Freddie McKibbin Q&A: ‘My Auctioneering Style Is Lots Of Energy’

[Wandering Eyes]

Freddie McKibbin has established himself as one of the most recognisable auctioneers at Tattersalls in a short space of time. The achievement is impressive enough given McKibbin is just 25 years of age. But the fact that he didn't set out to be an auctioneer in the first place is all the more creditable. 

McKibbin sat down with Brian Sheerin during the December Mares Sale to discuss his career to date and hopes for the future for the latest TDN Q&A. 

It's hard to believe that you've only been auctioneering for two years.

I started in August 2021 but it feels like I have been doing it for a good while now. Auctioneering at Book 2 this year was nerve-wracking but, since then, it just feels like it is second nature for me. That is encouraging but it took a while to get here. 

And you didn't set out to be an auctioneer, either. 

No, that's true. I started bid spotting for Tattersalls during my gap year to try and earn a little bit of extra money on the side. I was working as a pupil assistant with Simon Crisford at the time. I'd always looked at the auctioneers and thought, 'God, I could never do that.' A couple of years later, after I'd done the Irish National Stud course and worked in Australia, I came back and applied for the Tattersalls internship. Luckily, I got that, but it wasn't until I sat down with Ollie Fowlston that I thought about becoming an auctioneer. When you think of auctioneering, you think of the American and Australian way of doing things, where the numbers just roll off the tongue. Obviously at Tattersalls, we have a more traditional way of doing things, where you make out what everyone is saying and the figures the auctioneer is asking for. I initially thought I'd be too boring–and just say numbers, numbers, numbers–but I practiced a lot and Ollie came up to the ring with me quite a bit at the start. He was my mentor, not just with auctioneering, but all things Tatts–he took me out on inspections and showed me the ropes here. He was the guy who honed in on me and said, 'right, if you want to give auctioneering a go, this is what you need to do.' It was a good year of practicing pretty much three or four times a week before I got the hang of it. I play quite a bit of rugby in my free time and it's the same with anything. If you're the kicker for a rugby team, you have to just practice, practice, practice. There's no substitute for it.

What does that unseen practice consist of?

So, we'd do it in sections. The ring would be completely empty but for me and Ollie. We'd start with the figures, going from one thousand, to two thousand and three thousand, and just get into a patter from there. Next we'd add in the fillers, which would be, 'bid again,' for example and then we could concentrate on the intros, which would be introducing the lot. We'd do it all in different parts before pieceing it all together in the empty ring. When Ollie would come up with me, he would put his hand up and I would take the bid from him. I wasn't allowed to go on to the next bid until he took his hand down. I was like, 'right, this is a live situation,' and I had to stay on that figure and work as though it was a real sale. Essentially, counting is the easy part, but it's when you haven't got any bid and you have to fill the time, that's when it becomes tricky. 

Even for me watching on as a journalist, I find it hard to track who's bidding so I can only imagine how difficult it is for you to maintain your rhythm as well as everything else.

It is difficult and, here at Tattersalls, we can't take a bid unless we have seen it. At other sales houses, they have bid spotters who can make noises to signify a bid has been taken, but we don't do that here. The bidder has to bid to the auctioneer at Tattersalls for it to be accepted. There's a lot going on but, it's really enjoyable and, the more you do something, the more confident you get. My confidence is growing but, again, there's still lots to be working on and I still try and come up to the ring maybe once or twice a week to refresh my patter. I do a lot of charity gigs as well. People will write to Tattersalls to see if we have any auctioneers willing to help out with auctions and, for example, I did the Leger Legends auction at Doncaster which raises money for the Injured Jockeys and I actually did a hunt ball as well. They're great fun to do because it's a completely different kettle of fish. You need to be sharp as you are selling different items and you're not trying to be funny but, on the other hand, it shouldn't be boring. They're definitely good to do. 

Does it ever become daunting? For a lot of sellers, how their horse gets on in the ring can make or break their year and, if it doesn't go right, you could be an easy person to blame. 

Exactly. You're in control of the room and, no matter what the vendor has done or what the purchaser is planning on doing, you're the bridge, you're the broker. It is high pressure stuff and I try not to think about it like that. When I tend to think about a high valued lot or a lot where I know the vendor is expecting to get well paid, that can sometimes hold you back in a way, so I try to treat every lot the same, no matter the status. Obviously I do take it all into account but, in general, I try to treat them all the same in a bid to alleviate the pressure and it's something that works well for me. My hope is to always come off the rostrum after giving it everything I can and hopefully there's a happy vendor at the end of it all. 

In terms of satisfaction, I'd say selling I'm A Gambler for 850,000gns at the horses-in-training sale last year and taking bids from some of the biggest players in the game from the rostrum outside would rank pretty highly?

During Book 1, I was out on the podium. You've got some big players outside and some of them can be discreet bidders so it's all about knowing when they're bidding and being careful not to miss a bid. Thinking about it, it's actually brilliant practice for what I will hopefully in time encounter up on the rostrum at Book 1 and in the Sceptre Sessions. That is the main aim; to sell at Book 1 and the Sceptre Sessions in time. Looking back at the Sceptre Sessions, when I was watching it, I was thinking, 'jeez, this is nerve-wracking.' I don't care who you are but, to get up in that packed auditorium, it must be similar to playing rugby for England. It's high pressure stuff. 

Along with I'm A Gambler, are there any other moments that stick out in the memory bank?

Well the I'm A Gambler one is funny because, when you watch the video back, it looks as though I've pulled my hamstring atop of the rostrum. When Najd Stud bid again, I dropped down as though I'd pulled my hamstring, as I wasn't expecting it. It got circulated widely on social media and, while it was funny, I'm not sure it was the most professional moment! That sticks out but there have been a few slips of the tongue at times as well. I'm sure there are a few things you probably couldn't write, too!

Of course, auctioneering is not the only string to your bow here at Tattersalls. You've climbed the ladder pretty fast and have become a recognisable and friendly face of the company.

You say fast, I see it more as a grind to progression. It is going well. I do the stabling for the yearling sales and other sales bar December, where I do a lot of organising and help run the Sceptre Sessions, for example. That is great. We target the high-quality fillies and mares in training and try to give people an incentive to sell at the Sceptre Sessions. I have enjoyed that and it can be rewarding. I look after online sales and bidding as well. There's lots to the role and I try to get over to other sales to represent the company. Yearling and breeze-up inspections are another big part of it. That's a process I'm looking forward to doing more of next year.

You touched on the fact you've spent time with Simon Crisford, did the Irish National Stud Course and have worked in Australia as well. You've crammed a lot in for a 25-year-old.

I spent a year with Simon as a pupil assistant and learned all things hands on. That was great and there were a few great guys there, including Les Reynolds, the travelling head lad. He basically showed me the ropes. Simon was great for giving me advice. I had the opportunity of going to University or kicking on and gaining more experience in this industry. I don't come from a hands-on background in horses–my Dad is in equine insurance and my grandfather is Tim Richards, who was a racing journalist–but the passion was always there. The hands-on experience is what I was keen to get. Simon said, 'you can go to University and get three years of drinking under your belt or you can kick on and try get on the Irish National Stud course' . It made sense to me to kick on, plus the Irish National Stud course was great fun and I met some great mates there. That was my university. After that, I went to work for Arrowfield Stud in Australia, so it was all packed into a short space of time. 

You're obviously very ambitious. 

I was never very good at school but always loved sport and rugby was my thing. Don't get me wrong, I wasn't a disgrace in school or anything like that, but it was just never my thing. It just didn't click. But I was always very driven and, when I find a passion or something I want to do well at, I can be quite competitive. I've got a younger brother and I used to beat him at everything. It could be FIFA on the Playstation, it could be anything. Golf is the latest thing we play together. He brings out my competitiveness and I suppose I have channeled that into my professional career.

With that in mind, where would you see yourself in five years' time? 

Hopefully selling at Book 1 and the Sceptre Sessions and being a senior inspector for Tattersalls. Then we could take it from there. I don't know what will come after that but I will continue to work on honing my craft as an auctioneer and working within the company at Tattersalls.

Did you ever think of race commentating?

It's funny you say that because Richard Pugh, the race commentator who works with Tattersalls Ireland, said the same to me and Matt Hall. He said that the two of us had the voice for it and that we should think about giving it a go. Look, I wouldn't say no to it. I can remember being put on the spot to commentate on the Hennessy, or races like that in front of friends, and it's mind-blowingly difficult. But, it's like everything, if you do your preparation, and practice away, it's not something I'd rule out.

In terms of theatre and drama, I'd imagine there are few better places to work than at Tattersalls.

It's an amazing place. Everybody goes back to Marsha or Alcohol Free selling here but even some of the smaller lots are fascinating. I'll never forget Alastair [Pim, fellow auctioneer] selling the Kingman half-sister to Chaldean for a million. The way he got to a million was seriously impressive. Sometimes that theatre is seriously engrossing.

Being an auctioneer yourself, you can probably appreciate the craft better than anyone on the big days.

Definitely. I can remember coming up to Tattersalls even before I wanted to be an auctioneer and just thinking how impressive these guys were. Not only were these guys good at their job, but they were also entertainers. At the end of the day, it is theatre, and I try to bring that into what I do on the rostrum. I'm constantly leaning over and am here, there and everywhere. That's what I'd say my style is; lots of energy. I like to point and let people know who has bought the horse as well. I'm just trying to be an entertainer as well as everything else.

 

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