Disruptor's Zach Horowitz

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

The 1975 headlining Glastonbury this year with my co-workers Jen Petel, Rachel Winship and Julie Leff, or The Allman Brothers at the Fillmore East in 1971 with my dad. It’s about the company as much as the concert.

Name a manager not in your company whom you admire.

I greatly admire Rob Stevenson as a manager and on the label side. He taught me that the music industry can best be explained as long periods of frustration followed by short bursts of excitement. The short bursts are so great that they carry you through the frustration.

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

The biggest shift is how much of the creative heavy-lifting and early fan acquisition now happens at the management level. Real artist development means building the world around the music early, whether that’s defining the visuals, the storytelling or just the touchpoints that draw people in and make them lifelong fans. Labels are still essential partners in breaking acts, but when they come in, already having a vision and an engaged fan base in motion makes that easier to scale and sustain over the long term.