When Peyton Marek and Hank Wiedel unveiled their new management venture, Challenger Artists, earlier this year, the move marked more than just a rebrand from Wiedel’s Core Management. It also signaled a deeper partnership with one of the most influential independent promoters in the U.S.: Mammoth Concerts.
Challenger Artists, co-founded by Marek and Wiedel in late 2024, is built around the kind of artist-first ethos both developed in the Kansas City scene. Wiedel, who has spent nearly a decade as a Mammoth talent buyer, and Marek, who previously managed artists through Backbeat Management, joined forces after Marek left her former firm and brought breakout indie act The Rex with her. Soon after, the pair struck an agreement with Mammoth that allowed them to launch a management arm within the larger company’s infrastructure.
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For Mammoth co-founder Josh Hunt, the partnership fits squarely into the company’s DNA. “We’ve always been an artist development-first company,” Hunt tells Billboard. “From booking 50-cap shows to 50,000-seat events, that independent spirit has guided everything we do. Peyton and Hank are kindred spirits in that sense. It made perfect sense to combine forces and open our infrastructure to them.”
Founded in the mid-2000s by Hunt and longtime partner Jeff Fortier, Mammoth has grown from a regional Midwest promoter into a national and international player, operating 11 venues across the U.S. and launching a global touring joint venture with European powerhouse CTS Eventim. The company also maintains offices in Portland, Nashville, and New York, allowing Challenger to tap into resources ranging from venue relationships to marketing and production support.
“We didn’t want to take on this huge undertaking alone,” Wiedel explains. “Mammoth has always championed artist development, and joining their family gave our artists immediate access to resources, networks, and a philosophy that aligned with our own.”
The name “Challenger” reflects the company’s outlook. Marek, a self-described tennis fan, drew inspiration from the ATP Challenger Tour — the proving ground for players who eventually reach the sport’s top tier. “We wanted a name that felt competitive, energetic, and rooted in advancement,” she says. The duo also cited cultural influences ranging from the Trent Reznor–scored film Challengers to the Blur track “Song 2,” which shaped their first logo design.
Their roster includes acts like The Rex, Valley Boy, Toledo, Post Sex Nachos, and Capital Soiree, with a focus not just on traditional management but also on representing artists’ songwriting and production work. “We manage our clients in a true 360 sense,” Marek notes. “If they’re writing or producing for others, we’re right there helping them expand those opportunities.”
Hands-on touring support is central to Challenger’s model, reflecting both Marek and Wiedel’s backgrounds on the road. “Being present on tour — whether it’s a club support run or an arena headliner — is a priority for us,” Wiedel says. Marek adds, “We both started out tour managing for our artists when they couldn’t afford crews. That experience makes us better managers today. We know the grind and we know how to build sustainable careers from it.”
Mammoth’s reach in touring only strengthens that approach. The promoter has produced U.S. tours for acts as varied as “Weird Al” Yankovic, Rod Wave, Lauryn Hill and the Fugees, and the Stardew Valley concert tour. With CTS Eventim, Mammoth also provides Challenger artists access to global touring infrastructure. “The key is keeping it artist-first,” Wiedel emphasizes. “We don’t want to create an anti-competitive environment — we want what’s best for the client, whether that’s with Mammoth, AEG or Live Nation.”
Challenger is now focused on expanding and diversifying its roster. “Right now, it’s no secret our roster is all male,” Marek says. “We want to change that and put our money where our mouth is. We’re looking at indie-pop, Americana and other spaces where we see growth and opportunity.” The duo is also open to bringing in new managers when the timing feels right, but for now, the goal is to strengthen their foundation.
For Hunt, the new venture is another sign of Mammoth’s belief in staying independent while broadening opportunities for artists. “We’re not here to run Challenger’s business for them,” he says. “We’re here to give them the tools and the runway to grow on their own terms.”
As Marek and Wiedel settle into their bi-coastal rhythm — she’s based in Los Angeles, he remains in Kansas City — both stress that the company’s roots will continue to influence its future. “We ride for Kansas City,” Marek says with a laugh. “But with Mammoth behind us, we’re building something that can truly live everywhere.”
