The biz's brightest new talents tell their stories. This week it's the turn of James Osgood, music coordinator at United Talent Agency.
How did you break into the industry?
I secured a six-month full-time internship at UTA within the classical and performing arts department whilst I was doing my degree. For years I’d spent most of my money going to shows and festivals, so after finishing the internship I knew that I definitely wanted to work in the live sector. I had to return to university to finish my studies, but within a couple of weeks of doing so, I reached out to a few people that I had worked with at UTA and fortunately found a position.
What’s your proudest achievement?
Receiving an offer for Glastonbury for an act that I have worked on since I started at UTA felt like a big achievement. But, in all honesty, working on sold-out shows at any level is exciting. Being in the room on the night while it is all coming together is one of the best feelings you can get. Also, seeing acts that we work with sell out shows, then move on to bigger venues and seeing those shows sell out as well, makes me proud to be a part of the growth. Ultimately, I feel happy for the artists because their hard work is evidently paying off, and their career progression is tangible.
What does it take to succeed in the live sector?
It sounds fairly obvious, but checking out lots of live music is something I’ve found importance in. It may not be relevant to everyone, but I like music across different genres, so going to see all kinds of gigs has helped me to gain a deeper understanding of the different scenes and crowds, and therefore what might and might not work so well in a live setting.
How can artists make the most of live opportunities?
Most people seem to like artists that have that balance of good songs, some kind of message, and a unique way of delivering both of those things live. If those three things are slotting into place then they’re probably in a position to start making the most of opportunities. If there’s still lots to work out, there’s an argument that it might be better to wait before going for those big support slots, or the slots at the more ‘established’ festivals when they will be performing in front of critical eyes and ears. In the fallow period before major releases; it’s important to keep on playing shows, small festivals, picking up fans and honing the craft.
What’s your biggest lesson?
Just to work hard and be honest. As is the case in most industries, sometimes projects can go through difficult moments for various reasons. If people are honest and up front, it’s easier to collaborate and find solutions.
JAMES’ RECOMMENDED TRACK:
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