This Business of Concert Promotion and Touring
by WADDELL, RAY D.BARNET, RICHFormat: Hardcover
Pub. Date: 2007-10-02
Publisher(s): Billboard Books
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Summary
The only book that looks at the business of concert promotion Concerts are part art, part partyand a big part business.This Business of Concert Promotion and Touringis the first to focus on that all-important business aspect, from creating a show, to selling a show, to organizing the show, to staging the show. Working with venues, personnel , booking, promoting, marketing, publicity, public relations, financial management, and much more are covered in this indispensable one-volume resource. And the ideas and techniques explained here can be used for every type of concert promotion, including college shows, artist showcases, club gigs, as well as major events handled by local promoters, nationwide promoters, and worldwide promoters. Concert promoters and tour managers at every level need to knowThis Business of Concert Promotion and Touring. A must-have for anyone promoting concerts or managing a group How-to's on working with artists, venues, personnel, press, and more Great addition to the top-selling This Business ofseries
Author Biography
Ray Waddell is Senior Writer, Touring, for Billboard magazine. His weekly column, On the Road, keeps him in regular touch with agents, promoters, artist managers, business and venue managers, ticketing agencies, and everyone else associated with this business of concerts. He lives in Hendersonville, Tennessee.
Richard D. Barnet, a professor in the Department of Recording Industry at Middle Tennessee State University, is co-author of Controversies of the Music Industry. He lives in Nashville, Tennessee. Jake Berry Owner of Fader Higher has provided Production Management services to some of the top Bands in the world including The Rolling Stones. U2, AC/DC, Metallica Tina Turner and Shakira and also Family show including The Wiggles, Barney and Walking with Dinosaurs The Live Experience. He lives in Scottsdale, Arizona.
Richard D. Barnet, a professor in the Department of Recording Industry at Middle Tennessee State University, is co-author of Controversies of the Music Industry. He lives in Nashville, Tennessee. Jake Berry Owner of Fader Higher has provided Production Management services to some of the top Bands in the world including The Rolling Stones. U2, AC/DC, Metallica Tina Turner and Shakira and also Family show including The Wiggles, Barney and Walking with Dinosaurs The Live Experience. He lives in Scottsdale, Arizona.
Table of Contents
| The Opening Act | p. 1 |
| Creating the Show: The Artist's Team | p. 5 |
| Key Representatives for Touring Artists | p. 7 |
| Entertainment Attorney | p. 8 |
| Artist Manager | p. 12 |
| Booking Agents | p. 18 |
| Three More Key Representatives | p. 26 |
| Making Money on the Road | p. 29 |
| Ticket Pricing | p. 29 |
| Merchandising | p. 34 |
| Tour Sponsorship | p. 36 |
| Label Support | p. 38 |
| Why, When, and Where to Tour | p. 41 |
| Why to Tour | p. 41 |
| When to Tour | p. 44 |
| Where to Tour | p. 48 |
| Budgeting the Tour | p. 55 |
| Projecting Income | p. 55 |
| Setting Up Boundaries for Expenses | p. 61 |
| Designing the Production | p. 67 |
| Stage Set | p. 68 |
| Lighting | p. 70 |
| Sound | p. 74 |
| Developing the Performance | p. 77 |
| Performance Development | p. 77 |
| Rehearsals | p. 79 |
| The Show | p. 82 |
| Finalizing the Production | p. 87 |
| The Production Manager's Staff | p. 88 |
| The Role of Production Technicians | p. 88 |
| The Production Departments Typically Involved in Tours | p. 89 |
| Rehearsals for the Tour | p. 92 |
| The Equipment Manifest | p. 93 |
| The Production Rider | p. 94 |
| The Crew for the U2 "Vertigo" Tour | p. 94 |
| Launching the Tour | p. 97 |
| Travel, Lodging, and Transportation | p. 97 |
| Security, Insurance, Catering, and Publicity | p. 102 |
| Selling the Show: Creating the Deal | p. 109 |
| Types of Talent Buyers | p. 111 |
| Hard Ticket Talent Buyers | p. 111 |
| Large Venue Buyers | p. 117 |
| Fairs, Festivals, and Casino Buyers | p. 119 |
| Private Date Buyers | p. 123 |
| Getting Paid | p. 125 |
| The Flat Guarantee | p. 125 |
| The Backend Deal | p. 126 |
| The Bonus | p. 133 |
| Negotiating Fee Reductions | p. 133 |
| Performance Agreements | p. 137 |
| Negotiating the Basic Terms of the Performance Agreement | p. 137 |
| Drafting the Essential Terms of the Performance Agreement | p. 141 |
| Additional Terms | p. 145 |
| Talent Buyer Additions and Modifications | p. 154 |
| Riders | p. 155 |
| Breach of Contract | p. 168 |
| Organizing the Show: What to Expect from a Concert Promoter | p. 171 |
| Insurance, Licenses, and Permits | p. 173 |
| Insurance | p. 173 |
| Licenses and Permits | p. 179 |
| Budgeting the Show | p. 183 |
| Identifying and Estimating Expenses | p. 183 |
| Projecting the Show's Income | p. 189 |
| Making the Budget-Based Decision | p. 192 |
| Promoting the Event | p. 193 |
| The Basics of Concert Promotion | p. 193 |
| Small Venue Promotions | p. 200 |
| Large Venue Promotions | p. 202 |
| National and International Promoters | p. 206 |
| Ticketing the Show | p. 209 |
| Concert Ticketing from the 1970s to Today | p. 209 |
| The Business of Ticketing | p. 213 |
| Collecting, Controlling, and Using Ticketing Data | p. 215 |
| The Secondary Market, Dynamic Pricing, and Presales | p. 216 |
| Staging the Show: Event Production | p. 223 |
| Venue Operations and Services | p. 225 |
| Venue Personnel and Operations | p. 225 |
| Venue Revenue Streams | p. 230 |
| Day of Show | p. 235 |
| The Tour Manager | p. 235 |
| The Venue Operations Manager | p. 236 |
| The Support Act | p. 238 |
| The Tour Producer | p. 239 |
| The Concert Promoter | p. 240 |
| The Tour Caterer | p. 240 |
| The Security Staff | p. 240 |
| The Production Manager | p. 242 |
| The Stage Manager | p. 242 |
| The Stage Carpenters | p. 243 |
| The Riggers | p. 243 |
| The Audio Team | p. 244 |
| The Lighting Director | p. 245 |
| The Local Stage Crew | p. 247 |
| Index | p. 249 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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