want to achieve. I believe anyone can accomplish anything they want if they are determined.

Tell us about a professional challenge you often come across as a queer person in the industry. For me, it’s just the simple ignorant comments or stereotypes. “That’s so gay” or “I’m surprised you’re into that.” I think those remarks stem from insensitivity, ignorance or a lack of personal experience with the LGBTQIA+ community.

What one thing could the industry do to be more inclusive? Give more people a chance and widen the recruitment pool. Look in new places.

A cause you support. AKT, a charity for LGBTQIA+ youth who are homeless or living in a hostile environment.

What does the near future of the industry look like? More women and individuals from under-represented communities in powerful roles.

How could the industry build back better, post-pandemic? Innovation! Let’s not go back to our old ways. It’s time to shake things up. I feel the pandemic has taught us a lot and we need to learn from that. I love that we are now using digital and mobile to improve the customer experience at events. People of all ages are coming online to purchase mobile tickets, which reduces the impact on the environment, decreases queuing times and makes everything available to you at the click of a button… even a drink during the interval at your favourite show!

Pronouns: she/her/hers Agent, UTA Based: Brooklyn, New York, US zoe.williamson@unitedtalent.com

Tell us about a personal triumph in your career. Working on and announcing Arlo Parks’ North America headline tour for this fall was a huge highlight. Seeing how much love there is in the US validated the incredible work that Arlo has poured into her music and into building an authentic and organic relationship with her fans.

What advice could you give for young queer professionals? Ignore the people trying to tell you to act or behave a certain way to succeed. If we’re going to make a shift in the industry, I would encourage any young queer and/or trans professionals to help break the mould of the traditional perception of “leaders.” We are the new leaders, and so anything we do is what leadership looks like.

Tell us about a professional challenge you often come across as a queer person in the industry. I’m sometimes put in situations where I’m asked to work with someone for the sole reason that they’re in the LGBTQIA+ community. It’s disappointing because at times it can feel as though I’m being paired with someone because of my identity, not because of my hard work or skillset.

Industry professionals often misgender and misunderstand sexuality, and we have to take time and energy to educate, which can be exhausting and daunting. I’m all about patience, but it’s hard to work in an industry that has been saying for years it’s going to do the work, yet year after year that work falls on us to do.

What one thing could the industry do to be more inclusive? During the pandemic, I am proud to have been a part of the launch of Justice Now, a task force within UTA’s music department that aims to reverse systemic racism in the industry through four pillars of education, mentorship, empowerment and fearless imagination.

I feel lucky to work at a company that celebrates and embraces the LGBTQIA+ community, but I want to see more of my community in the industry. I want us calling the shots; not just having a seat at the table but having a say in the decision making.

Causes you support. For The Gworls: Instagram.com/forthegworls/ The Okra Project: Instagram.com/theokraproject/ Marsha P. Johnson Institute: Instagram.com/mpjinstitute/ The Center: Instagram.com/lgbtcenternyc/ Trevor Project: Instagram.com/trevorproject/

How could the industry build back better, post-pandemic? We need to create a space for industry professionals within the LGBTQIA+ community to not feel targeted, isolated, neglected, and unsafe. Accountability means nothing without consequences. Basically, if we don’t start telling people “You are not above consequences for your actions” and actually walking the walk on that, I don’t see this industry changing at the rate it needs to. Pronouns: him/he/his Managing director and head of bookings, Iceland Airwaves Based: London, UK / Reykjavík, Iceland will@icelandairwaves.is

Tell us about a personal triumph in your career. I felt quite fearless with The Presets and the campaign around their 2008 album Apocalypso. It was a zeitgeist moment for the band in Australia, and some other markets. I was galvanised in my belief in the band’s music and its potential, and my conviction could not be broken.

We cracked commercial radio when no one said we would, and the album entered the charts at #1, hit triple platinum, sold more than 150,000 tickets in Australia across two tours, did all the major festivals around the world, ARIA Album of the Year, J Awards album of the Year, APRA Songwriter of the Year and so on.

I walked over fire and ice with that band. It was luck, timing and amazingly talented guys to work with, and while it was a real rollercoaster, it’s a time I now look back on with real pride.

What advice could you give for young queer professionals? Your life journey as a queer person has equipped you with more problem solving, truth seeking, empathy and lateral thinking than many other people. You see cultural connections and musical threads where others may not. Trust and follow your instincts and passions.

What one thing could the industry do to be more inclusive? More visibility of queer and under-represented professionals at an executive level. I really struggled to find queer mentors and individuals to look up to as I fumbled my way through my early years in the industry.

A cause you support. I’ve invested a lot of energy in working with PRS’s Keychange programme over the past four years, striving for better representation of the gender spectrum in the music industry. I’m pleased that with the campaign in Iceland, the number of signatories has grown hugely in the last six months. Again, as a festival we like to show, not tell. We are always pushing ourselves to be more representational, and with so much talent out there, it’s not hard.

What does the near future of the industry look like? Without bullies and dinosaurs. The generation of execs who have led out of fear, favouritism and deplorable morals is coming to the end of the road. I remember sitting in meetings with phones thrown against walls, promoters calling me to tell me “you are nothing,” having strips torn off me about an artist’s physical appearance. I won’t tolerate any of this shit anymore, and I think the rest of the industry is finally seeing that you can be good at your job and still be a kind person.

Pronouns: she/her/they Promoter assistant, Metropolis Music / founder, Women Connect UK Based: London, UK raven@metropolismusic.com Linkedin.com/in/raventwigg

Tell us about a professional challenge you often come across as a queer person in the industry. I’ve never felt any challenges with Metropolis Music, personally. We’re a very diverse and inclusive team and I’m very grateful for that. I have been told in other work environments that I ‘don’t look gay.’ I’m not sure what gay looks like, and it took me a long time to even identify with that word.

Once colleagues become aware of your sexuality, some folx will look at you differently and can never ‘unsee’ your queerness. I’ve also had my sexuality and relationship discussed like office gossip, and that set me back significantly as I struggled with understanding why others found it such a big deal, and felt extremely othered and vulnerable.

What one thing could the industry do to be more inclusive? Seek out queer, trans and non-binary talent, whether that’s on an artist front or for your employment opportunities. We need to give marginalised groups a foot through the door where we can. To change the discourse of seeing the same white, cis-gendered male, indie bands littered all over festival line-ups, it starts with us. By becoming more inclusive with our Spotify streaming habits, the demands shift and marginalised groups are given a platform.

Causes you support. London Friend. They’re an LGBTQ+ voluntary counselling service and they helped me masses over the past year in terms of “coming out” to my family and friends, accepting myself and being in a samesex relationship. It’s safe to say that without them and my counsellor, specifically, I wouldn’t be writing this so publicly for you today.

Women Connect. I have to plug our collective, of course. We are a femxle-forward collective creating safer, all-inclusive spaces, good fortune and equal opportunities for women, non-binary people and gender-fluid folx working in the creative industries and beyond.

The collective was birthed from a place of passion and the undeniable need for women in the creative industry to come together organically. We’re entirely self-funded and we aim to create a safe environment for our community.

What does the near future of the industry look like? Hopefully, very busy! The pandemic has affected our industry like no other. With the opportunity to grow and educate ourselves whilst working from home (I appreciate this isn’t the case for everyone), we’ve had more time to focus on ourselves and I truly think the industry will bounce back a stronger and kinder place.

I can already see the differences when communicating with agents and venues, we all understand the difficulties each of our areas of the industry has bore witness to and it feels so much more united. Pronouns: she/her Global event & experience architect, The Zoo XYZ Based: UK nadu@thezoo.xyz Linkedin.com/in/nadu-placca-bb2b6b32/

Tell us about a personal triumph in your career. Setting up The Zoo XYZ and being able to bring a wealth of knowledge and experience to the forefront of my career, enabling me to meet more amazing people and pass on skills and awareness to more communities across the world.

What advice could you give for young queer professionals? Proudly be you. This industry hosts an array of talent, characters and personas that stand confidently on our event shoulders. It’s equally important that these people are also recognised behind the scenes.

Tell us about a professional challenge you often come across as a queer person in the industry. My international work experience can be the most challenging, especially when working in countries that criminalise and fail to acknowledge basic human rights for the LGBTQIA+ community. I navigate these countries delicately, as whilst proudly loving who I love, these are still developing countries from a human rights perspective, so I use my status and power within the industry to support a more diverse event team wherever I can.

What one thing could the industry do to be more inclusive? Consciously, actively and openly encourage and support more people that do not look like you into your spaces. For organisations across the industry, from the top down to grassroots-up. Everyone has a part to play.

Causes you support. A few causes that have recently crossed my radar are: The Oasis Project & LGBT Rights Ghana. Any cause supporting the LGBTQIA+ community on the African continent deserves a platform to be amplified.

The Zoo XYZ is also raising awareness on Black event professionals; supporting all intersections of being Black in this industry through our BEEHive programme that supports Black Event Experience, and the Association of Black Event Professionals aimed at being the voice of this community across the UK event industry and beyond.

What does the near future of the industry look like? I would like to see more women and members of my community get involved in production and other aspects of the industry that are typically held by cis white males.

We have seen how the use of technology and social media has helped the industry expand and enhance its audience on a wider scale, yet this diversity needs to be adapted to the work forces behind the scenes for the real growth of the industry.

This forced pause has been time to reflect, and I hope organisations are moving away from theoretical ways of supporting other communities and are actively embarking on change. Real change.

Pronouns: she/her Keychange project manager, PRS Foundation Based: London, UK maxie@keyhange.eu Linkedin.com/in/maxie-gravy/

Tell us about a personal triumph in your career. When I got promoted into this Keychange role, it felt like a really big step that brought all of my life experiences together for a bigger purpose. It was so rad to host a queer dance party on the terrace of the Southbank Centre pre-pandemic with Dream Wife, Romy XX, Lil’ C and more – it was hot and packed, and everyone was dancing all day. It’s a memory I’ve cherished during this event drought.

With Keychange, taking part in Women’s Hour and travelling to Tokyo to speak about PRS Foundation were both bucket-list moments. I’m very lucky that my day-to-day work is focused on supporting under-represented voices in the music industry, so seeing them triumph is the best thing.

What advice could you give for young queer professionals? Find your community. I’ve been very lucky that through good times and bad, my wife, band, friends, family and colleagues have been a safe space for expression, inspiration and motivation.

Tell us about a professional challenge you often come across as a queer person. My vibe is transmasculine, which is quite attached to my queer identity (For me, not for everyone!). So the unconscious bias or immediate assumptions people make are often super obvious. I’ve learned to be good at dealing with awkward moments, but the constant ‘coming out’ is challenging.

What one thing could the industry do to be more inclusive? There should be better processes and stricter rules for both representation and inclusion, so that there are more LGBTQIA+ (and traditionally under-represented) people in all areas of the industry, as well as processes in place to make those environments safe.

Causes you support. There are lots of amazing organisations combatting abuse and harrasment in the music industry right now, like the Musicians’ Union, Safe in Sound, and the work of SwiM. Pride in Music, the LGBTQIA+ work that Come Play With Me do, plus other positive action initiatives like Power Up and Girls I Rate, are all awesome. Heart n Soul are a really important and inspiring talent development organisation too.

What does the near future of the industry look like? I hope there’s a move towards innovation and sustainability. Creating a collaborative ecosystem is essential, so every part of the music industry is valued and supported – and where that support is based on impact not income.

How could the industry build back better, post-pandemic? The pandemic should be a reason to create an industry that works for everyone, not an excuse to lean on the old, exploitative, and discriminatory structures. We are losing talent and voices every day and we need to urgently work together to fix this broken system. Pronouns: he/him CEO, Manchester Pride Ltd Based: Manchester, UK Linkedin.com/in/mark-fletcher-a1890689/

Tell us about a personal triumph in your career. In 2018, I introduced the black and brown stripes to the rainbow element of the visual identity at Manchester Pride drawing focus to the marginalisation and levels of racism experienced by LGBTQ+ people of colour. This sparked a global conversation that has highlighted the issues and led to the use of Daniel Quasars’ Progress Pride Flag to represent LGBTQ+ communities, recognising and calling out the added layers of discrimination faced by queer people of colour and trans people.

What advice could you give to young queer professionals? Always strive to be yourself, your whole self, with no apology.

Tell us about a professional challenge you often come across as a queer person in the industry. Over the years, it’s become clear that some agents don’t quite understand the modern Pride movement, how important it is and what it actually means for their artists. My team and I have had to persist despite being shut down and having doors closed in our face.

More recently, seemingly spurred by the desire of artists to support our cause, we’re finding that our persistence has inspired change. Many are beginning to recognise the important social meaning behind a pride celebration and understanding the difference between our events and commercial music festivals. We’ve seen a positive change in more agents and management teams wanting to educate themselves on LGBTQ+ issues in order to better support the pride movement and their artists.

What one thing could the industry do to be more inclusive? Support queer artists and take steps to recognise the issues faced by LGBTQ+ people today.

A cause you support. The Keychange movement– Keychange.eu/.

What does the near future of the industry look like? Right now, I’d really need a crystal ball to answer this question fully. What I can say is that the world has changed, the industry is fractured and it will take a lot of work to get the industry back to the level that we were used to and famed for within the UK.

How could the industry build back better, post-pandemic? I’d like to think that the world was awakened during the pandemic. The industry was not a level playing field. I’d like to see a conscious effort made to encourage greater inclusions across the board and higher levels of respect for differences.

Pronouns: she/her Associate promoter, Live Nation Based: London, UK maddie.arnold@livenation.co.uk

Tell us about a personal triumph in your career. When I began promoting my own shows and building my own roster. Nothing can compare to the excitement of a gig, the spontaneity, the emotion, the sweat – they’ve been a massive part of my life since I was a kid. After a few years in different roles within the industry, I knew I had to work my way to this point, and now I am selling tickets, discovering new artists and building their careers. It’s a great feeling, daily.

What advice could you give for young queer professionals? Finding out who you are and what you want in life is a journey... get lost in the process, make mistakes, learn from them, try new things, don’t settle, keep persevering when you feel like giving up, surround yourself with positive people, and don’t forget to have fun along the way.

Tell us about a professional challenge you often come across as a queer person in the industry. Apart from the occasional awkward silence when I tell someone new my sexuality, I am lucky enough to say my experience has been great. All the people I work with are hardworking, diverse, inclusive and kind people, and I have only ever been given support by my colleagues and managers who challenge me to do better and grow within my role.

What one thing could the industry do to be more inclusive? Keep going. Diversity and inclusion is becoming a massive part in working life and the music industry knows this, but there is still work to be done. We need more LGBTQ role models in the industry, whether that’s artists or the workers behind the scenes, it’s important for the younger generation to have people to look up to.

A cause you support. Mental health. As someone who has suffered on and off for years and lost close ones, this subject is very close to my heart and we all need to speak up more about it. Congratulations to all for getting through this past year!

What does the near future of the industry look like? Very exciting. Lockdown was awful for several reasons, but I have also discovered a lot of new artists during this time who have a great future ahead of them. The streaming got us through lockdown, but nothing will ever replace the experience of a live gig. The demand is there, people want to get back in a sweaty room and scream along to their favourite songs, and I think 2022 is going to be an insane year for us all. Pronouns: she/her Promoter assistant, DF Concerts Based: Glasgow, Scotland lauren.kirkpatrick@dfconcerts.co.uk

Tell us about a personal triumph in your career. Having a helping hand in TRNSMT and achieving the Silver Award for accessibility with Attitude is Everything is a top highlight for me. A lot of hard work went into that project and seeing it from the start to completion was an extremely proud moment. When we first started TRNSMT Festival in 2017, our accessible platform allowed for 100 people, and then, in 2019, we had the capacity for 300 people. I couldn’t believe the size of the platform when I stood on it for the first time. It was almost as big as the main stage!

What advice could you give for young queer professionals? Never let your sexuality be a barrier to your success. I’m a 24-yearold lesbian working in a department with five straight men, which was quite intimidating at first. It took me some time before realising that my situation wasn’t something to be apprehensive about but, instead, something to thrive from. Nobody else will go out and get opportunities for you so you need to do what is right for you every single time.

What one thing could the industry do to be more inclusive? We need more straight allies to be vocal about diversity within the industry. It’s not only down to the LGBTQI+ community to try and evoke change. When a company supports its employees regardless of their sexuality and gender, it’ll empower people and set a standard across the industry, which will, hopefully, pave the way for mass change.

A cause you support. Equality Network. They aim to achieve equality and improve the human rights of the LGBTQI+ community in Scotland. They work towards providing opportunities for people to become engaged in making Scotland a place for everyone, no matter their sexual orientation or gender. They want people to live free from hatred, prejudice and discrimination.

What does the near future of the industry look like? Hopefully more gigs than ever before! We can’t wait to get back to doing what we do best – bringing live music into people’s lives. In Scotland, our last live music event was in March 2020, so we are all so excited to get back into a venue as soon as possible.

How could the industry build back better, post-pandemic? In my opinion, music is the most powerful form of art and its way of communicating a message can be unparalleled. Having role models in the music business who promote positive messages about diversity and success will make people feel like having a career in music is absolutely achievable no matter what anyone may say.

Pronouns: she/her Guitar technician & tour manager, MsGyver Based: The Netherlands hq@msgyver.com

Tell us about a personal triumph in your career. Prior to my transition, I would get hired before I’d even finish saying yes. Never, during those 15 years, did I need to send a resume or even prove that I was worthy. After having struggled most of 2019 to get hired at all, I had finally managed to be accepted and respected as Laura. And as a result, my calendar was filling up again in the exact same way I had been used to for all those years.

What advice could you give for young queer professionals? Be yourself. Do not be afraid to speak up and be seen as your true self. Will it be awkward and frightening? Yes, you can bet on it. Do your job to the best of your abilities and accept only criticism on your possibly underperforming. Do not accept criticism on who you are. Ever. They have no right!

And, in the meantime, we – the ones currently in the industry – are working hard to (re)write the rules of engagement, while continually working on paving the path for you, so your path will be smoother.

Tell us about a professional challenge you often come across as a queer person in the industry. Today, as a woman (who happens to be transgender), I am on the receiving end of sexism. Not so much on the unsolicited sexual advances but all the more on the job equity.

My employability literally went down the drain when I changed my name and pronouns and what’s in my underwear. My skills stayed the same. Still, it took me a year of trying to get hired again. Twenty-five years of experience in the industry vanished, as if they never existed. Not even my resume was able to turn that tide.

Like other marginalised people, whether by being queer, nonwhite, or any other way, I now need to work twice as hard for the same ‘recognition’, and a mistake counts twice as heavily. It’s a steep and rocky hill to climb now, whereas my path as a mostly white male was as close to a smooth and level highway as can be.

What one thing could the industry do to be more inclusive? We need to stop hiring based on who we know or what tour we were on. And certainly stop hiring based on our likeness to cishet white men.

Do a good job and/or act like a human: get hired again. Do a poor job and/or act in a deplorable manner: lose your spot. Pronouns: she/her/hers Wellness + diversity specialist / live touring / tour assistant Based: London, UK Linkedin.com/in/joannecroxford Twitter: @joanne_does_It

Tell us about a personal triumph in your career. Volunteering with Girls Rock London and bringing the learnings around gender diversity and anti-racism in my recent work at the Tour Production Group (TPG) has been huge.

We recently had a production manager in the TPG give us the feedback that as a result of the space that production manager Keely Myers and I have co-facilitated, they feel comfortable to talk to their artists and clients about diversity in their crews, and that’s possibly one of the greatest achievements in my career to date.

What advice could you give for young queer professionals? There is a massive lack of queer talent in our industry and bringing other queer people with you is a chance to make real change happen. Be sure to identify active allies who are committed to getting more queer representation hired and feeling welcome in your work environment.

Tell us about a professional challenge you often come across as a queer person in the industry. Having to come out every time I meet someone new at work, or the side-eyes that I receive when people realise my partner is indeed a woman. I have noticed that doors close for me and opportunities have been taken away because I didn’t welcome, nor encourage, the male gaze.

Being sexualised as a heavily tattooed queer woman is tiring! And let’s not even get started on the challenges I have experienced when working alongside members of the trans community in this industry – trying to justify how a colleague decides to live their life to a room full of cis men is literally one of the most frustrating things I have had to do. Followed by having to continually correct people when they misgender someone. This kind of toxic masculinity is really unpleasant and certainly makes for a seriously unhappy workforce.

What one thing could the industry do to be more inclusive? Not assuming it is the responsibility for those from marginalised groups to teach others how to correct the problem around inclusivity. We all need to dig deep and take a very good look at the culture we have in our industry.

What does the future of the industry look like? Many of the new and younger artists and crew that I have been working with during this time are talking about introducing things like inclusion riders into their list of demands for live shows – as well as introducing Safe Space Agreements backstage where people can work with no worry of harassment. This is the future, and I am so excited to be a part of it!

Pronouns: he/him/his Chief operating officer North America, See Tickets Based: Los Angeles, US jim@seetickets.us

Tell us about a personal triumph in your career. Convincing Clear Channel Radio, a very conservative, Texas-based media company, to engage with the LGBTQ community in the late 90s/early 00s. That engagement included supporting local event producers and community-based organisations, culminating in providing more than $2million (€1.7m) in direct support to the local community over a ten-year period.

What advice could you give for young queer professionals? Always be your authentic self in all aspects of your life. Take measured professional risks in advocating for our community. Being true to yourself will allow you to openly enlist allies and advocates inside your company. Connecting how your business operates in the broader community directly improves lives, including the lives of the business’s employees.

Tell us about a professional challenge you often come across as a queer person in the industry. Finding the right mix of inclusion and “business success” is oftentimes seen as unrelated objectives. My view is that success and a fair and inclusive work environment are connected, as that type of environment creates the best atmosphere for employees to thrive and deliver. Similarly, convincing partners that a diverse event production and ticketing team will lead to better cultural sensitivities and better service results are equally as connected.

What one thing could the industry do to be more inclusive? Realising that diversity in your workforce and better service results are connected. When your customer base sees or hears a person “like them” at an event or on the phone they immediately feel heard. Alternatively, that diverse workforce is more empathetic and your customer will feel that empathy…

A cause you support. I’ve been actively involved in two local LGBTQ organisations over the past 20 years – APLA Health and Wellness, and The Trevor Project. Both organisations are committed to the health and wellness of our community’s youth. As a past board chair and treasurer, respectively, I was able to influence substantive community change and direct much-needed local resources to both charities. Their amazing work continues.

How could the industry build back better, post-pandemic? Safety first, through the deployment of smart and effective technology. I’m hopeful that the industry will focus on local programming and artists as well as local partnerships – for instance, partnering with neighborhood restaurants that may have been particularly hard hit by the pandemic. In addition, the industry should act to reward those that have been vaccinated/tested with benefits that reward productive behaviour with early access to shows, etc. Pronouns: he/him Music partnerships executive, CAA Based: London, UK guy.howes@caa.com

Tell us about a personal triumph in your career. Being promoted to executive at CAA in 2019 was huge for me, having worked my way up through the agency business for ten years. I’m lucky enough to work across the international roster and the incredible artists that CAA represents, and amongst a supportive team in London and internationally.

In 2019 – along with a group of LGBTQI+ professionals from across the industry – I helped to set up Pride in Music, a network to bring members of the community together from across the industry. Being able to meet and work with people to try to bring LGBTQI+ people together has been really rewarding.

What advice could you give for young queer professionals? Finding your peers and surrounding yourself with people who share your experience and can support you has been key to me. As well as finding your voice and being yourself as much as you can be in your work. At the start of my career, at times I found it easier to try to blend in. But LGBTQI+ voices being heard and representation through this can only make the industry better for everyone.

What one thing could the industry do to be more inclusive? Continuing to champion more diverse voices and listening to those in less represented groups across the industry. The more we can do to encourage and support LGBTQI+ and diverse professionals across the board, the better equipped we are to do good business. For example, CAA encourage us to have our pronouns on our emails sign-off. These changes can make a big difference in how people feel included in the workplace.

A cause you support. The charity Choose Love do incredible work with refugees and the crisis being faced by so many across Europe and the world. Particularly during the pandemic, the continuing work of charities such as this has been so important for the displaced and marginalised.

What does the near future of the industry look like? I work in one of the best partnership teams in the business and we’ve been busy during the pandemic supporting our artists by diversifying the opportunities we have been giving them, such as podcasts, virtual performances, brand partnerships, sync, brand ambassadorships and even NFT’s. Everyone has become increasingly open to different opportunities, which is going to lead to new areas for growth and ultimately a more innovative and resilient business.

How could the industry build back better, post-pandemic? It’s been great to see how people have pulled together throughout the pandemic to support each other across the industry. This can only see us come back stronger as we come out the other side.

Pronouns: he/him/his SVP field operations UK & Ireland, Ticketmaster Based: London & Manchester, UK doug.smith@ticketmaster.co.uk

What advice could you give for young queer professionals? The sad truth is that so many LGBTQ+ professionals go back into the closet when they begin their first job. My advice is to find a place to work where you can bring your whole true authentic self. Being exactly who you are at work, day in, day out, is fundamental to a happy life and the key to fulfilling your potential.

What one thing could the industry do to be more inclusive? Recognise that diversity and inclusion is important all year round, not just for one month. Leaders need to talk to their LGBTQI+ employees, regularly. Give them a voice, look at setting up an employee resource group and be an active supporter of it. Being an inclusive employer and an ally isn’t something you can simply tick off your list during Pride month, it’s an ongoing and evolving commitment.

Causes you support. It’s an absolute scandal that anyone is homeless in our society. I support two charities who both provide support to young homeless people – Centre Point and Albert Kennedy Trust. The latter provides support to LGBTQ+ young people who are facing homelessness or are living in a hostile environment.

What does the near future of the industry look like? Busy! Very, very busy! The pent-up demand from artists wanting to play and fans wanting to make real-life connections again is colossal. We’re gearing up for a huge outdoor season and then straight into an intense onsale season, and I couldn’t be happier about it. Pronouns: he/him Agent, Creative Artists Agency Based: London, UK chris.ibbs@caa.com

Tell us about a personal triumph in your career? I feel really honoured to work with a number of incredible clients on my roster that identify as LGBTIQ+, and helping them to amplify their voices and achieve their goals is incredibly rewarding. Selling out Brixton Academy with Sink The Pink was a highlight, and working with Jodie Harsh, who is having real mainstream success since signing with Warner Music, has been fantastic.

Another recent stand out has been signing Charli XCX with the team here at CAA. She is a really special and innovative artist and has a huge year ahead of her.

What advice could you give for young queer professionals? Be yourself. I feel you do your best work and achieve most when being your authentic self. I really feel that my career has benefited from me owning my passion for pop music and queer culture.

Tell us about a professional challenge you often come across as a queer person in the industry. I’m happy to say that I’ve yet to experience any challenges directly because of my sexuality. I’m extremely lucky to work for a company that celebrates diversity and queer people and, in addition, the people that I work with in the wider industry on a day-to-day basis have always showed me the same respect that they do every other agent. I’ve always been treated with the utmost respect and I hope that’s based on the merit of me being a good agent – who just happens to be gay. I know, sadly, this isn’t the case for everyone.

What one thing could the industry do to be more inclusive? We all have a duty and must continue to make the industry as diverse and inclusive as possible. It’s important that everyone feels they’re represented and everyone feels like they have a place at the table. I still think the industry has a lot of work to do there.

A cause you support. I’m a huge advocate for trans rights. I feel it’s greatly unfair that trans people still don’t have some of the most basic rights that many people take for granted – and that includes other members of the LGBTIQ+ community.

How could the industry build back better, post-pandemic? I feel we have really come together as an industry through the pandemic and supported each other through the worst period of time in our sector’s history. I hope that spirit of helping each other continues as we get back to live. It’s going to be a long road to recovery and we’re all going to need each other’s support more than ever.

Pronouns: they/them Coordinator, Wasserman Music Based: New York, US rmillhauser@teamwass.com

Tell us about a personal triumph in your career. I spent many years leaving a lot of myself at the door when I walked into the office or a show. While far from easy, deciding to walk 100% of myself through the door has been a profound relief and quite rewarding – both professionally and personally. Now I feel a strong sense of responsibility to use my voice to push for more opportunities for trans and gender nonconforming people, both onstage and backstage.

What advice could you give for young queer professionals? Be yourself. No career opportunity is worth compromising your identity for. One of my favourite words of wisdom came from Lenore Kinder – “There’s going to be very few people that hold the door open for you in this business, so you just gotta swing the fucker open and walk through.”

Tell us about a professional challenge you often come across as a queer person in the industry. Going to shows and meeting people face-to-face for the first time can be a wildcard scenario: sometimes I’m not quite what they imagined on the other end of that email address. While some moments have stung, I move right along and let my work speak for itself.

What one thing could the industry do to be more inclusive? We still have a long way to go when it comes to truly including and uplifting marginalised communities. How many queer people of colour work at your company? The answer is usually not great.

Causes you support. Trans Lifeline and The Okra Project. Personally, I’m committed to donating to trans people who need financial assistance with healthcare via crowdfunding websites and cash apps. The financial barriers the trans community faces when it comes to healthcare is astonishing.

What does the near future of the industry look like? Promoter versus agent mentality has to go out the window. Currently, in the US, the floodgates have opened but in a patchwork way, making it trickier to route a several-week tour months in advance. We’re responding to differing local regulations in real-time, putting shows on-sale with much shorter windows and facing avails that are few and far between. At the same time, live music has never felt more precious and meaningful.

How could the industry build back better, post-pandemic? Sustainable touring and climate change need to be at the forefront. No one needs to be an expert to make an impact. Carbon offsetting has never been made easier and there are many exciting new ways to approach concessions, catering, merch, fuel and so much more. Shout out to REVERB for leading the charge on this! Pronouns: he/him Director – touring, Live Nation Based: Los Angeles, US Linkedin.com/in/austin-sarich-193a2265

Tell us about a personal triumph in your career. It was a true privilege to be a part of Oprah’s 2020 Vision Touring Team. It was meaningful to me to help successfully grow a project that aimed to inspire people through personal growth and self-discovery.

What advice could you give to young queer professionals? Your sexual orientation will always be a part of your identity, however, it doesn’t have to be what defines you. Let your work, passion, and drive be your great impact on the industry, regardless of your sexual orientation.

Tell us about a professional challenge you often come across as a queer person in the industry. Working in a male-dominated industry, I would often find myself internalising that my sexual orientation would put me at a disadvantage when I first began navigating the relationships I was making.

What one thing could the industry do to be more inclusive? Leading through empathy – knowing everyone has their own personal and professional challenges, which could help unify us as a whole.

A cause you support. Today, I’m Brave, which is an organisation that focuses on empowering underserved youth to be brave and unlock their best potential.

What does the near future of the industry look like? An industry filled with gratitude and prosperity. After a year of uncertainty, I confidently believe we are all grateful to have live events back, with fans who have more of an appetite than ever to see their favourite acts live in concert.

How could the industry build back better, post-pandemic? I would hope that post-pandemic we can all operate efficiently with patience, kindness, and appreciation for each other and the hard work we commit to.