Talent Agents Are Representing More Podcasters As The Industry Grows
When we hear of an A-list celebrity who just scored a multi-million payback for a movie or record, it’s the talent agent who did the behind-the-scenes, grunt work to negotiate that sweet deal. Celebrities – from the A-List to the D-List– have talent agents. That’s no surprise.
For example, Ari Emanuel, whose “Entourage” character, Ari Gold, based on Emanuel may have made him a household name has a formidable client list including Mark Wahlberg, Charlize Theron, Oprah Winfrey, Martin Scorsese, and Dwayne “The Rock” Johnson—not to mention a no-holds-barred negotiating style—Emanuel is a force to be reckoned with.
What may be a surprise to many, and to me before I researched this story, is that more and more podcasters are being represented these days by big-time talent agencies.
Sarah Mathews is a creators and digital talent agent at United Talent Agency (UTA) based in Los Angeles, California. She represents prominent online creators, podcasters, and social media influencers, helping them expand their brands into traditional media, live tours, and new business verticals.
UTA
Listen to Sarah Mathews from United Talent Agency (UTA) talk about representing podcasters, or creators as she calls them. “There’s something about a creator’s background that makes them unique from other artists. A lot of them started completely on their own, alone in a room, bootstrapping every day, and really being their own CEO. Their business and their life are deeply intertwined, and that means they’re incredibly invested in every decision, including the live side of their business.”
Sarah continues, discussing representing podcasters with their live tours, which has become a popular trend. “Creators are also unique in that they own their audience directly and built their business upon that direct relationship. The promotion of the tour is less reliant on paid media or external channels – they own their media, their feeds, and their content.”
In this article, we will examine the trend toward more representation of podcasters/creators by the big talent agencies. We will focus intently on one agency, United Talent Agency (UTA), as they gave us access to their podcasting strategy, and how they manage podcasters’ live tours.
“Live podcast shows can grow a podcaster’s listener base,” says podcast consultant George Witt. “And make a podcaster a lot of money with the right representation.”
Live shows have made a big splash at venues that in the past would have never been considered for a “podcast show.” Madison Square Garden had multiple sold-out podcast live shows, including annual Kill Tony performances and Dropout’s much-hyped Dimension 20 live show.
Podcasts are now such a big deal that MSG’s website changed its event calendar, so one can sort the events schedule for “concerts, comedy shows, and podcast shows.”
A recent Pollstar survey shows Kill Tony raked in $11 million in live show tours. Earlier this month, Spotify’s Good Hang with Amy Poehler announced that it was doing a live show on August 11th in New York. The New York Post reports that the lowest seat price is $346; and orchestra seats start at $533.
Live shows have been a part of podcasting since the early years, but the medium’s growing mainstream appeal has also evolved some of the biggest performances, with simple radio play-style performances being supplemented with stylish presentation and big-budget spectacles.
The Giants of the Industry
The biggest talent agencies dominating the entertainment industry are Creative Artists Agency (CAA), William Morris Endeavor (WME), and United Talent Agency (UTA).
Creative Artists Agency (CAA) has further expanded its reach by its acquisition of ICM Partners in 2022 and William Morris Endeavor (WME) operates under The WME Group, focusing on top-tier film, television, music, and high-end celebrity athletes.
These three powerhouses represent many of the world’s top actors, musicians, and creators across global media. That’s not to say there are not other influential agencies in the industry. For example, Independent Artist Group (IAG) was formed via the merger of APA and Artist Group International, specializing in scripted talent, television, and major music touring acts, and the The Gersh Agency is a top-tier bi-coastal agency known for elite personal representation in film, television, branding, and sports.
Talent agents play an invaluable role in the careers of their clients. They can ease the path to notoriety, helping them clients get access to work – roles, recording contracts, book deals, live tours — and tenaciously negotiating contracts. Even better, the top Hollywood agents help transform their clients into A-list celebrities by providing the guidance and support necessary to success.
Founded in 1991 in Beverly Hills, California, manages careers for film, television, music, theater, and publishing talent. UTA is aggressive in gamers, athletes, and digital creators such as podcasters.
UTA
United Talent Agency (UTA) is a massive global media company known for a strong presence in A-list representation and the digital creator economy.
It’s that UTA focus on digital creators that is the focus of this article. UTA represents popular podcasts and prominent networks includingMy Favorite Murder, Ira Glass’s Serial, Lore, and networks such as Wondery (Audible) and Tenderfoot.
UTA also represents Karen Kilgariff and Georgia Hardstark (hosts of My Favorite Murder), Guy Raz (host of How I Built This), and Stephanie Soo (host of Rotten Mango).
UTA has been investing time and resources in podcasting before the current explosion in popularity and its ascension into true pop culture status. For example, in 2018, UTA announced a partnership with Cadence 13 to create a podcast network uniquely dedicated to amplifying the voices of influential digital talent.
In 2018, when not a lot of companies were paying attention, UTA became one of the few agencies with a dedicated podcast division.
Parent company Audacy discontinued the Cadence13 brand name in March 2024 as part of a corporate reorganization following Chapter 11 bankruptcy proceedings, yet Audacy remains actively connected to United Talent Agency (UTA) through ongoing podcast talent representation, distribution, and content development partnerships. According to InsideRadio,
In 2022, UTA introduced UTA IQ data and analytics division as a specialized tool for audio and podcast dealmaking. Its function is to combine open-source metrics, search data, and social media tracking to evaluate podcast performance.
According to The Hollywood Reporter, UTA Audio IQ aims to help clients figure out what impact their shows are having, detect emerging talent bubbling up, and measure how specific shows, topics, and talent are resonating with listeners.
“As the first agency with a dedicated audio division, we have been at the forefront of shaping the evolution of the podcast industry since its early days,” said David Kramer, co-President (now CEO) of UTA, in 2022. “Our forward-looking Audio and IQ teams came together to create Audio IQ to help our clients see around the corner and stay ahead in an industry that’s growing faster than ever,” he said in the announcement.
The company says the creation of a single source metric was inspired in large part by the increasing opportunity that creators have to benefit from the desire of audiences seeking to engage with their favorite audio content in many formats, from digital content to television and documentaries, books, merchandise, and live tours. But increasing opportunities to capitalize on what is working has also created the need to know what also is not performing.
“There is no single source of truth in data for driving value and strategic decision making in the podcasting industry today,” said Joe Kessler, Global Head of UTA IQ. “As we worked with UTA’s Audio fast-growing team over recent years, we found that there are certain tools and approaches we could deploy that bring real value to our clients in the space, so we decided to formalize it.”
Emma Chamberlain at “Forbidden Fruits” Premiere during the SXSW Conference & Festivals held at the Paramount Theatre on March 16, 2026 in Austin, Texas. (Photo by Stephen Olker/SXSW Conference & Festivals via Getty Images)
SXSW Conference & Festivals via Getty Images
While other talent agencies have signed prominent podcasters, UTA has amassed an impressive client base in the industry, including the Meateater podcast, Ashley Flowers’ Crime Junkie, Kara Swisher, Mr. Ballen, Emma Chamberlain of Anything Goes with Emma, Barstool Sports, which signed a major multiyear partnership with Netflix to host exclusive video versions of its top podcasts.
Sarah Matthews of UTA told us in an interview, “UTA prioritizes a 360-degree approach. We look at audience metrics, momentum, and fan engagement, to name a few things… but a key factor that drives our interest is growth potential. For example, creators who have a bigger vision and the ambition to expand into complementary areas like live touring, film, television and beyond. We’re drawn to talent with a distinct creative POV and strong storytelling ability, and whose ambitions and vision align with what we can deliver. Cultural relevance plays a part and we’re looking for creators who are crafting compelling content that moves the cultural conversation.”
Out of the Studio, Into Live Shows
With more podcasters attracting larger live crowds, talent agents play an outsized role in ensuring that the live event or a longer tours go off as planned.
We asked UTA how they gauge the level of audience response to a live show? For example, how large should the venue be? Where should it be? How much should ticket prices be?
Joe Schwartz is a Comedy Touring and Live Events Agent at United Talent Agency (UTA) based in Beverly Hills, California. He has been working in this role since May 2017. Mr. Schwartz specializes in talent representation, focusing on touring, live events, and business development.
UTA
Joe Schwartz, UTA Partner and Live Touring Agent, answered, “This is really our secret sauce, and it goes well beyond downloads and subscribers. Over many years, we’ve identified the most telling audience engagement metrics to identify a creator’s core audience. From there, coupled with other non-data related factors, we are able to predict ticket sales more accurately than ever.”
Joe continues: “Downloads are important, and we layer in social engagement plus take into consideration whether the creator is in genuine conversations with their audience already. Are their fans talking to each other as well? Is there a community? Are they buying merch? Everything tells you something about a listener’s willingness to convert into a ticket buyer.”
For UTA and other talent agencies, they look at the same audience simultaneously across YouTube, podcast platforms and social media, giving the talent agency more insight into audience demographics versus solely the biggest markets where fans reside. Data can also indicate when the moment isn’t quite right for a tour yet, and in that case the agency will help clients build the road map to get them there in the future.
Joe Schwartz of UTA emphasizes that, “It’s also incredibly important that the data never override the creator’s passion points. We’ve had clients who could sell out in major markets, but chose to prioritize smaller cities throughout the country because that’s where their most loyal audience lives. Others may not want to play arenas (even when the numbers support it) because the intimacy of a theater better fits the format of their show, or prioritizes the audience experience. One client pushed back on an exclusive presale tied to a credit card because she didn’t want any fan to have an unfair advantage. That’s our philosophy, we use data to build the roadmap, but the artist’s vision and relationship with their audience ultimately drives the final decisions.”
When it comes to identifying podcast talent worth representing, UTA’s Sarah Matthews explains: “At UTA, we represent talent at all stages of their careers. Whether it’s established or emerging podcasters, we’re always on the lookout for creators who have a distinct POV, engaged audiences and the ambition to grow their brand across platforms.”
On the Road again
There’s this perception that talent agents exist exclusively in their office, constantly on the phone, shouting, coercing, making deals for their clients, and making sure that companies “show them the money.”
That Jerry Maguire stereotype falls apart with talent agents for podcasters on live tours. Unlike the perception, the reality is that UTA and other companies have a logistics person, or persons, who travel with the podcaster, like roadies, to ensure the show is set up properly at each event.
Joe Schwartz of UTA says: “As the podcast industry has evolved, we have seen a whole ecosystem of service providers specifically built around creators and podcasters emerge over the last five plus years, and part of our expertise is knowing how to match the right talent with the right partners to bring their vision to life the right way.”
UTA
Joe Schwartz from UTA explained, “When we book a tour, our role doesn’t stop at routing and venue selection. We have a broad network of resources and people who cover every facet of production from tour management to merchandising, full service production and creative development and more.
Live shows are not restricted to the most popular podcasts. Independent, niche podcasts with a loyal fan base are drawing large crowds at their events.
getty
Joe Schwartz understands that podcast live events are radically different from that of a concert. “The performance space is everything, and the details matter more than most promoters and venues may initially expect. Live podcast shows are a unique experience and their audience is like no other…sometimes it’s people’s first ever time going to a live show!,” Joe explains. “And it’s our job to make sure the people we work with fully understand that. For example, early on, I would show up to shows and find barricades set up like a music concert. I would get security and together we would pull them out on the spot, because that little gap, believe it or not, kills the connection and energy between the audience and the performer.
Agents experienced working with podcasters at live shows understand that, beyond the venue, there are many nuances that come with booking a live podcast tour.
Joe Schwartz told me, “Visually, a lot of podcasters built their audiences without video, so their live show can be their first real visual moment with their audience, creating a new way to tell their story. So creative and staging come into play, like never before.”
Joe insisted that the best podcast shows feel more like community events than concerts.
Joe notes, “Once we had a client distribute her own products at every show, including street teams distributing drinks outside and venue staff giving out custom notebooks inside to every audience member. She’d open each show with questions and everyone would write down their answers. By the end, her fans were exchanging notebooks amongst each other. That’s intentional production.”
Joe goes on to explain, “There’s also what we call a one-directional intimacy. These audiences have been listening to this person in their ears for years, so the relationship is already deep before anyone walks through the door and we plan accordingly as needed. And since we know audience demos so well, we can make adjustments such as having the venue in advance convert a men’s restroom because we know the audience over-indexes to a female audience. We’ve learned these lessons over time, and it’s our job to bring that knowledge to partners.”
Joe Schwartz explains that, “Podcasting shows are much closer to comedy shows. “We find the sweet spot to be approximately 90 minutes to maximize audience attention and energy, and leaving them wanting more.”
UTA
For UTA, venue sizing is a strategic decision, not solely a capacity calculation. Again, Joe Schwartz gives us insight on the process. “Sometimes, we want to create a sellout moment and other times, the priority is accessibility, making sure everyone who wants a ticket can get one. Both are valid approaches, and the right answer depends on where the creator is in their trajectory and the story they’re trying to tell.”
Big Names On Tour
UTA has managed the live tours of some of the most prominent podcasters in the industry. For example, Mel Robbins launched and sold out her first ever live tour last year and followed up with a sold out second leg this year in the largest theaters across dozens of major cities.
Joe Schwartz said: “Mel’s captivating performance aside, the tour also showcased extremely high-level production value with LED Walls, live video-feeds, large stage props, audience interaction, and giveaways. We also worked closely with Mel’s team to incorporate a major tour sponsor, Microsoft Copilot, as well as her own recently launched protein drink – Pure Genius, seamlessly into the tour.”
Grown from a beloved comedy podcast, hosts Bowen Yang and Matt Rogers have expanded Las Culturistas into a full-fledged cultural institution ten years later – with live events, major brand partnerships, and of course the Culture Awards, premiering its next iteration June 17th on Peacock and Bravo.
Joe notes: “They’ve done an incredible job building an extremely engaged community over the past decade – not only scaling into Will Ferrell’s Big Money Players Network at iHeart, but also turning a long-running bit on the podcast into a televised awards show that’s now produced by Lionsgate.”
LOS ANGELES, CA – OCTOBER 30: Actress Georgia Hardstark records onstage during the “My Favorite Murder” podcast at Entertainment Weekly’s PopFest at The Reef in Los Angeles, California. (Photo by Matt Winkelmeyer/Getty Images for Entertainment Weekly)
Getty Images for Entertainment Weekly
In 2025, My Favorite Murder surprised fans with a 11-market run selling two shows in each market, including iconic venues like Chicago Theater, Boch Center and Kings Theater. This marked their first time back out doing live shows since 2019.
Crime Junkie has been building its touring business for years, and now plays large theaters and arenas.
The future is podcasting is “IRL”
Of course, other talent agencies represent podcasters and other digital creators. For instance, Creative Artists Agency (CAA) represents major podcasts and networks such as SmartLess, Stuff You Should Know, and Modern Wisdom.
WME (William Morris Endeavor) represents major podcasts, networks, and creators, including Freakonomics Radio, Armchair Expert, and The Diary of a CEO (Steven Bartlett), Revisionist History / Pushkin Industries (Malcolm Gladwell), Huberman Lab (Andrew Huberman), and This Past Weekend (Theo Von).
UTA’s Sarah Matthews notes that, “This cross-pollination and collaboration is at the core of how UTA operates.”
UTA
Sarah Matthews of UTA explains, “What makes UTA’s approach to live touring distinctive is how deeply collaborative it is. This isn’t siloed in one department. We have a bi-weekly live events meeting that brings together representatives from across the entire company, folks from comedy to reality TV, traditional on camera talent, data analysts and creators agents all working together to identify and develop unique live opportunities.”
Sarah credits the UTA team behind this effort. “On the touring side, UTA Head of Live Nick Nuciforo has been one of the driving forces behind building out UTA’s live business. He was an early believer in the podcast touring space before much of the industry caught on, and helped champion it into what it is today. Oren Rosenbaum, Raina Penchansky and Ali Berman, co-heads of UTA Creators, are key agents leading the creator business. Internationally, Bjorn Wendlandt founded the London arm of our touring division and leads a team that handles all global touring for creators and podcasters in multiple languages. No other agency has a team of that depth and reach outside of the U.S.”
Sarah Matthews of UTA concludes that, “The opportunity in this space is enormous and UTA continues to be at the forefront of building out this category. Live events create a category of revenue and brand activation that simply doesn’t exist elsewhere. There’s really no substitute for the in-person experience, and brands know it. The creative possibilities around sponsorship and partnership are wide open, and we are just getting started. “
There’s no doubt that podcasting live shows and tours are viable business options for podcasters and digital creators. As podcasting grows in popularity, and video podcasting brings additional connective tissue to the creator/audience relationship, live podcasting shows and full-blown tours will increase in number, size, and frequency.
This additional visibility has attracted major talent agencies to the podcasting space and to the podcasting live show / tour space. What we’ve learned from UTA in this article is that podcasters/creators need customized representation that best leverages their popularity, brand, connection to their audience, and, with podcasters, re-creating that intimate sense of community, at times, in a massive venue.
