Scott Ross began his music management career while attending Indiana University in Bloomington. He started off working with and managing members of John Mellencamp‘s band including their drummer Kenny Aronoff (Smashing Pumpkins, John Fogerty, Chickenfoot) and their violinist Lisa Germano. Since then, Scott has maintained and cultivated personal and business relationships with industry icons from both past and present, all of whom are largely responsible for the success and evolution of the music industry to date. His companies Maven Management, Maven National Artists, and Ross/Fishkin Entertainment have been integral in growing the careers of Poe, Moonpools and Caterpillars, legendary dance-house DJ & remixer Freddy Bastone, Georgia Jones, Randy Jackson from Zebra, and multi-platinum selling French producer & songwriter Walter Taieb. Scott is also known for putting bands together for Celine Dion, Jefferson Airplane’s reunion tour, Simple Minds, and even the late comedian Sam Kinison’s “Wild Thing” tour. Scott’s excited to be partnering with his longtime friends Michael and Nick Lippman in managing the talented singer-songwriter, Dr. Elvis Francois. Scott has been a valuable asset to multiple recording artists’ careers and he looks forward to bringing his passion for music, film, and television to Lippman Entertainment.
Jacoby Nations started his music career in Seattle Washington as a Hip Hop and R&B producer by day and DJ by night. After headlining major clubs in the PNW and performing at music festivals like Bumbershoot, Lucky, SXSW and Paradiso he moved into the event/stage management and production space. After relocating to Los Angeles in 2018 his background in performance, production, and management translated nicely into the talent management space where he then discovered the LA based band Beauty School Dropout. Jacoby has dedicated his life to music and performance and has made it his goal to put new artists on the map.
Alex emphasizes utilizing his platform of business and marketing to not only help create music festivals but also to create the necessary branding and marketing that a company or an artist may need. He is all around Artist Management, also specializing in Tour Management, Brand Awareness, and Media buying.
Adéllyn Holl Polomski is an LA-based music and performance industry talent manager with a special focus on talent development strategy and execution, creative and team operations. Adéllyn is teamed with esteemed music entrepreneur, Wassim “Sal” Slabiy, CEO of the XO record label and manager of The Weeknd. Her client list includes platinum-selling Producer/DJ London On Da Track, who most recently produced Ariana Grande’s 2020 hit single “Positions.” Together they also partnered up on rising alt-pop singer-songwriter Ellise, Adéllyn’s client list also includes RuPaul’s Drag Race All Stars Season 5 Winner Shea Couleé, EDM vocalist and producer Kid Alien, and Queens artist Danny Singh. In addition to her own client roster, Adéllyn believes in the value to artists of active ‘best in class’ partnerships, and collaborates on multiple ongoing projects for various artists with Kelly King at The Five Global as well as with Nick Lippman of Lippman Entertainment.
Adéllyn has over a decade of experience in radio and the performance music industry. She served as the Chief of Staff for entertainment management company, KWL Enterprises where she played a key role in the careers of D’Angelo, Trey Songz, K. Michelle, PNB Rock, and Jay Sean. At KWL, Adéllyn also worked closely with 300 Entertainment – responsible for the careers of Migos, Cheat Codes, Young Thug, and Fetty Wap, among others. Before KWL Enterprises, she served as Program Director for Evolution, the “All Things Dance” station for iHeartRadio, Clear Channel’s all-in-one digital radio service. In this role, Adéllyn worked side by side with dance music tastemaker, Pete Tong and Global producer, Diplo, to launch the syndicated EDM platform, Evolution at iHeartRadio.
While with iHeartRadio EVP, Adéllyn oversaw the syndicated programming of Premiere, Ryan Seacrest, The Bobby Bones Show, The Breakfast Club, and Sixx Sense with Nikki Sixix. As the Director of EDM Initiatives, Adéllyn played a key role in introducing new acts to millions of listeners each day. With the help of her programming initiatives, “Alive,” (Krewella); “Feels So Close,” (Calvin Harris); “Boneless,” (Steve Aoki); “Animals,” (Martin Garrix’s); “Cinema [Skrillex Remix],” (Benny Bennassi Ft. Gary Go); and “Don’t You Worry Child” (Swedish House Mafia) all earned platinum certification.
Between 2011 and 2015, Adéllyn booked talent and ran radio broadcast operations for Clear Channel’s largest events, including: the iHeart Music Festival; Jingle Ball; the iHeartRadio Country Music Fest; the iHeart Music Awards; the iHeart Ultimate Pool Party; ID&T; Ultra Music Festival; SFX; Live Nation; and AEG. Additionally, she secured talent for multiple performances at iHeart Radio’s Los Angeles and New York City theaters. International superstar acts included: deadmau5, Tiesto, David Guetta, and many others.
Adéllyn holds a Master’s Degree in International Event Management from Leeds Metropolitan University. Having lived extensively overseas, Adéllyn first began her radio career in the UK with Leeds Student Radio and became immersed in the electronic music scene. She is an accomplished speaker, with appearances at Austin’s SXSW Festival, EDM Biz, and the Winter Music Conference. When she is not managing artists, Adéllyn dedicates her time to several non-profit organizations, including City of Hope, Road Dogs and Project Style.
Hailing from the San Francisco Bay Area, California born, Jeremy Lopez packed his bags after high school and never looked back. From day one, there was never a question he would work in music. He moved to Los Angeles to pursue his dream and attended music school with a focus on Music Business Administration, Production and Engineering.
Three months before graduating top of his class, Jeremy had secured a then rare, and soon to be coveted, internship at the world renowned Westlake Recording Studios, artistic home of such music legends as Michael Jackson and Elton John, and frequented by popular artists like Rihanna, Justin Timberlake, and Britney Spears. Working his way up from intern, to runner, assistant engineer, to engineer, Jeremy watched, listened and gleaned from some of the industry’s most respected artists, producers, record label executives and A&Rs.
After being in the room, working side by side, and interacting with such big-hitters he so strongly admired as David Foster and Simon Cowell, there was no doubt there was much more to the business than anyone could learn in school. Passionate and hungry, Jeremy was like a sponge, soaking up everything he could, learning as he went, and eventually discovering he had his own distinct opinions and point of view about the process. As time went on, he became more and more empowered to voice those opinions, and more and more they were heard and utilized. It was clear Jeremy had something to offer beyond engineering and assisting others on the technical side. On more than one occasion, he was offered jobs by record label A&Rs and music executives for, when he was “done with engineering.” Eventually, Jeremy decided, although he fully enjoyed all the exposure, connections and experiences he had at Westlake Studios, after three and half years, it was time to move on.
Intrigued by watching Aaron Bay-Schuck’s development of Bruno Mars, Rob Fusari’s development of Lady Gaga, impressed by Alex-da-Kid’s work on Imagine Dragons’ Continued Silence EP, (which went on to be the highly successful album Night Visions), as well as visually watching the hit-making process on albums like, Ne-Yo’s Year of the Gentlemen, Grace Potter and the Nocturnals’ self titled album, and Rihanna’s Good Girl Gone Bad and Rated R, Jeremy gained a solid foundation and greater sense of what it takes to assemble the right team to create something special with an artist, a track, an album, making the difference between ordinary and extraordinary. With this expanding knowledge base, a knack for spotting budding talent, combined with a long-term vision of all elements needed to shape and mold that talent to its next level, Jeremy was naturally lead to A&R work, and artist development became the next chapter in his catalog. He consulted for several labels for the next year.
Unfortunately, it wasn’t long before Jeremy became disillusioned by the record label “food chain” and web of infrastructure, which often tied his hands and made months of work obsolete with a single veto vote. Additionally, the changing landscape of the music business left little room for true artist development. This, coupled with the occasional lack of integrity he encountered, (insert the un-credited discovery of now famous band story here), that left a bad taste in his mouth, and led him to create his own management company. There, he could have more control, advocate better for the artist, and see his vision through.
In the next three years, he went on to work with a handful of artists, and in doing so, found himself maneuvering more through the business side of artist management, in addition to overseeing all creative elements.
On the creative side, he navigated all aspects of the artist’s image, including developing the live performance, supervising studio sessions and executive producing music tracks, monitoring social platforms, and bringing together the best artist team to accomplish these goals. On the business side, he was now securing funding, booking gigs, negotiating with labels, reviewing contracts, pitching songs for licensing and publishing, and handling all brand relations.
During this time, Jeremy also worked in private equity and advertising to pay the bills. He had no idea how much this would support and compliment his work in music, most profoundly branding, in the coming years.
In 2014, Jeremy was given an offer to fold his company into DMI Records and Publishing, (Aretha Franklin, Dionne Warwick). There, he would act as VP of A&R, oversee Firehouse Recording Studios, all Brand Relations, and continue artist management. Excited to have more of a platform to discover and develop artists, and expand his brand relationship opportunities, Jeremy jumped on board. Ironically though, it would be the lack of infrastructure and collective vision that would lead to continued roadblocks. All too often, again, he felt his hands were tied. In early 2015, DMI and Jeremy would part ways. Little did he know, it was a blessing in disguise.
Soon after, Jeremy was brought on to Lippman Entertainment as Head of Brand Relations, a position that had not previously existed. Jeremy’s penchant for creative and innovative ideas, and his enthusiasm for partnering and aligning brands with music won Nick Lippman over. Jeremy’s job title has since expanded to include artist management.
Working with Lippman has allowed Jeremy to both return to his roots and utilize his full skillset and passions around music, but now with the added heat the Lippman powerhouse name brings. He considers himself lucky to again have secured a coveted position with such a well-established and respected company. Although humbled by the opportunity, Jeremy feels right at home in this family business. With a synergy that is palpable, a common work ethic, values, and focus on artist advocacy, Jeremy is excited to start every workday under Lippman Entertainment’s roof, tackling whatever comes his way.
Simply, Jeremy is a fan of music, all aspects, a “superfan” some might say. He wants everyone to have the experience he would most desire, and that informs everything he does. Most importantly though, he’s a fan of the artist. Jeremy has always known, with the right team and the right template, a good artist can be a great artist. And when that artist is happy and doing well, everyone wins.
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Nick Lippman is a Partner at Lippman Entertainment. He’s focused on guiding the company’s impressive artist and producer roster in today’s multi-faceted music business. His industry experience started with an internship at EMI Records at age 15. After, he enjoyed a successful stint at Interscope, before joining Lippman Entertainment in 2004. He was named a partner at Lippman Entertainment in 2014.
Combining innate “record biz” acumen, a trailblazing spirit, and an informed understanding of digital trends, he set a new paradigm for multi-platinum pop rock icons Matchbox Twenty in 2007. At Nick’s urging, the band became the first in history to sell a full-length album, Exile on Mainstream, on a USB wristband in the mass market. The record debuted at #3 on the Billboard Top 200 and was quickly certified Gold. The group continues to sell wristbands at all live shows, allowing fans to purchase the audio of performance they just attended—a model soon adopted by Bruce Springsteen, George Michael, and others. Also, for that tour cycle, Nick also orchestrated a tie-in with Facebook and eHarmony where online daters went on their very first date at a show on the Exile tour.
He continued pushing the envelope with Matchbox Twenty in 2012. Initiating a groundbreaking cross-promotion between the artist, Facebook, and Spotify, he launched a campaign incorporating the concept of “Timeline” and listeners’ own memories of the group as set up for the release of their latest record North. The record would debut #1 on the Billboard Top 200—their first to do so in their 15-year career. Eventually, he helped grow the band’s social following to over 1.8 million fans in less than 10 months. The digital rollout included of a trend-setting artist app. This was the first time a band included both augmented reality and geo-fencing on tour to communicate directly with fans, an innovation lauded by Billboard in 2013.
In setting up George Michael’s 2014 album Symphonica (a #1 debut in the UK and four other countries), Nick engineered a slick roll out. The artist’s web site underwent a “black out”, inciting the fans to question his next move. Then, he launched an interactive app and unique events throughout the two weeks leading up to the album’s release.
He also developed a groundbreaking “Digital Tour Book” that reinvigorates the classic tour program and pushes it online with modern technology. It started with Matchbox Twenty and will be mass released in 2017.Nick reintroduced Ryan Cabrera into the marketplace with a highly successful 2013 tour that showcased the artist to a new younger audience. He created an online monthly charity event called “Live from Ryan’s Living Room”, which raised over $150,000 for various charities.
He also developed a groundbreaking “Digital Tour Book” that reinvigorates the classic tour program and pushes it online with modern technology. It started with Matchbox Twenty andwill be mass released in 2017.Nick reintroduced Ryan Cabrera into the marketplace with a highlysuccessful 2013 tour that showcased the artist to a new younger audience. He created an online monthly charity event called “Live from Ryan’s Living Room”, which raised over $150,000 for various charities.
In 2011, 360 Magazine included him among its “Top 100 Innovators, Intellectuals, Peacemakers, and Trendsetters” list with Bono,Jay-Z, Michelle Obama, and more. He received a 2012 nomination for Billboard Magazine’s “40 under 40′′. He built strategic partnerships with top startups like Co-Promote, one of Billboard’s “Top 10 Startups of 2011”, Daqri, one of Billboard’s “Top 10 Startups of 2013”, and 2014’s SXSW top 10 accelerators Fliptu. He also teamed with both G-TV and YouTube to create the MCN, G-TV Music
In 2015 Nick started the technology Incubator Ava Jade, LLC. Ava Jade specializes in connecting amazing technology with the entertainment world emphasizing on the music industry. Nick sits on the Board of Advisors for fast growing technology startups; Co-Promote, Crowdzilla, Ampsy, Top-Fan, Fan Flex, Gigmor,Rage-Onand Dreamchain. Dreamchain was Ava Jade’s first company working on the blockchain and in cryptocurrency. To date each one of these companies has grown exponentially since Nick joined the respective teams.
In the summer of 2016, Nick introduced the world to the First Ever Hologram Selfie Experience, where fans who purchased VIP packages will have the opportunity to sing in real time next to Rob Thomas, both in Hologram form. Within minutes, the footage is emailed to the fan to share with friends, family and on social media. This is truly a unique and once in a lifetimeexperience.This went off extremely well garnering huge press from tier one outlets as well as fan satisfaction.
As well in the summer of 2016 Nick and his business partner and father Michael, was featured in Billboard Magazine’s “From the Desk Of”.
In the summer of 2017 Nick led the incredibly successful Matchbox Twenty “A Brief History of Everything Tour” with smart marketing and the ability to maximize playing off the band’s nostalgia. The band played to over 850,000 people during this run.
In 2017 and 2018 Nick grew the career of rapper Chris Webby from what was a decline to a height greater than his initial prime. With Nick at the helm, Webby got more than 70 million streams, did a partnership with Live Nation, doubled his touring guarantee and grew the financials almost 10x in less than 2 years.
2018 was also a big year. His client, 16-year-old Noah Urrea, is the star of the Simon Fuller created, Now United who have toured the world and will continue to do so through the remainder of 2018. Juan Pablodi Pace got rave reviews singing the music of the late George Michael with an incredible symphony and was a finalist on the hit tv series Dancing with the Stars. You can also see Juan Pablo as “Fernando” on Netflix’s biggest show, Fuller House as well as on the Dancing with the Stars tour.
In 2018 Nick also expanded Ava Jade, creating the Ava Jade Producer Incubator as well as the Ava Jade Artist Incubator. Nick partnered with acclaimed neuroscientist Dak Brandon and brought in multi-talented producers and writers to create a hit making machine. Look for multiple drops in 2019 from the production side.Ava Jade also started a publishing entity and has partnered with RipTide and Urban & Lazar.
So far in January of 2019, Nick was able to secure both a record deal and publishing deal for Christian artist Jack Cassidy, whom was on team Alicia on season 15 of The Voice. Rob Thomas is also releasing his 4th solo album and going on a World tour in support of it.
Nick’s passion and acumen drives results and breeds loyalty. “It’s about understanding the transformation in the business and being proactive without being too eager,” he said. “Risk taking is inherent in show business but as managers we need to focus on taking calculated risks, that protect and impact artists, enhance the fan experience, and move the industry forward.”
“I’ve probably put together more deals backstage at concerts than by telephone.” -Michael Lippman
Through a diverse client roster that maximizes opportunity in ever changing trends while minimizing the risk of being completely focused on one genre, Lippman Entertainment is positioned at the center of all aspects of the music business. Early in his career Michael observed that record producers and songwriters, are artists in their own right, and lacked proper guidance. Michael started a management firm representing select recording artists and for the first time ever, created a business managing record producers and songwriters ensuring that all players in the creative process were protected and properly rewarded. Hailed as an innovator in negotiating entertainment contracts, his advice is often sought after by his colleagues. Michael’s intuitiveness for brokering diverse talents and commitment to the success of a project is renowned and maintains his broad power base within the industry.