Irving Azoff
Chairman; Chairman/CEO
Live Nation Entertainment; Front Line Management Group
Twitter: @irvingazoff
The Game Changer...
To hear the words "I have Irving Azoff on the line" and not
experience at least a twinge of anxiety means a pulse check is in
order. Azoff helms the world's largest promoter, ticketing company
and artist management group from behind one desk. (OK, he probably
has several desks, but you get the idea.) He has moved mountains in
the worlds of film, TV and music; transformed mere artistry into
superstardom; sustained and resurrected careers; and is a force of
nature in the world of philanthropy. Music industry careers come and
go, but Azoff's sphere of influence is enormous and ever-expanding.
The cultural touch points--and the business
trends that followed--that can be traced directly back to Azoff
range from 1980's "Urban Cowboy" film to famously shattering the
$100-ticket glass ceiling (and, in the process, revealing true
market value) for mainstream rock/pop acts with the Eagles' 1994-96
Hell Freezes Over tour. That tour sold every ticket, with Azoff
famously saying at the time that the only people who complained were
journo types who got their tickets for free. Regardless, the
business never looked back. Azoff has found success as a movie
producer, agent, promoter, label CEO, label owner and publisher. He
remains many of those things and more.
But even
though, from atop the silo, he commands companies with diversified
areas of focus, most see Azoff as a manager at heart, and the
manager's chair is where he seems most in his element. In
consolidating management companies to create the unparalleled
leverage of Front Line Management Group (before Ticketmaster and
Live Nation were ever in the equation), Azoff was at the forefront
of the shift in the balance of power from labels to managers and has
shown that, in his world, labels can be valuable partners but
aren't always necessary-because artists create the content, content
is king and live is the thing.
Consisting of
13 management companies, Front Line bills itself as "the world's
largest music management firm," but the number of artists affiliated
with it seems a bit of a moving target. "Approximately 200" is a
figure that's often used, and a large portion of those acts are
arena-level headliners: Artists affiliated with Front Line companies
include such established superstars as the Eagles, Christina
Aguilera, Neil Diamond, Van Halen, Journey, Kenny Chesney, Fleetwood
Mac and scores of other big names, developing acts and everything
in between.
Azoff insists the affiliated managers
maintain autonomy. Management is and will always be a personal
business, the manager/client relationship is sacred, and it makes no
long-term sense for Azoff and his team to be anything more than
a resource to use if needed. But for this number of artists to be
aligned in any way is a powerful statement.
Even
if artist management is what he's best-known for, Azoff still has
Ticketmaster and Live Nation under his watch, and both are
reinventing the business as they fight to maintain supremacy and, in
the case of Live Nation, consistent profitability. Live Nation is
aggressively trying to improve the margins of live concerts by
increasing revenue opportunities before, during and after the show,
in ways that include venues, long-term multi-rights deals with
artists, branding and merchandising, as well as marketing from
global to local. And, of course, ticketing.
Ticketmaster is boldly reacting to increasingly fierce competition
by ramping up its evolution from a service provider to a marketer
and smart, innovative user of unmatched data that can sell more
tickets and play a role in building careers and bringing enormous
value to clients and sponsors. One can only guess at the role Azoff
played in passing muster with the Department of Justice's Antitrust
Division during the merger of all these entities-Ticketmaster, Front
Line, Live Nation-but one can only assume it was a crucial one. The
number of plates Azoff spins on a daily basis is mind-boggling.
Spinning them under the watchful eye of Wall Street surely makes it
tougher. One wonders how long Live Nation Entertainment will
continue doing business with that little distraction, but that's
another story.
In the end, the intangibles
make Irving Irving. He has been called everything from the smartest
guy in the room to Satan, but he is always taken seriously.
Alternatively disarmingly witty or shockingly intimidating, in a
world where one's ability to give good phone can dictate survival,
Azoff's phone skills are unmatched, and he's equally unflappable and
effective face-to-face. More than a few big players (and
journalists) have surely hung up the phone or walked out of a
meeting thinking, "What the hell just happened here?"
Whether Azoff's actually thinking five moves ahead in the chess
game or not, people believe he is, and that's a difference-maker.
Maybe, when all is said and done, Azoff will get the last laugh
when, on his tombstone, he reveals, "I was just winging it.
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