Kyle Levinsohn’s journey through the music industry is one rooted in passion, persistence, and a deep commitment to artist development. A New Jersey native with an early love for music, Levinsohn began his career nearly a decade ago. Known for his sharp A&R instincts and dedication to helping artists grow, he has built an impressive roster that includes Charlotte Sands, Graham Barham, Christian French, Spencer Sutherland, Stacey Ryan, DOUBLECAMP, and Steinza. His previous role as UTA’s College Agent gave him a unique perspective on touring and audience building, having brokered hundreds of deals across the agency’s music division.
In this interview, Levinsohn shares insight into what sets UTA apart, the evolving challenges of the live music landscape, and how he identifies long-term potential in emerging talent. From navigating the oversaturation of touring artists to embracing digital platforms like TikTok and Instagram, his thoughtful approach to balancing commercial success with artistic integrity offers a candid look into what it takes to break through in today’s industry. Whether discussing international touring strategies or the importance of collaboration across the agency, Levinsohn’s experience and perspective highlight why he's become a trusted advocate for the artists he represents.
How did you get your start in the music business and what led to your current role at UTA?
My very first start in music came from playing in a touring pop-punk band. That’s where I first learned the role of a booking agent. I then attended SUNY Oneonta where I obtained a dual degree in Music Business & Business Economics. Shortly after, I was able to secure an internship at CAA’s Music Department in Nashville, which led me to the UTA Mailroom, where I worked my way up to being named Agent in May 2022.
What sets UTA apart from other talent agencies in terms of artist development and support?
UTA is a full-service agency that does the work. From an artist development standpoint, we get in the trenches and wear many additional hats beyond that of just an Agent. UTA supports and works with our artists in every capacity possible to help further develop their careers and achieve their goals.
How do you assess an artist's potential for long-term success?
There are certainly many factors, but an artist’s work ethic, vision, how they treat their team, and—creatively—their songwriting ability are all signs to me for long-term success.
How do you balance commercial success with artistic integrity when making decisions?
Artist integrity over everything. Of course, there will be specific instances where an opportunity may arise that doesn’t align perfectly with the artist, but in those instances, we would have an in-depth conversation and evaluate the pros and cons accordingly.
What’s the biggest challenge you’re facing/seeing in the talent industry right now? How do you see these affecting your approach to signing new talent?
One major challenge I’ve seen is an oversaturation of artists touring. Since DSPs surfaced over a decade ago, the democratization of releasing music has allowed the floodgates to open. There are obviously a ton of positives that come from this, but the number of artists touring or looking to tour is at an all-time high, which can have adverse effects on ticket sales across the board and make it more difficult to find the correct support opportunities.
In regards to signing new talent, there are so many amazing artists out there these days—it can be a little tougher to find the acts that will fully break through. For me, the music always comes first and is the most important factor, but I think today you also have to pay closer attention to an artist’s overall message, aesthetic, and other outside factors that can play an integral role in their success.
Where do you see the entertainment industry going as a whole in the next 5–10 years, and how is UTA preparing for those changes?
I think you’re seeing—and have been seeing—the rise of touring success internationally, specifically in areas like the Middle East, Asia, South America, and more. UTA puts a strong emphasis on signing talent worldwide and making sure a strategic approach is built in from the start. We like to get our acts overseas early on to begin building that part of their business in conjunction with their traditional domestic touring.
Are there any particular success stories of yours where you saw potential in an artist early on and took a chance on them?
Absolutely. There are a number of examples I could list, but one signing that comes to mind is Graham Barham. Graham had just started his music career when we signed him—he had two songs out and under 10K monthly listeners on Spotify. Since signing, he’s inked a major record deal with SONY Nashville/Disruptor Records, hit the road with artists including Dierks Bentley, Luke Combs, ERNEST & more, and has amassed over 50 million Spotify streams and a current count of over 1.8 million monthly listeners.
UTA has a strong emphasis on collaborations. How does this philosophy influence the way you work with clients?
It’s an integral part of our approach and philosophy. Whether that’s in the form of packaging artists together like Spencer Sutherland and Stacey Ryan, who are on tour together right now, or connecting artists like Steinza and birksie with others on the roster to get into writing rooms and more, a collaborative approach across clients is always front of mind.
How does UTA support its artists in expanding into new markets or industries like film, live events, digital, TV?
UTA fully supports its artists in expanding into new markets or industries. If an artist has ambitions to work in any of these areas, this is something we build into the strategy from the start of the signing process. For clients that have yet to work in this space, UTA is constantly collaborating across departments and on the lookout for anything that could make sense to break them into other areas. Spencer Sutherland has always had acting ambitions we were able to secure him roles in a Netflix film and an Amazon series.
What approach does UTA take when it comes to helping artists build their teams (e.g., managers, publicists, label services)?
Having the correct team surrounding an artist is of utmost importance. If an artist is looking to build out their team, we are always more than happy to help offer ideas and make connections. Typically, we want to find partners that align with the artist and their brand, so each situation is different—but being able to help put the right people in place is a very important part of our job.
How has the rise of digital platforms like TikTok, YouTube, and Instagram changed how you sign and develop talent?
The rise of these digital platforms has added a level of insight into an artist’s life that hadn’t existed before. Artists have to be more transparent and connected to their fans than ever. There’s more to just the music these days—artists are so accessible via social media that fans can gravitate toward them for more reasons than just the music. When it comes to signing, I think you’re also able to get a better sense of who the artist is and what they’re about.
What qualities do you look for when signing an artist to UTA? What artists are you directly working with right now that you're excited about in 2025?
I am always a fan first. I have to love the music. If the music speaks to me and makes me feel something, that’s always the first sign for me to start jumping in and exploring further.
I’m incredibly excited about all of the artists I’m working with—most of whom have new music coming in 2025. Charlotte Sands, Graham Barham, HAFFWAY, West 22nd, Steinza, and Stacey Ryan all have amazing new releases coming this year (and some great gigs too). I’m also very excited to be working with The All-American Rejects alongside David Galea here at UTA—a recent signing from the tail end of 2024.
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www.unitedtalent.com