IPM Production Notes

Pronouns: they/them Coordinator, Wasserman Music Based: New York, US rmillhauser@teamwass.com

Tell us about a personal triumph in your career. I spent many years leaving a lot of myself at the door when I walked into the office or a show. While far from easy, deciding to walk 100% of myself through the door has been a profound relief and quite rewarding – both professionally and personally. Now I feel a strong sense of responsibility to use my voice to push for more opportunities for trans and gender nonconforming people, both onstage and backstage.

What advice could you give for young queer professionals? Be yourself. No career opportunity is worth compromising your identity for. One of my favourite words of wisdom came from Lenore Kinder – “There’s going to be very few people that hold the door open for you in this business, so you just gotta swing the fucker open and walk through.”

Tell us about a professional challenge you often come across as a queer person in the industry. Going to shows and meeting people face-to-face for the first time can be a wildcard scenario: sometimes I’m not quite what they imagined on the other end of that email address. While some moments have stung, I move right along and let my work speak for itself.

What one thing could the industry do to be more inclusive? We still have a long way to go when it comes to truly including and uplifting marginalised communities. How many queer people of colour work at your company? The answer is usually not great.

Causes you support. Trans Lifeline and The Okra Project. Personally, I’m committed to donating to trans people who need financial assistance with healthcare via crowdfunding websites and cash apps. The financial barriers the trans community faces when it comes to healthcare is astonishing.

What does the near future of the industry look like? Promoter versus agent mentality has to go out the window. Currently, in the US, the floodgates have opened but in a patchwork way, making it trickier to route a several-week tour months in advance. We’re responding to differing local regulations in real-time, putting shows on-sale with much shorter windows and facing avails that are few and far between. At the same time, live music has never felt more precious and meaningful.

How could the industry build back better, post-pandemic? Sustainable touring and climate change need to be at the forefront. No one needs to be an expert to make an impact. Carbon offsetting has never been made easier and there are many exciting new ways to approach concessions, catering, merch, fuel and so much more. Shout out to REVERB for leading the charge on this! Pronouns: he/him Director – touring, Live Nation Based: Los Angeles, US Linkedin.com/in/austin-sarich-193a2265

Tell us about a personal triumph in your career. It was a true privilege to be a part of Oprah’s 2020 Vision Touring Team. It was meaningful to me to help successfully grow a project that aimed to inspire people through personal growth and self-discovery.

What advice could you give to young queer professionals? Your sexual orientation will always be a part of your identity, however, it doesn’t have to be what defines you. Let your work, passion, and drive be your great impact on the industry, regardless of your sexual orientation.

Tell us about a professional challenge you often come across as a queer person in the industry. Working in a male-dominated industry, I would often find myself internalising that my sexual orientation would put me at a disadvantage when I first began navigating the relationships I was making.

What one thing could the industry do to be more inclusive? Leading through empathy – knowing everyone has their own personal and professional challenges, which could help unify us as a whole.

A cause you support. Today, I’m Brave, which is an organisation that focuses on empowering underserved youth to be brave and unlock their best potential.

What does the near future of the industry look like? An industry filled with gratitude and prosperity. After a year of uncertainty, I confidently believe we are all grateful to have live events back, with fans who have more of an appetite than ever to see their favourite acts live in concert.

How could the industry build back better, post-pandemic? I would hope that post-pandemic we can all operate efficiently with patience, kindness, and appreciation for each other and the hard work we commit to.