No matter how good your compositions are, or if you’ve registered them; anyone valuable to your career development will ask …
What are they like live?
Last month’s ARTICLE concerned artists’ creative property, their composition / the song; how to protect it, register it, and how to earn from it.
In general circumstances, revenue from ‘records’ be it physical, digital sales, or streams is minimal unless you’re a well-known act. The most immediate method of earning is performing live; (later on merchandise sales) appreciating the ‘open mic’ experience is part of the gig (for free) economy.
This is the first ‘elimination’ hurdle for any artist.
Many don’t want to go to the trouble of rehearsing, traveling, lugging gear, paying for a mixer, for a free performance; it’s expensive.
Worse, it’s soul-destroying, playing for a promoter who doesn’t care enough to support and publicize the performance, or performing for an audience who doesn’t know anything about you or your songs.
If at any time you’re thinking what the hell am I doing here, doing this for (?), stop what you’re doing and give up. If you’re not enjoying it, it’s costing you money and aggravation, why do it?
But you know the answer to the question and I don’t even have to mention it. If you’ve made the effort, the complete effort to arrange for the gig and show up, you do the gig.
There’s a great deal more to consider in the overview of ‘How to get a Gig’, because this is a part of what’s involved, and a small part, at that.
Here’s a ‘beginning’ for planners. Questions…
Before even trying to get a gig, should a strategy be considered in how you plan to do one? i.e. Goals, Region/Venue Suitability/Availability/Financial Feasibility?
1. Develop Gig Strategies
1.1 Determine Goals for Performance Consider the opportunity in increasing the act’s profile.
Consider opportunity – to support and get audience objective response for your current material (CD/Streams/Copyright Media, Website, Press)
Consider opportunity – to generate Revenue:(Door Sales, Merchandising Sales, Performance Income, Web Identity, Interest, and sales)
1.2 Identify Region/s Analyse previous Tour History Analyse Media Support (Press / On-Line / Radio: Community Commercial Airplay / Charts) Consider regional factors/opportunities during proposed gig time-frame (Festivals – Council / State Funded Events, Private Enterprise Events, Supports to ‘bigger’ Touring Acts)
1.3 Determine financial feasibility Analyse potential revenue based on history. Develop a contingency plan to compensate for any financial shortfall.
2. Secure Bookings
2.1 Seek responsible Agent(s) Showcase Act. Determine Interested Parties Choose agent(s) to best represent the act to fulfill goals if you can otherwise be your own. Be confident; provide a ‘reason’ why having the act on will be commercially viable.
2.2 Determine touring options with Team / Band/ managers / others – Investigate plausible touring scenarios i.e., packaging opportunities, headline, co-headline Evaluate sponsorship opportunities.
2.3 Communicate Goals with responsible Agent. Confirm Date and Length of Tour. Confirm routing Determine potential anchor dates Review mandate pertaining to secondary and tertiary markets Estimate potential Revenue Gross
3. Develop Touring Budget
3.1 Accurately Identify and/ all tour expenses. Negotiate Wages Negotiate Transportation (Travel) and Production Costs
3.2 Prepare Budget presentation of expenses and projected revenues Present Final Budget to Team Investigate opportunities for 3rd Party funding i.e. State / Federal Government Funds, Local Council / Community Funding. Determine accurate projection or revenue
4. Review / Negotiate Performance Offers
4.1 Negotiate details of Promoter offer directly or through an agent
4.2 Evaluate, accept / decline
4.3 Hand Contract to Tour Manager, artist, or keep it as applicable.
4.4 Accept and sign off on Agency / Promoter / Venue Contract (if any) or send an email to the ‘person in charge.’
5. Develop Traditional and On-Line Tour Marketing Strategies
Develop Traditional and On-Line Tour Marketing Strategies
5.1 Seek Tour Publicists, DIY.
5.2 Liaise with Label / Team to develop other Tour marketing strategies
Above all else, when performing and in all this :
F. A. D. FUN – ATTITUDE AND DISCIPLINE
None of this is written in cement. It’s just a perspective, as it’s better to have a plan, that’s worth it.
By Nathan Brenner