Artist managers: Askonas Holt’s ‘vital intervention’ on behalf of the planet

No extended Easter break for Sorcha Coller and Lucie Pierron at the Askonas Holt office. Thanks to their efforts, international ‘Earth Day’ (22 April) was duly marked by the hosting of a ‘summit’ at Somerset House on issues surrounding sustainability as it relates to the classical music industry as a whole. Gratifyingly, given it was the week after Easter, there was heartwarming support from around the industry for the event, which consisted of panel sessions (moderated by Jon Collins, CEO of LIVE, which represents the nation’s live music industry) which were rounded off with an open forum.

‘The response from all sectors of the industry to this summit shows just how seriously the issues are being taken,’ says Coller, sustainability specialist at Askonas Holt. ‘Everyone certainly wants to build from here and make it a recurring initiative in future years. The goal is of course to instigate real action.’

One agreed priority, as Coller explains, is updating the Association of British Orchestras’ Green Orchestras Guide. ‘This was first launched in 2010 in collaboration with Julie’s Bicycle, a not-for-profit organisation helping to mobilise the arts and culture to take action on climate change, nature, and justice issues. Given evolving circumstances, the guide urgently needs to be revisited and refreshed.’

‘There’s a need for information-gathering,’ adds Askonas Holt project manager Pierron, ‘in the shape of a collation of the varying challenges faced by different organisations within the industry. This is something Askonas Holt has addressed in our survey, Understanding Attitudes to the Climate Emergency in the Classical Music Touring Sector, carried out in partnership with the arts and cultural organisation, Indigo.’

Plenty of positive reaction from summit attendees. Feimatta Conteh, who specialises in environmental responsibility issues at Arts Council England, reported that it was ‘wonderful to see different stakeholders in the sector coming together to share insights and learning, and develop some key actions to transform international touring into a more sustainable practice.’

‘It’s only if we all collaborate that we can make the necessary change,’ adds Kathryn Aldersea, tours manager for the BBC Symphony Orchestra. ‘It felt like there was a real will from everyone present to agree on some achievable actions.’

For Nicolas Zekulin, head of Music Programme at the Edinburgh International Festival, ‘The fact that this summit was organised by Askonas Holt immediately placed it at the heart of the business of our industry. A vital intervention.’

Coller and Pierron were pleased to welcome Labour MP, Jonathan Davies, to the event. ‘He pledged support with lobbying efforts,’ says Coller, ‘offering to leverage his connections to assist our cause.’ Davies himself argues that the summit’s ambitions chime with the government’s awareness of the challenges. ‘That’s why [the government] is investing in green energy and public transport – as well as technology which will drive growth while enabling us to live more sustainably.’

Askonas Holt chief executive Donagh Collins is ‘delighted that we brought together such interesting and inspiring colleagues from across the industry. It’s critical to be concentrating on sustainability in our sector, not just the challenges but also the opportunities. I’m proud that Askonas Holt is emerging as an industry leader in the field.’

So what of Askonas Holt’s own in-house implementation of good sustainability practice? A tricky added responsibility at a time of significant stresses and strains on the music industry? ‘We don’t view this as an “extra” responsibility,’ Lucie Pierron insists. ‘We believe that containing climate change must be factored into every decision we make. Our industry may not appear to be one of the biggest contributors to climate change, but every sector – and every individual – has a responsibility to take action to reduce emissions.’

‘This isn’t about creating less work for musicians,’ insists Sorcha Coller – it’s about moving towards a way of working that’s both kinder to the environment and capable of having greater artistic and social impact. For example, we’re interested in exploring models where artists stay longer in any one city when on tour, offering multiple performances alongside meaningful community engagement, such as education work and masterclasses. We’re committed to understanding and addressing the barriers that stand in the way of making this approach more viable.’

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April’s International Artist Managers’ Association conference, based at the Royal College of Music in London, saw new chairman Ben Rayfield fully taking up the reins (of which more in a future column). Also recently inducted is Sydney-based Virginia Braden, becoming only the second-ever president of the association. Braden served as IAMA Chairman during her long years as a distinguished artist manager during which she represented a host of internationally admired musicians. ‘I couldn’t have been more surprised and thrilled to receive the invitation to become IAMA’s Hon. president,’ she says.

Braden and Melbourne artist manager Jennifer Eddy were in fact the very first international members of IAMA’s precursor, the British Association of Concert Agents. Braden’s belief in the importance of there being a global artist managers’ organisation is measured in the fact that she proceeded to sit on the IAMA board, then becoming deputy chairman and chairman of the association. She has represented IAMA at various international gatherings and conferences in the Asia and Pacific regions over many years.

‘My interest and belief in the importance of the work of IAMA has never wavered,’ says Braden. ‘I’ve watched it grow in membership, activities and breadth of ideas under the direction and guidance of its boards and the management firstly of Richard Steele and then the current inspired and long-serving chief executive, Atholl Swainston-Harrison.

‘Without IAMA, especially as an international member, it would have been more difficult for me to survive in the ever-changing world we work in, particularly living in a country distant from the music hubs of the UK, Europe and USA. The association membership has now expanded beyond artist management to include others involved in the business of music. This recognises artist management’s perceived value to members of the industry as a whole, particularly in the last few years when the business has become so much more complex.’

Braden pays tribute to the previous IAMA president, the late David Sigall, ‘who gave so much to the profession.’ Just what opportunities the position will now offer remains to be seen. ‘Perhaps it will be in the role of impartial and confidential mentor to members, or discussions with younger managers who are interested in trying out ideas and developing more experience, or helping to expand the worldwide knowledge and understanding of IAMA’s work. Maybe simply giving an association member an opinion about resolving a complex business problem.’ Whatever the presidential position entails, Braden is determined she will be ‘an active participant’ in the ongoing life of IAMA, ‘not just a title on a letterhead.’