The most high-profile part of Andy Wilson’s year is behind him.

He got the word out about concerts at the Indiana State Fair in August, about food and music at Rib America Festival during Labor Day Weekend and about Kenny Chesney’s return to Lucas Oil Stadium on Sept. 19.

But Wilson’s varied music-biz roles don’t translate into much down time.

From 1999 to 2006, he handled publicity for the local office of concert promoter Live Nation (formerly Clear Channel Entertainment and Sunshine Promotions). Wilson then joined the staff of Live-360, the consulting company founded by Sunshine co-founder Dave Lucas.

Live-360 oversees premium concert ticketing for 12 arenas, ranging from the Prudential Center in Newark, N.J., to the Jobing.com Arena in Glendale, Ariz. Based in an office that overlooks Keystone at the Crossing, Wilson also publicizes events at two Atlanta venues: Verizon Wireless Amphitheatre at Encore Park and Chastain Park Amphitheater.

Wilson also helps independent musicians market their careers, and co-manages Indiana-based rock band the Elms.

People may have the perception that there is no music industry in Indianapolis. Do you agree?

I think there are a lot of talented people here on all levels — whether it’s venues, promoters, radio stations or musicians. To me, it seems pretty strong. . . . I think there are a lot more opportunities than people may realize. There are great little recording studios with the Lodge, the Pop Machine and Echo Park down in Bloomington. Like anything else, when people think of the music business, they think of the big cities. But Indiana has produced some of the biggest rock stars in history: Axl Rose, Michael Jackson, David Lee Roth and John Mellencamp.

You’ve filled some gaps in the infrastructure. When someone asks what you do for a living, what’s your answer?

I see myself in the role of consultant for various music industry things. I help with contacts, communications and public relations. Generally, it’s based on experience. . . . If people see your name out there in conjunction with various things, they might view you as someone who’d be good to work with. I’m always cognizant of that: Not always what I’m working on now, but what can come out of what I’m working on now.

Are you busier than you expected to be after leaving Sunshine/Clear Channel/Live Nation?

I think I’ve always been busy. It stems from the passion to want to learn more. That’s really why I’ve always tried to balance various things. It’s not because I want to add more to my workload.

Was it a leap of faith to leave that mega-corporation?

It wasn’t a leap. Live-360 was another opportunity. I don’t look at anything as the end or beginning. I see it all as a progression within a career. I still do a lot of things I was hired to do, but so many things have changed. . . . It’s easier to do things on a bulk level now, but it’s still based on relationships, accountability and follow-up.

You do marketing work for some local musicians. Did you seek that out?

I’ve always had bands contacting me. One day the light bulb went off, and I thought, “There’s probably an opportunity to learn a little bit more here.” . . . My thought was, “I know what it’s like to promote a concert, but I don’t know what it’s like to promote a record.”

With the Elms, you’ve taken your role to a new level as the band’s co- manager with Warner Music Group executive Joe Greenwald. Why?

It just jelled into something. We became friends, and I came to realize they have a really interesting business-model approach to what they want to do. (The band released an album titled “The Great American Midrange” on its own label, Trust Incorporated, Sept. 15). It’s something totally different that I could see myself enjoying.

How is promoting a stadium concert different from promoting a nightclub show?

There are a lot more things to check off a list for a stadium show. But I’ve always approached every show exactly the same. You learn a lot from marketing the small shows really well. You have a small budget, so you have to beat on doors for people to be aware of the show. Some people say saturation is annoying. But . . . if people see and hear something enough, eventually they believe it. “I obviously can’t miss that, because I keep hearing them talk about it.”