CONCERT PROMOTERS

What is a promoter?

Closely linked to the role of the booking agent as described above, a concert promoter books bands and venues and sells the tickets, does the advertising, promotion and press, deals with lighting, security and stage equipment (if it’s not already in place, which it tends to be) and – most importantly – deals with the box office at the end of the night, sharing the cash out and paying the band. They often operate out of one venue – it’s more efficient for them to focus their energies on one pet venue customers are regular and their reputation is established. On average promoters take a cut of 30–40 per cent of profit after all costs.

A promoter deals with an agent; often if the agent has a good roster of artists a promoter will take anything and everything offered. Others are more discerning and carve their own niche regardless.

What does a promoter do?

National/major music promoters include the well-known Metropolis Music, as well as Harvey Goldsmith’s AMP, and Vince Power’s Mean Fiddler. An excellent grounding and a leg-up into the world of music promoting are guaranteed if you’re lucky enough to get a job with one of them.

Regional/independent music promoters – it’s not all big fancy London offices and stadium venues. There are dozens of smaller outfits across the British Isles running regular gigs at smaller venues. Most promoters specialise in a particular genre of music, or venue – London-based promoters Serious, for example, handle mainly cutting edge contemporary classical music in London’s artier venues.

Getting in the door

A keen eye and ear for what gig-goers want are essential. Do you go to many gigs yourself? Do you have a good idea of what sells and what doesn’t? We all know Robbie Williams tickets will be like gold dust compared to your brother’s thrash combo. So have a think instead about which local bands or DJs would sell out in your town and which would end up playing to three people and the bartender? If you don’t know, forget it – you clearly don’t have enough direct knowledge of the live music experience. Whether you’re planning concert promotion as a solo career, a part-time hobby or hope to convince the suits at a major company that you have what it takes to be their hot young rookie you’ll need to be brimming with ideas for live concerts that will raise the roof, and make money.

Do some of your own gig promotions. If you’re at college have a go at being social or entertainments secretary, or join the Indie Society, or the Jazz Club or the orchestra . . . anything like that. Try to get involved in different types of live gig: rock bands, soul singers, DJs. If you’re not at college, is there a local pub or club that you could suggest booking bands for? You will need to be numerate – you’ll be calculating costs, profits and percentages a lot of the time so if you don’t know how to do percentages on a calculator, you’d better find out.

The Concert Promoters Association (CPA) is a trade organisation that can offer suggestions and information to those interested in promoting gigs within the UK.

Case study: Tim Orchard, Purr Productions

‘I started off as a record buyer at the age of 5, and was in bands from the ages of 14 to 29. While I was in bands I wrote for punk fanzines in London and also for the regional press, alongside my day job. I got into promoting because no one else was doing it around my way (Bath). I’d have to go to London to see the bands I liked and so many nights I’d have to ring into work to say I was stuck at the station in London and wouldn’t make it in the next morning.

‘One day a friend was offered the job of promoter at Moles Club in Bath but he didn’t want to do it, so he suggested me. The venue owner knew me from my days in a band, and as a local reviewer, and thought I’d be really good at it. I’ve been doing the job for three and a half years now. For the first gig I ever promoted I was given the email addresses of all the agents in the UK – I got zero response as it was over the millennium celebrations and no one was at work for days. So I went out and bought a single on an indie label, liked it, rang the number printed on the back, spoke to the record company, got the manager’s number, agreed a fee and that was that.

‘I still have a day job so I don’t sleep much. All my leisure time is spent researching bands. We regularly get approached by record labels for our A & R knowledge. People offer us regular nights at other venues.

‘My advice to someone just starting out would be, do what you believe in – if you believe in it someone else will too. Don’t try to anticipate trends; don’t just try to book bands you’ve read about in NME. Bring in local bands that are compatible with out-of-town headliners. Buy fanzines. But have some kind of method to your madness and be consistent in what you offer audiences, so they want to come down to your gigs and see what you’ve got on this week. Convince venues you know what you’re talking about, that you know what’s out there and how to convey it to an audience. Your job’s to find out what’s happening, not what’s happened.’