Tour Basics

Crafting this newsletter proves to be more challenging each week, especially because we're all in different phases of our respective journeys. So I seesaw back and forth in an attempt to avoid simplification for the vets, while not going over the head of the novice. I search for real life lessons, as opposed to copying and pasting textbook readings. And I try to highlight concepts that translate across disciplines.

That being said, I know touring feels like mysterious puzzle for those who haven't had the pleasure of driving eight hours through three states, feasting on drive thru burgers and gas station chips, only to eventually pass out on a dusty couch in the green room for an hour prior to hitting the stage. So let me try to simplify it.

Now that we've got the basics out of the way, and you're still reading... You must be interested in touring, booking a tour, tour managing, or something else within my universe.

But before you book a tour, ask yourself a few key questions.

1. Do I have an audience who will pay to come see me perform in their city?

2. Where are the majority of my fans, and which markets have the strongest engagement?

3. Is there enough engagement in those markets to make the trip worth my while?

Start by going out on a date. Don't get married at first glance. What I mean by that is, give it a test run. Assuming you've already headlined in your hometown, go ahead and book shows in your two biggest drivable markets. Keep expenses low, and test the waters. If those shows are successful, cast a wider net a couple months later.

Most people who are serious about touring subscribe online to Pollstar, which is $598 a year, or they purchase individual physical directories like the Talent Buyer directory or Concert Venue directory for $99.95 each. This may seem steep, but it gives you access to contact info for venues, artists, and promoters. Note: I have no alliance of affiliation to these directories. I'm just a customer myself.

I use the online tool to follow similar artists and see which venues they’re playing, and the venue capacities. Then, I locate the email for the venue's talent buyer, and contact them.

If you can’t afford the Pollstar subscription above, I’d search Facebook Events, Eventbrite, IG, and Twitter to find where similar artists are playing. Then I'd locate the promoter who's presenting the show and contact them. In fact, I've done all of this.

Of course, nothing ever replaces meeting someone in person. So if you can go to a show and introduce yourself to the talent buyer or promoter, it’ll be harder for them to say no, especially if you’re genuine and they like you.

When I reach out, my emails are personalized, simple, and to the point. I tell the buyer I would like to book , and give them a few target dates. I include selling points, such as ticket history, strong social numbers or video views, monthly Spotify listeners in the market, and a couple links to the artist’s strongest performing videos.

Before reaching out, ask yourself why they should book you. What’s going to differentiate you from the hundreds of other emails they receive daily?

I know some people fluff their numbers. I don't. Why? Because it never helps you to tell a promoter or talent buyer you can draw 300 people, only to find out you can't even sell ten tickets. You will lose all good faith, and your ability to return to the venue. So, be honest.

Follow up respectfully if you haven’t heard back in 5-7 days, but don't bug them. Never act entitled, and always be appreciative of anyone willing to take the time to respond.

Remember, this is a numbers game. If you’re just starting out, contact every 100-200 capacity venue (or smaller) you can find within the specific city, and be willing to take a door deal to prove yourself the first time around.

Side note: Because you are assuming more of the risk with a door deal, the gross potential of a door deal should actually amount to more than you’d make if you received a guarantee. But that's assuming you get people in the door. Otherwise you walk with nothing.

Never agree on any sort of bar guarantee (i.e. if the bar doesn’t sell $5000, you’re stuck covering the difference out of pocket). The expenses built into the deal might cover rental, sound, security, marketing, etc. But make sure nothing seems exorbitant.

Your best bet is to negotiate a guarantee, which you should solidify with a signed contract. But if the promoter doesn't want to take the risk, you can consider a door deal. In that case, ask for a deal from dollar one (if possible), meaning you get a percentage of every dollar that comes through the door, instead of having expenses taken out before your percentage is calculated (e.g. 70% of gross >>> 70% of net box office receipts).

I always say it, but there are truly no shortcuts. So stay the path, and don’t be deterred by a few “No’s”. It just means you have some more work to do and some more fans to earn.

We all have our own pace, so try to avoid comparisons. Be proud of what you’ve accomplished so far, and always embrace the process. You don't wanna look back when you're at the end of your run, and realize you missed all of the fun.

I had my first zoom consultation this week with @georgelife. It was really dope, and I can't wait to keep meeting some of y'all. I'll be picking someone randomly each month.

If you're interested in a free zoom consultation, and you haven't already filled out the application, go fill out the form ---> here.

Thanks again for everyone who's referred a friend. I truly appreciate all of the support. Let's keep growing this community with a commitment to truth and growth.

Til next week.