Concert Production Tips
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Transcript of Concert Production Tips
Concert PromotionMusic 229
Concert PromotionThe Promoter is the entrepreneur who has a feel for the music business and can see an opportunity to make money selling tickets. Promoters are selling a moment in time. They have the capability to persuade the ticket-buying public that this is the show it has to see.
Concert PromotersLarge Conglomerates
Smaller companies
Arts Presenters
Festivals
Symphony Orchestras
Entertainment to enhance another activity
Fairs
Bars
Chapter 1: Key Representatives
Entertainment AttorneyRead, Draft, and evaluate all contractual agreements
Lawyers are regulated by a code of ethics. Other members of the team are not.
A well established entertainment Attorney can be an essential networking bridge for aspiring artists.
What to look for-Experience
Beware of attorneys who branch out into entering management, recording or publishing contracts with their own clients.
RetainerBillable HoursValue BillingLetter of engagement
Chapter 1: Key RepresentativesArtist Manager
The individual who serves as the artists primary advisor is called an artist
manager, a personal manager, or simply manager.
-planner, advisor, organizer, strategist, overseer, coordinator, detail
person…
Key ElementsIdentification of PartiesGeneral Breadth of AgreementDutiesPower of AttorneyCompensationDurationSunset ClauseKey Person Clause
Chapter 1: Key RepresentativesBooking Agent
A talent agent refers to any agent who finds work for creative artists.
Agents who concentrate on finding live appearances are
traditionally referred to as booking agents.What Agents Do
Find BookingsRoute Tours
Buyer generally pays a guarantee-Front EndVS a percentage of ticket sales-Back EndBooking agents are regulated by the state and require a license.Afm-American Federation of Musicians (Scale)
Chapter 1: Key RepresentativesWhat to look for in an agent
Reach-local, regional, national, international
Type of venues an agency books
In-house bookers
Honest and mutually satisfactory relationship
William Morris Agency
Creative Artists Agency
Club Agent
Line Agent
Responsible Agent (RA)
Marquee Value
Chapter 1: Key RepresentativesKey Elements
Exclusive or nonexclusive
Duration-usually 1-3 years
Rate of commission-usually 10%
Commissionable income
Geographic Limits
Key Person Clause
Chapter 1: Key RepresentativesBusiness Manager
A business manager works closely with the artist manager in establishing
budgets, regulating income, weighing in on various deals and running
the artist’s career as a “business.”
Like a CFO-a financial watchdog
Most are CPA or have in-house CPA’s at their firm
Tour Budgets
Tour Manager (road manager)
Manages the day-to-day needs of you and your entourage
Transportation and lodging
Responsible for Settlement at each venue
Coordinated publicity, interviews, appearances, ect…
Chapter 1: Key RepresentativesProduction Manager
Manages the technical side of your production
Sound, Lights, Stage Set
Stage plots & Tech Riders
Other Essential Personnel
Stage Manager
Sound Engineer
Monitor Engineer
Sound Crew
Lighting Crew
Backline Crew
Stagehands
Area Manager
Runners
Chapter 1: Important TermsEntertainment Attorney In-House Bookers
Conflict of Interest Line Agent
Retainer Responsible Agent
Billable Hours Marquee Value
Value Billing Exclusivity
Letter of engagement Commissionable Income
Artist Manager Geographic Limits
Power of Attorney Business Manager
Commission Tour Manager
Duration Settlement
Sunset Clause Production Manager
Key Person Clause
Severability Clause
Booking Agent
AFM
Chapter 2: Making Money on the RoadTouring is a business, selling tickets, merch, and sponsorship are important components of the business.Selling Tickets
Headliner
Ticket prices have doubled over the past decade
Strategies to tickets sales
High Prices (Eagles)
High Volume (Brooks)
Ticket prices are often based on how much an artist wants to be paid and
how elaborate a production they want to present.
Prices are generally hammered out by the acts manager, business
manager and agent.
Chapter 2: Making Money on the RoadVenues
Clubs 100-2,000
Ballrooms 800-1500
Theaters PAC 2000-8000
Auditoriums 500-10,000
Amphitheaters 10,000-15,000
Stadiums 15,000-100,000
Motor speedways 100,000+
Why play smaller venues
Genre or style can also determine venue
GA vs reserved seating
Multi-tiered seating-scaling
Usable seating/comps
Tour vs one-offs
Chapter 2: Making Money on the RoadMerchandising (“Merch”)
“Outside of ticket sales, merch revenue is the most important revenue
stream for touring artists.”
For beginning bands merch often bankrolls the band getting from point A to
B.
Managers solicit bids from companies
Basic deal is usually the longer of one album or touring cycle or
recoupment.
A buyout option is usually offered.
If there is a large advance, royalty rates are lower.
“for new artists most deals are worth 75-100k”
Merch company often has a employee on tour
House Rate or Hall Fee –usually 20-25%
Chapter 2: Making Money on the RoadMerchandising (“Merch”)
Basic Deal
Headliner ROYALTY RATE 72-77%
Artist pays hall fees out of its share
Artist nets 47-55%
Some artist handle their own merch
Investment
inventory
staff, warehousing,distribution,inventory selection.
merchandising is more than just selling t-shirts and hats
at concerts?
Chapter 2: Making Money on the RoadMerchandising (“Merch”)
One of the newest forms of merch is the concert cd
Basic instant Live Blueprint
Cd’s can be complicated with a revenue chain that includes the record
label, act, venue, promoter.
CD-$25
Label and Artists 30-40% (usually split)
Venue 5-10%
Packaging 10%
Instant Live 20%
Chapter 2: Making Money on the RoadSponsorship
An artist being sponsored by a company was once considered a sellout.
Companies bankroll tours in every genre
Sinage
ROI
Contact ant the Company or Advertising Firm
Better to approach a niche brand
More likely to receive marketing support than hard cash
Endorsement deals
Label Support
Festival Sponsors
Festival Survey• Demographics
– Gender– Age– Ethnicity
• Residence• Homeownership• Intention to Refinance• Income• Education• Purchasing Habits• Cell Phone/Wireless Co.
HAM Fest
Sponsorship Opportunities for the Happy Artists Music Festival
May 3, 2009
HAM Fest
Sponsorship Opportunities for the Happy Artists Music Festival
May 3, 2009
Explain what makes the event, project, charity, etc. worth being associated with.
You might want to describe the event’s history with an aim toward showing growth in numbers, growth in participation, growth in sponsorship, and consistency in reaching a desirable demographic target: e.g., In 2008 HAM Fest went to 22 key markets presenting, music, cultural events, and opportunities for marketing to over 880,000 fans of Happy Music and Happy Culture.
HAM Fest 2009 will go to 31 markets promising a total reach of 1.2 million Happy Music, Happy Culture fans presenting unprecedented opportunity to market to this desirable demographic.
Past sponsors include: Big Record Company, Inc., Happy Cola Company, Large Cell Phone Service Provider, Cool Clothing Designer, Super Energy Drinks, and Wicked Awesome Sneaker, Co.
Introduction and Overview
Provide a bit of background showing the history of the event:
“The HAM Fest was started to represent, speak to and capitalize on the emergent Happy Culture. In the late 1990s, we realized grunge had come and gone. People were looking for cheery festivals. Morose was out, and happy was in. We saw a community of fans, artists and an emerging youth culture. We capitalized on the opportunity.”-Happy Rich Guy (Founder HAM Fest)
History
Provide Testimonials from past sponsors and past participants of note.
“We came in as a Tier 1 sponsor with HAM Fest in 2008. We saw a marked increase in interest and brand recognition among Happy Music enthusiasts age 18-25, a group we wouldn’t have otherwise reached.”– Suzan Bigbucks (VP Branding, Happy Cola Company)
“We jumped on the HAM Fest juggernaut in 2001. Since then we’ve seen a three-fold increase in core sales. Prior to HAM Fest, we sold mostly left-footed shoes but had no luck with right. Tier 1 Prosciutto Level sponsorship changed that.”– Rubber Souls McGinty (Founder, Wicked Awesome Sneaker, Co.)
Testimonials
Provide Testimonials from past sponsors and past participants of note.
“We came in as a Tier 1 sponsor with HAM Fest in 2008. We saw a marked increase in interest and brand recognition among Happy Music enthusiasts age 18-25, a group we wouldn’t have otherwise reached.”– Suzan Bigbucks (VP Branding, Happy Cola Company)
“We jumped on the HAM Fest juggernaut in 2001. Since then we’ve seen a three-fold increase in core sales. Prior to HAM Fest, we sold mostly left-footed shoes but had no luck with right. Tier 1 Prosciutto Level sponsorship changed that.”– Rubber Souls McGinty (Founder, Wicked Awesome Sneaker, Co.)
Testimonials
Happy Music Fans:
18 - 25 years old
Number over 35 million
Born in the 80s, came into consciousness in the 90s, established their own buying habits in the new millennium
Define themselves through purchase of Happy Music, Happy Clothing, Happy Soft drinks, and Happy lifestyle products and services
Active Consumers of Happy Culture and related lifestyle products
Spend nearly $ 90 million a year on music, clothing, soft drinks
Provide any other relevant demographic data that convinces potential sponsors that buying in at any level provides quantifiable benefits
Demographics
HAM Fest 2009
Happy Artist
The Cheery Cheerios
The Smiling Satisfaction Transaction
Smiley Smith
Joan Joyous
Glee Club Convoy
HAM Fest 2009 Dates
List all festival dates
List all festival markets
Provide any market specific information
Note if dates are tentative
HAM Fest 2009
SPONSORSHIP PLATFORMS
Tier 1: Prosciutto Sponsor
Tier 2: Jamon Sponsor
Tier 3: Candied Ham Sponsor
Tier 4: SPAM sponsor
HAM Fest 2009
SPONSORSHIP PLATFORMS
Tier 1: Prosciutto Sponsor
Tier 2: Jamon Sponsor
Tier 3: Candied Ham Sponsor
Tier 4: SPAM sponsor
HAM Fest 2009 Prosciutto Sponsor
Exclusivity in category Logo / marks prominently
featured in all HAM Fest print materials, signage, ads, and collateral
Official product / service designation
Presence and access to hospitality suites at all stops
Entrance signage On-stage signage Program book ad
On-line presence at hamfest.com Branding on official tour
merchandise Radio broadcast tags Tickets to key tour stop ID / tag in media buy On-site sampling On-site sales rights Mailing lists PA announcements Tags in all local TV / radio
broadcasts
HAM Fest 2009 Jamon Sponsor
Logo / marks featured in select HAM Fest print materials, signage, ads, and collateral
Presence and access to hospitality suites at select stops
On-site signage Program book ad
On-line presence at hamfest.com Tickets to key tour stop On-site sampling On-site sales rights Access to select mailing lists PA announcements Tags in all local TV / radio
broadcasts
HAM Fest 2009 Candied Ham Sponsor
Logo / marks featured in select HAM Fest signage, ads, and collateral
Access to hospitality suites at select stops
On-site signage
On-line presence at hamfest.com One time email blast PA announcements
HAM Fest 2009 Candied Ham Sponsor
Logo / marks featured in select HAM Fest signage, ads, and collateral
Access to hospitality suites at select stops
On-site signage
On-line presence at hamfest.com One time email blast PA announcements
Contact For sponsorship opportunities, contact:
Samantha Smiley at: HAM Fest 2008
PO Box 123Ebullientville, NY 12341
(212) [email protected]
Chapter 2: TermsHeadliner
Support Act
Billboard/Pollstar
General Admission
Reserved Seats
Comps
Scaling
Gold Circle
Merch
House Rate
Royalty Percentage
Roi (return on Investment)
Sponsorship Deck
Sinage
Chapter 3: Why, When, and Where to TourPreproduction Phase-before capital is invested in gear and other costs
Benefits of the tour can be maximized.
The tam will map out the tour to fully realize venues and
exposure.
Plotting a tour is a process that starts with the act and it’s team.
As long as a year in advance
Plot out objectives
Key Factors-album release, tv exposure, tour announcement, on-sale
tour launch, routing.
Chapter 3: Why to tourPromote album sales
Sell Merch
Build fan Base
Attract Labels
For most groups signed to a label, touring is tied into a release date of an
album to capitalize on exposure, radio play, and the labels marketing
muscle.
Priorities are to:
Create and Event
Make Money
Have Fun
Chapter 3: Touring to Promote Album salesParallel business
Create a buzz
In-stores Sponsors
Touring to Make MoneyAll tours should be profitable
There is no shame in playing for the money
Heritage Groups
Touring to Build the fan base
Chapter 3: When to TourBig name artists can dictate tour dates.
Headliner
Billed
C0-headling situations
Availability
New Release
Radio or TV exposure
Penetrate secondary Markets
Buzz-Plays
Timing the on-sales with radio play
Chapter 3: Touring TrafficTo much touring traffic can be problematic
Most concert activity occurs between April and September
Acts should be cognizant of how often they play a given market
A general rule of thumb is every 16 months to 2 years
The right venue the right time
Arenas theatres and clubs tend to be busier in winter.
Playing on-offs
one-offs are rare
radio shows
Payola
Corporate Shows
Sell-out
Chapter 3: Art of the On-SaleOn-sale or going-up (tickets available to the public)
Two strategies
Put tickets on sale early
Wait until a few weeks out to create a sense of urgency
Where to tour-Determining Markets
Where to TourDetermining Markets
Secondary and Tertiary Markets
Anchor Dates
Building the fan base
Partnering with other groups
Skynyrd & 3 doors down-neither group played their best markets
Chapter 3: Determining which venue to playThe type of venue is largely determined by the amount of tickets that can
be sold.
Another important factor is venue aesthetics
A general rule of thumb is that production tends to work better in a
controlled room
Some groups sell their music as a party and create lifestyle events that fit
better in “sheds”
Some groups need more reserved seating than GA
Sometimes there is a stigma attached to certain types of events?
Chapter 3: Routing the TourThe type of venue is largely determined by the amount of tickets that can
be sold.
Another important factor is venue aesthetics
A general rule of thumb is that production tends to work better in a
controlled room
Some groups sell their music as a party and create lifestyle events that fit
better in “sheds”
Some groups need more reserved seating than GA
Sometimes there is a stigma attached to certain types of events?
Avails-Second or third hold.
Smaller acts can move more quickly
Compare a historic venue to a new one.
Chapter 3: TermsPreproduction phase shed
In-stores avails
Heritage acts second third hold
Headliner
Billed
Buzz plays
Touring traffic
One-off
Radio show
Payola
On-sales
Going up
Secondary market
Anchor date
Chapter 4: BudgetingYou need to create a plan. A budget is one of the MOST important parts of
that plan.
Projecting Income
Ticket sales
Merch
Sponsorship
Other?
The goal is to tap as many potential revenue sources as possible.
Projecting income is more difficult that estimating expenses because there
is less control.
Chapter 4: BudgetingTicket Sales
Fees paid to an artist for performance but the talent buyer are know as
ticket sales.
Guaranteed Flat Fee
Percentage of ticket sales (door)
Combination of the two
If percentage deals are requested the band will want to suggest realistic
ticket prices.
“Priors”-are published weekly in Billboard and Pollstar
Venue Priors
Flat fees are known as Guarantees or “flats”
The percentage a band receives is called the “back end”
Chapter 4: BudgetingTicket Sales
The risk in a straight percentage deal is that the ticket sales is unknown.
Most groups will try to remove some of the risk by negotiating a
minimum versus as percentage, whichever is greater. This is commonly
known as the “versus deal”.
Merch Sales-measured per capata or “per cap”
Set up boundaries for expenses
Variables Costs-hard to predict
Chapter 4:Your BudgetCreate a detailed Budget for your event by next week.
Income Budgeted Projected Actual Delta
Ticket Sales 450
Merch
Sponsorship
Expenses
Artist fees 382(85% TS)
Sound Rental 20
Sound Person 0 ($50 paid by club)
Personnel
Chapter 4: TermsFee StructuresPriorsFlatsBack endGross PotentialDeductionsHouse RatePer CapImpressionsSee pg 60Production reimbursementVariable costs-running expenses
Chapter 9: Types of Talent BuyersA talent buyer is the person or company who pays an act or artist to
perform. The size and scope of talent buyers is very diverse.
Concert Promoters
National & International Promoters
College Buyers
Club Buyers
Venue and PAC
Fair and Festival
Casio
Private
Chapter 9: Types of Talent Buyers
Hard Ticket BuyersHard ticket buyers primary revenue stream is selling tickets.
Hard ticket buyers are commonly referred to as Concert Promoters.
Evolution of the Concert Promotion Business
Since colonial times
Big Band Era
True beginnings in 1950’s with Rock and Roll
Large packages with hit bands of the day
1960’s- Bill Graham
Attending Concerts became one of the primary entertainment choices for
the youth culture.
1980’s Promoters tired of watching the venues capture all the ancillary
revenue began building their own amphitheatre.
Chapter 9: Types of Talent Buyers1990’s –All types of business begin to consolidate. Robert Sillerman begins
buying up regional concert promoters.
2000 Sillerman sells SFX to clear channel
2005 CCE spun off its live entertainment business creating the independent
entertainment giant Live Nation
2006 Live Nation owns
153 Venues worldwide
Produces 28,000 events annually
Chapter 9: Chapter 9: Types of Talent BuyersThe promoter pays the act usually through an agent. The promoter agree to
promote the show through whatever means necessary. Box office
proceeds traditionally go 15% to the promoter and 85% to the act-this
is negotiable.
From the promoter share come expenses-promotion, production fees, hall
rental, catering, any other costs.
Some have estimated the promoters profit margin at 1%
National & International Buyers
Deep pocketed corporate promoters with a presence in multiple markets.
Can build an advantage by cross-collateralizing across the tour.
May partner with local promoters
College Buyers
Student run campus entertainment buying association
May partner with local promoters-Sig. cost savings
Chapter 9: Chapter 9: Types of Talent BuyersLarge Venue Buyers
Many times the venue and the talent buyer are one and the same.
Club buyers, arenas, theaters, ballrooms, PAC.
Club Buyers
Venues have played an undeniable role in launching many artist career.
The club circuit remains an important vestige of the traditional touring
model. Promoters take chances on new acts in hopes that they will
remember the promoter if they are successful.
Clubs can offer better pay because the overhead is less.
Some groups are just better in clubs.
PAC
Most have in-house talent buyers
Chapter 9: Chapter 9: Types of Talent BuyersFestivals & Fairs
Some of the most established buyers in North America.
Some are Hard ticket buyers some derive ancillary income streams.
Casino Buyers
Have become more diverse. Baby boomer demographic.
Private Buyers
One of the fastest growing segments of live industry
Often will partner with an experienced promoter