I never had breakfast with Peter Katsis; we were unfortunately never that close. Yet, I’ve read so many posts about him this week online, it made me sad that we never got closer. Every now and again over the years, Peter and I would find time to respond and talk shop, specifically about what Degy does for the U.S. military and the Department of Defense. I would try to explain how a firm like his, representing some of the biggest names in music, could lean on us when an overseas tour needed a partner who understood how to support touring budgets and even more difficult show logistics. That was the extent of it. Casual colleagues, checking in, comparing notes on Degy’s markets, which most people in this business often don’t think twice about.
My first real interaction with Peter goes back about 15 years, back when he was building Prospect Park alongside Jeff Kwatinetz and Rich Frank. If my memory is accurate, it was because we were planning to take a group of music industry leaders out to experience firsthand what an aircraft carrier tour could mean for their artists. We called these Navy “VIP Trips” to show the industry what this touring market was all about. I figured that I’d shoot my shot with some of the biggest names in the business. I remember trying hard to get Peter to join us. I honestly cannot recall if he ever said no or if the invite simply got lost in the shuffle of running a roster like his.
Over the years, Peter’s firms had a client list that included Snoop Dogg, 311, and Limp Bizkit, among others, and I liked so many of those acts and thought they could work well in our booking markets, especially on the military installation side.
Like with other music managers, I try to meet with and understand who all the players are behind the artists themselves. Networking is everything and understanding who touches who is incredibly important in my ability to serve my clients and buyers. Understanding their strategy, appetite for ‘non-traditional’ market touring (our term to refer to the weird things we do) and so on helps me find a place to work closely with industry partners. So, a guy like Peter Katsis pulling big strings behind the scenes was a guy worth chasing for years.
Here is the truth about this business. A lot of people don’t know what we do. Some don’t even know we exist. That is fine (I say that with a cough, of course). I’m not really supposed to be the story; really none of us are if we aren’t on the stage. But I do need to constantly network enough, use some public relations muscle, and more to ensure we get calls when agents, managers and industry partners need us. For that matter, it’s also to instill confidence in my buyers and clients that I can get whomever they desire on an event lineup.
Peter Katsis sadly passed away this week at 69, and the tributes that came in from Billy Corgan, Gavin Rossdale, Al Jourgensen, and so many others reminded me how much he built without ever needing his name on the marquee. I think what’s important to note is that it wasn’t just his celebrity clients that offered their love; from business colleagues to former staff, it was admiration pouring out across the industry. You should know that Peter took Korn from the Roxy in Hollywood to a festival field in Portugal. He helped Morrissey fill the Hollywood Bowl multiple nights. He kept Limp Bizkit, Smashing Pumpkins, and Bush on the road and headed in the right direction for years upon years. He was the brains behind Backstreet Boys ‘Millennium’ tour, and so much more.
Rolling Stone ran a tribute this week from Jeff Rabhan, a former partner at The Firm, that captured it about as well as anyone could, making the case that a band’s promise to its audience takes an entire hidden city of people to keep, one that somebody has to build and have running by dark, every single night, in a different town.
That is most of us in this industry, honestly. The agents, the managers, the lawyers, the publicists, the production crews and more who get a tour, a show and a career up and running and rarely get a mention in the review the next morning. Peter’s passing is a reminder that the unsung part of the job is still the job, and it probably deserves more attention than it usually gets.
Dave Matthews Band announced a seven show fall arena run this week that closes with two nights at Madison Square Garden on November 12 and 13. I wouldn’t mind checking those dates out, even though I haven’t seen ‘Dave’ live in about 15 years. I had friends of mine reach out asking why their run of dates was so thin and small. Just a reminder that winter touring often pivots to arenas even for the band that has sold more than 25 million tickets since 1991. Stadiums and sheds are summer work while the weather cooperates, more people are traveling and vacationing to support their favorite bands, and I can go on.
Steve Lacy announced his own run this week too, a healthy, 27-date "Oh Yeah?" tour that went on sale August 14 in support of his new album of the same name. The routing includes Radio City Music Hall in October and Red Rocks in November.
Kacey Musgraves opens her "Middle of Nowhere Tour" on August 21, and Phish dropped a fresh round of October dates on sale the same day as Steve Lacy, a reminder that the fall calendar is filling in fast as artists announce their own routing. Let’s hope we don’t get any more ‘blue dot’ theory talk and fans flock to these smaller, more intimate venues rather than troubles that plagued some stadium tours earlier this year.
MNEK, the Grammy nominated songwriter and producer behind hits for some of pop’s biggest names, signed with 1916 Enterprises for management this week. He has a new album, "Bulldozer!!" set to release in mid-September. Most probably don’t know the name, but MNEK spent years writing hits for other people and is a genre crossing artist with real songwriting credibility behind him. Let’s watch closely how this one progresses.
Waylon Wyatt is a name college programmers and fair buyers should have on their radar. His EP "Out Of The Blue" blends country storytelling with real emotional depth, and he has already earned festival slots at Bourbon & Beyond and RedWest Fest. At just 19 years old, he is set to join Sam Barber’s "Across the Pond" tour in the UK and Europe. Watch this guy closely. He and Blake Whiten (who I mentioned in a previous blog) are young, buzzing male country acts that I think are worth programming.
On the business side, AEG Presents entered a strategic partnership this week with Japan’s Creativeman Productions, the company behind Summer Sonic, which just celebrated its 25th anniversary in Tokyo and Osaka. If you read my previous blogs, you know if Japan is in the news, I’m listening. The deal expands AEG’s AXS ticketing platform across Japan and gives both companies a stronger foothold in one of the fastest growing live markets in the world.
More reporting and details about Live Nation’s record second quarter recently. It shows revenue of $7.7 billion and nearly 49 million fans attending shows globally, alongside a record $6.4 billion in event related deferred revenue heading into the back half of the year. Numbers that big can feel abstract, but show clearly that the demand for live music has never been higher. ‘blue dot’ theory talk can go away? Probably not yet.
State fair season is also in full swing, which always feels like the way we generally close out the summer touring season. The Iowa State Fair runs through August 23, coming off a grandstand attendance record last year. The Minnesota State Fair opens August 27 with a lineup that includes Bonnie Raitt, "Weird Al" Yankovic, Brad Paisley, and a joint bill from TLC and Salt-N-Pepa. So many more to report on, and perhaps a future blog topic since these State Fairs continue to stand the test of times.
We always cover a lot of ground in these insight blogs, from the business behind the business to the fair circuit filling out its fall lineups. Now let’s get into five artists worth a serious look for anyone building out a season, whether that is a college campus, a fair grandstand, or a corporate stage.
Kameron Marlowe has been on my own radar for a while. He recorded a ‘virtual performance’ video for me in 2021 when the Navy Entertainment program was cranking out online content during the pandemic. He has one of the more distinctive baritones working in country music right now, and he has spent this stretch of the year proving it every night supporting Ella Langley’s Dandelion Tour. He is still within range for most buyers and is a crowd tested act that fills a fair grandstand or a college event without stretching the budget thin.
Dylan Marlowe shares a last name with Kameron but not a bloodline, and definitely not a sound. He has been building his own catalog and his own fan base on that same Dandelion Tour bill, and buyers who catch him early are going to have a much easier time booking him a year from now. We had a corporate event date last year, and they loved him. We’ve had a couple of college offers on him turned down recently, a sure sign his price and demand are climbing fast.
Gabriella Rose rounds out that same support bill as the boys above with a completely different energy, and that is why she’s worth a look. She’s a young (25-ish) Idaho gal who already has the attention of country’s superstars like Ella and Zach Bryan. She featured on Zach’s “Madeline” single, giving her the boost she deserved. Don’t wait too long on this gal if you’re in a programming capacity.
Laci Kaye Booth came up through The Voice, but do not let that fool you; I know that has some negative connotation for some buyers. She has quietly built a solid country and Americana following through nonstop touring, and she is a smart, affordable booking for any buyer who wants an artist beyond just the recognition from television.
Leon Thomas is the name on this list outside the country lane, and he earns his spot. His R&B chops have carried him through major tour support slots this year, and he is a strong fit for corporate events and festivals looking for something different from the rest of tonight’s list.
Writing about Peter this week put me in a reflective mood. It is easy in this business to measure success by who is on stage and how big the crowd is. But it’s also worth remembering, at least every so often, how much of it depends on the people nobody claps for. Peter served in that quiet puppeteer role as the manager behind some of the biggest names we’ve all come to love. His hard work, dedication, and strategy behind the curtain led to our happiness, and he deserves the credit even after his passing. RIP, Peter.
As always, see you next weekend!
Degy Entertainment has spent more than 25 years building relationships across the live entertainment industry, executing nearly 3,000 events a year in 30 countries. From college campuses to state and county fairs, corporate events, festivals, and military installations around the world, Degy specializes in talent buying and middle buying for every kind of live event.
Questions about booking an artist for your event? Reach out anytime at ari@degy.com or visit www.degy.com.
Who was Peter Katsis and why was he important to the music industry?
Peter Katsis was a legendary music manager and partner at management firms including Prospect Park and The Firm. He managed major artists including Korn, Limp Bizkit, Smashing Pumpkins, Bush, and Backstreet Boys. He was instrumental in building touring careers and festival presence for some of rock and metal's biggest acts without ever needing public recognition himself.
What role do music managers play in artist careers?
Music managers handle strategic career decisions, tour planning and routing, contract negotiations, business relationships, and day-to-day career guidance. They're the behind-the-scenes architects building and maintaining artist touring infrastructure, public perception, and long-term career trajectory. Most of the work happens away from spotlights.
How do managers build touring infrastructure for artists?
Managers work with agents, production companies, venues, and promoters to develop sustainable touring schedules. They negotiate contracts and guarantees, coordinate logistics, manage crew and support staff, oversee budgets, handle regulatory and legal requirements, and troubleshoot problems. This infrastructure is what enables artists to tour successfully and profitably.
What's the difference between a music manager and a booking agent?
Managers handle overall career strategy and artist representation; agents specifically handle booking shows and negotiating performance contracts. Artists typically work with both—managers providing overall direction, agents executing bookings within that strategic framework. They're complementary roles in career development.
Why do music industry behind-the-scenes people rarely receive public recognition?
The live entertainment industry focuses public attention on performers – the people audiences see and hear. Managers, agents, production crews, and other professionals work quietly to make performances possible. This invisibility is partly structural (their work happens off-stage) and partly cultural (audiences credit performers for successes).
How do managers decide which artists to represent?
Managers typically consider: artist potential and trajectory, alignment with their expertise and network, realistic career goals, artist commitment and professionalism, and management team capacity. Representing high-potential artists requires significant time, resources, and relationship-building.
What makes a successful touring career according to music management principles?
Success requires: strategic artist positioning, sustainable touring schedules balancing revenue and artist welfare, strong relationships with promoters and venues, effective promotion and marketing, consistent financial and operational management, and willingness to adapt as markets and artist capabilities change.
How do managers navigate non-traditional touring markets?
Non-traditional markets (military installations, corporate events, festivals outside major cities) require: understanding unique venue requirements, building relationships with non-traditional promoters and buyers, adapting artist expectations and logistics, and recognizing these markets can provide valuable revenue and fan-building opportunities.
What role does networking play in music management?
Networking is fundamental, managers build relationships with: agents, promoters, venue operators, media, other managers and artists, corporate clients, and industry decision-makers. These relationships enable: discovering booking opportunities, solving problems, staying informed about industry trends, and accessing valuable partnerships.
How do music managers handle artist crisis situations?
Management crisis response includes: quick communication with all stakeholders, assessing impact on career and touring schedule, implementing solutions rapidly, protecting artist reputation and relationships, maintaining professionalism despite challenges, and learning from incidents to prevent recurrence.
What's the connection between management strategy and touring success?
Touring success depends on: thoughtful career positioning (right venues and artist tier), strategic routing and scheduling, strong promoter and venue relationships, effective marketing reaching target audiences, professional production and logistics, and financial management ensuring profitability. Management strategy informs all these elements.
Why do some artists maintain long-term relationships with managers?
Long-term artist-manager relationships build on: proven results and trust, deep understanding of artist vision and preferences, established industry relationships enabling better opportunities, shared history and mutual loyalty, and demonstrated commitment to artist success beyond short-term gain.
How do music managers balance artist welfare with career ambition?
Managers must balance: pushing artists toward ambitious goals with maintaining their health and wellbeing, pursuing high-profile opportunities with sustainable touring schedules, growing revenue while avoiding artist burnout, and making long-term career decisions rather than chasing short-term money.
What business skills matter most for music managers?
Critical skills include: contract negotiation and legal understanding, financial management and budgeting, relationship management and networking, strategic planning, problem-solving under pressure, communication across multiple stakeholders, and industry knowledge.
How do managers adapt strategies as industry conditions change?
Adaptation includes: monitoring touring market trends and audience preferences, adjusting routing based on demand patterns, exploring new revenue streams and market opportunities, investing in new technologies and platforms, and maintaining flexibility while protecting core career strategy.
What's the importance of production coordination in artist touring?
Production coordination ensures: proper equipment transport and setup, crew coordination and management, venue technical requirements met, artist needs fulfilled, logistics flowing smoothly, and emergencies handled quickly. Poor coordination creates delays, technical problems, and cancellations.
How do managers handle difficult artist personalities or behavior?
Professional response includes: setting clear expectations and boundaries, addressing issues directly and confidentially, maintaining professional relationships with venues and promoters regardless of artist behavior, protecting broader tour and career from individual incidents, and sometimes making difficult decisions about representation.
Why does the music industry need people working behind the scenes?
Artists need support systems enabling them to focus on artistry. Behind-the-scenes professionals handle: logistics, business, relationships, problem-solving, and planning. Without these support systems, touring becomes impossible and artists must handle business details themselves, distracting from their core work.
What legacy does Peter Katsis leave in the music industry?
Katsis demonstrated that behind-the-scenes work – done excellently and professionally – builds lasting artist careers. His legacy reminds the industry that success depends on countless people working quietly and professionally, and that this work deserves recognition and respect even when it remains invisible to audiences.
How can the music industry better recognize behind-the-scenes professionals?
Recognition could include: crediting managers and team members in artist communications, acknowledging these professionals in industry awards and media coverage, paying appropriate compensation for their expertise and effort, creating mentorship pathways for emerging industry professionals, and cultural shift toward valuing strategic work alongside performance.