Most everyone has an I-saw-them-when story about seeing a great artist in concert before they were famous. What’s yours?

Nine Inch Nails at the old 9:30 Club in Washington, D.C., in January 1991, supporting Pretty Hate Machine. I will never forget that show.

Name someone you either work with or do business with who doesn’t get enough credit for the great job they do.

I’d have to point to two agents I work alongside who do the kind of quiet, foundational work that never makes the trades: Ben Totis and Ben Schiffer.

Ben Totis played a real part in resurrecting Billy Idol’s career, something paying off in a big way with Billy’s Rock & Roll Hall of Fame induction this year, and he’s playing arenas again. He’s done similarly important work with Empire of the Sun, Reneé Rapp and Addison Rae, among others. Ben and I work The Weeknd and Bruno Mars together, who are both out on massive stadium tours, and what stands out is how thoroughly he thinks everything through: always several steps ahead, willing to get into the weeds on the parts of a deal nobody else wants to touch and never needing the credit for it.

Then there’s Ben Schiffer, who has been a partner since 2020, and whom I brought in about a decade ago to work artists like Sheryl Crow, Slash, Peter Frampton and Crowded House. Representing an iconic, established artist takes a completely unique discipline: it isn’t about chasing momentum, it’s about creating new excitement while honoring a legacy. Ben does this with a level of care and instinct you cannot teach. He also happens to represent some of the most exciting new artists today, including Jensen McRae and Angie McMahon.

What’s the single biggest threat facing the live music business?

Impatience and consolidation. First there’s the human side: impatience. It’s easier than ever to be famous and easier than ever to get rich quickly, though harder than ever to build a career that lasts. Just because an artist can sell out a stadium right now doesn’t mean they should be playing one. The real discipline is having the restraint to know the difference, and the patience to build toward that moment rather than reach for it too soon.

Then there’s the structural side: consolidation. We know that consolidation will continue to happen on the promoter, agency and management side. However, it’s vitally important that we continue to celebrate and support independent artists, managers and promoters as well. A multi-player ecosystem is critical to the health of the industry.

Name someone you either work with or do business with who doesn’t get enough credit for the great job they do.

Rich Schaefer at AEG Presents is one of the few touring executives in the business who approaches it all with a human touch instead of a calculator. Consistently dedicated to making long-term decisions and always chasing the best concert experience for the fans and their favorite artists, he never balks at the crazy requests and grandiose ideas.

Most everyone has an I-saw-them-when story about seeing a great artist in concert before they were famous. What’s yours?

In 1992, producer John Alagia brought me to see the Dave Matthews Band at a French cabaret restaurant in Washington, D.C. called La Nicoise. That was the night my fledgling career as a songwriter ended and I realized I needed to do something else with my life. Thank god the DMB merch guy job opened up a year later!

What’s the biggest single threat facing the live music business?

Having lived on the road, I am concerned about the mental health of bands and crews. Social media pressure and the resulting decline of mental health is the biggest threat to the live music business—which is an unfortunate paradox, because live shows are a salve to many fans’ mental health pain and isolation.

Wearing the T-shirt of the artist you’re seeing in concert: Fitting homage or kinda cringe?

That’s fucking great. Go all in! I wear some kind of Brooklyn Nets gear whenever I go to one of their games. Anyone who is too cool is too cool for me.

Name a person you either work with or do business with who doesn’t get enough credit for the great job they do.

All of the tour personnel who are not on the stage are the true heroes of the live business. They’re the first to arrive and the last to leave. Whether it is a tour manager, a lighting tech or a runner, there is no show without them. I’m sure every manager, agent and promoter would agree that they don’t get enough credit, and we certainly don’t thank them enough. So to every single person who has ever contributed to a concert: Thank you.

Oh, and Warda Baig (promoter) and Maria Garcia and Marissa Leach (management) are complete bad-asses who made our sold-out Sara Bareilles Good Grief tour one of the best I have ever witnessed.

I would say something nice about HITS and thank you as well, but I am still not sure what it is you do.

You’re at a show. A 13-year-old fan with a piercing voice, seated right next to you, is singing along very loudly to every song. What do you do?

If it’s my act that fan is singing every word to, I’d give that fan a backstage pass immediately. If it’s an act I’m a fan of but don’t manage, I would submerge any thoughts I’d have of strangling said fan while sitting back and reveling in their enjoyment.

Name someone you either work with or do business with who doesn’t get enough credit for the great job they do.

Mike Skeet, the best business manager in the music business. Currently Mike is a partner at Gelfand but we met him when he and his partner, Jeff Kaye, were partners in the U.K. Besides being on top of his clients’ issues, Mike is an invaluable aide in all things live—preparing budgets, monitoring performance and publishing income in many countries and, for us as managers, paying us on time!

What’s the single biggest threat facing the live music business?

Not enough new bands making the jump from clubs/theaters to arenas. Note, I said bands—not pop acts.

Name someone you either work with or do business with who doesn’t get enough credit for the great job they do.

We have an incredible staff across the board, from my OG team (Mike Dugan, Kate DesEnfants McMahon and Rome McMahon) to our next generation of leaders (Haley McCollister, Sara Winter and Rachel Powers) who are critical to leading the larger team. We’re celebrating 25 years of Messina Touring this year, and when I look at the next 25 years, I know those three are going to be a huge part of it.

Wearing the T-shirt of the artist you’re seeing in concert: Fitting homage or kinda cringe?

Kinda cringe. I’m no fashion elitist, but c’mon, isn’t the “rock crowd” supposed to be the trendsetters? We can do better.

Name an artist you think is ready to make the leap from theaters to arenas, and one who’s ready to make the leap from arenas to stadiums.

In the span of 18 months, or one album cycle, SOMBR has gone from clubs to theaters to arenas. Fast forward, and this arena tour we just put up is white hot. Given his trajectory, we’re excited to see what he can do for the next album, and where it can go from here. The Warning could leap from theaters to arenas; they just launched their debut stadium show in Mexico City.

Name someone you either work with or do business with who doesn’t get enough credit for the great job they do.

UTA agent Natalie Koe is someone I’ve worked with for more than 10 years, and over that time, I’ve watched her become a phenomenal agent. She’s built her own business and is creating a team around her. I’ve had the privilege of co-piloting some projects with her, but she has taken off and it’s just awesome to watch.

Name a person you either work with or do business with who doesn’t get enough credit for the great job they do.

Lionel Conway, who’s no doubt had a long and storied career. But in a business dominated by credit takers and self-promoters, Lionel stands out to me as the opposite, making others look great by signing, publishing or managing so many important artists who’ve shaped culture and music: Nick Drake, U2, Cat Stevens, Tom Waits, Grace Jones, Sparks, Jimmy Cliff, Elton John, Trevor Horn, Mick Jones, The Marías and others.

You’re at a show. A 13-year-old fan with a piercing voice, seated right next to you, is singing along very loudly to every song. What do you do?

Ten years ago, I took my niece to see One Direction and 5 Seconds of Summer at MetLife Stadium. It was the loudest audience I’ve ever heard and I was on the floor in the trenches with the fans. Since it wasn’t my show, I didn’t have a production office to retreat to and hide in, so the only option for survival was to join in. I jumped up and down and screamed with the best of the tweens that night. I lost my voice for two days and earned the “Best TiTi (aunt) ever” title.

Most everyone has an I-saw-them-when story about seeing a great artist in concert before they were famous. What’s yours?

Both happened at the legendary New York nightclub Tramps: Radiohead in 1995, and Ween with the Shit Creek Boys in 1996.

Most everyone has an I-saw-them-when story of seeing a great artist in concert before they were famous. What’s yours?

I went to see a Creation Records artist called Whiteout at the 100 Club in London. The bill was The Longpigs, Oasis and Whiteout. Whiteout killed it and I was happy to leave early. My girlfriend at the time wanted to see The Longpigs so we stayed. In between was Oasis. It may have been their first London show. It was eye-opening: the tension in the room, the songs (massive songs), the fights in the audience. I felt like I was watching The Pistols, The Velvets, the stories of old. A few years later I saw The 1975 and knew that was my path. They made me feel as alive. I’ve been chasing that ever since.

You’re at a show. A 13-year-old fan with a piercing voice, seated right next to you, is singing along very loudly to every song. What do you do?

Sing louder!

Wearing the T-shirt of the artist you’re seeing in concert: Fitting homage or kinda cringe?

Always wear the hoodie. Not the T-shirt. Who doesn’t love a hoodie?

Name an artist you think is ready to make the leap from arenas to stadiums.

Billie.

Name a person you either work with or do business with who doesn’t get enough credit for the great job they do.

Sandbox Chief of Staff Katie Admire. She’s been with me for over 15 years and I look to her on almost every decision I make to test its strength. She is a big part of every aspect of my business. I would not be here without Katie.

What’s the single biggest threat facing the live music business?

Gas prices.

Name an artist you think is ready to make the leap from arenas to stadiums.

Volbeat is poised to make the transition to stadiums in Europe.

Name someone you either work with or do business with who doesn’t get enough credit for the great job they do.

Darryl Eaton. Best agent in the business, hands down.

Wearing the T-shirt of the artist you’re seeing in concert: Fitting homage or kinda cringe?

I definitely support fans wearing the merch they’ve purchased to shows. It’s really cool to see groups of fans together in their favorite T-shirts, hats or jerseys. There’s a sense of community around it. It’s kind of like the NFL.

Name a person you either work with or do business with who doesn’t get enough credit for the great job they do.

Nidhish Varughese at Live Nation global touring. This guy is an exceptional promoter, and his ability to solve problems for his clients and artists is the best of the best.