Al Damasheks Move Forward Music: From SOBs to a Brooklyn Festival, Shaping NYCs Live-Music Landscape

From the neon‑lit backrooms of New York City’s historic SOB’s to a block‑wide festival on Brooklyn’s Scott Avenue, Al Damashek has redefined how the city’s live‑music scene is curated.

Damashek began his career in 2007 as Director of Marketing at SOB’s, a venue founded in 1982 by Larry Gold that has long championed hip‑hop, Latin, and world music. While there, he booked pop‑up shows for Kanye West and introduced Seun Kuti to New York audiences, experiences that taught him the power of moments that bring diverse communities together.

In 2008, he launched Move Forward Music out of the SOB’s office with a clear mission: spotlight progressive artists and create spaces where “diverse groups could connect through music.” By 2014 the company had caught the eye of Webster Hall, which hired Damashek to overhaul its Thursday club night. The result was House Party NYC, the city’s largest hip‑hop party that hosted early‑career performances by Travis Scott, Playboi Carti, Lil Uzi Vert, and others.

Damashek’s talent‑scouting philosophy hinges on a “rule of three”: if an artist is mentioned by three distinct, trusted sources, he considers them a potential discovery. He stresses the importance of a live environment, ensuring that a debut NYC show has the right venue, production crew, and local openers to create a seamless experience. His bookings span venues from Baby’s All Right and Market Hotel to St. Ann & the Holy Trinity Church, where he produced André 3000’s first solo show.

The COVID‑19 pandemic forced Move Forward to pivot online. In 2020 the company partnered with Twitch to launch a live‑music streaming channel and paid artists to perform virtually. The partnership has continued through 2026, with Twitch serving as the platform for the Sounds That Move festival’s live streams.

Sounds That Move, described by Damashek as a “choose‑your‑own‑adventure” festival, occupies five venues on one block and offers distinct genres and a fashion market. In its inaugural year the event attracted 10,000 fans who moved between panels, concerts, and late‑night club shows. Spotify’s partnership provides additional production resources and marketing leverage.

Marketing for Move Forward is built on the quality of its line‑ups. Damashek notes that “the best marketing is a good booking.” He has embraced SMS marketing, citing higher engagement rates than email or social media. While he still uses newsletters and social posts, he views text messages as the most cost‑effective channel for reaching fans.

Industry analysts see the company’s model as a response to a post‑pandemic shift. After a surge in ticket sales and rising VIP premiums, the market has begun to level off. Damashek observes that Gen Z now seeks more tailored, intimate experiences rather than large festivals. Sounds That Move’s format, with multiple venues and genre‑specific shows, aligns with that demand.

Move Forward Music continues to focus on artist discovery and community building. The company’s next steps include planning a 2027 festival and expanding its roster of venues. Its trajectory demonstrates how independent promoters can adapt to changing consumption habits while maintaining a commitment to live‑music culture.