RePost-Urgent & Important information for all artists

[Shary A]

Booking the artiste

INSIDE THE MUZIK BIZ

with Teddy Laidley

Wednesday, April 15, 2009

The following is an excerpt of the talk show programme titled INSIDE THE MUZIK BIZ co-hosted by Thaddeus 'Teddy' Laidley every Wednesday at 3:30 to 4:00 pm.

The programme is aired on HOT 102 FM during THE HOT MIX, with Richie B 2:00 to 5:00 PM. INSIDE THE MUZIK BIZ is aimed at offering insights into the music business for aspiring artistes and industry personnel.

Within the scope of the entertainment business, we are approaching the season for live shows and so getting bookings for a show or doing a tour now becomes the focus for many artistes. But how do they secure shows. Frascogna and Hetherington in their book This Business of Artiste Management states that, "The most direct way for an artiste to secure live performances, both locally and internationally, is through a booking agent. In some instances, live shows are impossible to secure without an agent. Regardless of the type of engagement the booking agency serves as a meeting place for artiste and purchasers of entertainment". Booking agents should be well connected with promoters both locally and internationally, they should be aware of the customs of different countries, immigration rules and medical requirements of countries to be toured, knowledgeable in productions matters, and also be aware of the local law permits, city rules and musician union.

According to Jerome Hamilton of Headline Entertainment, "a contract must come into existence before an artiste is booked, especially when there is going to be exchange of value. it is an integral part of booking an artiste". Such contracts should clearly stipulate what the artiste is providing to the promoter, how and when the artiste will be compensated, the date, time and duration of the performance and other supporting details and requirements (the rider). Each page of the contract should be initialled preventing the terms from being overlooked; contracts should be written with the artiste in mind and duly signed and deposit made to the agent before the artiste's promotional materials are released.

"Too often artistes live what they hear and see. because they have a song that is being heavily rotated, it is their belief that they should be paid a fortune and thus overprice themselves. This often results in them not being selected for shows, as promoters have challenges going for such a high price. Artiste should try to remain current and consistent in the market as this will impact the decision of them being selected for a show, however, avoid over exposure. Artiste should be willing to work, you cannot be laid back if you want to be selected for a gig. You should make the extra effort to provide your agent with your promotional materials, in particular your press kit, CDs and posters so they can be readily available for the promoters, after they have booked the artiste", Hamilton stated.

So how are booking agents/agencies compensated for their services? According to Frascogna and Hetherington, "the agents fee generally ranges from 10 to 15 per cent of the fee negotiated with the buyer. The fees for booking are somewhat negotiable, depending on the strength of the artiste and the services the artiste requires".

As with every other member of the artiste's development team, the manager and artiste should choose agents or firms not simply on the track record with other clients, but also on their dedication to and belief in the artiste. Getting lost in the shuffle at a popular booking agency can be disastrous.

The moment the right agency is in place, the artiste and manager should cultivate their relationship with their agents, encouraging comments and criticisms and working closely with them to shape a realistic and effective career plan. There are numerous booking agencies in Jamaica that artistes can become aligned with, such as Headline Entertainment, Solid Agency, Khool Booking Agency and others.

The artiste and booking agent relationship also requires periodic evaluation. The first measure of whether the relationship should centre around the results the agency has gotten for the artiste. How many dates? What kind of money? Have new markets been developed, or is the artiste just repeating the same venues? All of this should be analysed. However, artiste and managers need to understand that booking agents are not catalysts, but rather part of the team that contributes to the artiste's success.

Research done by: Mariesha Spencer, final year Entertainment student at VTDI.

Teddy Laidley is an entertainment consultant with years of experience with touring musicians and event production. Email him with your comments suggestions, and questions at: [e-mail]

[Shary A]

Welcome!

[Kareen]

This is info i appreciate as i am in the process of getting things in order as an artist who is not as knowledgeable about some stuff. Thank you.