Red Light’s Mandelyn Monchick

You can go back in time and see any concert. Whom would you see and when?

I’d see Billy Joel when he was working at the piano bar that inspired “Piano Man."

What’s the single biggest change in a manager’s responsibilities since you started in the biz?

As social media, imposters, security risks and AI become more prevalent, so does the manager’s responsibility to protect the flame, so to speak, and pursue takedowns of false information and unlicensed material. As my client’s interests and business has expanded to other pockets of the entertainment industry beyond country music, I’ve gotten to wear a lot more hats than a music manager typically would. Luckily that’s one of my favorite things about working with Lainey [Wilson]. We both love to have a lot of irons in the fire and it all ties into the larger world we’ve built.

Name a manager not in your company whom you admire.

Marion Kraft, because she does everything with class, confidence and kindness. John Meneilly, because he’s taught me a lot about the business.

Please describe your all-time-favorite photo, memento or tchotchke from your job.

One of my most prized possessions is the framed trilogy of photos John Shearer captured of Lainey and I hugging each other, overwhelmed with gratitude and surprise backstage after she won her first Entertainer of the Year at the CMA Awards.

You’re made czar of the concert industry. What’s the first thing you’d change?

I’d find a solution to scalpers and the lack of ethical structure and enforcement around the secondary ticketing market.