The New Bosses 2022

It’s 15 years since IQ launched The New Bosses – our annual search for future industry leaders. Such is the vast array of talent that stood out during the Covid crisis and the post-pandemic restart, that we have increased The New Bosses class of 2022 to recognise 20 of our brightest and best who are already making a difference through their work and extra-curricular activities.

The individual profiles on the following pages are shortened versions of the full interviews. Keep an eye on iq-mag.net in the coming days and weeks, where we will be publishing the full Q&A with each New Boss. And congratulations to everyone selected as one of this year’s New Bosses!

BENJI FRITZENSCHAFT

DREAMHAUS (DE)

Your podcast initiative opened doors for you. What advice would you give to anyone trying to find a job in live music?

Go the extra mile: Start your own project (podcast, blog, etc.) and invest your time. Show the world you have expertise and why you would be a good addition to any team.

What’s been the biggest challenge for you and the DreamHaus team as the business has emerged from the pandemic restrictions?

There is an uncertainty about the upcoming winter, so hopefully we can continue having regular concerts throughout the colder times. Let me be fully honest: after months in my home office, it took a while for me to get used to the regular office workflow again.

Where would you like to see yourself in five years?

I just want to keep my momentum going and build my roster. In general, my goal is to continue to do my work, learn, and evolve –personally as well as career-wise – and then who knows what the future will bring.

What has been the highlight of your career, so far?

After years of attending splash! as a fan, the moment I was backstage at the festival as an official was pretty cool. In addition to that, LUIS – the first domestic act I signed – just started his first tour, which is basically sold out.

CLARA CULLEN

MUSIC VENUE TRUST (UK)

MVT’s Emergency Response Service has proved invaluable over the past couple of years. What is your favourite success story?

Over the years, Pauline Forster, who owns the iconic George Tavern in London, has fought an immense battle to save the venue against threats of redevelopment. Being a small part in the story of the George Tavern and helping ensure the venue survives is something I am proud of. Pauline’s spirit encapsulates the creativity, chaos, and courage that can be found in venue operators up and down the country.

Your work at MVT has put you in the spotlight on TV and even lecturing students. How do you prepare for such daunting assignments?

I try to always say ‘yes’ to these types of challenges because by placing myself into these situations, I’ve become more familiar with their setup and actually started to enjoy them. I tend to have a general idea of the points I want to make, sense-check them by running them past the team, who have years of experience in the sector, and then try to leave room to just enjoy the process.

Where would you like to see yourself in five years’ time?

I don’t think [MVT CEO] Mark Davyd will have any issue with me openly saying I am coming for his job!

DAN RAIS

CAA (CO)

Your career prior to CAA saw you work across an array of music sectors. Would you encourage others to do the same? Absolutely. I feel like it’s key to go through some early challenges in your career to teach you how to deal with difficult people and situations.

What was the biggest challenge for you in your work during the pandemic?

Our partnerships group was pretty lucky in that it actually got busier than ever during the pandemic. The fast-paced nature and endless problem-solving of that time gave us really thick skin to deal with issues as we’re returning to normal. Tough times for sure but I think it made us more resourceful, efficient, and calmer under pressure.

What has been the highlight of your career, so far?

I worked on a Cardi B x Tinder deal called the Swipe-Off, which had a simple premise – the university that swiped right the most would get a free concert from Cardi B. The winner was a technical university in Massachusetts with a 10k-cap arena on campus and there were lines around the block with people trying to get the free tickets. The timing couldn’t have been more perfect in terms of the artist’s star power growing while the fan competition went on – such a great example of a partnership that actually delivered an unforgettable moment.

DAVID NGUYEN ROCK FOR PEOPLE (CZ)

Does your background in journalism and social media help with any aspects of your festival work?

All these previous experiences, plus the possibility to tour with a band, made me a more complex person, and thanks to this I can see things from a different perspective.

What is your process for trying to discover the next big act?

I prefer working with so-called baby bands on a long-term basis and grow with them step by step. Starting with the best possible slot at the festival and a follow-up with a headline show is the best scenario for every new band in the market.

If you could offer the 20-year-old David one piece of advice, what would it be?

Tell my younger self to be patient with whatever he is dealing with in life and try to solve everything with a calm mind.

Which three acts would be on your ideal festival line-up?

Billy Talent is one of my oldest favourite bands, so definitely them. I love the guys from Missio, who took the risk and flew from the US to the Covid-safe version of Rock for People last year. Leoniden from Germany is one of the best live bands that I know, and they can handle drinking Slivovitz with their promoter, so they must be on the bill!

DAYTONA HÄUSERMANN

GADGET

ABC (CH)

Your mother was a sound engineer. Did that influence your choice to find a career in live music?

It showed me that a career in this industry is an option. Having the possibility to see behind the curtain of the live industry probably just put it on a plate for me.

As a young person working in the highly competitive Swiss market, how do you try to find an edge over your rivals?

I attend international showcase festivals like Reeperbahn, ESNS, The Great Escape, etc and try to be present at as many events as possible in Switzerland – always on the hunt for new talent and to keep my network strong.

As a new boss, what one thing would you change to make the live music industry a better place?

To keep people working in this adventurous and stressful industry happy and healthy, I feel like it is important to invest in a good HR department and be sensitive about employees’ needs and individual career planning, especially for women.

What advice would you give to anyone who is trying to find a job in live music?

Keep yourself informed about the market, new acts, trends; attend concerts, festivals; and find out which field in this diverse industry really interests you the most. And try your luck!

GRANT HALL

ASM GLOBAL (US)

You studied sport management and administration at university. Do you see any obvious areas where other forms of live events can learn from the sports sector?

Absolutely. From purchasing a ticket to trying to beat traffic on the way home – how can we in the industry make the guest experience the best it can be? This is something that I think should be on everyone’s mind.

You have rapidly risen through the ranks at ASM Global. What advice would you give to anyone trying to climb the ladder in such a competitive business? It is important to understand the big picture and al-

ways look into the future for the opportunities and headwinds that may be coming. This has helped me keep a progressive view when looking at various projects and troubleshoot potential pitfalls I may not have thought about beforehand.

If you could offer the 18-year-old Grant one piece of advice, what would it be?

The best way to identify what you like to do and don’t like to do is to jump right in and get hands-on experience wherever possible. So, if a volunteer, internship, or short-term job opportunity presents itself, don’t be afraid to say yes even if it isn’t what you had in mind.

JAMES

CRAIGIE GOLDENVOICE (UK)

What tips do you give colleagues and friends when it comes to them discovering artists in their specialist genres?

If the genre you love is thriving on TikTok, then that’s where you should be looking for new talent. If it’s trawling through BlackBox freestyles, go there. If it’s Sofar Sounds sessions, look there. It’s also important to have friends with good taste in other roles like A&Rs, managers, lawyers. People are always down to share a tip, especially if you’ve got a good one for them in return.

What has been the highlight of your career, so far?

Being granted Arts Council funding to start my own live and content brand (Lucent) with my friends – it’s the reason Oscar (Tuttiett) at AEG found me.

As a new boss, what one thing would you change to make the live entertainment industry better?

All facets of the live entertainment industry need to stop racially profiling artists and their fans. We should pride ourselves on being a progressive industry and not openly endorse this backwards mentality.

Are there any particular events or shows you are looking forward to this year or next?

I’m really looking forward to the N-Dubz tour. I’m very proud to have played a part in one of the biggest success stories in the industry this year. I grew up listening to their music from the Channel U days, which makes it all the more special.

KATHRYN DRYBURGH

ATC LIVE (UK)

You started booking shows when you were at university. How did you learn to do that?

I was keen to learn more about Glasgow’s local scene and wanted to get involved with the bands and venues, so took a leap. It was a guessing game but I figured it out with advice from friends (who had toured) and lecturers.

Can you tell us about your Queens of Noise initiative?

Queens of Noise is a female-centric, gender-inclusive business based in Glasgow that is striving to tackle gender bias within the music industry. It is a community focused project and a safe space for anyone looking to work in the music industry.

As a new boss, what one thing would you change to make the live entertainment industry a better place?

I’d love to see gender-bias tackled in a real, tangible way, with more female-presenting people better represented and in higher positions across all sectors of the industry.

You’re obviously quite driven and entrepreneurial. How do you pick yourself up when something doesn’t work out as you had hoped?

I have a tendency to work on several things at once, so when one thing doesn’t work out, there’s always another to chisel away at. I do also take things to heart, so feeling deflated can be difficult. In those moments, lean on the community you build for yourself and take a moment, review, and try something else – failure can lead to great things.

RESI SCHEUERMANN, KONZERTBÜRO SCHONEBERG (DE)

What has been your biggest career highlight to date?

Next to my Job, I also do some freelance work in my “leisure time” and this year I had the honour of booking the RAW+ Festival in Berlin with my friend and fæmm colleague Marie. We managed to book a very cool and diverse 90% FLINTA line-up, which made us very proud and happy.

Your fæmm organisation sounds interesting. Can you tell us more about it?

It’s a queer-feministic initiative. We strive to give FLINTA (female, lesbian, intersex, trans, and agender) persons who work behind, on, and in front of the stage a platform to be seen and heard. We offer networking events in cities and during festivals (Reeperbahn Festival in Hamburg and c/o Pop in Cologne). We also have our own radio show fæmm.fm, a newsletter with FLINTA event tips for Berlin, and an electronic music channel on Soundcloud called “anders.” where FLINTA sets are promoted.

What proactive efforts can promoters make to help address gender imbalance?

It’s a question of will, money, and attitude. Give them chances, stages, and believe in them. But not only promoters need to change their attitudes, even the media (like radio stations) and the artists themselves do. We all need to make proactive efforts in our thinking and work to change the gender imbalance.

AGUSTINA CABO

MOVE CONCERTS (AR)

SENY KASSAYE FORT AGENCY (CA)

Lots of people are trying to find a job in the music industry. What advice would you give to anyone trying to get a foot in the door? Get involved in everything music as early as you can. In my case, I joined my university’s radio club and got to host my own radio show. Little did I know, I was developing my experience and acquiring skills that are in high demand for entry-level jobs.

You’ve found a role at a Brown-owned business, which hopefully gives you a support mechanism. But are you finding yourself having to take on any frustrating battles simply because of your gender and ethnicity?

Unfortunately, yes. I think I’ve faced more challenges when dealing with individuals outside of North America, and I mainly believe it’s because of the small differences in culture that, sometimes, brings about some pushback or some sort of misunderstanding from the other end.

As a new boss, what one thing would you change to make the live music industry a better place?

Just like we have A&Rs to scout and develop emerging talent, I believe it could be greatly beneficial in having individuals do the same for the [business side], and I would want a more diverse group of agents and promoters entering this industry for that. I feel most people don’t necessarily think of being an agent/promoter when trying to break into the industry, even less so for people of colour, in my opinion.

You’re a professional event organiser – what kind of events did you start out working on, and how did that help you get a foot in the door with your first job?

The first shows were with Ivette Sangalo, Joss Stone, and Radio Disney Vivo, among others, and they [taught] me that you should not take anything for granted; that you have to lose the fear of asking questions and making a fool of yourself; and that above all, you have to have confidence in yourself.

Is anyone else in your family involved in music – or do they all think you are crazy for your choice of career?

Two of my four brothers are producers! My twin broth-

er, Ezequiel, was an indispensable actor in the push to make the decision to dedicate myself to this. And Leandro was the one who started this “legacy” that we are building today.

What has been your biggest career highlight to date?

A month ago, Phil Rodriguez presented me with the opportunity to go on tour with Tiago PZK in the role of tour manager. It has been the best decision of my life. I really enjoy every show, every new trip, every new experience, getting to know places and people, and cultures and audiences that are totally different.

SÖNKE SCHAL

KARSTEN JAHNKE KONZERTDIREKTION (DE)

You started booking shows when you were a drumming librarian. How did you learn to do that, and who did you turn to for advice?

Our singer was located in Hamburg, so the voluntary year at the library was my ticket to move to the city. Getting a gig for our band was a lot of trial and error. The Internet was the place we turned to for advice. It definitely made me realise that landing a show for a newcomer act requires a lot of persistence and persuading.

What did being an apprentice at KJK involve?

I was able to work in our touring, PR/marketing and

local department, [and] I still find it very helpful today to know how the departments operate. The vocational school also offered a one-month internship in London where Isla Angus took me in at Nomanis agency, and I got a little glimpse of the agent world.

You’ve been studying business psychology. How has this helped your everyday work life or is it more about being able to be a better negotiator for deals? What I’ve found most interesting were the questions about how to create a motivating work environment or how to enable people to reach their full potential. So I hope that my work as a promoter, as well as my additional new tasks in the field of HR, can benefit from that knowledge.

STEEL HANF

Making the move to Australia is quite an unusual step for an American. How did that relocation under WME come about?

I was promoted to agent at WME when I was 24, and they asked me if I’d move to Sydney to help grow their Australian office. The company knew I had a good ear for finding new talent, and the idea of living and breathing the Australian culture that was producing these incredible global artists became an inspiring idea to me.

You obviously spotted a gap in the marketplace when you launched Proxy Agency. Have you always had an entrepreneurial streak or has this been a leap of faith?

Australia’s agency landscape was missing something that I thought wasn’t existing yet: an agency with a global perspective on things that is concurrently nurturing the new wave of artists and industry professionals under a banner that means something culturally.

Proxy feels like a family; the artists on Proxy are each other’s biggest cheerleaders, and there’s an energy behind it because the music matters and we’re representing the change we want to see in the world.

Proxy has had a rapid rise to prominence, but what has been your biggest highlight so far?

Signing Hayden James who is an A-level festival headliner in Australia was a massive moment for me and Proxy as a whole.

STEFF JAMES

LIVE NATION (UK)

What advice could you offer to others who are trying to get a foot in the door of the music industry?

It’s always valuable to keep an end goal in mind but don’t get too blinkered by how you plan on achieving it. Take up every opportunity and every meeting. You never know how well they could land.

What are the biggest lessons that you learned during the Covid pandemic that you are using to help with your career going forward?

It’s been essential learning to take a step back and breathe, especially as we navigated unfamiliar ground with a significantly reduced team. It also serves as a good reminder that I’m still here doing what I love, especially when the pandemic altered that for so many.

You have a reputation for being able to spot emerging talent. How and where do you discover new music?

Streaming’s always the first go-to; it immediately offers the world in terms of what’s out there. That said, word of mouth is also a winner. We have such a fantastic network of young promoters across the world, and I’m lucky to have that community.

How would you encourage the next generation to choose the live music sector for their chosen career path?

Articulating how fast, unpredictable, slightly crazy, and fun the industry and its people are is impossible in a few sentences, so I’d probably just invite them in for a couple days to see for themselves.

STELLA SCOCCO SÖDRA TEATERN (SE)

Your team at Södra Teatern has really grown under your leadership. How many events are you hosting, and what kind of capacities are we talking about?

Södra Teatern, as a whole, hosts around 230 live concerts a year and 100 club nights with occasional live acts. We have four stages varying in capacity from 250 to 1,500 people. The club has a capacity of 1,200 people, three dance floors, and four bars. It’s a big house!

What has been your biggest career highlight to date?

Sometimes you see an artist take the stage for the first time and both you and the crowd just know instantly that it’s exactly where they are supposed to be. I never feel more privileged to have my job than in moments like that.

Are there any particular events or shows you are looking forward to this year or next?

I think that my best show of 2022 will be some show we book for the club on a whim after hearing a debut single and falling in love with it. Last year, I helped a new artist put a band together after hearing his debut single, and within three weeks after releasing it he did his first ever live show, and it was one of the best shows I have ever seen! This summer he played Way Out West (Sweden’s biggest music festival) only half a year after that show!

LEWIS WILDE

DICE (UK)

VEGARD STORAAS

LIVE NATION (NO)

You worked at Music Norway for a while. Are there any areas where you think the commercial live music industry could work better with export offices?

Let’s say a major label and a global promoter in a small market such as Norway made a coordinated push on an emerging talent through its respective systems. If it happened simultaneously, I think chances are that this artist would break the surface and have something good to build on. It’s not as easy as it sounds, but I think there are some unfulfilled synergies that haven’t been really exploited in that space.

Launching a pop festival like NEON in an uncertain marketplace was a risk. Just what made the event such a success?

Several factors I’d say. We had the festival on the first weekend of June, the same day as the last exam for students. It effectively became the event that kicked off the summer.

2023 will be like a second album; we had a whole pandemic to come up with this plan, now we have to prove we can stay.

As a new boss, what one thing would you change to make the live entertainment industry a better place?

If the industry doesn’t create systems to avoid constant overload, where it’s not just about keeping your head above water, I’m afraid more good people with great skills will quit, too. It’s crucial that we take care of our own.

What has been your biggest career highlight to date?

To fund your blog you worked in a bar and as a support worker. What advice would you give to anyone trying to break into the music industry?

I think everyone needs to do a stint in hospitality and deal with the public at some point in their life. Character building. And working as a support worker helps shape your perspective massively. My advice would be to get in early – take in as much experience as you can and put yourself about. Everything else will come from that.

Seeing DICE go from a 15- to 400-person company over eight years has been pretty mad. Also it might be stuck in my head because I saw it in full flow last week but New Century partnering with DICE is really up there for me. It’s an amazing 1,000-cap venue in Manchester with an unreal team behind it – it’s my new favourite venue in the UK.

How would you encourage the next generation to choose the live music sector for their chosen career path?

Relationships are the key. Focus on building those where you’re most passionate – the rest will fall into place.

ZOE WILLIAMSON UTA (US)

You started out in the famous mailroom at UTA. Is this still a viable path for people wanting to break into the music industry in 2022?

At UTA, music agents work across the entire company to find opportunities for clients in other business verticals like acting, writing, film, and many other spaces. Since there are so many resources available for clients, it’s helpful to begin your career journey by learning as much as possible about every department, and the mailroom is a great place to start absorbing that knowledge.

Do you think the music industry and consumer brands are best exploiting the opportunities that Pride has to offer?

As a queer person, it’s important to see the benefits

of both large-scale, company-sponsored Pride events and more underground grassroots events. Additionally, many LGBTQIA+ artists make a huge portion of their annual revenue during Pride Month through corporate events. However, the LGBTQIA+ community doesn’t stop existing outside of June and other international Pride months, and we need to be creating more year-round live experiences and opportunities to support the community.

The gender imbalance at festivals has been an issue again this year. Are there any proactive suggestions agents can make to help address these problems? When agents are pitching a woman-identifying client to a festival buyer, they need to be able to articulate why that particular artist belongs on that specific lineup. It is essential to educate ourselves on our clients’ unique personal backgrounds, bodies of work, and fanbases beyond their gender identity.

JONATHAN HOU

Live Nation (US)

Were you able to speak Mandarin before making your move to Taipei?

Growing up we would speak Mandarin at home, but I still had a huge learning curve when I first started working in Taiwan. I’m proud to say that my language skills have now improved to a point where most people are unable to tell that I am a foreigner.

What’s the most important lesson you can impart to visiting ‘Western’ acts?

Each market is unique. For example, something that may be well received by fans in Bangkok, may not be so well received in Shanghai.

Asia seems like it will be the next region to really explode in terms of live music business growth. How would you lure fellow professionals to the region to help facilitate that growth?

Asia is the place to be if you’re looking for a challenge and an adventure. The next couple of years are going to be great growth years for the live music industry in Asia, and it’s exciting to be able to be a part of shaping the industry.

As a new boss, what one thing would you change to make the live entertainment industry a better place?

We’ve already made strides with the emergence of 88rising and artists such as keshi over the past couple of years, but I would like to continue to see more AAPI representation throughout the industry, globally.

MACIEJ KORCZAK Follow The Step (PL)

There were already some big promoters in Poland when you launched Follow The Step. What was your strategy to make the business a success?

Passion! The whole Follow The Step team honestly love what we’re doing, and we are always hungry for more. Our company doesn’t have a certain strategy, we’re just simply doing the best we can, and we’re always up for new challenges.

What has been your biggest career highlight to date?

It was definitely organising a charity concert to support Ukraine when the war started (together with television station TVN) in less than two weeks. We’ve sold out the show for 10,000 people and raised over $2million (€2m).

Setting up seven festivals in less than six years is very impressive. What tips would you give to other people who are looking to launch new events?

Try and don’t give up! Also don’t be scared to dream. When I was first starting, I’d never think that I’ll end up having seven festivals, headline shows and events, or over 70 people in our agency.

What one thing would you like artists to learn about coming to perform in Poland?

That every single person that came to their concert is there for a reason, we have one of the most dedicated music audiences in Poland. And probably the craziest.