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Date: 28 Jun 2006 22:12
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This article was written by Bruce Prokopets:
Most everything you are told about booking gigs is wrong. An average band hears
so much advice from so-called experts they can write a book about it. Most
misconceptions are harmless. The ones that cause the most damage are the ones
that are the most popular. Popular opinion should almost ALWAYS be avoided when
dealing with the music business. This report is meant to deprogram you and tell
you what no one will share about really booking better gigs.
It is important to attack the root of misconception fast. Therefore I will take
a stab at it now. If you are a good band playing horrible gigs it is most likely
because you have a skewed perspective of "time line". This article will be
littered with the term "maintaining time line". This is not some trendy
"industry term". This is simply the best way to describe your main priority in
the quest to tour on your own 4 wheels.
What is "time line"?
Time line is a concept. It doesn't really exist. You have to think of it as rule
that governs your music business habits. If your time line is too short, your
success at gigs will be sporadic. If your time line is too long you will remain
stagnant. You have to handle your gigging schedule with precision and thought.
You must tweak your time line in order to correct what ails your band.
LESS IS MORE
This may be a cliché you hear tossed around a lot in the music business, but it
is seldom followed. Playing too often in any market will kill your draw. That is
the bottom line. Don't listen to anyone who tells you otherwise. I will spare
you all the metrics and sterile accounting speak that proves this point. You
must break free of the shackles of saturation if you are going to maintain time
line and reach booking zen.
THE WAR
You want to think of booking your band like a war. There are territories you
must win. From here on out we will refer to these as markets.
You have to find a way into each market and begin your campaign. For the
remainder of the report these will be referred to as gigs.
You must find allies that align with your intentions and best interests. In
other words, bands.
You must find a marketplace that has something to gain from your war. This
report will refer to them as promoters.
WHO WILL HELP YOU THE MOST
The one thing that will probably surprise you the most is where to start getting
better gigs. Many of you started out "cold calling" clubs out of the phone book
or local rag and ask for a gig. Although this smash and grab attempt can create
some lucky opportunities here and there, it will destroy your time line. The
truth is, bands that are already successful in that venue will be your greatest
ally. If already have some "cherry popping" gigs under your belt, or a demo,
this will be crucial in forging a relationship with bands.
Many good drawing bands will have very strong connections with local promoters.
Promoters are drawn to them because these bands are a vital commodity in their
industry. Club owners and promoters plan to have these bands a certain many
times in the year and account for so much business. Usually, in this type of
relationship the band can book virtually at will and many times can create
bills, or cards. Your best bet is to align with such a band. If you can do this
it will launch your time line correctly.
WHEN TO DO IT YOURSELF
Assuming your first gig at a venue was under the circumstance outlined above you
should make sure you meet the promoter and/or club owner that night. You want to
make an impact. When a promoter feels like giving you a bone he doesn't want to
throw it. Your initial gig at a venue via another band is the best time to see
if the promoter was even paying attention. If they were they might need you for
another bill, but you have to come to them.
LEVERAGE
Your draw in your home market will determine your leverage against other
markets. In other words, a following in your market will create opportunities in
others. This does NOT mean "create buzz here and then everyone will beg for us
elsewhere". This means you can now find other bands in other markets that are
successful and trade shows, or "swap gigs". Other bands that want to break into
your market will want to align themselves with you. Repeating this across
multiple markets, and applying a solid time line, will create success. You will
also always have a good show supporting locals who draw at least as much as you
do on other markets. Creating this leverage, by raising your draw, will be the
key to routing better gigs across markets. How does one do this? Simple.
Maintaining time line.
HOW OFTEN SHOULD YOU GIG IN ONE MARKET
When you are fist starting out, it is important to play whatever gigs you can to
get the hang of how it works. Think of those early gigs as practice. Think of
the gigs you do supporting better drawing bands as where you really iron out
your craft. Eventually you are going to want to test the waters and see what you
are really worth. A band will, at some point, have to go out on its own and try
to "headline", or put their own bill together as the "biggest" band. The first
couple of times you do this it should be no more than once every 6 weeks. When
your time line is ready to be set at optimum performance you should not headline
any one market more than 4 or 5 times a year, or once per season. That's right,
your time line gets longer, not shorter. When everything is working properly you
will play less gigs, but with significantly more draw at each.
CHOOSING THE RIGHT VENUE
You want to fight battle you know you can win (we will talk more about battles
in a moment). You want to play where you are confident you can draw. If you know
a certain venue is famous for having death metal bands, and your name is
DECAYING FLESH, you should probably put that club high in the running to become
your home venue.The venue you draw the most at should be the one you concentrate
on in the market.
WAR IS MADE UP OF BATTLES
As General, it is important to have a keen sense of delegation. You must be
aware that the entire campaign is on your shoulders, but you have resources and
a team of people to help you. Your band may not seem like an awesome war machine
now, but you have to think logically. You have to delegate.
The easiest way to start creating a draw is to first hit your friends via your
band mates. Delegate a realistic amount of responsibility to the other players
in your band with a real value. You should start with "heads", or people they
bring. Every member of your band should feel they are responsible to bring 20
heads that pay to get in. Instead of looking at your promotional campaign as a
daunting war you will gain more ground with your band fighting smaller battles
at once.
Some of the members of your band will have 20 cousins who will love to come.
Some of your band members will have to resort to begging ex-girlfriends they
dumped. Most of you will go the traditional route and hand out fliers at shows.
No matter how, you each must meet your goal of 20 heads.
The PR and marketing front is a whole other battle. The Internet has made it
possible to have your music heard, gigs found, and pictures seen across the
world in hyper-speed. Properly presenting your image will be very important on
this front. If you feel you need help in presenting your image you should refer
to my previous article "The Truth Behind Press Kits, Bios, and Controlling Your
Image". Remember, there are bands in other markets looking for bands to swap
with, so make sure you are easy to find on the Internet.
OPTIMIMIZING YOUR TIME LINE
At first, you might be surprised that you do not meet our goal of 20 heads per
member. Do not be discouraged. But when you finally create that watermark you
are ready to begin stretching your time line and playing less gigs. You should
reserve your headlining events for once a season and only break that rule for an
opening slot for a national act or a great promotional opportunity like a
benefit.
GROWTH
At this point you should be concentrating only on creating new fans. Think of
the first wave of friends as your new soldiers. Delegate some task to them with
a real value. A good starting point is having all your friends get at least 2
people to the next show or to at least sign up for the mailing list on your
website. You have a website with a mailing list don't you?
You should not neglect historical methods of creating interest. Giving away free
tickets to people who sign up to your list always gets some response. Promoting
the fact you are giving away something for free at the next gig works too.
The actual venue that you play is often overlooked as a great place to promote.
Not just by handing out fliers to patrons, but perhaps posters and banners. Most
clubs will not have a problem with you putting up promotional materials around
the venue. Always get a professional artist or art student to create your
posters and fliers. This is the first thing many people will see promoting your
band, make sure it counts.
MERCH
If you can afford merchandise, or "merch", like apparel and stickers, it can be
a great revenue stream for your band. But again, you have to apply time line to
your stocking habits. You want to be able to create and sell a new item at every
couple of shows. Even if all you can afford are some new stickers or a new style
button, do it. So if you really want to get those expensive glow-in-the-dark
sweaters that say your band's name when you press a button make sure you have
enough to get some more new merch soon.
New merch is a great way to train your fanbase. You have to train your fanbase
to bring money to your gigs. When your fans are expecting new merch they are
more likely to come prepared, or "armed with dough". Go to Scenejumper.com for
more info
DIVIDE AND CONQUER
Use your newfound leverage to repeat success across multiple markets. Trade
shows wisely and always do your research. Always make sure a gig swap is really
worth it. Choose your markets carefully. It should be practical and affordable
to gig other markets. You want to move out from your home base logically.
Eventually you will be able to easily route yourself across your surrounding
markets. Applying the proper time line and work ethic you can do mini-tours
every season.
Bruce Prokopets, aka Bishop Dolarhyde, is co-founder and editor of music news
blog Scenejumper.com. Bruce had his first live gig at 15 and has had various
jobs in the industry since. He spent years as a guitar tech, tour manager,
endorsement liaison, bassist in a national act, and promoter in the Tampa Bay
area of Florida. |
