Sarah Joy: Crafting Careers in Live Music with Passion and Purpose

Navigating the intricate world of live music requires both a keen business sense and an unwavering commitment to artists. Sarah Joy, booking agent at ATC Live, brings a unique blend of DIY ethos, strategic vision, and an inclusive approach to her role. In this interview, she shares her journey from aspiring music journalist to booking agent, discusses the challenges of the industry, and offers insight into how she helps artists thrive.

Sarah Joy’s entry into the music industry wasn’t planned. Originally aspiring to be a radio DJ or music journalist, it wasn’t until her 20s that she discovered the role of a booking agent. “I always loved live music, but I didn’t even know being an agent was a job,” she recalls. After starting her career reviewing shows, her passion for live performances and understanding the power of audience connection led her to the booking world. “Once I found out you could make a job out of going to gigs, I was hooked.” Her early experiences, from freelance music journalism to PR roles, laid the groundwork for a deep understanding of the industry that would serve her well as she transitioned into booking.

Before joining ATC Live, Sarah co-founded her own label, Babelogue, focused on female-fronted DIY bands. This hands-on experience provided a crash course in problem-solving and resourcefulness. “I was hiring gear, booking vans, routing tours, and putting together vinyl releases—it was a baptism of fire,” she says. This time running a label taught her to navigate the challenges of the live music business with adaptability and determination. It also gave her insight into the uphill battle faced by women in the industry, fueling her commitment to fiercely protect her artists.

At ATC Live, Sarah represents a wide range of artists across different genres, and diversity is a key part of her strategy. “You have to have a diverse roster or you end up competing with yourself for festival slots,” she explains. Sarah and her team make it a point to regularly assess their roster to ensure they’re addressing gaps in representation, including gender and ethnicity. “Each artist is different, so there’s no one-size-fits-all approach. It’s about working out where the artist wants to be and creating a path to get them there.” Her strategy relies on close collaboration with artists, ensuring that their tours align with their long-term goals.

The live music industry has faced unprecedented challenges in recent years, from the pandemic to Brexit-related complications. Sarah reflects on the impact of Covid and the hurdles of touring in a post-pandemic economy, where costs have soared. “The real challenge now is the cost of living and production expenses,” she explains. On top of these financial pressures, Brexit has introduced additional bureaucracy, with bands now needing paperwork like carnets for border crossings. “We’ve had to adapt quickly to ensure tours can still happen smoothly.” Despite these obstacles, Sarah remains optimistic about the future and continues to find ways to support her artists through the shifting landscape.

One of Sarah’s key successes has been helping artists break into new markets. Yard Act, for example, made significant inroads internationally through strategic festival bookings, from Australia’s Laneway to Japan’s Fuji Rock. “It’s about building momentum and having the right team in each market,” she says. In managing a roster of emerging and established artists, Sarah juggles endless calls, meetings, and travel, all while maintaining her own well-being. “The role of an agent is 24/7, and it’s easy to get burnt out. It’s important to have a life outside of music, with friends who aren’t in the industry, to help balance it all.” Despite the demands, Sarah’s passion for live music and her commitment to her artists remain at the core of everything she does.