Being Proactive

Things have been so crazy that I almost forgot to write the newsletter this week. But since a few challenges have recently occurred, I thought maybe this would be a good place to walk through some of the obstacles we often deal with in the live music business.

(If you’re not in the music business, I’ll try to appeal to a wider audience next week)

When I began as a booking agent, I wasn’t prepared for all of the curveballs life was about to throw at me. Artists cancelling shows because they “didn’t feel like it”. Promoters cancelling shows with no warning and no deposit, ensuring we’d never work together again. Managers with no understanding of the touring business, and no interest in learning. I’ve seen it all.

But when you have experienced so many issues, you start to see problems arise before they become full-fledged emergencies. So here are a few ways to avoid potential issues that could threaten to blow up an entire tour, destroy relationships, and unravel months of work on your end.

1. Get deposits!

   • Historically, deposits were 50% in order to save the date and confirm the show.

   • But deposits have become more and more challenging, as promotional companies attempt to play the “volume game”. Because promoters are taking on significantly more shows, they need substantial cash flow, which means they can’t necessarily forego 50% immediately.

   • So what are the alternatives? 25%? 10%? 30 days out? 14 days out? 10 days out?

   • And how much risk are we (as the agent) taking to book an entire tour that easily could fall apart if we lose a piece or two of a 50 piece puzzle?

I’m not saying all of the risk should be on the promoter, and I always try my best to work with them and make sure they don’t get killed on a show. But I also have to keep my client happy too. It’s a real balance, and compassion can be a true asset; though some agents attempt to overpower promoters when shows aren’t selling well, going as far as screaming and threatening to black ball the promoter if he or she doesn’t play ball.

So, try not to let it get to that point. Use your best judgement. Don’t allow a new promoter to go on sale without at least a 50% deposit. And if you’re dealing with larger companies with deeper pockets, be flexible, as you know the money will be available.

And on the flip side, an artist is going to feel bad enough if their shows are underperforming, and chances are they’ll want to blame the lack of promotions. That’s fine, and could be partially true.

And I’ll even personally take some of the blame if I’ve booked an artist in markets that aren’t selling. It’s important to keep the peace, take accountability, and learn from my mistakes.

I know you’ve all dealt with someone who messes up consistently, and is never accountable. And I’m sure it drives you crazy. So don’t do that to others. Take it on the chin.

2. Set Expectations

   • Let artists know up front that there’s always a risk to touring, and you’re going to go to bat to get them the best deals you can, but if the shows aren’t selling they are going to need to be flexible.

   • This might mean taking a price reduction in a few markets where promoters are losing their shirts. It also might mean cancelling shows for 50% of the guarantee.

It’s important to note that being fair doesn’t mean being a pushover. We’re smart enough to know if someone is really losing serious money or if they’re completely full of shit.

My goals in life and relationships are always long-term, so if you’re looking for a quick buck, the advice I continuously give probably isn’t for you. I prefer to build real trust, and work with my people for the next 20+ years.

3. Check in/ Follow up

How are the shows selling? Are we as the artist’s team giving the promoter the support they need?

Do we need to record and send video drops? Do we have artwork or a high res photo? Has the artist posted about the show? Is the artist willing to do interviews?

Ultimately, we want to exhaust every option, especially for any show we have on sale that is struggling.

Seems simple, but there’s an old adage regurgitated by countless older artists that is “It’s the promoter’s job to promote”, meaning my job is to show up and perform and nothing else.

And although that may be true, times have changed, and only an artist has a direct line to his or her followers. So use it. I’m sure your fans want to know if you’re performing in their town. And I’m sure you want the venue to be packed. Otherwise, what are we all doing here?

I’m taking requests. So if there’s anything you’d like me to write about in the future, please respond to this email and let me know or hit me on twitter. @gen_erik.

Thanks again for all of your continued support. I hope I can continue to help you along your journey.

Til next week.