We want to introduce the community to Rise Talent Group, a new management group based in Atlanta, Georgia. An active collective ready to break the norm and bring a fresh perspective to the dance music scene. With seven passionate members accruing a roster of many talented artists, such as Artifakts, Athena, DMVU, Neumonic, Yheti, and more! After learning more about their backgrounds, values, and outlooks, we found inspiration in the promising future ahead for this group. This is only just the beginning of what to witness from Rise Talent Group!
Check out this exclusive sit-down with Rise Talent Group discussing their visions, thoughts on the scene, and more!
In conversation with Rise Talent Group
Sarah Litvak, The Electric Hawk: (to Freddy) What made you want to start Rise Talent Group, and what steps did you take to do that?
Freddy Maier: Ultimately, the biggest reason why I wanted to start Rise Talent Group was because I wanted to build a culture and community that was centered around collaboration. Initially, when I first started as a manager, it was hard to find mentors and peers who could guide me.
“I want what we are creating and to be as open sourced as possible with how we approach managing our clients. We believe there’s a lot to go around in the music industry – as in there are so many talented people out there and new incredible artists pop up every single day.“
95% of the information on how to be an artist manager is accessible to anyone with internet access. The difference maker is how you use that information and apply it to growing your clients
The first thing I did was find other people who were doing what I was doing. I wanted to build a bigger support system for each other. Then, the next main thing I started to think about was what incentives we could be offering to other artist managers to make them want to join Rise Talent Group. You have to realize that a lot of artist managers are independent for a reason.
I also felt like nobody that I had a chance at working with was representing multiple different genres like me. We chose “Talent” rather than “Music” in the company name because a major end goal with the company is to represent talent outside of just music. Sort of like the equivalent of Red Light Management.
Rise Talent Group offers managers numerous incentives and value-added benefits in terms of tools and systems. Although it took me until very recently to realize the main incentive we’re offering is the same reason I started the business – collaboration and music business education.
Sarah Litvak (to everyone): How did you start managing, and know you wanted to manage artists?
Shauna Olson: I studied music business at the University of Georgia. I did a bunch of internships while I was there. I was managing a band while I was there as well. So that’s how I really got into it!
After I graduated, I worked at basically any odd music job that I could get. Then, I was waiting for the right fit for artist management. I always thought that you have to have the right type of business to work together and be a team, and all that.
Anthony Poblano: I work at a majority of the major and underground festivals in the country. I did Waste Management, Artist Hospitality, Artist Relations, Exterior Operations, Side Operations, you name it! I’ve pretty much done every department.
I didn’t really know what being a manager was at the time. Slowly, I started to learn more as I did more jobs in the industry. Then, in the last year, I really got on my roster, and in the last six months, I met Freddy, and he’s been a mentor for me.
I’m stoked to be an artist manager and keep at it.
Alexandra Cammarota: I also started in live events to get my foot in the door.
I wanted to transition into something more day-to-day, but wasn’t really sure which direction to go. Then I started meeting a lot of managers and learning about what they do. I liked how it was a healthy blend of a lot of different aspects of the music industry. I did a couple of internships, and then that was when Andrew and I got connected. He was looking for extra help with a lot of the organizational day-to-day things on the management side.
We’ve been working together for two years now, building up our roster. Then he met Freddy, and we thought it would be a good opportunity for us to grow under people who have a lot of experience and can help us and our clients continue to develop.
Chuka Offor: Why did I become an artist manager? I have a couple of ways to respond to this, but I’ll just give it the easy way, I guess.
I have been just in and around dope things in the music industry for half my life at this point. And I just knew I always wanted to be of service to music. I think I was like, ‘All right, let me just see how this feels, or what’s this like?’
So, whether it be like some of the labor-intensive or backend stuff with business, I’ve just tried to put my hand in most things because I wanted to see where I’d be the most useful.
Then, sometime last year, Freddy’s girlfriend Lauren and I had a long conversation, and she was like, ‘you and Freddy would love each other, you have to meet.’
We clicked after our first conversation. I thought, ‘This is a guy I want to work with for sure.’ So there was no real artist manager desire; it’s just where the cards lay correctly, to where I could be of service to music. And we’re here right now!
Andrew Lawrence: Three and a half years ago, I started a little production company in Vermont post-COVID in an effort to bring the community back together. There are so many impactful moments and conversations I often reflect on that reassured me I was in the right place, despite the financial burden I had put on myself by throwing events. Being able to play a positive role in other people’s lives means the world to me.
Transitioning from live event work to management involved collaborating closely with creatives and forming a tight-knit team. Also, working in an intimate way with somebody and getting to know them. With my background in mental health, navigating the stress and the complexities of people’s personalities, as a manager, has felt much more natural and organic as opposed to managing expectations for the fans, agents, managers, venue, lighting designer, sound engineer, security, and so on.
Sarah Litvak (to Lauren, Creative Director): What led you to become the creative director for Rise Talent Group?
Lauren Dellheim: I studied Advertising and Graphic Design in college, with a minor in Art. My entry into the music industry came from a place of passion. I attended many festivals, worked at a few of them, and immersed myself in the culture.
After graduating during the pandemic, I moved to Florida and landed a marketing role at a music collective. Once the live music scene returned, I started working at various venues in Atlanta. Along the way, I took on freelance creative projects for shows and album artwork, which helped me build my skills and network in the industry.
Sarah Litvak: What differentiates Rise Talent Group from other management companies?
Freddy Maier: In terms of differentiating factors, our vision statement aims to be the most artist-centric management group in the entertainment industry.
It’s pretty self-explanatory. What it means is: we want to be as flexible as possible for the people we represent in terms of the way we’re structured.
We want to approach things where we are like chameleons. We might jump on a call with a vocalist or a live band we represent, take a 15-minute break, and then hop on another call with an experimental bass music producer working in Ableton. The artists we work with are incredibly different, and knowing how to tailor our approach to each one is essential.
I want these to be great managers who can represent any type of creativity.
The second thing is that the way we approach our relationships with our clients could be described as boutique in terms of being extraordinary communicators and as available as possible within reason. Sometimes boutique companies lack high-level services, whereas we’re able to deliver the same high-level services as adjacent management companies. All while making each and every one of our clients feel like a number one priority.
The business as a whole currently resides in the underground. And we are striving to bring the underground to the highest level of the music industry, where it belongs.
Chuka Offor: Rise was easy for me because it gave me a business standpoint and a back-end of music standpoint. A similar feeling to how I even got into the electronic side of music. We are bringing together people who also seem like they’re okay with deviating from that norm. It’s always dope to find the good people around you in the industry. Then try to attach there rather than forcing yourself to be in front of everyone else, and then getting that jaded feeling.
Anthony Poblano: I feel like Rise is very eclectic in terms of the music, taste, and style in which we operate. I would say a lot of our artists may be an underdog type, per se, and we want to bring them to a place they might not necessarily reach with little resources.
Lauren Dellheim: Rise Talent Group has created a space where like-minded individuals can collaborate and build something meaningful. From the very beginning, I involved myself by sharing small ideas with friends, and soon realized the potential of what we were forming. I saw an opportunity to bring my own creative touch and help elevate it. That vision and sense of purpose inspired me to stay involved and contribute to its growth.
Sarah Litvak: Being the Creative Director for RTG, what inspired you in the aesthetic and overall art direction for RTG? What’s the symbolism of using red as the primary color for this brand?
Lauren Dellheim: The creative direction for RTG has been a collaborative effort from the start. We want the brand to reflect the spirit of Atlanta, which comes through in our color choices and overall aesthetic.
Red felt like the right fit, not only because it’s bold and energetic, but also because it ties back to the city’s culture. We’ve built a tight-knit underground community centered around dance music. Our visual identity represents that upward momentum—our rise to the top—rooted in where we came from.
Sarah Litvak: How have you experienced being a woman in the music industry?
Alexandra Cammarota: As a woman in the music industry, it’s definitely a challenge to get people to take you seriously, and obviously, it’s pretty heavily male-dominated. Finding the right people who take you seriously, respect you, and show you they value you is important. This group of men—I mean, I’ve only been involved for a few weeks— but it feels like it’s a priority.
I usually go by Alex, but I am constantly over emails being addressed with “hey man,” and things of that nature, so that’s why I primarily go by Alexandra now, because I want people to know I’m a girl and to address me as so. It’s definitely a challenge, but it has taught me how to speak up and stand up for myself more. Being surrounded by supportive individuals who value and respect your opinion without interruption or belittlement is crucial in overcoming challenges.
Shauna Olson: Navigating the music industry as a woman has honestly been a mix of resilience and quiet rebellion.
For a long time, I felt like I had to constantly prove that I was more than just “the girl in the room.” That I wasn’t there to fill a diversity quota, but because I actually brought real strategy, vision, and value. I can’t count how many times I’ve been talked over, called Shaun in an email, or asked if I was someone’s assistant or even an artist’s girlfriend, when in reality, I am there to work and represent myself and my client.
“That’s why Rise feels personal. It’s not just about amplifying voices — it’s about creating a space where women aren’t just included, but actually trusted, respected, and heard! That goes for all my female artists, too.”
– Shauna Olson
Lauren Dellheim: I’ve been fortunate to grow in this industry with the support of environments that value inclusion and representation. My journey truly began at Mint Talent Group, where I’ve been empowered from day one. They fostered a culture where women were encouraged to grow, speak up, and lead. That foundation gave me the confidence to navigate other areas of the industry and helped shape my approach to collaboration and leadership.
At Rise, that spirit continues. Close friends who genuinely prioritize community, creativity, and inclusivity founded it. I’ve had the freedom to express myself and contribute in meaningful ways, while also helping create space for other women and underrepresented voices to do the same.
Though I’ve had a positive experience, I recognize that not all women in this industry have. That’s why I try to pay it forward by amplifying others, making space at the table, and being intentional about equity in everything I do. I’ve learned not to let intimidation get in the way of opportunity. It’s easy to feel outnumbered, especially early on, but perseverance, trusting your voice, and knowing that you belong in the room make all the difference. Representation and safe spaces matter. I’m proud to be helping build that culture into everything we do at Rise Talent Group.
Sarah Litvak: What are your thoughts/feelings on the upcoming dance scene and the rise of the underground music scene?
Andrew Lawrence: The health of the scene has been overtaken by marketing strategies that have less to do with the music and more to do with the social media presence and the influencer aspect. All of us are backing artists we truly believe in, which allows for a really good connection. Overall, we’re doing this because we love what they’re making in their artistry. That is ultimately the thing that we aim to preserve.
Another thing that really sets Rise apart is that everybody here has their ear to the ground in terms of where the culture is going and where the scene is moving. Even though some marketing strategies and the ways certain acts are being pushed in an influencer-based format show signs of decay, I think the underground is as strong and healthy as it’s ever been.
Chuka Offor: Dance music in 2025 feels to me like rap music in its second renaissance in early 2010 currently. It feels like a bit of uncharted territory while things are blowing up. You have a lot of people who have been in this for a while. Those who feel like there’s a deterioration, which is natural when anything grows mainstream. I also believe we’re watching the fall off of many people who aren’t going to know how to adjust. Adjustment takes creativity and taking away the negative mindset that a lot of people have when they think, “it’s lame now or all this sucks now.”
“Anytime we bring up artists in Rise, the first thing Freddy asks isn’t about metrics. It’s about ‘Do you like this person, is there a creative aspect?’ While this boom happens, there’s a lot of corniness in marketing and how people are trying to adjust and figure it out. Although you’re also seeing a bunch of really dope people find creative ways to express themselves, who are starting to work as well.”
Anthony Poblano: I will say that the rise of actual dance music in the bass scene has been incredible to witness. I’m a huge advocate for that. People are collectively blending out to create a wider range of different styles of music, not just what they’re used to making their whole career, which is good to see.
Some problems arise because everything is connection-based. No one’s actually listening to the music. Compared to the scope of electronic music, the underground is so niche. Not only our artists but also in general, our niche has found ways to be organic to themselves and still reach other areas.
Shauna Olson: I am super excited to be part of the movement bringing underground club music and UKG to the spotlight here in the States.
It’s an incredible time to represent artists who are making waves in this space by pushing boundaries and truly shaping the future of dance culture. I’m proud to support talent that I truly believe will flourish from the underground to the top!
Alexandra Cammarota: Many of us have witnessed the rise of the underground scene and the shift happening in real time, which is a cool thing to experience and be a part of. Witnessing artists push boundaries and shift away from the norm, and seeing how crowds and fans appreciate this shift, is really great to see. It’s awesome to represent artists who I truly believe in and see them rise from the underground!
Lauren Dellheim: We’re in a really exciting time for dance music, especially in the underground scene. There’s a growing appreciation for more niche sounds and independent artists. People are craving experiences that feel raw, authentic, and community-driven.
What’s especially inspiring is how dance music is breaking past social norms and becoming more accessible. I’m seeing more and more people, from all walks of life, immerse themselves in the sound and community. It’s becoming a movement that’s inclusive, expressive, and constantly evolving. That kind of energy is contagious, and it makes me really excited for what’s ahead.
Keep your Hawk eye on the elusive Rise Talent Group!
Naturally, Rise Talent Group showcases how unique and driven they are to bring something different into the dance music scene. With a lot to unravel over the upcoming months, we are keeping our Hawk Eye on Rise Talent Group. Every member and artist on their roster deserves full support and love!
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Looking for new music? Keep up with our weekly Spotify Playlist, Fresh Hunts. Updated every Friday with all the latest releases. Whether it’s the newest drops from Rise Talent Group, all your favorite artists, some old-school, or underground…we just want you to hear it.