The Live Music Business: Management and Production of Concerts and Festivals

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
List of Figures and Tables
Acknowledgements
Introduction
Part One Live Music Management
	Chapter 1 The Artists
		The importance of live performance
		Live performance as a promotional activity
		Live performance as a major revenue stream
		A significant revenue stream if costs are low
		The importance of live performance based on genre
		Live performance enables an accelerated timeline of success
		Notes
	Chapter 2 Artist Management
		The artist manager’s role in live performance
		The manager’s considerations for live performance
			Genre
			Fan base
			Artist’s primary location
			Previous live performance history
			Recording history and future releases
		Production considerations
		A business structure for live performance
		Gross vs nett: The manager's commission from live performance
		Potential revenue for managers from live performance
		Notes
	Chapter 3 Booking Agents
		What do booking agents do?
		How do booking agents earn money?
		Regulations for booking agents
		Agreements and contracts between agents and artists for live performance
			Commission rates and payment schedule
			Territory
			Term
			Taxation
			Work permits and visas
			Travel
		Who are the booking agents?
			Independent booking agents
			Full-service booking agents
			Responsible agent
		The role of the booking agent in live performance
			Identifying opportunities for live performance
			Opening for other artists
			Headlining club shows
			“Underplays”
			The college circuit in the US
			Festival slots
			Pitching at music conferences
			Identifying time periods for live performance
			Availability of the artist
			Availability of featured artists
			Availability of appropriate venues
			Timing of recorded music releases
			Capitalising on other exposure
			Festival season
			Initiating the deal
			Example of an incoming offer
			Example of an outgoing deal
			Other outgoing deals
		Notes
	Chapter 4 Concert Promoters
		What do concert promoters do?
		Who are the concert promoters?
			Small venue owners and buyers
			Nightclub buyers
			Concert promoters
			National and international tour buyers
			College buyers
			Performing arts centre buyers
			Festival buyers
			Casino buyers
			Corporate event buyers
		The role of the concert promoter in live performance
			Identifying concert opportunities
			Venues
			Capacity
			Production
			Popularity
			Ticket prices
			Artist popularity
			History
			Venue
			Competition
			Promoters’ costs
			Time periods
			The financial opportunity
			The financial risk
			Lack of demand
			Competition from other events
			Weather
			Transport
			Illness and accident
		Industry issues and challenges for promoters
			Secondary ticketing
			Increased costs associated with health and safety.
		Notes
	Chapter 5 Creating the Deals
		100 people in a bar
		Door split/back-end deal
		The guarantee deal
			Rider costs
			Soft-ticket shows
		The guarantee versus percentage deal
		The guarantee plus bonus deal
		Cross-collateralised deals
		The promoter’s costs
			PA, lights, and catering
			Venue hire
			Promoter’s rep
			Security staff and equipment
			Stage hands
			Ticketing
			Marketing and advertising
			Performing rights organisations payments
			Insurance
			Transport
			Accommodation
			Welfare
			Support acts
			Guest list
			Financial waste
			Seat kill
		Landed deals
		The deal memo
		Settlement
		Regional and sub-promoters
		Notes
	Chapter 6 The Contract
		The parties in the agreement
		The producer
		The artist
		The purchaser
		“Rider and addenda attached …”
		“Artist rider and addenda attached hereto hereby made a part of this contract”
		The venue
		The date of the engagement
		Billing
		Services
		Compensation
		Payment and deposits
		Payment
		Deposit
		Ticket pricing and scaling
		Special provisions
		Notes
	Chapter 7 The Contract Rider
		Elements of a contract rider
			Cover page
			Contacts
			Cast and crew
			Transport modes
			Catering requirements
			Hospitality requirements
			Accommodation requirements
			Merchandising
		Technical rider
			Input list
			Stage plan
			Audio information
			Backline
			Lighting information
			Video information
			Stage and barrier requirements
			Personnel requirements
			Catering and pre-shop
			Laundry
			Plant and machinery
		Note
	Chapter 8 Revenue Streams from Live Music – Artists
		Ticket sales
			Scope of income
		Merchandise
			Merchandising for emerging artists
			Sophomore and superstar artists
		Sponsorship and endorsements
			Sponsorship
			Endorsements
		Livestreaming and recording for resale
		Revenue – multi-rights deals
		Performing rights
			Performing rights for electronic music producers
			Direct licensing
		Ticket and album bundles
		Notes
	Chapter 9 Revenue Streams from Live Music – Promoters and Organisers
		Tickets
		Food, beverage, and other concessions
			Concessions
		Merchandise
		VIP packages
		Live streaming
			Ticketing for livestreams
			Copyright
			The progression for livestreams
		Venture capital and private equity investment
		Notes
	Chapter 10 Marketing and Promotion
		Consumer buying behaviour applied to concert tickets
			The “environment” variable
		Advertising and media buying
			Posters and flyers
			Local and national print adverts
			Radio and television adverts
			Social media adverts
		Notes
	Chapter 11 Festivals
		Reasons for the importance of music festivals
			Community
			Consumption of music
			The artist’s financial expectations
			Professional promoters
		The rise of the festival market in the US
			Sponsorship
		Festival formats
			Camping, multi-act, multi-day, open-air (CMAMDOA)
			Non-camping, multi-act, multi-day, open-air (NCMAMDOA)
			Multi-act, multi-day, multi-venue (MAMDMV)
			Genre
		The appeal to artists
			Rite of passage
			New audiences, new markets, and cementing appeal
			Low production costs
			Marketing reach
		Drawbacks of festival appearances
			The potential effect on hard-ticket concerts
			The potential effect on merch sales
			Production limitations
			No soundcheck
			Supplied equipment
			Sound pressure level limits
			The headliner’s production
			Day light
			Competition
			Work schedule
			Unintended exposure
		Festivals – the deals
			The financial deal – headliners
			The financial deal – the rest of the bill
			Non-financial deal points
		The festival promoter’s costs
			Site and infrastructure costs
			Talent and production costs
		Notes
	Chapter 12 Strategy
		A live performance plan for a new artist
		Years “minus one”
		Booking agent
		Year one
			The “story” for radio
			Funding
			Merchandise
		Year two
			The winter headline tour
		Year three
			One promoter
		Note
Part Two Live Music Production
	Chapter 13 Planning a Tour
		Planning for tour support
		Venues
			Non-production and production venues
			Continuity in production venues
		Note
	Chapter 14 Budget
		Tour support
		Budgets for promotional activity
		Invoicing the record company
		Scope of live performance expenses
		Note
	Chapter 15 Wages
		Performers
			Profit share
			Session musicians
			Dancers and extras
		Non-performers
			Concert tour manager
			Production manager
			Pay and conditions
	Chapter 16 Transport
		Road
			Splitter van
			Sleeper bus
			Practical considerations
		Air
		Low-cost carriers
			Commercial carriers
			Air charter
		Transportation of equipment
			Trailer
			Trucks
			Freight shipping and transportation
		Note
	Chapter 17 Accommodation
		Hotels
		Rooming types
		Driver rooms, shower rooms, and day rooms
		Other considerations
		Other accommodation types
		Travel agents
	Chapter 18 Production
		PA
			Audience loudspeaker system
			Front-of-house mixing console
			Monitor loudspeaker system
			Monitor console
			Rigging
			Microphone and cables
			Digital consoles
			Practical considerations of using digital consoles
			RF
			Data and networking
			Budgeting for the PA
		Backline
			Playback & MIDI control
			Playback and set length
			Touring abroad
			Fly-dates
			Consumables
		Lighting
			Fixtures
			Control desk
			Dimmers – power distribution
			Rigging
			Budgeting for the lighting system
			Design
		Video
			IMAG
			Content
			Technology
			Video for livestreaming
			Budgeting for video systems
		Set and stage
			Budgeting for set and stage
		Notes
	Chapter 19 Other Production Considerations
		Rehearsals and pre-production rehearsals
			Production rehearsals
		Visas and work permits
		Health, safety, and security
			A “safety” culture
			Accreditation
			Personal security/close-protection personnel
		Set build and associated costs
		Steel crew
		Show automation
		FX & pyrotechnics
		Communications
		IT & data
		Costume and wardrobe
		Festivals (other production considerations)
			Changeover time
			The use of rolling risers
			The use of floor packages
		Catering
			Dressing room/ambiance
		Meet and greet
		Finance and accounting
			Business management
			Float
			Credit card
			Bookkeeping
			Reconciliation
		Insurance
		Advancing and the tour book
			Advancing
			Cascading information
			Tour books
		Notes
Appendix 1: Concert Production Personnel
Appendix 2: A Performance Contract
Appendix 3: Contract Rider
Appendix 4: Tour Budget Sheet
Appendix 5: Day-to-Day Schedules
Index