UTA Agents Kevin Gimble and Steve Gordon Book 77 Artists for EDC Las Vegas 2026

Veteran talent agents Kevin Gimble and Steve Gordon, working closely with their team at United Talent Agency (UTA), this year booked the most artists for Electric Daisy Carnival Las Vegas in 2026. Across three days, May 15–17, some 175,000 ravers a day of every possible permutation watched 77 of their artists perform on every stage, including nine primary stages and roaming art cars, spread throughout the biggest electronic music festival in the world.

From Kaskade bringing his classic house music to Kinetic Field to Funtcase and Flux Pavilion testing the structural integrity of Bass Pod with fiery UK dubstep, to veteranl beat junkie Paul van Dyk at Quantum Valley stage and the myriad of different art cars and side stages. UTA artists also played in the festival’s parade that was personally curated by Pasquale Rotella, Founder of Insomniac, the promoter behind EDC which since 2013 works in partnership with Live Nation.

Agency Intel: Kevin Gimble & Steve Gordon Guide EDM’s Big Success At UTA

Gimble and Gordon are currently the Co-Heads of Electronic Music at UTA, with hundreds of clients under their purview. In 2016, they were leading their own independent agency, Circle Talent before getting acquired by the larger agency in 2018. They still had hundreds of clients, and they still had the most artists booked on EDC.

And yet, after almost 30 years in the scene, they have never measured their success in the number of artists booked at any event. Especially not in comparison to other agencies.

“We never keep score,” Gimble tells Pollstar referring to the recent trend of graphics breaking down specific agency numbers at festivals .

“Does it feel good when your agency’s on top? Sure. But does it matter? It doesn’t,” Gordon adds. “We’re not booking EDC to get the most people on the lineup. We’re booking EDC to make the right decisions for our clients. It just so happens that we have a lot of clients they want, and that a lot of our clients want to play.”

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To further this client-first approach, Gordon and Gimble have learned that just because a client wants to play EDC doesn’t mean they should. So many current artists came up attending these massive raves. When these artists enter the agents’ orbit, they are determined to play tunes under the electric sky, but the duo have guided clients from opening sets at the smallest clubs all the way to Kinetic Field. They know the difference between bookings that will sustain career longevity and the dopamine hit of checking a box on the vision board.

“We’re trying to create those moments with the clients at the right time,” Gordon explains.

This year, for example, they created such a moment with the ascending bass producer, GorillaT. His agents at UTA passed on EDC Las Vegas 2025. Then, in the ensuing 365 days between the festivals, GorillaT collaborated with bass titan NGHTMRE, hosted his first curated headlining event in his hometown of Denver, and signed with MLennial for management (which also reps major bass artists like Seven Lions). So, when it was time to negotiate for EDC Las Vegas 2026, he got a prime 10:30 p.m. slot at Bass Pod.

“[GorillaT] had a huge set. Absolutely massive,” Gordon says. “He was the first one to text me saying, ‘Dreams come true. So happy we got here.’ Those are the special moments.”

Gordon and Gimble well-earned their sixth sense of knowing when to take these opportunities. They got their start in the 90s, promoting shows and organizing the first dubstep and drum & bass tours ever in the United States. Circle officially launched in 1998 when Gimble booked a 13-date tour for the drum & bass stalwart Dieselboy along with two other UK acts.

After that tour’s success, the three artists went home and recommended Gimble to their peers. Word spread, and soon he was working with dozens of artists. At the time, Gordon was booking Gimble’s clients for his bass shows in Baltimore. So, when Gordon expressed interest in being an agent, they started sharing the workload. They are still doing so to this day.

Rotella was buying their talent from the get go. Their close relationship with him comes from decades of blood, sweat, tears and negotiations while helping build to dance music into a global phenomenon.

“I remember booking my first shows with Pasquale in ‘98 and ‘99. Before there were managers. Before there were assistants,” Gimble says. “We had pagers. We were faxing each other rosters and contracts.”

Circle and UTA joined forces in 2018, and with Gimble and Gordon now in leadership positions at one of the world’s largest agencies, they bring thir longstanding relationships to the entire UTA team, who are working together to support the full roster.

“There’s something to be said about building a bond when that’s how we all started, that’s what we came from, and it’s carried on to the scale that we’ve grown to,” Gimble adds. “I’m not saying that’s why we get the most [artists on EDC]. Pasquale’s way bigger than a talent buyer, but UTA as a whole has an amazing relationship with those guys.”

As great as their relationship may be, Gordon and Gimble are never complacent. They are continually thinking about ways to continue their mission of serving artists and the larger culture. Back in 2013, they again had dozens of artists playing EDC and were invited to have a curated meal overlooking Kinetic Field as Carl Cox delivered a legendary techno set under the gigantic production.

“I had my arm around Steve, and I was like, ‘Look how cool this is. Look where we’re at,’” Gimble says.

Gordon’s response: “This feels like a party we weren’t invited to.”

None of their artists were playing Kinetic Field that year. The bulk were playing Bass Pod because their niche was still very much grounded in dubstep and drum & bass.

That was the spark that led to the duo expanding their music roster. “I’ll be here when we have clients playing here,” Gordon said. And Gimble felt similarly.

“We need to do better, frankly, and see what comes next,” Gimble says. “See what we can do to expand our horizons. One year later, we started expanding Circle, acquiring smaller agencies, and picking up artists in house, trance and techno spaces.”

“We’ve always had artists at EDC since day one. But what means a lot to Kevin and I is the diverse nature of all the clients playing all the stages,” Gordon says. “That’s such a deeply emotional feeling of gratitude, hard work, and appreciation for our team. The rest of the scene was starting to happen around us. We fought for it, and we got there.”

_Originally reported by [Pollstar](https://news.pollstar.com/2026/06/05/how-utas-kevin-gimble-and-steve-gordon-booked-a-whopping-77-artists-at-edc-26/)._