How to Become a Promoter
So, you've decided to try your hand at promoting music? Well, good for you! You're doing a service that many people don't want or are afraid to do. This guide will help you make decisions that will help your budding interest in becoming a music promoter.
Part 1 - Start Small; Start Local
First thing you should do is face the facts: unless you were in a nationally touring band, the sibling of someone in a nationally touring band, or the partner of someone in a nationally touring band you will not be booking nationally touring bands. For the uninitiated promoter, local bands and basements are where it's at. (Almost) Anyone can find a friend who has a large enough basement/garage/living room to accommodate for a handful of local bands. During this step its a good idea to become friends with someone who has a small/portable PA system. Most bands don't have the money to have their own PA system, and the ones that do most likely won't let other bands use it. Since you are just in a basement/garage/living room, running mics through unused/practice guitar/bass amps will do the trick until you can afford or rent a halfway decent PA. As your shows gain more of a following, you will be able to book into bigger venues, and afford bigger bands.
Part 2 - Don't Expect To Make Money
Many bands believe that the promoter is hoarding money for themselves when they don't get paid. Sometimes, this is true. For smaller promoters, however, it usually is not. When the ability to grab bigger bands comes through, they have contracts that stipulate how much money they need before and after the show. Sometimes its a flat rate (Such as $600 deposit and $600 on the day of the show) other times its a percentage (35% of the door or bar sales). Not all of your expenses will come from the band, however. Since you booked this bigger named band, you're probably going to need to rent a better sound system and someone to run it. What you pay for those items will depend on the individual; sometimes they will do sound for a bigger named band just to put that on their resume. Other times, they will charge you a large amount because they know that you're new and "don't know any better."
Part 3 - Contracts
Contracts protect you. Contracts protect bands. Sometimes, the thing that stands between you and turning a profit is the lack of a contract. Without a contract, a band can press and slander you because they didn't get paid, even if you had told them that they weren't going to. When its in writing, and a band does that, it makes the band look stupid and not you. Here's an example:
Local Band C wants to get on to an acoustic show with National Touring Band M, being promoted by Promoter R.
Scenario A - No Contract
Local Band C doesn't sign a contract with Promoter R. Promoter R doesn't make their money back. Local Band C feels cheated because they made no money by playing the show with National Touring Band M, and harasses Promoter R until Promoter R pays Local Band C from their own pocket. Local Band C slanders Promoter R and tells all other bands to not work with them. Promoter R is set back.
Scenario B - Contracted
Local Band C signs a contract with Promoter R, stating that if the attendance is above 200 people, they will receive a cut of the door. At the end of the night, Promoter R only has enough money to pay National Touring Band M. Local Band C feels cheated because they made no money by playing the show with National Touring Band M. Local Band C harasses Promoter R about money. Promoter R points out they signed a contract that stated that they may not get paid if the attendance is too low. Local Band C had not sold any tickets, or promoted the show to their friends. In undertaker terms, Local Band C dug their own grave.
Scenario B actually happened to a friend of mine. After the show was finished, Local Band C kept harassing my friend about their cut of the door. As Local Band C hadn't sold any tickets or tried to help with promotion, the numbers for the show were too low and my friend ended up paying the National Act out of her pocket.
The Local Band C kept harassing her about it anyways. Eventually, she ended up paying them just to leave her alone. Which brings us to Step 4...
Part 4 - Dealing With Bands
90% of the time, dealing with bands will be a breeze. Most local bands will just be glad to be playing a show to their friends. Most out-of-town bands will be happy that they are playing in front of a new crowd. But since out-of-town bands are not local, they may be asking for money. In this situation, its in your best interest to give them some kind of compensation. Gas money is almost a requirement at this point, but sometimes bands won't even ask for that. Most of the bands you will deal with will thank you, praise you, or even tell you about other bands that might want to play here. You will want those bands to come back and play again and again. Then there are the other kinds of bands, who will whine and complain about the show to no end. If you get a band like this, the best thing to do is not have them play for you again.
What many bands and promoters don't realize is that they are in a symbiotic relationship. Without bands, promoters are nothing. Without promoters, bands are just some kids making noise. If a promoter makes a band mad, the promoter is minus one band. If the band makes the promoter mad, they will not book the band for anymore shows. Looking on both sides, there are always going to be open promoters and open bands. However, if you piss off your only local band, you may be in a world of trouble as they will provide the local crowd that you need in a show. Or if a local band pisses off the only local promoter, they have to drive everywhere to get shows.
Being a nice promoter is a very good thing, but sometimes you have to be a hard-assed one as well. Sometimes bands don't deserve to get paid, and they should be let known when that happens. One thing you never want to give up in this business is your self-respect, and many bands will try to walk all over you if you are too nice.
Also, when checking out new bands, make sure to see them live or hear some of their music before you put them on a show. Adding a band without hearing them is kind of like throwing a helpless kitten into a cage full of tigers and expecting them to get along because they're cats.
Part 5 - Branching Out
Sooner or later you're going to out grow your comfort area. Sure, getting the Foo Fighters to play your local pub was an amazing feat, but don't you think your local buddies want to play somewhere new? As with starting anywhere new, unless you're well known, expect the bottom of the barrel. When scouting the new area, check out the local music scene. This will give you an idea of what local bands you think would do well in that area.
Part 6 - Don't Give Up!
Promoting isn't an easy gig at all. However, if you quit too early, you won't have the most essential thing to promoting: A devout band pool. A good promoter always has bands that will bend over backwards for them. Eventually, your hard work will pay off and you will make some money. Hell, you may even help one of your local bands get signed to a record label. Remember: A good show is a reflection on its promoter!
Part 1 - Start Small; Start Local
First thing you should do is face the facts: unless you were in a nationally touring band, the sibling of someone in a nationally touring band, or the partner of someone in a nationally touring band you will not be booking nationally touring bands. For the uninitiated promoter, local bands and basements are where it's at. (Almost) Anyone can find a friend who has a large enough basement/garage/living room to accommodate for a handful of local bands. During this step its a good idea to become friends with someone who has a small/portable PA system. Most bands don't have the money to have their own PA system, and the ones that do most likely won't let other bands use it. Since you are just in a basement/garage/living room, running mics through unused/practice guitar/bass amps will do the trick until you can afford or rent a halfway decent PA. As your shows gain more of a following, you will be able to book into bigger venues, and afford bigger bands.
Part 2 - Don't Expect To Make Money
Many bands believe that the promoter is hoarding money for themselves when they don't get paid. Sometimes, this is true. For smaller promoters, however, it usually is not. When the ability to grab bigger bands comes through, they have contracts that stipulate how much money they need before and after the show. Sometimes its a flat rate (Such as $600 deposit and $600 on the day of the show) other times its a percentage (35% of the door or bar sales). Not all of your expenses will come from the band, however. Since you booked this bigger named band, you're probably going to need to rent a better sound system and someone to run it. What you pay for those items will depend on the individual; sometimes they will do sound for a bigger named band just to put that on their resume. Other times, they will charge you a large amount because they know that you're new and "don't know any better."
Part 3 - Contracts
Contracts protect you. Contracts protect bands. Sometimes, the thing that stands between you and turning a profit is the lack of a contract. Without a contract, a band can press and slander you because they didn't get paid, even if you had told them that they weren't going to. When its in writing, and a band does that, it makes the band look stupid and not you. Here's an example:
Local Band C wants to get on to an acoustic show with National Touring Band M, being promoted by Promoter R.
Scenario A - No Contract
Local Band C doesn't sign a contract with Promoter R. Promoter R doesn't make their money back. Local Band C feels cheated because they made no money by playing the show with National Touring Band M, and harasses Promoter R until Promoter R pays Local Band C from their own pocket. Local Band C slanders Promoter R and tells all other bands to not work with them. Promoter R is set back.
Scenario B - Contracted
Local Band C signs a contract with Promoter R, stating that if the attendance is above 200 people, they will receive a cut of the door. At the end of the night, Promoter R only has enough money to pay National Touring Band M. Local Band C feels cheated because they made no money by playing the show with National Touring Band M. Local Band C harasses Promoter R about money. Promoter R points out they signed a contract that stated that they may not get paid if the attendance is too low. Local Band C had not sold any tickets, or promoted the show to their friends. In undertaker terms, Local Band C dug their own grave.
Scenario B actually happened to a friend of mine. After the show was finished, Local Band C kept harassing my friend about their cut of the door. As Local Band C hadn't sold any tickets or tried to help with promotion, the numbers for the show were too low and my friend ended up paying the National Act out of her pocket.
The Local Band C kept harassing her about it anyways. Eventually, she ended up paying them just to leave her alone. Which brings us to Step 4...
Part 4 - Dealing With Bands
90% of the time, dealing with bands will be a breeze. Most local bands will just be glad to be playing a show to their friends. Most out-of-town bands will be happy that they are playing in front of a new crowd. But since out-of-town bands are not local, they may be asking for money. In this situation, its in your best interest to give them some kind of compensation. Gas money is almost a requirement at this point, but sometimes bands won't even ask for that. Most of the bands you will deal with will thank you, praise you, or even tell you about other bands that might want to play here. You will want those bands to come back and play again and again. Then there are the other kinds of bands, who will whine and complain about the show to no end. If you get a band like this, the best thing to do is not have them play for you again.
What many bands and promoters don't realize is that they are in a symbiotic relationship. Without bands, promoters are nothing. Without promoters, bands are just some kids making noise. If a promoter makes a band mad, the promoter is minus one band. If the band makes the promoter mad, they will not book the band for anymore shows. Looking on both sides, there are always going to be open promoters and open bands. However, if you piss off your only local band, you may be in a world of trouble as they will provide the local crowd that you need in a show. Or if a local band pisses off the only local promoter, they have to drive everywhere to get shows.
Being a nice promoter is a very good thing, but sometimes you have to be a hard-assed one as well. Sometimes bands don't deserve to get paid, and they should be let known when that happens. One thing you never want to give up in this business is your self-respect, and many bands will try to walk all over you if you are too nice.
Also, when checking out new bands, make sure to see them live or hear some of their music before you put them on a show. Adding a band without hearing them is kind of like throwing a helpless kitten into a cage full of tigers and expecting them to get along because they're cats.
Part 5 - Branching Out
Sooner or later you're going to out grow your comfort area. Sure, getting the Foo Fighters to play your local pub was an amazing feat, but don't you think your local buddies want to play somewhere new? As with starting anywhere new, unless you're well known, expect the bottom of the barrel. When scouting the new area, check out the local music scene. This will give you an idea of what local bands you think would do well in that area.
Part 6 - Don't Give Up!
Promoting isn't an easy gig at all. However, if you quit too early, you won't have the most essential thing to promoting: A devout band pool. A good promoter always has bands that will bend over backwards for them. Eventually, your hard work will pay off and you will make some money. Hell, you may even help one of your local bands get signed to a record label. Remember: A good show is a reflection on its promoter!