“I can and I will,” is the mantra that pushes Diana Dotel past her doubts to greatness. Co-spearheading the cultural marketing agency MTW Agency (More Than Words Agency) and concert promotions and live experience business MTW Live (More Than Words Live), the Dominican-American entrepreneur knew from the beginning that she wanted to be in the music industry thanks to her father’s marketing career. Born and raised in New York City, Dotel followed in her father’s footsteps after seeing him market concerts for icons like Celia Cruz and Tito Puente. It sparked a passion for her, ultimately driving her to where she is today.
In 2016, she began producing live shows with her dad, which took her behind the scenes of building a concert from scratch, from ticket sales to marketing and beyond. That’s when she started recognizing that though there was a demand for Latine shows and tours, it lacked the sponsor support that the general market had. This led her to co-create her own agencies focusing on representing Latine artists and connecting them to sources of revenue — live shows, commercials, partnerships, and more. To date, she’s worked with huge companies and brand names, most recently a PATRÓN Cristalino promotion featuring Becky G’s music and heritage. She’s also organized Mujeres Del Movimiento, a first-of-its-kind festival in New York City in 2023 featuring an all-women lineup of Dominican artists.
But there’s more to Dotel’s drive than seeing a successful sponsorship or live show come together. The lack of representation of both Latines and women in the live music field fueled her. She cites that only 33 percent of concert promoters are women, as opposed to 66.9 percent being male. Moreover, only 15.7 percent are Black or African American, and 14.6 percent are Hispanic or Latine. This is what fuels Dotel to take things into her own hands and be an example through her companies to help change these stats. And although she’s continuously going through challenges, she knows that she will get through anything with the mindset of “I can and I will,” in true Major Mujer fashion.
We spoke with Dotel about her journey, why women need to get more comfortable talking about money, and the legacy she is building to help the next generation of women entrepreneurs in music.
This interview has been edited and condensed for clarity.
When was that one moment or turning point in which you felt you were in the right space (i.e., that made you feel, “This is the right path/direction for me”)?
When I started [producing shows] from start to finish. There was something about, at the end of the show, when you see all the fans and they’re cheering, and the artist comes off a stage, and whether it’s an encore or not, their adrenaline is through the roof. They’re excited and knowing like, “Wow, this is what people don’t know. It took me four months to put this together for that one moment – that one hour.” There’s something so exciting from putting a tour or a concert together from A to Z. I don’t even know what show [it was] because it was so early, but from the beginning, I just loved it… I just [always] wanted to be in the music business. I didn’t know what sector. I just had a passion for music, and I didn’t see a lot of representation, and I just wanted to be involved in some way; somehow create change.
So often, we see people advancing in their careers or making “big moves” on social media, but it’s rare we hear or see those introspective moments in which a person considers quitting or transitioning — did you ever have a moment like that and how did you overcome it?
I want to give up almost every day, if I’m being honest. Almost every day. A lot of people feel like that. It looks great, and it looks glorious, and you’re an entrepreneur and a business owner, but I think entrepreneurs will tell you it’s a very common feeling, and it’s something that you kind of have to learn to accept. There are some funny memes online about it, and the reality is just way more serious. Mental health and [being] entrepreneurs is something less talked about and not showcased enough on social media. That said, the feeling of giving up or any doubt ultimately does fuel and drive me, and leads me more to that success. And staying focused. You can’t have success without some level of struggle or discomfort.
Were there any mentors or other women who inspired or helped you get to where you are now?
Unfortunately, no. I didn’t have any mentor[s]. This is why it’s so important for our generation and Latina executives to create the space to encourage and support the next generation. I didn’t see myself in any executive. If you look at the Latin music industry, even back then, there was not a lot of representation there. So there was just little to no female minority promoters. To this day, there aren’t independent [promoters]. You have women that work at Live Nation or AEG, but [that work as] independent. I think I know of two [women] across the country. When you look at record execs, when you look at managers… We’re seeing more now, thankfully, I think, because of this generation. But that’s the only part of the equation. The next thing is just helping to provide opportunities and creating more significant roles. That would help combat this.
But there are many women today I will say that inspire me: Yvette Medina, who manages Snow Tha Product; Nydia Laner, who has Jhay Cortez; Sonia [Clavell] and the work that she’s doing with Ivy Queen. I mean Ivy Queen! She deserves all the flowers and all the love. And Sonia has helped kind of create that visibility again and that friendly reminder, like, she is the queen, put some respect on her name. And then there are people like Jennifer Mota – although on the storytelling side – has been brave in speaking up against inequalities. Alex Martelo, she’s a publicist, and she’s passionate no matter who the client is. I’m happy to see more women who have a seat at the table, but we definitely need to see some more.
What’s one of the biggest hardships you’ve faced as a woman — or even as a Latina — in the music industry?
Ooh! So many. Nine out of 10 times when you walk into a meeting, I am the only woman there, and men typically don’t even see me as a business owner. They will overlook me, talk down until I start speaking, and then they learn quickly that I’m the one negotiating. And we typically start to see a deficit or [get] behind before the meeting even starts because of it. I’ll give you an example. I had a meeting recently, and I was signing a new artist to a new label, and all the executives were a 100 percent men – a 100 percent. They’re the ones negotiating. They’re the ones making the deals. I was the only female, and I was greeted, but it stopped there until I started speaking up, and [I thought] like, “Oh, okay, now everybody’s chair kind of redirected.” And that happens so often, and it’s very frustrating and infuriating. There’s just so much. There’s even colorism too. I mean, there’s so many hardships. I could go on and on about it. The way I control the situation is, “I’m the one there to negotiate.” I know the facts more than anyone, and I think that’s what makes them sit up and turn the chair because they learn very quickly that I am there to close the deal. And I take it with grace. It’s not normalizing it, but it has been “the normal.” So I’m kind of used to it.
What’s one of your favorite parts of where you are now in your journey?
I get to use my experiences, my platform in my community to help women. I spend a lot of my day talking and teaching women about the industry, how to navigate through contracts, how to obtain branding opportunities, and just so many [other] things. And even my company on the agency side, we’re comprised of 90 percent female. So whether I’m financially investing in an artist or an employee, giving career advice to women or providing them an opportunity, or even just taking an hour to mentor someone… For me, it’s the best [and most] fulfilling element within the business. I really feel with age comes wisdom, and it really motivates me to be able to support and empower.
We’re seeing more and more women artists and music creatives speak out about how their work went unprotected or their trust was abused in the industry. What has been your perspective on this?
We live in a cross-section of art and commerce. There’s always going to be some level of disconnect. I frequently have conversations with artists, especially women, and they’re very upset about their label deals, [and] their management deals, and they feel taken advantage [of] or over-promised. That is something that really happens quite often. My empathy always sits with them, whether it’s an artist or creative. And I think it’s just by nature. I try to prioritize my relationships, my ethics, my passion over money. Unfortunately, I understand that most of the business doesn’t operate that way. Like any business, there’s going to be inequality. I try to be optimistic that some of this will change as women come into more leadership positions and get comfortable with money and business and that aspect of the music.
What do you feel can be done to make the music industry feel more safe and collective for women?
More transparency, more transparency, more transparency! More frequent conversation. Women actually coming together. Within the last few years, we have seen the growth, and there’s more… We’re seeing more honoring women and celebrating women and [more of] International Women’s Month. But we have to be more actionable for women to feel more in a safe space.
But it’s not just men; women can also affect each other’s journey or success. Can you explain why a crabs in a barrel mentality (“if I can’t have it, neither can you”) is harmful to women?
I have experienced this myself. I’ve created platforms and brands to empower and uplift women, and, sometimes, I can’t even get the proper support, whether it’s from artists or fellow executives. My theory is that we’re the first generation and a wave. So, inherently, many people are out for themselves and trying to figure it out. As we break down those doors and make room for the next generation, I think it’ll be more collaborative. That is what I’m hoping to see. That’s why these conversations are so important – [we need] transparency. Women shouldn’t be fighting this fight alone, and there shouldn’t be a “crabs in a barrel” mentality. There’s room for all of us. Just look at all the men in the industry. There’s room for all of us. If we shift and reprogram our thinking, it would benefit all of us women.
What do you hope to personally change about the music industry, especially for the next generation of women in this space? Talk to us about your legacy of making space for others while on your journey.
I see the growth of women in the music industry. I will say not enough, but I do see it. But I still see women missing from the conversations that involve deals and money. Women have to get more comfortable with money discussions, negotiation, and, ultimately, confrontation that comes along with it. If we look at the landscape, all the lawyers, a majority of them are men, a majority of managers [are] men, a majority of agents [are] men. And they’re typically the ones structuring the deals or advising the artists on what to do. Women need a bigger role in this part of the business. My legacy is joining in on that fight and educating and speaking out on these inequalities.
