New Global Booking Agency from ATC and Arrival Artists Now Reps 800 Artists
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The music industry's landscape is shifting dramatically with the launch of Rome, a new global booking agency formed by the merger of Arrival Artists and ATC. This 50-50 partnership unites two powerhouse agencies—Arrival (U.S.-focused, based in Colorado) and ATC (Europe-based, led by Scully Kaplan in London)—into a single, independent force representing over 800 artists across North America, Europe, Asia, and beyond. The result is the largest independent booking agency in the world, offering artists unified global representation for the first time. In this episode, Ethan Berlin and Scully Kaplan break down the financial realities of touring in 2026, revealing how rising costs, volatile fuel prices, and complex expense structures make profitability increasingly difficult. They expose the hidden line items in settlement reports—from $250 for towels to $5,000 in production fees—and emphasize that smart, creative budgeting is now essential. The duo shares how agents now negotiate door deals, tour deals with promoters, and even bar cuts to maximize artist earnings. They also reveal that artists like Corey Wong sell 6,000 tickets in Tokyo while struggling in smaller U.S. markets, proving that success is not global—it’s local, genre-specific, and often built through years of strategic touring. Most importantly, they argue that making it in the new music business isn’t about following a blueprint, but about being unorthodox, resourceful, and deeply committed to the artist’s vision.
Rome, the new global booking agency, combines Arrival Artists and ATC into one independent entity representing 800 artists across North America, Europe, and Asia.
Touring profitability is now driven by creative cost-saving—limiting crew size, using vans instead of buses, and sharing hotel rooms to reduce touring expenses.
Marketing budgets are typically fronted by promoters, but Rome’s in-house teams negotiate how those funds are spent to maximize ticket sales and artist revenue.
Door deals—where artists split ticket revenue directly with promoters—are more profitable than guarantees, especially for artists confident in their market demand.
Bar cuts and merch fees are negotiable line items; some venues will pay artists more to cover bar revenue if the audience is high-drinking.
…and 3 more takeaways available in PodZeus
The Birth of Rome: A Global Booking Powerhouse
“Rome's now been around I guess you're coming up on a year, I guess nine months or something like that but give me a little backstory and how this came to be and why.”
Why Artists Need Different Agents in Different Territories
The hosts break down the historical fragmentation of artist representation across North America, Europe, and Asia. They explain how geography, market size, and business culture create natural divides, with agents specializing in their local markets due to the complexity of managing relationships and logistics.
Asia’s Growing Market: Japan, Korea, and the Challenges of China
“Corey, his biggest market in the world is in Tokyo. Um, in Japan as a whole. Yeah. He did 6,000 tickets there. Um, amazing. In June of last year after being there three previous times.”
The Myth of Global Consistency: Why Markets Differ
The conversation explores why some artists thrive in Europe or Japan but struggle in the U.S., or vice versa. They cite cultural moments, genre alignment (e.g., funk in Tokyo), and the power of long-term touring to build local fanbases, debunking the idea that success should be uniform worldwide.
The Financial Reality of Touring in 2026
“It's trying to be smart about what room size you're playing and trying, you know, to not overshoot it. And can you charge a higher ticket price? Playing a smaller room, making the same if not more money.”
“If I can get to that place, then I feel like I have made it. Amazing. Scully, Ethan, thank you guys so much. It was great. Thanks Ari. Thanks a lot.”
“For me, nothing's off limits. Everything can be discussed. Whether you're going to get very far is a different question. But you can always try. There's no harm in trying.”
“Rome's now been around I guess you're coming up on a year, I guess nine months or something like that but give me a little backstory and how this came to be and why.”
Host
Guests
Rome
organization
Scully Kaplan
person
ATC
organization
Ethan Berlin
person
Arrival Artists
organization
Ari Herstand
person
Corey Wong
person
Krungbin
person
The Lumineers
person
Sufjan Stevens
person
He Went from 40K Listeners to 11 Million and a Coachella Slot in Under a Year as an Indie Artist
The New Music Business with Ari Herstand • 51m • 5/13/2026
Going Viral In The Right Way Allowed Him To Turn Down Record Deals and Sell Out Venues Around The World
The New Music Business with Ari Herstand • 1h 5m • 5/20/2026
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