‘Ron Delsener Presents’ Review: Nostalgia and Moxie Infuse an Affectionate Portrait of a Groundbreaking Music Promoter

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For New Yorkers who grew up loving music before digital times, Jake Sumner’s first full-length film’s title requires no clarification. Since the 1960s, countless ads in newspapers promoting rock and pop concerts that were revolutionizing show business began with these three words: “Ron Delsener Presents.

The documentary that Sumner is offering showcases some popular shows and artists, along with an opportunity for a close-up encounter with the lively Delsener himself, who recently celebrated his 89th birthday. Despite retiring in 2022, he remains active, engaged, and continues to make business deals. Much like the inspiring impresario Sol Hurok, whom he met just before it was too late, Delsener shows no signs of slowing down when it comes to his passion.

As a die-hard fan, I’d say that Ron Delsener has certainly made his mark in the world of networking and business, yet his story is deeply rooted in the vibrant cityscape of New York. Born and bred in Astoria, Queens, Delsener splits his time between Manhattan and East Hampton. During the period when I was following him around, he was still a regular at NYC clubs and suburban venues hosting his shows. In his conversations with musicians, Sumner shrewdly zeroes in on individuals who, like Delsener, hail from the city or its surrounding areas. This includes Patti Smith, Lenny Kaye, Paul Stanley, Gene Simmons, Paul Simon, Art Garfunkel, Bruce Springsteen, Steven Van Zandt, Billy Joel, and Jon Bon Jovi. Bette Midler, who shares some heartwarming anecdotes, may not be a native New Yorker but certainly made her mark there.

Delsener’s remarkable longevity in the music industry spans from small-scale businesses to huge international corporations, notes Peter Shapiro, a friend and admirer. A people person with experience as a door-to-door salesman, Delsener entered the music world with a passion for performers and a talent for negotiating deals with local officials, managers, and agents. He also demonstrated an innovative approach to making money, most notably when he acquired all the leftovers from the Beatles’ final hotel stay during their 1964 U.S. tour – items like used linens, towels, dinnerware, ashtrays filled with cigarette butts – and sold them to eager fans at auction.

His idea also included sponsoring music events, which proved to be a significant shift and turned out to be an incredible present for New Yorkers from 1966 onwards. During the summer-long fests supported by two local beer brands, initially Rheingold and subsequently Schaefer, an astonishing variety of acts graced the relatively cozy outdoor stage at Wollman Rink in Central Park. The ticket price was just $1, as Gene Simmons from Kiss puts it, “It was a bargain even then.” Smith, interviewed for the documentary alongside her long-time partner Kaye, describes these festivals as “an integral part of what summer meant in New York City.

Not only did Delsener support an impressive roster of artists, but he was instrumental in introducing some of them to the New York stage for the first time. For instance, he organized David Bowie’s 1972 performance at Carnegie Hall and the Clash’s debut at the Palladium in 1979, which he had meticulously transformed from the Academy of Music into a significant platform for new wave and punk music. Smith recalls that her band’s concerts at the Palladium were particularly memorable (and I can vouch for this, although the remarkable New Year’s Eve 1976 lineup featuring the Patti Smith Group, Television, and John Cale is not mentioned here).

Delzenner’s talents shone brightest, in most opinions, when he successfully organized the 1981 reunion concert of Simon and Garfunkel in Central Park, which was free for all. The careful planning, patience, and negotiation required for this feat is humorously depicted through clever editing of several interviews. Even from a four-decade distance, videos of their performance still show the duo’s evident astonishment as they gaze upon half a million people on the Great Lawn.

Delzenner’s skills were most impressive when he arranged the free Central Park concert for Simon and Garfunkel in 1981. The clever use of interviews makes this feat seem funny due to the careful planning it required. Today, we can still see how amazed Simon and Garfunkel looked when they saw that half a million people were watching them on the Great Lawn.

This narrative also chronicles the unavoidable convergence (or clash) between Wall Street and rock ‘n’ roll. As Delsener refers to it as a “gambler’s business,” where promoters must invest money from the outset, he eventually decided to transfer that risk to someone with greater financial resources. After a succession of mergers, acquisitions, consolidation, and vertical integration, Delsener retained his position as the promotion mastermind, but under the global umbrella of Live Nation. Delsener expresses no regrets or remorse. On the other hand, Smith presents a more idealistic viewpoint, stating that “rock ‘n’ roll ought to have remained in the hands of the people, and so should ticket prices.

The intense side of business is subtly hinted at without going into explicit details. Several agents and managers like Tom Ross, Al DeMarino, Doc McGhee, Dennis Arfa share their insights, especially focusing on the influence of agent Frank Barsalona who distributed territories for promoters. In a manner reminiscent of a mob boss, Barsalona once called Delsener to a meeting in the Bahamas to discuss some information about the territorial map that benefited Delsener but not a competitor.

Apart from catching up with Delsener behind the scenes at Madison Square Garden or socializing with fans outside the Jones Beach Theater, Sumner often conducts an elegantly lit interview with his subject at the Beacon Theatre, or joins him for a drive while he shares memories from the driver’s seat. The presentation includes a blend of captivating archive materials and creative collage-style animations to bring some of these memories to life. Delsener’s younger sister Harriet (senior sales director of his company) and his wife and daughter provide enlightening insights. There’s a harmonious blend of biographical details and pop culture history that keeps the audience engaged.

The two key aspects intertwine predominantly in scenes showcasing his lifelong accumulation of memorabilia, such as newspaper clippings, backstage passes, ticket stubs, and various trinkets, which now take up a substantial space in the Delseners’ Long Island home. For many people dealing with a lifetime’s worth of keepsakes, there’s an undeniable emotional resonance. Given his age approaching 90, this sentiment is particularly strong. Despite any nostalgic feelings he may have for all the items, he maintains a detached, humorous perspective on their value, although the sadness can still be perceived when he says, “It’s difficult to find someone to reminisce with.” (There’s also an undercurrent — at least for the observer — during the moment when Jimmy Buffett, who passed away in 2023, enthusiastically shares his plans for the future with Delsener backstage.)

As a devoted fan, I must share one particularly moving recollection, which hails from none other than the radiant Jon Bon Jovi himself. His story about Delsener resonates deeply with me, encapsulating the essence of the personal touch that he nurtured in his business endeavors. It’s a tale that underscores how success, depending on one’s values, can ultimately sow the seeds of its own demise.

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2025-05-27 23:55