Chapter 16 Music Business Handbook and Career Guide, 10th Ed. © 2013 Sherwood Publishing Partners

Chapter 16

Music Business Handbook and Career Guide, 10th Ed. © 2013 Sherwood Publishing Partners

Concert ProductionChapter Sixteen

Start Thinking . . .

1. Brainstorm all the factors you believe contribute to a successful, well-planned concert.


Chapter Goals

• Gain awareness of alternative ways concerts may be sponsored, financed.

• Learn realistic concert budgeting.

• Acquire understanding of how contracts may be negotiated with artists, talent agents, venue managers, and service companies.

• Discover effective concert promotion techniques.

• Learn production planning and methods of back-timing.


Concert Production

• Live music leaves a vast economic footprint

• Boosts record sales

• Increases demand for merchandise

• Three key players in the concert promotion industry: the event promoter the artist’s manager the tour-booking agent


Concert Promotion

• National promoters coordinate tours need local promoters negotiate share of net receipts

• Local promoters recommend venues, seating arrangements, promotional tie-

ins

• Key responsibilities of promoters


Getting Started

• Competitive pressures have led to consolidation in the concert promotion industry

• Still room for small start-up promotion ventures Some book acts of their own before established promoters

take an interest in them Others serve on their college campus’s entertainment

committee Others put together performances to raise funds for a

charity or other organization in need


Getting StartedThe Cost of Doing Business

• Initial investment of cash is required

• Promoters need cash to cover their expenses before the first ticket may be sold

• There may be fees associated with establishing a concert promotion company


Booking the ArtistFinding the Artist

• Promoters responsible for booking the full lineup of artists opening acts should be suitable for the headliner’s

audience should not overshadow the main talent

• Contracts spell out how headliners and opening acts are presented in advertising and promotion materials

• “Promoter of record”


Making an Offer

• The agent who represents whom? preliminarieso what are artists’ fees and available dates?o what are possible venues?o what does the venue offer?o what is the venue’s potential?

• The offer


The Art of the Deal

• Negotiating artists’ fees split point deal point

• Potential versus reality net potential = gross potential – unsold/free tickets written agreements

• Control sheets see Table 16.2 on page 278 of textbook for an example of how to

back-time tasks


Contracts• Face page

• Technical rider deal breaker finer points open to negotiation

• Sometimes rider requirements that can kill a deal

• The finer points of the rider can be negotiated and may depend on several factors


Marketing

• Online and mobile artist and venue websites online ticket sales ads on third-party websites

• Radio and television television advertising can be used to reach a broad

audience radio is cheaper, with a narrower demographic focus, a

combination that often makes the medium a good advertising vehicle


Marketing

• Direct mail and email mailing lists tend to be small syndicated print mailing lists include thousands or tens of

thousands of consumers no postage and paper costs with email, but consumers are

weary of promotional barrages

• Print media include newspapers and magazines the main print buy is the “alternative” print media of free

weekly newspapers


Advertising Production

• More and more, artists themselves control production of the commercials and print advertising

• Ad mat

• Nationally touring acts typically employ one set of advertising materials that can be used for all their concerts with minor customizing for a local venue and date

• Professional production companies typically produce higher quality commercials


Publicity and Public Relations

• Non-paid marketing function includes: issuing press releases providing news outlets with video and audio clips generating favorable news coverage by making artists

available for press interviews

• Postering/street teams placing posters in prominent locations with heavy foot

traffic temporary hires wearing identical clothing placing posters

and passing out fliers


Sponsorships

• Record company sponsorships

• Local radio station sponsorships

• Venue and corporate sponsorships

• College sponsorships


The Future of Live

• “Live” events transmitted as cable pay-per-view, to movie theaters via closed circuit, or via online video

• 3D hologram performances

• Electronic substitutes will never take the place of live artists


For Further Thought . . .

1. What is a split point and how does it affect a promoter?

2. What possible complications could arise from venue or corporate sponsorships?

3. What are a promoter’s options for filling up a venue when ticket sales are weak?


Documents

Chapter 16 Music Business Handbook and Career Guide, 10th Ed. © 2013 Sherwood Publishing Partners