There is always potential for there to be tension between bands and promoters and here at Yeah Buddy Blog, we hope to quash those tensions by weeding out the bad attitude bands and promoters that cause them.
Ave It!!! Promotions head honcho, Paul Derbyshire used his knowledge and experience of the business eloquently explain his opinions and frustrations and pop them into one handy Guide/ Facebook status;
A BAND GUIDE TO “PROMOTERS”
All is not what it first appears. Bands proceed with caution.
I’ve been aware of this situation for a number of years, but never committed myself to writing it down until now. The state of affairs appears to be worsening, judging by a couple of experiences I have been told of directly by bands in recent days.
Firstly let’s start with the basics:
Promoter (noun)
1. A person or thing that promotes.
2. A person who helps to organize and develop an undertaking / event.
There are a number of promoters (and I use the term loosely) out there who leave a lot to be desired when it comes to looking after the bands. Here are a few pointers when considering that “gig with great opportunities”.
Getting the Gig
You are looking for a gig in town, but there is nowhere to play unless you know somebody. It feels like a closed shop. You see a request from an established promoter asking for bands to fill slots that are available.
The number one priority is to check out the reputation of the promoter. Ask around other bands you know. Check feedback online (although take it with a pinch of salt, it tends to be written by the promoter). Be sure that they have local knowledge of the music scene, and are respected.
You contact the promoter and you get the gig. Well that was easy. Before you commit to the gig you need to check out the conditions imposed on you by the promoter.
Beware of the bluster and name dropping from the promoter, there are far too many of them out there solely interested in their own self promotion and have no regard for the music or the bands. It’s purely a means to an end for these promoters.
Pay To Play
A term and practice brought to us courtesy of our American cousins. This is covertly imposed on the band without them knowing it. It is not a straight up front demand for money to get the gig.
You get the gig and are given 50 tickets to sell to your followers. You sell as many tickets as you can and turn up at the gig with cash in hand. You hand over said cash to the promoter. The promoter takes the lion’s share and the band get a pittance.
Hold on a minute; what’s the promoter done for this? There are 4 bands on the bill all doing the same thing. If they all sell there allocation the venue is full. The promoter hasn’t sold any. You have been pestering fans and friends to buy tickets. The promoter sits back and watches you do the promotion for him.
The promoter booked the venue though. Yes, the promoter booked the venue; anyone can do that, even you as a band. It’s not a closed shop, you can put on your own gig. The promoter booked the venue, but you (the bands) have done all the leg work. The promoter will make a nice 150 – 200% profit on his initial outlay.
Band Payment
The promoter should pay you on the night of the gig, unless you have a signed contract to the contrary. You might find that the promoter has “left the building” before you have finished the gig, without paying you. Always get the money up front, or better still take your cut out of the ticket money before you hand over your cash. More ticket sales for smaller events are now being done online, you as a band have no control over funds coming in with this setup. Be cautious.
The 21 Day Rule
The use of the “21 day rule” is a restraint of trade under common law and cannot be enforced legally. It is a disadvantage to the band not to be able to play freely as when they see fit. This “rule” is designed to ensure that opportunities to see the band are restricted to the advantage of the venue/promoter.
You will get the hard talk form the promoter saying you will be blacklisted if you break this unwritten rule. Ignore that, it’s bullshit. The promoter / venue will have more than one event per week, let alone one event every 42 days. They have no restrictions placed upon them, so why should you.
If you get the bull, try this one. Insist that the promoter does not put on any bands in of same genre as you. Invoke your own 21 day rule.
If bands took the initiative, these types of events would be wiped out and music reclaimed by the musicians.
In summary, you need to be wary. If something appears too good to be true it usually is. There are some good promoters and venues out there. You just need to have a good look around. Don’t get shafted!
Ave It!!! Promotions head honcho, Paul Derbyshire used his knowledge and experience of the business eloquently explain his opinions and frustrations and pop them into one handy Guide/ Facebook status;
A BAND GUIDE TO “PROMOTERS”
All is not what it first appears. Bands proceed with caution.
I’ve been aware of this situation for a number of years, but never committed myself to writing it down until now. The state of affairs appears to be worsening, judging by a couple of experiences I have been told of directly by bands in recent days.
Firstly let’s start with the basics:
Promoter (noun)
1. A person or thing that promotes.
2. A person who helps to organize and develop an undertaking / event.
There are a number of promoters (and I use the term loosely) out there who leave a lot to be desired when it comes to looking after the bands. Here are a few pointers when considering that “gig with great opportunities”.
Getting the Gig
You are looking for a gig in town, but there is nowhere to play unless you know somebody. It feels like a closed shop. You see a request from an established promoter asking for bands to fill slots that are available.
The number one priority is to check out the reputation of the promoter. Ask around other bands you know. Check feedback online (although take it with a pinch of salt, it tends to be written by the promoter). Be sure that they have local knowledge of the music scene, and are respected.
You contact the promoter and you get the gig. Well that was easy. Before you commit to the gig you need to check out the conditions imposed on you by the promoter.
Beware of the bluster and name dropping from the promoter, there are far too many of them out there solely interested in their own self promotion and have no regard for the music or the bands. It’s purely a means to an end for these promoters.
Pay To Play
A term and practice brought to us courtesy of our American cousins. This is covertly imposed on the band without them knowing it. It is not a straight up front demand for money to get the gig.
You get the gig and are given 50 tickets to sell to your followers. You sell as many tickets as you can and turn up at the gig with cash in hand. You hand over said cash to the promoter. The promoter takes the lion’s share and the band get a pittance.
Hold on a minute; what’s the promoter done for this? There are 4 bands on the bill all doing the same thing. If they all sell there allocation the venue is full. The promoter hasn’t sold any. You have been pestering fans and friends to buy tickets. The promoter sits back and watches you do the promotion for him.
The promoter booked the venue though. Yes, the promoter booked the venue; anyone can do that, even you as a band. It’s not a closed shop, you can put on your own gig. The promoter booked the venue, but you (the bands) have done all the leg work. The promoter will make a nice 150 – 200% profit on his initial outlay.
Band Payment
The promoter should pay you on the night of the gig, unless you have a signed contract to the contrary. You might find that the promoter has “left the building” before you have finished the gig, without paying you. Always get the money up front, or better still take your cut out of the ticket money before you hand over your cash. More ticket sales for smaller events are now being done online, you as a band have no control over funds coming in with this setup. Be cautious.
The 21 Day Rule
The use of the “21 day rule” is a restraint of trade under common law and cannot be enforced legally. It is a disadvantage to the band not to be able to play freely as when they see fit. This “rule” is designed to ensure that opportunities to see the band are restricted to the advantage of the venue/promoter.
You will get the hard talk form the promoter saying you will be blacklisted if you break this unwritten rule. Ignore that, it’s bullshit. The promoter / venue will have more than one event per week, let alone one event every 42 days. They have no restrictions placed upon them, so why should you.
If you get the bull, try this one. Insist that the promoter does not put on any bands in of same genre as you. Invoke your own 21 day rule.
If bands took the initiative, these types of events would be wiped out and music reclaimed by the musicians.
In summary, you need to be wary. If something appears too good to be true it usually is. There are some good promoters and venues out there. You just need to have a good look around. Don’t get shafted!