The New Bosses (left to right): Anna Bewers, James Simmons, Lukasz Tracz, John Rugemalira, Stephanie Clive, Teun Heijmans, Inga Esseling, Maarten Van Vugt, Charlotte Spooren and Dave Bradley
2014 MARKS THE SEVENTH YEAR of IQ’s New Bosses spotlights, meaning that among those asked to nominate this year’s candidates were the 60 previous winners, many of whom have gone on to carve out stellar careers in the live entertainment industry. As you will see in the following pages, this year’s crop of rising stars is no less impressive. And the fact that the fairer sex account for 40% of the 2014 New Bosses is also heartening – perhaps next year we’ll have true equality with a 50/50 mix… When it comes to job roles, the agents are slightly outnumbered by the promoters this year. But the entrepreneurial spirit runs throughout your chosen ten, because many of the winners on the 2014 shortlist started their careers by establishing their own fledgling operations. Geographically, we’re also broad in range with winners based in America, Belgium, Finland, Germany, the Netherlands and the United Kingdom.
The criteria for the New Bosses remains constant: nominees need to be aged 30 or under and need to be impressing ILMC members with their approach to business. Our tenstrong winners are now in the running for the accolade of Tomorrow’s New Boss which will be awarded at the Arthur Awards ceremony during ILMC 27 next March (voting for which gets under way on the ILMC website later this year). In the meantime, if you’re looking to build relationships with individuals whom your peers predict will be the industry’s main decision makers in the coming years, then you could do worse than add the ten profiled New Bosses winners for 2014 to your contacts.
Anna Bewers (UK)
What are you currently working on?
Age: 29
Agent, The Agency Group
In the summer of 2005, and whilst completing a history degree at university, Anna worked as an intern at The Agency Group. After graduating she started working at the company again, as an assistant just a week later. She became an agent in August 2013. How is the role of an agent changing?
You have to be onto new bands so much earlier. A band may have a few demo songs; no management and no label; and have never played a show when you first come across them. You have to take a risk and sign bands earlier or someone else will. How do you identify new acts for your roster?
The music: it doesn’t matter what genre, if I like it, I’ll look into the band. For the majority of the bands on my roster I also have to see the live show before I sign. You can tell if an artist has the potential even in a terrible venue.
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Gordon Masson, editor, IQ Magazine
My day-to-day work varies. Being a relatively new agent I spend a lot of time developing new artists, so getting the band’s name out there and making promoters aware of them is just as important as getting a tour routed. What’s your proudest achievement to date?
I think being the first assistant at The Agency Group’s UK office to be promoted to agent. For my bands, probably Reading Festival this year. My first festival was Reading 14 years ago and I’ve been every year since. To have two bands I’m working with playing the main stage in my first year of being an agent is a highlight for me. Who do you turn to for advice?
Anyone at The Agency Group. I work with a wide range of bands from different genres so I don’t just turn to one person. If you need help and advice, we all have time for each other.
IQ Magazine September 2014
James Simmons (UK)
Age: 26
Agent’s assistant, International Talent Booking
While at university, James started working for independent promoter Melting Vinyl. In 2009, he started as an intern at ITB, and six months later began working with Lucy Dickins. James is now building his own roster, as well as assisting on Adele, Mumford & Sons, Laura Marling, James Blake, Hot Chip, and Jamie T, amongst others. What’s the trickiest part of your job?
Managing artists’ expectations with what’s realistically achievable, but still pulling the impossible out of the bag when it counts. How do you find new acts for your roster?
Keeping on it – listening to new music, spending lots of time watching bands and building good relationships with promoters, A&Rs, managers, lawyers etc. What are you currently working on?
What’s your proudest achievement to date?
Watching James Blake win the Mercury Prize was brilliant. It gave me such a buzz to be part of the journey and it was thoroughly deserved and a long way from the St Pancras Old Church shows where Lucy and I ran the box office! If you could change one thing about the live music business what would it be?
Artists need time to develop rather than being written off after their first record. That way, there would be more care and attention paid to career longevity rather than hyping ‘the next big thing’. It’s not sustainable and that’s why there aren’t enough acts to headline major festivals. No good for the artists, the industry or the fans. Who do you turn to for advice?
Lucy and Barry Dickins. Enough said! I’m also lucky to work with people throughout the industry who I can chat to openly about ideas and issues over a drink or two.
Setting things up for Eaves this autumn; Vance Joy’s European tour early next year; Mumford & Sons have a few ideas; and Jamie T’s return is really exciting.
What’s the biggest lesson you’ve learned at ITB?
Lukasz Tracz (USA)
in 2007 to a 25,000-people festival in 2013 at the Sun Life Stadium (where I grew up watching my favourite sport teams) is just incredible. This year we are turning it into a two-day festival where we are expecting over 55,000 fans.
Age: 29
Chief marketing officer, Life In Color
Lukasz is a co-founder of Life in Color – The World’s Largest Paint Party – where he handles the overall marketing and social media initiatives for the brand. Born in Poland, he relocated to America in 1994, where, along with twin brother Patryk and two college friends, he created and developed a concept that revolutionised dance music. What’s the best thing about your job?
Our team and our fans. I love the people I work with. Through the last five years we built a dream team and it’s what makes my job so special. There have been multiple times I stood on stage and started to tear up looking at the energy of our crowd and seeing thousands of smiles. It’s always been about the fans – we always say, “The real VIP is on the dance floor.” What’s your proudest achievement to date?
Seeing our Miami show grow from a 900-people club show
John Rugemalira (Finland)
Age: 30
Head promoter, RL Concerts
In 2005, John started organising parties with business partner Hardi Loog. Their big break came in 2008, promoting Good Charlotte in Tallinn, Estonia. Ice Cube, Talib Kweli and Sebastian Bach soon followed and RL’s broad range has seen John work with everyone from Wu Tang Clan to Nigel Kennedy, and Rise Against to Paul Anka. Recently the company launched its Weekend Festival and, this year, the sold-out 25,000-capacity Weekend Festival Electro Disco Edition. What are the main challenges in the Finnish market?
With its 5.5 million residents, combined with the short summer period for outdoor shows there’s a lot of competition over summer events. There has been a bit of a struggle selling tickets to these bigger summer shows and, when the artist and production costs remain high due to the fact that Finland is a bit off geographically not every promoter can survive the summer.
IQ Magazine September 2014
Be respectful because it’s a small industry and you never know who you’ll end up working with in the future.
What difference has the SFX takeover made to Life In Color?
SFX has been a blessing in disguise for our company. Aside from helping us financially, they have helped us expand into more than 30 countries, with some shows doing over 15,000 in attendance and receiving amazing feedback – and it’s only the tip of the iceberg. What do you see yourself doing in five years’ time?
I love being on set and directing videos – it’s where I’m in my element. I really see myself making movies and investing some of my own money into some independent films. It’s a dream and goal I’ve always had, and like I always say: set a goal, and don’t stop until you get there. How do you build relationships with professionals in other countries?
It started with just randomly emailing agents and hitting management offices with an occasional phone call, only to realise the agents are always in a meeting. After a while, and a few successful smaller shows, we got some credibility for ourselves and set-up an actual meeting with an agency, so we suited up and tried to look professional. Then we found ILMC, dressed casual, got drunk and meeting different people felt easier. What is the best lesson you have learned so far?
You don’t always need to offer the sum the agent is quoting, and it’s ok to sometimes pass on a possible show. The markets are different, make an offer for your market. Take risks, but don’t be stupid! What one thing would you change about the business?
I’d like to change some city councils’ or politicians’ attitudes and restrictions towards events and music festivals, but that’s a whole different story.
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Stephanie Clive (UK)
Age: 29
Agent, Coda Agency
Stephanie began her career as an intern for Festival Republic and soon had a paid position working on the Latitude and Reading/Leeds festivals. She moved to Coda Agency in 2010 as Rob Challice’s assistant. At the same time, she became general manager of the Summer Sundae Weekender festival. In 2012, she started booking acts for Rob, and soon began developing her own roster. What are you currently working on?
I’m currently working with some new acts I’m pretty excited about. Rosie Lowe, All We Are, Denai Moore, Gwilym Gold, Sylvan Esso. Plus booking for more established acts like Blonde Redhead, Erlend Øye and Tune-Yards. What’s the best thing about your job?
Getting to speak to people all around the world, listening to lots of music, and, of course, seeing gigs, especially the ones I’ve been involved in. Seeing all the detail from the computer
Teun Heijmans (Netherlands)
Age: 26
Agent/promoter, Belmont Bookings
Although Teun started going to shows and playing in bands at an early age, he says he never thought about going into the music business. However, he worked as a stage manager at Utrecht music venue EKKO for four years and alongside that started working at Belmont Bookings in 2010. Does being a promoter/agent give you an edge?
Not really, as it’s not about me, but it does keep you sharp. You have to be on it all day every day and seize the right moment in order to pave the way for your artist. Also, don’t be an asshole – it’s about what’s best for the artist. What are the biggest challenges for live music in your market?
screen turned into a truly exciting live show is brilliant. I especially like being a part of Coda as it’s a really open and collaborative environment. What’s your proudest achievement to date?
Adding a new artist that you love to the roster is always a proud moment. Aside from the above, Noah and the Whale and Raury are two acts I was very happy to help bring into Coda, and seeing all the hard work pay off when Bon Iver played Wembley was great. What one thing would you change about the business?
More women around please!
What advice would you give to anyone who wants to become an agent?
Listen and learn as much as you can about all facets of the industry. Find a good mentor. I’ve been really lucky to start working with Rob Challice and the other directors at Coda Try to balance going to shows/networking/listening to music with being organised and attentive to detail. music to the masses. Then there are a thousand festivals without identity that thrive on subsidies. What do you enjoy most about your job?
Working together with amazing and passionate people from all over the world, and seeing the artists you love reach new heights. What are you currently working on?
Expanding our Netherlands network, being friends with everybody, and the 2nd edition of Nordic Delight festival. What’s your proudest achievement to date?
Setting up my first European tour, which was financially stable, had solid routings, a happy band and happy promoters. And also this year’s Beaches Brew festival, a three-day free festival on the beach in Ravenna, Italy.
Expensive tickets, and all those brand-new, vibe-less multimillion venues. We really miss the equivalent of college radio in the US. We have no real platform to bring alternative
What would you change about the business?
Inga Esseling (Germany)
opportunities for newcomers, the classical and most farreaching media – the radio – is still very important to make an act really successful. Germany is not the best country for these opportunities – it’s difficult to convince radio stations to play acts that don’t have a mainstream sound. Online radio, as well as Spotify, will hopefully help in the future.
Age: 27
Promoter, FKP Scorpio
Inga‘s first point of contact with the music business was in 2008 while organising a little festival at the university of Münster. After graduating with a bachelor degree in economics, she joined FKP Scorpio in 2010 as one of the assistants to CEO Folkert Koopmans. Three years later she found herself running his touring division, promoting shows for the likes of the Foo Fighters and Placebo in Germany. What’s your proudest achievement to date?
More communication, tighter collaborations and more artistcentric, long-term thinking. We’re in this together, for the artists. Oh, and be nice!
What are you currently working on?
I have a very busy year handling tours with Blink 182, Avicii, James Blunt, Tame Impala, Ed Sheeran, The Gaslight Anthem and many more.
I have worked on many successful and sold-out tours, especially this year, with Ed Sheeran, James Blunt, etc, but looking back, actually getting into the business is probably my biggest achievement. It’s not easy without having any connections because everyone wants to work in the “cool” music industry. You have to always give 100% to get a foot in the door, but you also need a little luck and I was certainly in the right place at the right time.
What’s the biggest lesson you’ve learned in your career?
What are live music’s biggest challenges in Germany?
Central European Time should be the daytime all over the world, this would keep my working hours limited...
Apart from the online marketing, with which you gain new
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You have to stay in people’s minds. The business is all about relationships and networking. Once people know you and appreciate you’re doing a good job, the chance is high that they will get back to you and work with you again. If you could change one thing about the business, what would it be?
IQ Magazine September 2014
Maarten Van Vugt (Netherlands) Age: 27 Promoter, Greenhouse Talent
Maarten studied International Media and Entertainment Management at University. He became the co-owner and founder of Boogiedown Festival in 2007. In 2011, he started working at Greenhouse Talent, where he works with artists such as Kanye West, Trey Songz, Selena Gomez, Birdy, J. Cole, Nas, Jason Derulo, Kid Ink, Schoolboy Q, Elvis Costello, Lindsey Stirling and Coely. How relevant is technology/social media to what you do?
It’s of major importance. Even though magazines are still great for in-depth info, it all happens online. Social media is the place where I find a lot of new stuff and stay up to date on what’s happening, but also inevitable in the B2C part of my job: creating awareness for events and selling tickets How did you find yourself working in this business?
During my studies in Breda, I founded a hip hop festival in the south of the Netherlands with some classmates and friends.
Charlotte Spooren (Belgium)
Age: 26
Assistant Promoter, Live Nation
Aged 17, Charlotte’s thesis project at school was How to organise a festival. Having completed a bachelor degree in social work, she realised this was not her calling, so embarked on a degree in event and project management. In April 2012, Charlotte landed an intern slot working on Rock Werchter and I Love Techno. A position opened up in Live Nation’s concert division and she grasped her chance. What are you currently working on?
This week I have been working on shows for The Black Keys, Pharrell Williams, Lenny Kravitz, Dimitri Vegas & Like Mike, Oscar & The Wolf and Lady Gaga. What are the biggest challenges in your market?
While I gained experience, it was not financially successful enough to make a decent living. I was working as a chef to pay the rent and got a call from Greenhouse Talent who were looking for a young booker. What are the major changes you’ve noticed in the industry?
Touring is becoming more important and so is the money that needs to come out of it – our job as a promoter is becoming more important for the artist’s income. We’re noticing this when it comes to VIP packages (even on smaller shows), presales and other forms of ticket scaling.. How is your role changing?
Factors such as timing and momentum are more important nowadays. An artist can blow up very quickly because of Soundcloud, Youtube and Spotify and bringing him/her/them over at the right time is of major importance. More important and I’m speaking to agents and managers at an earlier stage now than at the beginning of my career. no knowing what will be next. The key will be to keep the focus on the live aspect of music and to embrace the emerging technologies and use them to our advantage. Who do you turn to for advice?
My promoters, Sarah Schueremans and Kris Verleyen, taught me everything about the business. But what should not be forgotten is our ticketing department and my marketing colleagues. It’s all about team work! What one thing would you change about the business?
Ban ticket resale on the black market.
What’s the biggest lesson you’ve learned in your career?
Choose a job you love. Take a risk and follow your dreams. Not choosing a safe job was the best decision of my life. What would you like to be doing in five years’ time?
Live music is as popular as ever, people still prefer the atmosphere of a live event over the virtual reality alternatives but new technologies are emerging all the time and there is
In five years it will be about time to start organising the reunion concert for Oasis, I guess…
Dave Bradley (UK)
What the best thing about your job?
Age: 29
Promoter, Live Nation/Download Festival
Dave has been a national promoter at Live Nation for 18 months, in which time he has also become deputy festival promoter for Download Festival. He began his career at Roadrunner Records before moving to Live Nation’s marketing team. He ran his own independent promotions company, putting on rock, metal and punk shows across London. That was the catalyst to joining Live Nation’s promoter team where he works with Skindred, Architects, Bury Tomorrow and Marmozets among others. What’s the biggest challenge the live music industry is facing?
It has to be over-saturation in the festival market. There are only a certain number of headline-sized acts, especially in the rock world, so by stretching the pot too far for short-term gains there is a very real danger of damaging the wider market in the long term. Last year, there were three major rock/metal festivals in the UK during the summer, inevitably affecting attendance across the board.
IQ Magazine September 2014
Booking bands for Download Festival is right up there. After giving Bury Tomorrow their debut Download slot on the 3rd stage in 2013, it was an amazing moment to be able to step them up to the main stage in 2014. As a New Boss, what would you change to make the business healthier?
I’d encourage an environment of collaboration. It’s something I do with the marketing team at Live Nation for my tours. We work in such a fast-paced, adaptable environment, so having a team who are working with you as opposed to for you is definitely the way to go. What is exciting you at the moment?
I’m constantly excited by how far new bands can push the boundaries. The fact that rockier acts like Royal Blood are breaking into the mainstream is also another great sign of the times. I constantly mention how much can change for a band, genre or scene within just a year – there’s always the next big thing around the corner!
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