In an industry increasingly defined by corporate consolidation and dynamic pricing models, independent concert promoter Seth Hurwitz stands apart with a refreshingly straightforward philosophy: "If it doesn't make sense, it doesn't make sense."

The founder of I.M.P. and co-owner of Washington D.C.'s legendary 9:30 Club has built a career on maintaining authentic connection between artists and fans — something he sees as increasingly threatened by a live music landscape that prioritizes maximum profit extraction over sustainable audience growth.

"The more people pay for tickets, the less shows they're going to go to," Hurwitz told Marketing Dive in a recent interview. "So this is why I've never scalped a ticket in my life. I just don't believe in it."

Finding balance in a polarized industry

For Hurwitz, who also operates The Anthem and recently opened The Atlantis — a venue designed to recreate the intimate atmosphere of the original 9:30 Club — success comes from a daily commitment to improvement rather than expansion for expansion's sake.

"I get up every day with the intent of improving my business and myself," he said. "If you spend a day complacent or not learning anything, it's really a waste of a day."

This philosophy of continuous improvement extends to his management approach. While he describes himself as "relentless" and someone who takes "no as a challenge," Hurwitz also acknowledges the importance of evolving his leadership style, particularly when it comes to listening.

"I'm trying to become a better listener," he said, adding that "being somewhat stubborn can help you and it can hurt you. So while it's helped me, it certainly hurt me as well."

His appreciation for balance extends to his personal routine, where meditation has become a cornerstone of his daily life. "I do that first thing 20 minutes every day," said Hurwitz, who credits works like Eckhart Tolle's "The Power of Now" and "Meditation for Dummies" with helping him manage the stresses of the music business.

Taking the long view on ticket pricing

Perhaps nowhere is Hurwitz's independent streak more evident than in his outspoken stance on ticket pricing and the secondary market. At a time when dynamic pricing models and VIP packages have become industry standards, Hurwitz advocates for a more sustainable approach.

"There is only one way it will ever stop, and that's to put a limit on the resale value," he said, referring to escalating ticket prices. "And I hope in my lifetime they figure that out."

His critique extends to the broader industry's reluctance to acknowledge market realities. Hurwitz points to the disconnect between perception and reality in venue capacity planning, noting, "The problem with The Anthem... it's not problem, it's great. But bands could be playing there instead of trying to do arenas and selling half of them."

"It's very difficult to find a manager or an agent that can admit that his band is not going to sell out the arena," he added.

Cultural currency in authentic spaces

For Hurwitz, maintaining authenticity isn't just about pricing — it's about creating spaces where cultural moments can happen organically. This philosophy guided the creation of The Atlantis, which opened with a lottery-based ticketing system for its first 44 shows that generated over 520,000 requests for just 20,000 tickets.

Dave Grohl, who frequented the original 9:30 Club as a teenager before achieving fame with Nirvana and Foo Fighters, performed at the venue's opening, underscoring the deep cultural connections Hurwitz's venues foster.

"My favorite thing in the whole world is standing at that line where my box is at The Anthem, which is right on the stage line," Hurwitz said. "And having said hi to the band and watched people come in and on both sides of the stage, everyone is happy and there's this joy there, and I know what the people went through and they bought tickets and waited for the show and waited in line, and now they're here and the show starts. That's the best moment ever."

Looking forward

While Hurwitz maintains a decidedly low profile in the age of social media — "I don't post anything anywhere" — his impact on the D.C. music scene and the broader industry remains substantial. His testimony against the Live Nation-Ticketmaster merger in 2009 highlighted concerns about consolidation that many industry observers now consider prescient.

As the industry continues to evolve, Hurwitz remains committed to his core values while adapting to changing audience preferences. The recent launch of Captain Morgan's Sweet Chili Lime offering, aimed at Gen Z consumers who hadn't traditionally engaged with the brand, exemplifies this balance of tradition and innovation.

For marketers and venue operators, Hurwitz offers a valuable reminder that sustainable growth often comes not from maximizing short-term profits, but from creating authentic experiences that keep audiences coming back.

"Try and enjoy every moment," he advises. “Can't go wrong if you do.”