Live Performance Business Considerations
Live
performance is arguably the most important aspect of a music artist's career.Because it is potentially a very glamorous and exciting experience, itis not uncommon for performers to forget that for the clubs and other livevenues who book and showcase live music, it is a business, a very serious business, fraught with risk and considerable competition.
The
following information on live performance should be studied carefully by
every artist before they begin dealing with the club bookers, managers,
promoters, and assorted other characters who make up the live performance
industry.
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A
good question to keep in mind whenever approaching a booker of a live venue
is: "Why do clubs book certain artists, and not others?" In other words,
are there certain things that clubs look for in the acts they book, and
if so, what is the criteria to get a gig at a live venue? For starters,
let it be known that the bottom line for a club owner is that they need
to make a living at their profession, and the only way they can do that
is to book acts that fill the club. So any artist wishing to get booked
should do an inventory of their talents and accomplishments and make a
list of impressive data to present to the bookers.
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The
Promotional Kit is the tool that contains the data on an act that a booker
of live shows needs to see. The Promo Kit contains a cover letter, a Bio,
a Photo, a selection of press clips, possibly a 'Fact Sheet', and of course
a tape or CD of their artist's music.
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A
word about Demo tapes and CD's. When sending a tape, always be sure to
put contact information on the tape label, AND the J-Card (as well as every
other part of the Promo Kit). Only 3 or 4 of the best songs should be on
the tape. Unlike tapes sent to radio station specialty shows, the Demo
tape for a club can be a live recording, as opposed to a studio produced
tape. If a CD is sent, mark 3 or 4 songs that best relate to the music
the venue presents.
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What
kind of live venues are there? Many. Besides clubs, there are taverns,
bars. coffee houses, festivals, fairs, concert halls, schools, churches,
and even book and record stores, as well as shopping malls. Keep in mind
that when dealing with venues other than traditional club type gigs, there
are still many business considerations to take into account, that may affect
whether or not an artist is qualified to perform at the venue.
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Artists
who are just beginning to perform live have a tough time getting those
first shows. A certain 'Catch 22' type situation does exist. You can't
get a gig unless you have gotten other gigs, and you can't get other gigs
until you get that first gig. So be it. Everyone has to start somewhere,
and many artists frustrated by this situation have simply rented a space,
gotten a permit, and rented a sound system...and put on their own show.
(At least then, they can say they have performed live before.
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It
is the job of the live venue bookers to be up on what new acts are up and
coming, and causing a stir in their own backyard. It is also their job
to listen to the demo tapes included in the Promo Kits that come in the
mail by the dozens every week. This brings up the issue of protocol. Yes,
there is an etiquette to be followed in all areas of music marketing, and
when it comes to dealing with bookers, that protocol calls for mailing
the Promo Kit, waiting a week to ten days, and then calling the booker
to follow-up on the kit. Believe it or not, politeness, and respect are
fairly uncommon virtues in the music business. It is strongly recommended
that courtesies be extended when calling a venue. Make sure not to interrupt meetings. Ask the person if now is a good time for them to talk. If
they request a call back, do so at the time requested.
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Artists
and bands who think they are ready for prime time may not be. It is a good
idea to have at least 3 or 4 hours of prepared material that can be performed
live. If an artist has only a half hour or an hour of songs, the clubs
will most likely will not be interested in booking the act. Different clubs
have different needs, and some offer special nights of the week for open
mikes, or showcases for unproved acts. Be sure to check the booking policy
of every venue.
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It
is good policy to not be too picky about where to play. As long as the
act is out in the scene, and they get their name listed on radio station
concert calendars, and print media calendars, the more resistant venues
may be more friendly toward the act because the bookers check out their
competition. If an artist is out there playing gigs, the bookers will eventually
take notice of them. That is part of their job too.
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Once
a venue books an band or artist, they add them to their schedule and include
them in their press releases, calendars, posters and flyers. This does
not mean that an artist should leave the promotion of the concert to the
venues. On the contrary, artists should notify their fans with a mailing
notice, print up their own posters and flyers, and promote their shows
in any creative way they can think of.
Performance
Contracts
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The
music business is very fond of contracts. The record, publishing, merchandising,
and management sides of the industry are contract crazy. In the performance
arena, there are indeed contracts, but in the beginning they are more of
the handshake or verbal variety, then signed contracts. When an act gets
more established, they can rest assured that the written contract will
be around. This does not mean that a beginning act should not try
to get something in writing.
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The
verbal contract between a club and an artist may simply be an agreement
that the artist will perform on a certain date, at a certain time, for
an agreed upon length of time, with what specific other act, and how much
will be paid. Many venues require some kind of written confirmation of
a verbal agreement made over the phone. This is to the advantage of the
artist anyway, so it is strongly recommended to invite the situation.
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As
an act gets more established, the performer will probably stop booking
their own shows, and a manager, and/or booking agent will take over the
task. At this time the artist's attorney may write up a Performance Contract
with the following points to be negotiated:
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The
name of the venue hiring the act
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The
name of the artist
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The
date, place, and time of the performance
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The
price of the tickets
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The
fee paid to the artist
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How
the artist is to be paid (fee system)
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The
length of the performance
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The
type of billing the artist gets for the show on the marquee
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The
order of appearance (if other artists are on the bill)
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Food
and other refreshment considerations
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Without
a doubt the single most contested area on the above list is how the artist
will be paid. The act may receive a flat fee, a straight percentage of
the door or ticket sales, or a flat fee plus a percentage, where the artist
receives a guaranteed fee plus a percentage of the door after the
venue (or promoter) reaches a break even point. Remember...the venue is
concerned with making and not losing money, so the break even point for
a show is based on the costs of putting on the performance, which includes
promotion costs and any 'guarantees' that may have been made to the artist
for their performance.
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A
good habit for young acts to get into is to have a member of the band's
team count the ticket stubs collected at the door. This is a fairly common
task, that assures the artist of getting a correct count of the number
of patrons who came to the show. More established artists who are dealing
with Booking Agents, can demand as much as 50% of their performance fee
up front, before they perform. Even more established acts can demand their
whole fee before they perform.
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One
of the most important financial advantages to playing live is the opportunity
for an artist to sell their CD's and tapes at all their shows. Most clubs
and venues, outside of big festivals and fairs, allow acts to sell their
wares in the lobby, or from the stage. Only a few venues take a percentage
of the sales. Whatever the case, it cannot be stressed strongly enough
how essential it is for an artist to take advantage of this lucrative sales
opportunity. One last thought..don't forget to bring a mailing list sign-up
sheet to all gigs.
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