(You can find out more about the live music business (LMB) in my book, The Live Music Business)
Are you:
- an music artist (singer, musician, producer, or DJ)?
- looking to work behind the scenes as a concert promoter, booking agent, or ‘roadie’?
- studying the music business at college or university?
If so, you will benefit greatly by identifying the live music business’s key players. Having an appreciation of the concert/festival booking process will also help.
The live music business relies on the collaborative efforts of various professionals to stage everything from small gigs in local venues to large-scale international tours and festivals. The live music business operates alongside the concert production industry (CPI).
Understanding the structure of both the LMB and CPI, and the key players involved, is crucial for you looking to enter this field. Read on to find out how it all works!
The Artist and Artist Manager
At the heart of the live music business is the artist. This can be a band, singer, DJ, or any contemporary music act that performs live. In the early stages of their career, artists often book their own gigs. However, as they gain popularity and their schedules become busier, an artist manager steps in. The artist manager, also known as the personal manager, plays a pivotal role in the artist’s career, guiding them in making logistical and financial decisions related to recording, publishing, and live performances. The manager is also responsible for hiring and firing the road crew and setting their pay.
Managers will have to book shows and negotiate performance fees for their artists themselves in the early days of their client’s careers; after a degree of success (or perhaps signing to a record company), the artist management will work with a booking agent to get live show bookings in place.
The Booking Agent
A modern booking agent plays a vital role in the live music business by acting as an intermediary between artists and concert promoters. Their primary responsibility is to secure live performance opportunities for their clients, which can include gigs, tours, and festival slots. They negotiate performance fees based on projected ticket sales and issue contracts between the artist and promoter. The booking agent’s work doesn’t end with securing the booking; they also act as administrators, managing ticket sales data, ensuring deposits are paid, and collecting performance fees after each concert. This administrative role ensures that all financial transactions are handled smoothly and efficiently, providing peace of mind to both the artist and the promoter.
A booking agent makes money by charging her client (the artist) a percentage of that artist’s gross income for the performance. The percentage charged by the booking agent is known as the commission, similar to that of artist management commission. This commission rate is universally set at 10 percent for contemporary live music – rock, pop, alternative, what have you, and 15% for DJ work.
The Concert Promoter
Concert promoters, also known as talent buyers, are responsible for organizing and marketing live music events. Their primary goal is to sell tickets and ensure that the event is profitable after covering all costs, including artist fees and production expenses. Promoters take on significant financial risk and must develop good relationships with booking agents and artists to ensure long-term success.
The Concert Booking Process
The artist manager, booking agent and promoter work together to book shows and tours. The booking agent approaches promoters to see if they are interested in hosting a show. The promoter evaluates the costs and potential profits before agreeing to the terms. Alternatively, promoters will approach an artist’s booking agent with an ‘offer’ – a proposed deal including money, venue details, stage times, competing acts (if the offer is for a festival for instance) to entice the artist into performing.
If the deal is viable, the booking agent finalises the arrangements and sends the offers to the artist and manager for approval.
The Contract
Once the terms are agreed upon, a contract is drafted. This document outlines the specifics of the engagement, including performance dates, fees, and responsibilities of each party. Contracts are crucial for ensuring that all parties are clear on their obligations and can be held accountable if issues arise. The contract is specific to each performance.
The Contract Rider
A contract rider is an addendum (it ‘rides’ along with) to the main contract. The rider details requirements for every performance by the artist. These include technical specifications, catering needs, and other logistical details necessary for the performance. The contract is specific to each performance; the contract rider is for every performance.
End
The above is my take on the live music business and the concert production industry. Please let me know in the comments if you found it useful.
There is a similar guide on the International Live Music Conference (ILMC) website: ‘About the Live Music Industry’, and another brief explanation on the CMU site ‘The Live Music Sector‘. You might want to read those as well.
Please also read my book, The Live Music Business – Management and Production of Concerts and Festivals to find out more.