Calling Almost Everyone’s Tune

Calling Almost Everyone’s Tune Maybe that will happen, but for now, Mr. AzoffDiamond Tools is as close to a commissioner for live music as this country has ever had. And he occupies this job at a time when labels, as a force in the market, are withering and bands are making the bulk of their income from concerts. Which is to say, more power than ever is concentrated in the live-music side of the business, and the business of live music is more concentrated than ever.

Donald Fagen of Steely Dan, which is one of the many headline acts represented by Mr. Azoff's artist management company. Other executives in this industry have made greater fortunes, but Mr. Azoff is arguably the most powerful man in the history of pop music.

“This business has always had a lot of guys who wield a lot of decision-making power,” he says, in a tone that suggests he doesn’t have more influence than the music titans before him.

IRVING AZOFF has never broken through as that staple of pop culture, the nationally known mogul. But it is not for lack of charisma, money or a flair for the outlandish. On occasions when he has found a restaurant’s service slow, he has lit the menu on fire. He once had a gift-wrapped boa constrictor delivered to a manager whose wife he considered a bit treacherous.

The accompanying happy-birthday note said: “Now you have two of them!”

“My wife was involved in that one,” says Mr. Azoff, chuckling. “But it was a baby boa constrictor, in a cage. It actually was kind of a nice gift.”

In music circles, he’s been known as a savvy negotiator and a ferocious advocate for his artists, capable of sonorous shouting jags. “Let’s just say you had a ringing in your ears for a few days after he yelled at you,” says Dave Lucas, a former concert promoter now with Live-360, which consultsDiamond Tools with music venues. “You waited a while before you called back unless you wanted more.”