Rebecca Young

As a music agent, Rebecca Young has developed a sixth sense for what makes a live show any good. 

‍

“It’s really nice when you see a new act, and you think ‘OK we’ve got some work to do here, but there’s something very special about this person when they get on stage’,” she says. “Sometimes it’s so intangible, you can’t put your finger on what it is.”

‍

“I also watch the audience. I’ve had artists perform to maybe only ten people in a room, but if they’re all super engaged then that, to me, shows there’s something good going on.”

‍

Bec founded the independent booking agency Collective Artists, which manages a diverse range of clients and helps those at the early stages of their music career blossom. As the director, she goes to gigs about once per week to support her clients or to scout for new ones, but early in her career she would go to three or four each week. 

‍

“Seeing as much music as you can is a really great way to train your ears to get to know what makes a live show interesting, and what to look out for in a new client.” 

‍

While seeing live shows and listening to new music is a major perk of being a booking agent, Bec says the job also requires a lot of administrative tasks.

‍

“It’s really important, as an agent, to have great attention to detail, such as being able to spot things in new contracts or tour agreements. That’s just as important as being able to find new talent.”

‍

Bec started Collective Artists about eight years ago. Today, it represents around 40 artists, including Sarah Blasko and Rolling Blackouts Coastal Fever. 

‍

Collective Artists manage their clients’ live shows and touring in Australia and New Zealand, pitching them to perform at festivals or organising headline tours, support spots, and corporate events. While primarily a booking agency, Collective Artists also programs and produces events, such as recently working with Vivid Festival this year. 

‍

“It’s really exciting when you’ve made a plan with an artist and you can see some of those goals come to fruition, like selling out a headline show or getting on a festival you’ve targeted for years,” she says.

‍

“I work with two bands called Party Dozen and Good Morning, and both got an offer for Meredith Festival this year, and it was something we had worked towards for a long time. Those moments are so cool.” 

‍

At age 20, Bec moved from Brisbane to Sydney to study fine arts, and lived there until 2021 before racing off to Melbourne as soon as the borders reopened after the COVID pandemic. She got her start as an intern in Sydney with music management company Boundary Sounds, which ran a club night called Purple Sneakers that featured live bands or DJs. 

‍

“I just liked that world a lot more than I liked the art world. So when I finished uni I decided I wanted to work in music,” she says. 

‍

Along with learning the ins and outs of music business at Industri, Bec says it’s important for aspiring agents to just “put yourself out there to volunteer”. 

‍

“Most festivals and events are always looking for volunteers. It’s a great way to meet other people in the scene.” 

‍