Steve Oberman grew up a suburban skate punk kid in the San Fernando Valley just outside of Los Angeles. The 43-year-old VP of Business Development for See Tickets spent his formative years going to concerts at the Country Club and the Hollywood Palladium as well as underground shows at places like the Jabberjaw, the Macondo and Cell 63.
When he was 20, Oberman landed an internship working for a guy at Delicious Vinyl, an LA-based record label that helped launch the careers of rappers Tone Loc and Young MC. His boss had his own punk label, though, and Oberman, “helped out however I could.”
He worked at different labels and management companies before securing a gig at a ticketing company called Flavorus. Oberman has been in the ticketing world ever since.
He said he’s now a problem-solver who helps his clients meet their goals.
“I’m lucky to be able to do this at See Tickets, where the business culture is more about finding quality partners that are a great fit than it is about trying to pick up as many accounts as we can,” Oberman said. “I get to work with some of the most talented event producers and venue owners on the continent and make a real difference in their operations and their bottom line. It’s something I am proud of and enjoy immensely.”
Oberman, who lives in the Valley with his wife and two daughters, still likes going to concerts.
“It’s like every show becomes its own unique community, where attendees share moments of joy, excitement, and even tension in ways that can’t be experienced in any other setting,” he said.
Amplify caught up with Oberman to learn about his five favorite shows of all time.
Stone Temple Pilots/Black Rebel Motorcycle Club at the Greek Theatre in Berkeley, California
July 25, 2008
Not only was this night the first time I met Gregg Perloff – who proceeded to show me a ton of historical rock artifacts and posters that were so cool – but apparently this was the first time a band had broken curfew at the Greek Theatre. As the management rep, I was told that the fine levied if there was music playing after the curfew was $10,000 a minute. I made sure the band knew and there was a huge clock on the side of the stage. Two minutes before curfew, the band had one (long) song left. The tour manager and I were desperately waving the band off the stage, but Scott looked over at us, smiled, and had the band launch into the last song. We were sent an invoice for the fine, but I don’t think we ever paid it.
Jawbreaker/ Monsula/ Nuisance at the Rickshaw in San Francisco
Aug. 2, 2017
Jawbreaker was always one of my favorite bands and I would go every time they played, at least 15 times. They were one of those bands that everyone said would never get back together, so I was shocked when the Riot Fest show was announced. This show was a warm up show at a small club in San Francisco, and a friend and I flew up to catch it. It was surreal to see them playing on stage again, and I look forward to future shows.
Fugazi/L7/Lunachicks/Pearl Jam at Rock For Choice at Hollywood Palladium in Los Angeles
Jan. 24, 1992
This ticket cost $8 and I was pissed. I complained to anyone who would listen about how Fugazi obviously sold out since they weren’t charging their normal $5. The naiveté of youth didn’t let me realize how good we actually had it. Pearl Jam opened the show, the album “Ten” had come out less than a year before and they were just picking up steam. But we were punks and Eddie had long hair so we ignored them.
Green Day/ Samiam/ Lagwagon at the Anaconda Theatre, Santa Barbara, California
Aug. 15, 1992
We arrived early and got a space at the barricade. I remember this show very clearly because Powell Peralta skateboarders were doing a demo at the venue and had given the band a skate deck to give away. Billy Joe Armstrong gave it to me, and I rode it for years.
Bad Religion/ NOFX/ Pennywise at the El Porto Theater in North Hollywood, California
Dec. 29, 1990
Pennywise played and everyone was ripping out the seats in this theater so they closed down the show. A riot broke out: You can see a much younger me on stage at 1:34.
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