Jeremy Olson '11 Makes the Concert Magic Possible at Stage AE as General Manager Alumni Profile

How did Point Park University’s sports, arts, entertainment and music business program (SAEM) help prepare you for your career?

It started in the classroom, with the chance to hear from professors and guest speakers with real-world experience in not only entertainment management but also public relations, media, advertising, law and more. As someone who wasn’t sure what to declare in his first semester (I went with advertising and public relations before switching to SAEM), hearing from all these professionals really helped me realize what industry I truly wanted to work in.

Tell us more about your current role and responsibilities. What does a 'day in the job' look like?

As general manager, my role is to oversee the entire operation of the venue, ensuring staff have the knowledge and resources they need to succeed in their respective roles. It also means overseeing the physical building itself, so planning repairs, improvements, and generally always working to enhance the fans’ experience, and keep the building running efficiently.  

My favorite thing about working at concerts is how much each day varies. I like the GM role because it pulls me in many different directions. Each day has a different schedule of meetings, jumping from topic to topic, one minute you are discussing bar inventory, the next you are figuring out where a tour can put a 30’ inflatable frog. Sometimes I’m just at my desk catching up on paperwork from the previous show; other times, I’m moving the bike rack around the venue. It’s a unique environment that I really enjoy. 

Can you share your experience interning while at Point Park? How did that help you get into the industry?

Once I knew I wanted to work in music, I got to shadow with the tour manager of Pittsburgh-based band, The Clarks, John Williams. From that short weekend run in their passenger van, watching their operation for two shows, I was pretty sure I wanted to work with bands and, ideally, tour. I also had a shadow experience at Church Recording Studios, with amazing producer Dana Cannoe. I was so impressed by what went into making a record, but at the same time, I knew this wasn’t an environment where I’d excel. The last internship I did was at a new concert venue that had just been completed during my last semester, Stage AE, and that experience speaks for itself! 

Can you detail your journey from production runner to general manager? What lessons did you learn through that process?

During my senior year and first few years out of school, I took numerous jobs, including production running for Live Nation at the arena and the pavilion in Burgettstown, Pa. I did data entry for a government contract (digitizing Arlington Cemetery records), I played in a local pop-punk band called Crash City and I was a brand ambassador for Chevrolet. But, through all of that, I always kept a foot in the door at Stage AE and I eventually became full time as the box office and club manager (“The Club” is a 400-cap space that we can create at Stage AE for smaller events). From there, I became the operations manager, then the assistant general manager and now the general manager.

The biggest lesson I learned along the way was to never say no to opportunities that could either teach me more about the music business or create new connections. Some jobs I said yes to only to help pay for a new guitar or cover my rent, but I took away new skills from each experience. 

You also worked as a freelance stage manager for The Clarks. What was that experience like?

I was lucky enough to meet The Clarks when I was eight years old. My dad had become friends with them by chance, and that led to my first-ever show, sitting side stage at a small, smoke-filled bar in my hometown. Fast forward 12 years, and they offered me a position as their guitar tech. This came right after I graduated. By the time I joined, everyone in the band had families and other obligations, so their touring schedule was much less frequent, with the longest run never being more than a week, and that was rare. Still, we would do anywhere from 40 to 60 shows a year. That type of schedule allowed me to keep other jobs while still traveling with a band. I did this gig for 10 years, and everyone in that band and crew became family, and I’m so thankful for it. 

Being able to travel to other venues with The Clarks was an invaluable experience. I got a real sense of what was reasonable to expect from a venue and what was unreasonable. This really helped me do my job more effectively at Stage AE.

What is the experience like moving from the classroom to a career? What advice would you give to current students following your path?

It’s a scary transition to be sure, but it can be fun too. What I learned is that career paths are rarely a straight line; you might have to take a job that feels off the beaten path, but just keep your goals in mind, get your foot in the door, make connections, and learn from others.

Why should students be interested in pursuing a career in the live entertainment industry?

Entertainment is always evolving, but I think concerts will always be needed. I love being a small part of bringing concerts and new experiences to thousands of people each month. It’s a commitment, and there are a lot of very long days, but the bonds I’ve formed with co-workers along the way are something that I think is only found in a few industries, live entertainment being one of them.

Is there anything else you would like to add?

Point Park University helped me figure out what I wanted to do, and now I’m lucky enough to do it. I’m looking forward to hopefully continuing to grow in this industry, and that’s partly thanks to the foundation Point Park gave me.

More About: Rowland School of Business, sports, arts, entertainment and music business, Rowland School of Business Alumni, alumni, Entertainment Production