Toronto – Los Angeles
Artist Management * Concert Promotions * Marketing Consultants * Digital Distribution
360° Services for the world
Established in 2005 as Full Capacity Concerts – FULLCC has evolved into an elite firm providing 360° services for the world. Representing artists and companies in the Urban Pop arena, we are a Management and Tour Promotion company providing Marketing Services to artists and companies looking to tap the global expertise of our team. We also access the global music marketplace via our record label and provide Digital Distribution services to independent artists and labels via our strategic partnership with MapleMusic .
With nearly fifty years of combined experience, the FULLCC team currently represents top tier talent in Music and Television including:
Shane Harte – Glenn Lewis - The Walkervilles - Jemeni – 80 Empire - The Girls Club - The Next Step (Family Channel / Disney) - Lost & Found Music Studios (Disney) - Backstage (Family Channel)
Former Clients include:
Nelly Furtado - Divine Brown - Fefe Dobson - jacksoul - Tamia - Jesse Giddings - White Tiger Society - Slakah The Beatchild - Jesse Labelle - JRDN - Keshia Chante - DRU - Tweet – Art of Fresh - World Vision Canada
For Stephane Lecuyer, it is the relentless pursuit of his dreams that sets him apart. For the former government Tax Auditor, it has been his ability to identify business opportunities starting with his role as a local promoter that set the stage for his remarkable career beginning in College. By focusing on business fundamentals, Stephane has charted a path that reads like a late 20th Century “who’s who” in Hip Hop, Pop and R&B. Promoting shows with Hip Hop luminaries such as LL Cool J and KRS-One led to job opportunities with BMG and later CSM powering the machine behind multiple Juno Award winning Prozzak, and later into the upper stratosphere of the music business with 2x Grammy and 10x Juno Award winner Nelly Furtado, Juno Award winner Divine Brown, multiple Grammy and Juno Award nominee Tamia, Juno Award nominee Fefe Dobson, Juno Award winner jacksoul, Gold record selling JRDN, Juno Award winning BET-TV host Keshia Chante, and American R&B singer Tweet. Coupled with these successes was his international touring experience and former role as Vice President of Marketing and Communications for Jamaica’s Cable & Wireless producing events in Jamaica and the Caribbean which landed Stephane and FULLCC the opportunity to breathe life into The Next Step Live on Stage tour on behalf of DHX/The Family Channel in 2015 with dates on deck for Australia and the UK. With his international reach, Stephane also inked a distribution and marketing deal with Canadian e-commerce giant MapleMusic.
As a youngster, Stephane’s family moved around a lot, not unlike a military family, due to his father’s career as a mining engineer. One day, fortune smiled on the Lecuyer clan in the form of a large job bonus that inspired the elder Lecuyer, a former high school band drummer – to purchase a cache of instruments for himself and his kids. Everyone played, including Stephane who by his teen years began to excel in Varsity sports – particularly Hockey and Basketball. While he loved his music, he was challenged to decide whether to be an excellent athlete or a “just ok” musician. Sports eventually won the contest and he found himself crisscrossing Canada competing in tournaments gaining a spirit for adventure and travel along the way.
In College, at the urging of his parents, Stephane pursued a course in Accounting. While Accounting wasn’t initially his passion, it ignited an interest in business which was fueled by his discovery for his knack for putting together and promoting successful Hip Hop shows which he continued to do after he graduated. As a concert promoter at night with a fast track government job as a Tax Auditor by day, a comfortable life with a retirement was reasonably secure. Yet one day, shortly after promoting a successful show with Hip Hop superstars Outkast and KRS-One, a vision of his future flashed before his eyes in the form of a slightly older colleague who despite his thirty years appeared to be a lackluster middle aged man. Stephane determined this was not to be his fate, and he quit on the spot – determined to take his passion for the entertainment business further while supporting his young family.
With a move to Toronto from Ottawa, his education in the music business began in earnest with his first label job with Beatfactory Records (EMI), where his modest salary forced him to teach Accounting at night to make ends meet. The shuttering of Beatfactory led to a pivotal role in the Finance department of BMG where he saw how major labels made and lost money; invaluable lessons for the young impresario. Power networking within the Canadian Urban Music Association brought him to the attention of Chris Smith of CSM who tapped him to become General Manager of his operation. With the dual agenda of streamlining operations and mounting an arena tour for the blazing hot band Prozzak, Stephane made an immediate impact. Five month’s later, Nelly Furtado’s “I’m Like A Bird” exploded across the globe and suddenly Stephane was plugged into the matrix. Nelly’s global success earned her multiple Grammy and Juno Awards as well as a World Music Award. Stephane, the “Tax Accountant” was at the top of the game.
As is the nature of the music business – after seven years of jet setting around the globe Stephane grew restless and wanted a change. This led to his departure. By now, a business powerhouse, Stephane seized an opportunity for adventure and headed to Jamaica with his family in tow, to lead the marketing team for the island nation’s telecom giant Cable & Wireless (Now LIME). Armed with a $10 million USD annual budget, Stephane achieved unprecedented success for the mobile carrier for three years until he headed back to Canada to resume his Music Business career.
When the planets are aligned, things seem to happen with little effort. Such was the case upon Stephane’s return to Toronto. Once office space was secured, he was approached by World Vision Canada – a Christian humanitarian organization - who had mounted a fledgling Artist Associates Program. One of their first shows was to be the legendary jazz pianist Oscar Peterson, but their lack of promotion experience was showing and ticket sales were in the proverbial toilet. Stephane swung into action and within weeks they sold 2,000 tickets affording the opportunity to sponsor 75 children that night. While doing good business was always a hallmark for Stephane, he discovered that doing business for Good was even better. For the next two years, Stephane led promotion for the Artist Associates Program promoting over 75 shows annually affording sponsorship of nearly 1,000 children across the world including the two children he sponsored on his own. When management changed at World Vision Canada it was finally time for Stephane to depart allowing them to chart their own course.
Stephane determined it was finally time to build his artist management roster. In his own “full circle” moment, Divine Brown who had left CSM years prior, was seeking representation as she planned her next international moves. With his direction, the Juno winner secured a lucrative recording agreement with Universal Music Canada and they commenced recording her follow-up to The Love Chronicles. Word quickly spread within the industry of Stephane’s return to the artist management space. Consequently the roster to grew to over a dozen artists over the next 2 years.
And then there was the accident. There’s nothing like a broken ankle to force someone to sit down and assess the future. The always active Stephane plunged into depression without his regular Hockey fix. But Physical therapy led to a return to form with the healing power of endorphins fueling his passion to do even better business as FULLCC. His vision for FULLCC now included a Management company, a Record label, Concert Promotion, and Marketing Services.
In the ultimate “full circle” story – FULLCC learned that DHX/Family Channel was seeking a producer for The Next Step Live on Stage Tour for 2015. Stephane again swung into action leveraging his tour promotion background to develop a package and innovative approach which won the bid over other established firms. It was then in that moment that it became crystal clear; the Hip Hop impresario had come of age. All of the experiences in music, marketing, and touring had served to prove that he knew what to do and the deal was done. Not bad for a black Hip Hop guy who could do a corporate tax return. Not bad at all.
Wil Van Zyl exemplifies the FULLCC 360° approach to Artist Management in the rapidly shifting landscape of the modern music business. He takes a big picture strategic view of operations and Artist Development, elevating Artist Management to an art of its own. Beginning with the basic building blocks of songwriting and publishing, coupled with decades of directing independent record company operations for various labels, brokering International label and licensing deals, and structuring Brand Integrations with the likes of Reebok, Unilever, and Mercedes-Benz – Wil has successfully guided the careers of platinum Artist/producer Slakah the Beatchild, Wade O. Brown, Art of Fresh, and most recently engineered the return of Grammy nominated soulful Canadian crooner Glenn Lewis.
Wil’s journey with music started very early in life where music permeated his childhood home in the suburbs of Ontario. His father, a gifted singer in his own right – immigrated to Canada in search of broader opportunities from their native Swaziland. The elder Van Zyl’s love of song led to music lessons for all of Wil’s siblings, yet Wil gravitated early on to the world of sport where he excelled in Soccer and Track & Field.
As fate would have it, while studying Business Management in college, a chance meeting on the bus one Sunday on the way to church led to a life-long creative and business relationship with his first management client, the Detroit bred R&B dynamo, Wade O. Brown. Wil credits Wade with igniting a latent passion for music and the mechanics of the music business. In fact, it was with Wade that Wil inked his very first publishing deal via the venerable Warner Chappell (Willi-Wade Music) – and the rest - as they say – is history.
Growing up in a household brimming with music, with a father who harbored a gift as an exceptional singer, Wil developed a keen ear for talent. Having no discernable musical gifts of his own, he quickly developed a reputation in artist circles as “the business guy” and found himself consulting in a broad fashion from business deals to orchestrating Street Teams. Joining forces with musician Wade, and style maven Christos, they set up shop as Morningstar Entertainment in the uber trendy Yorkville area of Toronto where they set about developing a range of creative artists who years later have gone on to have legitimate careers in music, animation and theatre.
In the late 90’s, it became apparent with Wade’s constant touring and the rapid expansion of Christos’ chain of salons that change was in the air. Setting out on his own, armed with the track record of success with Morningstar, propelled Wil to a lucrative consulting practice working with brands like Audi, Heineken, and Nokia and ultimately to the doors of an upstart boutique record label based in Toronto. Wil developed music packages of themed music, including a hugely heralded Jazz series, which were sold in Big Box retailers charting a path for success for the label. In a bid to expand the label’s musical footprint, they decided to venture into R&B. In the first of several “full circle” moments in his career – Wil reached back for his old friend Wade O. Brown who delivered a classically soulful album for the label which found success both north and south of the border.
It was during the Wade O. Brown album cycle that Wil hired and was ultimately mentored by Ramon Hervey – the esteemed Public Relations and Marketing master who first rose to prominence guiding the career of his then wife, Actress/Singer Vanessa Williams and later Multiplatinum Super Producer/Artist Babyface and Gospel legend Andre Crouch. Wil credits Hervey with teaching him two important lessons which he leans on until this day – First, the need for Quality; and not settling for second best and secondly, to remain humble even when presented with tremendous success.
As it goes in life, the constant grind can lead to burnout - and (following the shuttering of the boutique label) Wil discovered that he wasn’t a kryptonite immune supehero. After a short break to recharge, the seeds planted early in his career with Morningstar continued to bear fruit. Now, one of the artists he had developed had landed a deal for their indie imprint with Universal and was placing the finishing touches on a project co-produced by a young dynamo named Byram Joseph who produced and recorded under the moniker Slakah The Beatchild. Wil discovered a treasure trove of tracks in Slakah’s library which he helped envision and subsequently channel into the now legendary Soul Music Vol.1 featuring a who’s who of Canadian R&B and Hip Hop talent including a young Drake and Divine Brown. Under Nova Music Group with his new business partner, legal wiz Joanna Lawrence, Wil established the STBC Internationally as an artist and producer securing Publishing and Record deals with Reservoir Media and Ultra hip UK imprint BBE Records adding to Wil’s already impressive international reach. Having already inked a myriad of label and licensing deals in France, England, Italy, The Netherlands, Germany to Japan and Africa to name a few, Wil continued to strengthen and amass his international alliances on behalf of his growing roster of artists.
Now entering his third decade in music – Joining the team at FULCC (while continuing to grow NVM) represents a third pivotal “full circle” moment for Wil. Throughout the years, multiple chance meetings with Stephane Lecuyer would always conclude with an earnest “we should work together,” yet no obvious opportunity presented itself until now. While Stephane was developing his own trajectory in the Tour promotion and Artist Management arenas, joining forces and combing unparalleled resources would create a new opportunity to have an elite firm which excels in providing services to its select roster of clients, providing opportunities for talented artists with excellent music at the highest levels of the entertainment Industry. For Wil Van Zyl - it’s another way to provide the artists he loves with the best opportunities to win. You might say it’s just another day at the office for “the business guy.”
Wil Van Zyl
VP Artist Management & International Marketing
Tour Management & Production
Administrative and Digital Marketing Coordinator
FULLCC is committed to developing global artist careers. With our partnership–based management style, we offer advice and counsel concerning all professional matters of the entertainment industry.
Unlike other firms, we do accept unsolicited material. Please forward your digital presentations including bio and music links to email@example.com
A full service Marketing & Public Relations company with access to:
We have the resources to manage any local or national tour. Our team of exquisite music professionals are able to navigate the rigors of being on the road and successfully oversee the details of any production. We organize and administer the scheduling and appearances of groups, bands or individual artists with precision and care – FULLCC style.
A cost efficient way to enjoy the benefits of having a FULLCC style tour manager at a fraction of the cost. We advance your shows (production, logistics, travel and promo) remotely from our office and provide artists and management with up to date day sheets and travel books for folks on the road. Save the costs of travel, hotel, per diem and day rates of a tour manager, while still enjoying the FULLCC service. Call for more information on this great service!
Made possible with the support of the Ontario Media Development Corporation
This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters. Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada.