Rag Satguru; Co-Founder & Director - GRADE Management


Access, Industry


Rag Satguru

Take a close look at some of the key events in dance music over the past
decade, and it won’t take long to spot Rag Satguru somewhere in the
background. Perhaps nestled in the corner of one of those superstar DJ
laden photos behind the booth at a key event or tapping away on a laptop
in the background at a villa party in Ibiza or a studio session in New York.
As one of the founders of Grade Management along with Ed Karney,
Satguru has held a pivotal position in helping underground dance music
find a foothold in the overground social media climate of today.
These days Grade acts like Seth Troxler, Patrick Topping, Eats Everything
are household names in the dance music industry with a litany of industry
accolades following in their wake. With offices in Bristol, London and
Barcelona, Grade has expanded to a team of six managers looking after 22
artists with a constant presence in media outlets such as Resident Advisor,
Mixmag, Boiler Room, or industry focused titles such as Music Week or
Mixmag/IMS’s Industry Insider.

When the company began in 2011, the industry was in a very different
space. Facebook, YouTube and Twitter’s influence on dance music was
just about to hit critical mass ushering in a completely new era of
opportunity for how dance music artists could be perceived and developed.
It proved to be a fertile time for artists and managers unafraid to do things a
little differently and armed with a small roster of acts little known outside of
the microcosmic world of underground house and techno, Grade set about
redefining the role of the DJ in today’s social media driven climate.

Satguru’s preparation for this incendiary time began while studying
Chemistry at Bristol University before graduating with a first class honours
degree in Rave. A prolific promoter as a student with seemingly a party on
ever night of the week, he went onto become one of the driving forces
behind respected party brand Just Jack and later rave super venue Motion
in 2006 which rapidly established itself as one of the UK’s flagship party
hotspots. He brought elrowTown to the UK in 2014 and is a partner in the
UK arm of the unstoppable elrow brand. These days he spends life mostly
on the road with his artists, with the occasional stop off to run half
marathons in Barcelona or attend a yoga retreat in Ibiza.


Before there was Ultra Music Festival, there was The Winter Music Conference, the annual coming together of the dance music tribes. Miami in March is a fundamental place to be from a business perspective, and has always given me endless opportunities for discovering new partnerships and talent. WMC brings together the dance music industry and surrounding culture like no other event in America. I’ve been attending WMC for nearly 20 years, and I’m very much looking forward to experiencing its evolution in 2019.

Matt Colon

Partner/founder, Deckstar Artist Management

I first went to WMC ’87, the year I started Big Beat. It was an incredibly inspiring congregation of indie labels, DJs, artists, songwriters, producers and dance music lovers dedicated to breaking and discovering new music. WMC has been instrumental in furthering the dance and electronic cause; keeping the community connected, vital and relevant, and serving as an amazing springboard for talent. It’s a fantastic crucible for the future of dance music. Long may it live.

Craig Kallman

CEO & Co-Chairman Atlantic Records, Founder Big Beat Records

WMC is and has always been the lifeblood of the dance music scene. Never missed a year since ’96, I can’t imagine Amsterdam Dance Event or Ibiza Music Summit existing without the blueprint that WMC originated. Seeing this revived is absolutely essential to reunifying the North American scene surrounding electronic music and its fringes.

Tommie Sunshine

Producer/DJ/Activist/Netflix Host

“Winter Music Conference is my ground zero. It has always provided the perfect storm of opportunity and excitement for up and coming artists, including myself back in 2003, where I first caught a glimpse of how it felt to have an audience respond to my work. Over the years, I’ve always made it a point to have WMC in my calendar because that’s the spot where everyone congregates and you can feel it in the air. Creativity, brother and sisterhood, FUN and most of all the chance to come together as a community and celebrate the reason we are all here—the music.”



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