Tell me your job title and what you do?

Promoter – work with artists I understand and believe I have an understanding of their roots, career and their audience which allows me to focus on their shows in a way which some promoters might not, I believe very much in attention to detail when looking at an artist or a wider event.

Tell us about your background and how you came to join Ghostwriter?

Started running music venues and promoting gigs in 1991 full time. Between now and then I’ve overseen and managed over 50 Uk venues, been a general manager of the busiest venues in the UK by the number of shows per calendar year. Been a director of the Academy Music Group and project managed the build and opening of 7 of their UK sites. Been a director and owner of two live music consultants. Been a member of IOSH. Acted as Safety Officer on numerous large-scale events with capacities of up to 20,000. Semi-retired 16 months ago and now concentrate on promoting great bands and great music. I founded Ghostwriter with Carl and Victoria. I’ve known and worked with Carl since approx. 1994. He’s my music industry wife, or am I his?

Walk us through a day in your life? How many coffees, calls, and crazy moments feature in your every day?

No coffee, stopped that about 6 years ago, bloody hate it unless it’s part of an espresso martini. Get up. Feed the animals. Power up the Mac. Look at that inbox and then start on thinking up what crazy idea could work next, or looking at sales figures and wondering why a show is not selling. Maybe have some soup…and repeat. Spend too much time thinking about artwork ideas and annoying my wonderful colleagues in Marketing!

What’s your role at Ghostwriter and how does it contribute to making events run smoothly (even when no one sees it)?

I’m now only a promoter but I dive very deeply into the shows I book, I actually promote them. People who call themselves promoters are in many cases what I would have called over the years a Booker, not a promoter. I can go out and book lots and lots of shows but the time it takes to truly invest yourself into an artist or a tour is when you become a real promoter. Not just passing off task to people to book adverts etc. I get it if you are dealing with massive artistes and you are a large national promoter but at the level I am working our success and making sure events run well is down to paying attention to the finer details and maintaining a firm hand on the direction in which the show is developing. I like that side of my role now. I can concentrate on the smaller aspects of a piece of artwork and ensure that the agent and artist are happy with the direction of travel. I think this results in well run events.

What skill or quality does someone in your role need to have to succeed?

Empathy with their artist and their audience, if you don’t understand the content then I don’t believe you can successfully deliver the show, you may well get away with it but you won’t do the job as well as those who understand the content. Attention to detail is also very important.

What’s one thing most people don’t realise about what your job actually involves?

Assessing risk. My job is one cog in a wheel which supports the lives of many people and so there is risk to everything you do, sometimes you have to make decisions that are in the best interests of the business which means walking away from a project you might want to do but you can’t place the business at either financial or reputational risk. So having good business acumen is essential.

What was the one moment when you knew you had to work in live music or events?

Sometime around March 1990 when I saw a friend booking gigs and I thought that looks cool and I said to myself I could do that…so I did.

What’s your all-time favourite show or event you’ve worked on?

I’ve been blessed working on so many great shows but I’d have to say producing two nights of Prince at Manchester Academy in 2014 was a highlight, absolutely stunning shows and more purple backstage than you could shake a stick at.

If you could swap jobs with anyone on the team for a day, who would it be and why?

No one I’m afraid, I have the best job

What’s the most unexpected skill you’ve gained from working in live music and events?

Being a professionally qualified health and safety consultant. Although that is on the back burner since semi-retiring.

What do you love most about your job?

Seeing my favourite bands play great gigs in great venues.

What’s your proudest moment on the job so far?

Can’t just be one I’m afraid. In no order but first, opening Leeds Academy, a brilliant project, a great space when all of the things that we planned worked. It looked great on opening night. Second, working with The Human League many times on live shows, they were / are my childhood band, on each occasion they have been wonderful both as people and as a show so it never meant my childhood dreams were tarnished. Love them as much today. Finally, having the balls and faith to launch my own business with Carl and Victoria when we were up against it and see it survive a pandemic. We came out stronger.

If your job had a theme song, what would it be and why?

The Wonder Stuff – It’s your Money I’m After Baby, because you have to remember that what we really want is your money!

What advice would you give to someone wanting to get into your line of work?

Don’t wear a band T-shirt for an artist you don’t own tunes by, if you do then this is not the industry for you. Go and do something like marketing!