My Music Row Story: Wasserman Music’s Paige Maloney

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Paige Maloney

The “My Music Row Story” weekly column features notable members of the Nashville music industry selected by the MusicRow editorial team. These individuals serve in key roles that help advance and promote the success of our industry. This column spotlights the invaluable people that keep the wheels rolling and the music playing.

Nashville-based Wasserman Music VP Paige Maloney represents a diverse roster of popular artists, including Noah Kahan, Bob Weir, Black Pumas, Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.

In particular, Maloney has played an instrumental role in the remarkable success of her client, Noah Kahan. As part of his booking team since 2016, Maloney’s meticulous execution has helped to propel Kahan’s touring business to unprecedented heights. The culmination of her efforts materialized in the past two years, as he transitioned from selling out clubs and theaters to selling out arenas, amphitheaters, and headlining major festivals. In 2024, Kahan hit many career milestones, including a Grammy nomination and fully sold out tour, all culminating in his first stadium shows for two sensational sold out nights at Fenway Park.

Additionally, Maloney steers the touring trajectory of iconic Grateful Dead founding member Bob Weir, and the electrifying buzz band Black Pumas. In 2024, the Pumas played historic venues like Radio City Music Hall, the Ryman and Wolf Trap, and performed at festivals like Pitchfork, Fairwell, Newport Folk and Ohana. Maloney is renowned for her keen eye for talent and unwavering dedication to nurturing the careers of developing acts including Katie Pruitt, Elizabeth Cook, Emily Nenni and Kelsey Waldon.

MusicRow: Where did you grow up?

I’m originally from the Philadelphia area. I grew up in a suburb just outside the city.

What was your childhood like? What were you into?

I played a lot of sports and ran around with friends. I have three siblings, so it always felt like there was a lot going on.

What sports did you play?

I mostly did soccer, softball, and dance. Then in high school, I started playing ultimate Frisbee.

Paige Maloney, Kelsey Waldon and Jonathan Levine pose backstage at the Opry. Photo: Courtesy of Maloney

Were you into music too, or was it just something around you?

I tried to be. I took guitar lessons and played in elementary school band, but I wasn’t very good. So it was more about being into music as a fan. The more I learned, the more obsessed I became—going to shows and just immersing myself in it.

Do you remember your first concert?

The Spice Girls. I was probably around 10—maybe third grade—and it was obviously incredible. I went with my two best friends and one of their moms. It was at what’s now the Wells Fargo Center.

I grew up going to the amphitheater in Camden—back then it was the Tweeter Center. That was a formative place for me. We’d go to Dave Matthews shows every summer. I also saw a lot of shows at the Electric Factory (now Franklin Music Hall), the TLA and the Tower Theater in Philly. Those were my regular spots.

What was your dream back then? Did you ever imagine doing what you’re doing now?

Honestly, no. I never even thought of music as a career path—it was such a passion and hobby that I didn’t realize it could be a job. I always thought I’d work in sports or at a nonprofit. After college, I explored both, but I became a bit disillusioned. What I loved most was the live event aspect, so I started thinking about how to pivot.

I worked in the box office for the Philadelphia Eagles—game days, concerts, monster truck shows, soccer matches. That opened my eyes to the broader entertainment industry.

Was that during college or after?

That started as a college internship that I kept. I was on the game day staff for years—probably six or seven. The realization was gradual, but that job was a turning point.

So how did you go from there to officially getting into the music business?

I graduated in 2011, still during the post-2008 economic recovery, so I was juggling part-time jobs while figuring out what really lit me up. I was drawn to concerts and the live event space.

My first full-time job was at Live Nation in Philly. It was entry-level—handling contracts, ticket counts, that kind of thing—but it gave me a wide view of the industry. That’s when I had the “aha” moment. I realized how many roles existed in music, and I became obsessed. Starting at Live Nation was such a privilege. The people I worked with taught me so much, and many of them are still doing amazing things in the industry. That experience made me curious about artist development, and I became especially interested in what agents do.

At the same time, I was looking to relocate. I’d lived in the same area my whole life and wanted a change. Nashville was calling. Paradigm (now Wasserman) had my favorite roster, and when I interacted with different agencies through Live Nation, everyone at Paradigm stood out—they were personable, approachable, not robotic. Their email signatures even had names. [laughs]

Eventually, I applied for a role supporting Joe Atamian as he transitioned from Monterey to Nashville. I got the job, moved down here in 2015, and I’ve been here ever since.

Paige Maloney, Joe Atamian and Noah Kahan on the set of SNL. Photo: Courtesy of Maloney

Going back a bit—were there any agents early on who made you think, “This could be the path for me”

Honestly, everyone I interacted with here. The culture just felt different and special—especially in Nashville. It’s familial, collaborative, and not cutthroat. It’s very much “rising tides raise all ships.” A lot of that credit goes to Jonathan Levine. He came from Monterey a few years before me to help grow the Nashville office. He’s built something incredible. The people I started with—and still work with—are here for the right reasons. They believe in artistry and artist development, and I’m still inspired by them every day. Working for Joe right off the bat was a huge blessing. He’s brilliant, has incredible taste and leads with integrity. He’s calm and kind, which is rare—and I didn’t realize just how rare until later on.

What kinds of things were you doing as an assistant? Any moments that solidified this as your career path?

It was a gradual build. You start with the basics, and as you get things right, you gain more responsibility. Learning from Joe, JL, Keith Levy—seeing different ways to do this job that I could actually relate to—was huge. Because honestly, I’d often look around and think, “I’m not that, and I’m not that… so who can I be?” I’ve since learned everyone does this job differently, but your values and priorities can be a through-line.

Watching amazing artist development stories unfold around me was also a big part of it. At the time, we were working with artists like Sturgill Simpson and Tyler Childers. It really felt like a golden era in Nashville—especially in the Americana and left-of-center country scenes. We’d compare it to the early ’90s in the Pacific Northwest. It felt like we were living inside a moment—and we knew it, even then.

That same creative wave is still growing. Just look at what’s happened with Zach Bryan and Noah Kahan. I feel so lucky to have had a front-row seat.

How did your path progress from assistant to agent?

I was Joe’s assistant for a few years, then promoted to coordinator. I started working more with Jonathan and other agents. After about three years, I was promoted to agent—right around when COVID hit, which was an interesting time to transition. [laughs] It all felt like a natural progression. I’m lucky—it was a smooth path, and I got to learn from so many incredible agents along the way.

Who was the first artist you signed?

The first was a band called Animal Years—they don’t exist anymore, unfortunately. Kind of an Americana indie group that disbanded during COVID. But it was my first real “this is yours” moment—even though, of course, you’re never truly alone. One thing I love about Wasserman is that we don’t work in territories; it’s roster-based. We often co-rep artists, which allows for collaboration and idea-sharing. It’s more work but totally worth it.

You mentioned him earlier, but tell me about working with Noah Kahan.

We signed Noah in either late 2016. His managers, Drew Simmons and Ryan Langlois from Foundations, had just started working with him and brought him to us. Joe signed him, and I supported the project early on. I’ll never forget seeing his first show at the original Basement. He was 17, and the songwriting already felt so special. He was hilarious, awkward, and totally himself—which hasn’t changed. He’s been an absolute joy to work with. We took the long road, like we always do. 250-cap clubs, then 500, then 1,000. Festival slots, opening tours—no skipped steps. At one point he said, “This is all I ever wanted.” And then he launched.

What’s especially beautiful is that during COVID, he stepped away from trying to fit the Nashville pop mold and wrote the record he truly wanted to make—and that’s the one that connected. It gives me hope. I know I’m being cheesy, but that kind of honesty still works. Fans can tell when an artist is authentic, and Noah returning to himself is what made it all click. The whole team has been there since day one. It’s rare and really special.

Paige Maloney, Justin Osborne (SUSTO), Keith Levy, Marshall Hudson (SUSTO), and Carter King (Futurebirds) at Basement East after a SUSTO show. Photo: Courtesy of Maloney

What’s bringing you joy right now? What are you excited about?

So many things. I feel lucky every day to work with artists I believe in.

Katie Pruitt has a stripped-back duo tour this fall, which we’ve been talking about for a while. She also has a new EP coming—it’s just stunning. Her honesty in songwriting blows me away. Kelsey Waldon’s new record comes out in June, and I think it’s her best yet. It’s raw and personal. She’s been through a lot, and this record reflects that. There’s a young artist from Georgia named Clover County I’m excited about. Her full record drops this fall. Her talent and perspective are so impressive for her age. I’m also working with a songwriter out of LA named Tyler Ballgame. He only has a couple of songs out, but his full record floored me. His sound is totally unique—someone described it as “Roy Orbison sings Kevin Morby,” and I love that.

And on the legacy side, I work with Bobby Weir and worked with Phil Lesh before he passed. I got into music because of the Grateful Dead, so that’s incredibly meaningful. Watching these artists still create and evolve after 60 years is just… it’s the dream.

Who have been your biggest mentors?

Joe Atamian, Keith Levy and Jonathan Levine. This company is full of generous, thoughtful people, but those three have shaped me the most.

What advice would you give someone like you once were—obsessed with live music and trying to figure out how to get in?

I’d say this: It’s a fun and rewarding job, but it’s also incredibly demanding. You’ll work harder than you think you can—but if you do, the rewards are worth it. Also, it’s part hard work and part luck. You can do everything right and still not make it, which is hard to hear—but true. Same goes for artists. Sometimes great work just doesn’t connect, and there’s no clear reason why.

But if you’re passionate about this—go for it. Taking the leap was the best decision I’ve ever made. Surround yourself with good people, and be ready to grind. This job rules.

LB Cantrell
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