Member Spotlight: Randy Wright
How did you get started in the industry?
I’ve been playing professionally (drums/vocals) since age 11. I moved to Nashville in 1978 and performed with the Barbara Mandrell Show from 1978 through 1989, including some recording, and all live appearances in addition to several network and cable television specials, and two years on the Mandrell Sisters network TV variety show. This resulted in exposure to hundreds of artists and their respective agents, managers, and touring personnel, most of whom are still in the industry, and have since move into more influential positions. When leaving the road in 1989, I took a position as general contractor for the Mandrell organization, with responsibility of negotiating all production-related contracts (transportation, sound, lights and tour personnel) and advancing all dates. In addition to the tour contracting, I served as production coordinator on corporate events for World Class Productions, eventually moving into a sales position, which I maintained until the opening of Integrity Events, Inc. in 1996. This hands-on experience, from performance to production, allows me to speak intelligently to just about any facet of the industry.
Tell us about your clientele. What type of entertainment do you usually book?
We currently have three great casino properties in Ontario, Canada: Caesars Windsor, Casino Rama, and Niagara Fallsview Casino Resort in addition to longstanding corporate clients and small theatres, Performing Arts Centers. The talent ranges from a local/regional party band to superstars and everything in between.
Who are some notable acts that you’ve bought?
As to name-recognition, it would probably be Jimmy Buffett, Celine Dion, Elton John, Billy Joel, Cher and Aerosmith.
What resources do you use to buy entertainment?
Most of what we buy goes through the normal agency channels. We’ll do the normal comps on box office reports, average grosses and the like, but we rely on our relationships with our friends at the various agencies to keep their artists and our clients happy.
Tell us a personal highlight of your career.
As a performer, the live TV or network specials always got the adrenaline flowing. As a producer, early on having Diana Ross at the Tokyo Dome, and watching 30,000+ Japanese singing along with her was pretty incredible. More recently, working with my friend Gary Osier on an event in Mexico, producing a major artist on a totally unimproved beach site, so unimproved that a road had to be cut thru the jungle to get the gear to the beach. That was a lot of fun and a challenge, but maybe more importantly, the fact that Gary called me knowing that I’d honor his relationship with that client, meant a lot to me personally.
Do you have any advice for young professionals?
I think the 10,000-hour theory is true. If you REALLY want to be proficient at something, you’ve got to be willing to put in the necessary hours so that when an opportunity arises, you’re able to capitalize on the possibility. Work hard. Make friends. Develop trust. Deal with integrity at all times. I share with people that we purposely chose the name Integrity Events so that we can be held accountable to that standard. It’s a constant reminder as to the way we’re supposed to do business and live our lives.
What do you see as the biggest issue/problem in live entertainment today?
In an immediate sense, I think we all have to wonder about the effect of our current economic condition. In the bigger picture, I think we’re still in the midst of a paradigm shift as to how artists are developed and how they get their music in front of the public. I’m not sure our future will include acts with 30+ year superstar careers that are still able to tour and sell tens of thousands of tickets in 2030. Maybe not as much a problem but a challenge as to how we continue to deliver live entertainment in the future, whether in a soft or hard ticket situation.
What made IEBA successful in 2008?
A big part of IEBA’s success has been Executive Director Tiffany Davis who has displayed vision, ideas and the drive to see them through. Another big part of our success has been the support of so many of our friends in the industry who participated on panels, showcases or at the awards banquet.
What was your highlight of the year?
Steve Moore’s sincere surprise when he realized he was there to receive what we all knew was a well-deserved honor for all that he’s given.
On a personal and professional level, what does it mean to be president of IEBA?
It’s an honor on both levels, but that being said I’m not so sure the industry and/or our peers appreciate the commitment unless it’s someone who’s served in the position previously. I know I was guilty of taking for granted the guys who’ve served in the past, so let me take the opportunity to say THANK YOU to all those who’ve gone before. It’s a lot of work and time, but given where the organization has been and what the possibilities are for the future, it’s worth it.
What can members expect to see in 2009?
Hopefully more of the positive growth we’ve seen in the past few years. A bigger and better conference. More events where we take IEBA to other locales for workshops or seminars, maybe at colleges with a music business department. The continuation and growth of our scholarship fundraising, benefitting a deserving music industry student while at the same time honoring someone who’s impacted our industry.