The 18th edition of IQ Magazine’s New Bosses in association with Futures Forum was revealed in IQ 137, recognising 20 of the most promising 30-and-unders in the international live music business. To get to know this year’s class a little better, IQ conducted interviews with each one of 2025’s New Bosses, discovering their greatest inspirations and pinpointing the reasons for their success.
María began managing artists while studying at BIMM in 2016, and is passionate about championing women and non-binary professionals, demonstrated through her work on Saffron’s Springboard Project in 2021. Since joining Mother Artists, she has worked across a roster including IDLES, Heavy Lungs, 86TVs, and Blair Davie, and has been working on the highly anticipated reunion of The Maccabees. In 2023, she was nominated for Youth Music’s Rising Star (Industry) Award in recognition of her work in artist development.
You attended BIMM. How did your time there help to prepare you for a career in artist management?
I studied Music Industry Management at BIMM Bristol from 2015–2018. Several modules focused specifically on artist management, and one even encouraged us to manage an artist as part of the coursework. That’s when I first began exploring the career path, and I learned a lot just by doing it. One of my lecturers, Gabby Chelmicka, was a huge inspiration. She taught me so much about artist management, drawing from her experience as part of Robbie Williams’ team.
It was incredibly motivating to learn the ropes from a woman in the industry; it made the career feel more accessible and attainable. Upon graduation, I secured a job at a management company in London, and I’ve been working in the sector ever since.
The financial pressures for acts starting out and going on tour are well-documented. How does an artist manager approach the live career for young acts without things becoming overwhelming?
It’s all about strategy and planning. Touring right now is incredibly expensive, so we do everything we can to plan far in advance, whether that’s locking in cheaper deals on transport and hotels or carefully budgeting every show before accepting offers. At Mother Artists, we’re very intentional about how we approach touring. That said, I do worry about the overall sustainability of the live model for emerging artists.
Costs continue to rise while fees remain largely stagnant, which makes touring increasingly inaccessible. Funding organisations like PRS Foundation and Help Musicians have become essential; they play a huge role in making things more viable.
“Keep putting yourself out there… you never know who you’ll meet or where the next opportunity might come from”
Tell us more about Saffron’s Springboard Project and what it has meant for you.
I was part of Saffron’s Springboard project during COVID, which was funded by Youth Music. Saffron is an incredible Bristol-based organisation supporting women and non-binary people in music. At the time, I was managing four artists independently, and the project gave me both funding and mentorship to develop my business. I also had the opportunity to teach an artist development seminar, which was a really valuable experience.
The project helped raise my profile and played a key role in the next stage of my career. I was even nominated for the Rising Star (Industry) Award at the Youth Music Awards thanks to my work on it.
How would you encourage other young women to pursue careers in the music business?
I regularly participate in panels and masterclasses, as I believe these are the most effective ways to inspire and empower the next generation of women in the industry. They made a huge difference for me when I was starting out, so I try to give back in the same way. I’d also say: persevere and keep showing up. Keep putting yourself out there, go to events, build connections, you never know who you’ll meet or where the next opportunity might come from.
What has been the biggest highlight in your career so far?
Great question! I’d have to say being part of The Maccabees’ comeback this summer and seeing them headline The Park Stage at Glastonbury. It was such a special moment, a real career highlight and something I’ll always be proud of.
What platforms or events do you rely on to discover new talent?
Industry events are key; places like The Great Escape, Iceland Airwaves, and SXSW are great for discovering new artists. I also love the serendipity of stumbling across new talent by accident; there’s so much incredible music out there. DSPs are increasingly useful too; the algorithms are getting better at surfacing interesting new music.
“The [UK] Government really does need to reinvest in the arts”
And what about helping fans discover new talent — are there any venues or festivals that you like your acts to play early in their careers?
Definitely! The Great Escape is always one I aim for early on. Reeperbahn is also great for early exposure in Europe, and Pitchfork Paris is another standout opportunity for emerging artists.
Do you have a mentor, or anyone you can trust to bounce ideas off?
Yes, Gabby Chelmicka has been a long-standing mentor and someone I can always turn to for advice. She supported me throughout my time at BIMM and was also my mentor during the Saffron Springboard project. Her guidance has been invaluable, especially through challenging moments.
As a New Boss, are there any working practices you’d like to change to make the industry a better place?
It might sound repetitive, but the Government really does need to reinvest in the arts. The cost of touring has become so high that many emerging artists simply can’t afford to do it, leading to a wave of cancelled tours both in the UK and abroad.
If we want to remain a country known for our incredible music scene and strong export market, there must be more funding available to help develop artists get their music out into the world. I’m genuinely concerned about the direction things are heading, and I hope we see meaningful change soon.
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The post The New Bosses 2025: María Torres, Mother Artists appeared first on IQ Magazine.