Concert Ideas: Event Planning Guide

Concert Ideas
Event Planning Guide
_________________________________
Harris Goldberg, Adam Tobey,
Mike Russo, Adam Taylor,
Dave Stevens, Amanda Campbell
Copyright © 20 Concert Ideas, Inc.
CONCERT IDEAS EVENT PLANNING GUIDE.
Copyright © 20 by Concert Ideas, Inc.
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval
system, without permission from publisher.
For information contact Concert Ideas, 73 Ratterman Road,
Woodstock, NY 12498 www.concert ideas.com.
Book design by Mike Russo
First published 2004
Updated 20
Copyright © 20
ISBN 1-4243-1146-2
I am dedicating this book to the memory of my
wife, Nancy. Her spirit will live forever in me and
our sons, Jesse and Eric. Her love, help, and support
will always be appreciated.
- Harris Goldberg
TABLE OF CONTENTS
Don’t Take This Too Seriously
1
Some Important Words
2
Questions You Should Be Asking
7
Concert Checklist and Organizer
9
A Simple Timeline For Producing Your Event
10
Concert Advance Sheet
14
Production Rundown and Advance: Show Day 101
16
A Sample Day of Show Schedule
18
The Guts Of It All
19
Some Expanded Tips To Help You Publicize Your Show
24
Ticketing
26
Show Day
27
Paperwork
28
Insurance
32
Staffing
35
Production
39
Concerts: What We’ve Learned
43
In Summary, What You Need To Produce A Great Show
46
The Truth
49
A Brief Day of Show Letter
50
How We Make Life Harder Than It Needs To Be
51
Notes
60
DON’T TAKE THIS TOO SERIOUSLY
There are two vital pieces of information that every concert chair and activities advisor
should always remember:
1. No one is born a concert planner
2. Have as much fun as you can
With this in mind, remember that nobody automatically knows if a building can fly lights
or the best way to configure a room. Furthermore, it is very easy to get overwhelmed
(whether you are student or a full time staff advisor) by the amount of work involved in
producing a successful show. The concert business is ever changing, and no one,
regardless of how long he or she has been involved, can know it all.
Delivering a concert to a school is not as easy as saying “We’d like Band XYZ to come
play at our school in a few weeks.” The process of bringing a concert, a comedian, or
any sort of talent to a college campus is far from simple. Yet with the proper planning a
school can have a wonderful show, and in the end everyone will have a fantastic time.
Insights about the nuts and bolts of working a show.
A lot of time, work, and effort are required to get a show confirmed. Offers and counter
offers, date changes, and venue availabilities are just a few of the concerns you have to
contend with. However, the real work starts once your date is confirmed. There are a
myriad of responsibilities and details, and hopefully these notes will help you prepare for
your show day.
Most of what is discussed here should be taken care of well ahead of the performance
date. But remember that everybody works the show, regardless if their job has been
completed weeks ago. You can never have too much help.
The key is to learn the concert game and to have fun doing it. Hopefully Concert Ideas
can help.
This booklet is designed to help you navigate through the jungle of major event planning. It does not have the answers to every question and aspect of concert planning:
nothing really could. Our goal is simply to help you on your way.
We hope that this information will help you make your event a memorable one.
Very truly yours,
The staff at Concert Ideas
Harris Adam Dave Mike Taylor Amanda
800-836-2000
www.concertideas.com
1
SOME IMPORTANT WORDS
Here is a list of terms related to producing comedy, music, and theatrical shows. This list
is intended to help you through not only the pages ahead but the entire concert process.
Although this list does not cover every possible term you will encounter, it should serve
as an excellent starting point.
Advance - As in “advance the show.” This is when someone with the act calls you to discuss show details, such as arrival time, production changes, etc.
All Access Passes - These get you anywhere, anytime. They should only be given out
sparingly.
Backdrop - A large curtain that is sometimes hung behind the stage to give a “warmer”
feel to the show.
Backline – A band’s musical equipment requirements. Sometimes (such as when a
band flys to a date) acts need you to supply drums, amps, keyboards, etc. when they
can’t bring their own. Any production company should be able to supply you with backline.
Backstage Passes - Allows access backstage. Generally given to the entire working
crew. They do not allow dressing room access.
Barricade - A barrier between the stage and the audience. This is usually manned by
security.
Bonuses / Overages - Extra monies paid to an act depending on number of tickets sold
and / or revenue generated.
Bid / Offer - What you offer a performer with the hopes that they will come perform for
you. Bids should be made in writing and spell out all the details of your proposed show,
including date, location, and money offered. When you make an offer remember the following: (1) They are binding - do not make an offer unless you are certain you want to
pursue the act, and (2) Just because you make an offer does not mean the act is going
to accept it.
Box Office - Where tickets are sold, usually in the venue where the show is being is
held.
Box Office Statement / Ticket Manifest - A report of how many tickets were sold, and
at what value.
Break Even Point - The point at which the amount of revenue generated from ticket
sales equals the amount of money spent to produce the show.
Catering - Food for the band, the crew, and everyone involved. The caterer should have
beverages available around the clock.
Checks - What you absolutely, positively, no way around it, must have the day of the
show for the band.
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Comps or Complimentary Tickets - Tickets that the band wants held for their friends,
business associates, etc. These are free tickets that you give away, but that count
towards your total room capacity.
Configuration - How the room is set up. Do you go for 2000 seats or 4000 seats?
Contract - The legal piece of paper that details the specifics of your show. If your bid /
offer is accepted, a contract will be issued to you. Contracts are legally binding and can
only be changed in writing if both parties agree.
Crew - The people who work at your show. You can never have too many people on
your crew.
Deadwood - Tickets that are not sold due to various reasons, such as security concerns
or production obstructions.
Disclaimers - Warning statements, usually printed on tickets and/or posters. Items such
as “no refunds” and “no recording devices of any kind” are common.
Documentation - All the papers relating to everything. Keep big thick folders of everything you do, and always put everything in writing.
Doors Open - When you let people into the show. Normally an hour or so before start
time, but this can change.
Drop - The ripped ticket stubs. These are especially important when bands are being
paid bonuses.
Entertainment Tax - A tax paid for performances, which varies from state to state.
Some states withhold taxes, others do not.
Facility - Where the show happens.
Floor Seating - As opposed to bleacher seats. Floor seats some times cost more than
bleacher seats.
Front of House (FOH) – The area of your venue designated for an act’s mixing and
lighting boards. Most often set up in the crowd (and possibly requiring some seats
around it being left unsold), this setup controls the show in relationship to what the audience sees and hears.
Fly - This relates to sound and lights; to fly means to hang sound and/or lights from the
support beams of your venue’s ceiling. If you do not fly, you use ground support, such
as towers and lifts.
General Admission - This means no assigned seats. First come, first serve.
Generator - A device that provides electricity. Many venues require additional power.
For the most part, you need 400 amps three phase for lighting and 200 amps three
phase for sound.
Gross Potential - the maximum amount of revenue a show can produce. Multiply the
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max ticket price by the number of seats. Important when determining bonuses.
Handicap Seating - Special seating reserved for handicapped patrons is required by
law.
Hospitality - Food and all that good stuff. May also include laundry detail, and other
“running” duties.
House Policy - Particular rules set down by the venue. A good example is no smoking
policy.
House Staff - Employees of the venue where the show is going to happen, usually part
of a union. This staff may include everyone from ticket takers to stage hands, and you
often have to pay for their services.
In-House - Applied to materials and or personnel supplied by the venue. For example,
some schools have their own in house staging.
Intermission - A break in the show, normally somewhere in the middle. Intermissions
are not very common in contemporary music and comedy.
Manifest - An exact and detailed account of seating and available tickets.
Market - Who you try to sell to ( target sales audience).
Merchandise - What the band sells. Can include T-shirts, posters, CD’s, etc.
Merch Rate - A percentage of the revenue generated by the sale of merchandise that
the school gets. A split of 85 percent to artist and 15 percent to school is common, with
100 percent of CD sales typicallly going to the artist.
Middle Agent - People who work for schools. They do not represent acts or manage
bands. Their job is to help you produce a show.
Mixer - A control system for lights, sound, and monitors. Each group/act will typically
require its own mixer console.
Opening Act - The performer who starts the show. Artists often bring their own opening
act.
Outlets - Where you sell tickets. Normally, the more outlets the better.
Passes - Everybody who works the show needs one. There are different types, such as
All Access and Backstage.
Permanent Seating - Built-in seats that cannot move.
Petty Cash - Money you have the day of show to pay for unexpected things. Its always
good to have petty cash.
Photo Passes - Access passes given to photographers. These always have to be
approved by the performer, and each act will have their own photo guidelines.
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Press Release - Information you release to papers, magazines, radio stations, etc. that
spells out the specifics of your event.
Primary Agent - The person who represents the band. Their responsibility is to the act,
not the buyer ( i.e. not to you).
Production Kills - Seats that are lost due to production. Often mixing boards force
seats to be lost.
Production - The physical aspects of the show: sound, lights, stage, power, barricades,
etc. You generally have to rent production for your show.
Production Company - The firm that you hire to provide your production.
Production Manager - The individual responsible for the band’s show. They handle the
technical aspects of the show for the band, and report to the tour manager.
Production Personnel - The staff that handles your production. You may have some
staff on campus, but usually they come with the production company.
Promotion- How you advertise your show. Posters, flyers, radio ads, you name it.
Promotion can also include ticket giveaways.
Proscenium Staging – A permanent, curved stage often found in theaters.
Public Relations Office - Most schools have one. This office is specifically designed to
let people know what is going on at the school. A valuable tool to be utilized when promoting.
Publicity - See promotion.
References – Recommendations - You should get references on all the parts of your
show: the act, your agent, your production company, everything. Some schools require
that you get references, especially with regards to security.
Reserved Seating - Usually applies in theatres. Seats that are held for a specific reason or when seating is assigned, i.e. by numbered seats.
Rider - A rider accompanies a contract and spells out the specific requirements of a
show. A rider will tell you what type of production you need, what sort of food the band
wants, and various performance requirements. Like a contract, riders can only be
changed in writing if both parties agree. Remember, however, that riders are wish lists
and are not cast in stone.
Rigger - The individual who climbs around your building and hangs equipment.
Rigging - Suspended equipment used to “fly” sound and lights.
Runner - A person who runs around all day taking care of errands. Almost every band
demands that a runner be available with a vehicle onhand.
Scaling - Varying groups of ticket prices, usually separated by their proximity to the
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stage. For examples: 400 seats at $10 and 200 seats at $15.
Seating Capacity - The max number of bodies you can fit into your venue.
Seating Diagram - The layout of the seats in your venue.
Security - Comes in all different forms: campus security, off duty police officers, rented
security. Essential for any show you do, and each school and band have their own specific requirements.
Settlement Sheet - A detailed form that spells out all expenses and revenue. Essential
when bonuses are being paid.
Showtime - When the performance begins.
Stacks / Racks - Relates to the rows of sound and lights at shows. “A stack” of 24
speakers.
Stubs - What you rip off and keep from tickets. Important for settlements.
Three Phases - Describes the electrical requirements needed for sound and lights. A 4
wire system, with 3 “hot” legs and one ground (as opposed to Single Phase, with two
“hot” legs and one ground).
Ticket Takers - People who take tickets ( this was an easy one).
Tour Manager - The person responsible for every aspect of the tour from the band’s
point of view. The day of the show, the buck stops with the tour manager.
Track Act - An artist who sings to prerecorded music (often requiring a DAT machine
from the production company).
Ushers - People who help patrons to their seats. They also sometimes help with basic
security.
Venue - The physical location of the show.
Will Call Window - At the box office, where reserved and pre-ordered tickets are held.
For examples, complimentary band tickets are usually kept at the Will Call Window.
Wings - Small additional stage sections that are used to hold sound speaker stacks.
6
QUESTIONS YOU SHOULD BE ASKING
Producing a major concert at a college or university is a very long and involved (yet
interesting and challenging) process. It is without question a lot of work. But the right
concert at the right time is an exciting way to bring the campus together and should also
be a fun and memorable night for everyone involved.
Producing college concerts should be viewed as a learning process. Many of the skills
employed by the typical concert committee are very useful after graduation, no matter
what profession you choose to pursue.
Remember that you have been entrusted with a very large sum of money and given the
power to spend it. You must be careful to make intelligent decisions that will provide the
most benefit to the entire school, while achieving the committee’s desired goals. You
need to define your goals, plan how to achieve them, research the possibilities, and
implement your plan. A pretty tall order for someone who is carrying 18 credits and still
trying to seek out a social life!
With this in mind, Concert Ideas has put this together to help guide you through the
process of producing a major concert. Read it over, and if you have any questions do
not hesitate to call us at 845-679-6000 or 800-836-2000. Hopefully this will help to
insure that your next concert is a success and goes off without a hitch.
To begin, ask about:
THE PURPOSE
Most college concerts are produced with one or more of these things in mind:
1. To entertain the student body
2. To educate the committee about producing concerts
3. To sell tickets and reach a “break even” point
Knowing which of these are your primary and secondary purposes will help you to know
what acts to book and what money to spend.
THE NATURE OF THE SHOW
(Your Goals for the Event)
1. Will this be a free show, or will you bE selling tickets?
2. Will the concert be closed to students only, or open to the public?
3. Is there a need to make money back, or is revenue not a factor?
4. Is there a need to do a certain type of show (comedy, rock, rap, etc.)?
5. Is there a need to appeal to a certain student demographic?
SELECTING THE DATE
1. The more dates you can do, the better chance you’ll have to get the act you
want.
2. Go over potential dates with your advisor
3. Get every date available and get it in writing to reserve the facility.
4. Make sure there areno potential conflicts (athletics, other programs, school vacations, facility renovation).
7
QUESTIONS ABOUT THE FACILITY
1. Is there a stage, or will you have to rent one? What size will you need?
2. Is there adequate power, or do you need a generator?
3. Who is the building electrician, and will be be available at the show?
4. What is the maximum capacity?
5. Is there permanent seating, or will you set up chairs? Are there bleachers, or
does everyone stand?
6. Are there reserved seats, or is it all general admission?
7. Can you hang sound / lights, or will you need ground support?
8. What do you do about dressing rooms?
9. If the show is outside, is there a rain location?
THE BUDGET
Make sure you take into account the following expenses:
1. The artist’s fee.
2. The middle agent’s fee.
3. Production: sound and lights and rider requirements.
4. Catering.
5. Advertising.
6. Security.
7. Ticket Printing.
8. Hall rental.
9. Your school’s internal expenses.
10. Any other expenses you may incur.
11. If you are uncertain about your ability to afford the show, obtain an advance
copy of the rider.
8
CONCERT CHECKLIST AND ORGANIZER
PREPLANNING STAGE:
1. Select your date(s). Whenever possible, obtain alternate dates. Reserve your
facility (in writing) for each possible day, and make sure you have the location
for the entire day.
2. Check your budget and confirm your funding with the appropriate people.
Allow several thousand dollars for ancillary expenses such as sound, lights,
catering, etc. See our production notes for a more extensive discussion of this
topic.
3. Select artists in order of preference. Based on your knowledge of your facility
(stage size, electrical service, clearances, etc.) determine any problems in
meeting the technical rider.
4. Make a firm offer, in writing, for the act you want. Be aware that a written offer
is a binding commitment. Add any University-specific paperwork to it.
5. Get an official confirmation that the act has accepted your offer.
WHEN YOUR DATE IS BOOKED:
1. Plan your promotional campaign. Use every resource at your disposal and plan
an intensive, long term strategy.
2. Select and organize your staff. Make sure you have a competent and well sized staff.
You can never have too many people loading equipment in, hanging fliers, etc.
3. Order tickets and arrange sales outlets.
4. Make arrangements for security with campus and local police (if necessary).
5. When contracts arrive, call your middle agent to discuss the necessary amend
ments and changes to the rider and contract. If necessary, re-attach your university rider. Negotiate any remaining details.
SHORTLY BEFORE THE SHOW:
1. Check on tickets sales regularly and adjust promotions as needed. Make notes
of them for band-requested ticket counts.
2. Make sure that arrangements have been made for the opening act.
3. Confirm that checks have been ordered and will be available the day of the show.
4. Advance your date with the road manager and make sure that a schedule is established for the day of the show. Make sure that stagehands, box office people, electrician, spot operators, security officers, and the rest of your personnel will
be on hand at the scheduled time.
5. Hold a detailed organizational meeting of all your staff.
DAY OF SHOW:
1. Brief your staff and distribute ID materials.
2. Close ticket outlets in time to collect cash for deposit and return any unsold
tickets to the box office.
3. Keep track of the progress of set-up, hospitality, and arrival of the artists to
make sure that everything is on schedule.
4. Be prepared to adjust your plans to deal with unexpected surprises.
5. Be sure that the stage crew and clean up crew are on hand at the beginning and the
end of the concert.
Make it a point to thank everyone who worked hard on the concert.
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A SIMPLE TIMELINE FOR PRODUCING YOUR EVENT
4 MONTHS OUT
Determine what type of show you want to do
Determine why you are doing the show
3-4 MONTHS OUT
Survey your committee / campus for style and names
Reserve venue - GET IN WRITING
Generate Budget
TALENT COST
PRODUCTION COST-Sound,Lights, Barricade, Backline
MARKETING COST-Newspaper,Radio,TV, Misc.
CATERING COST-Band and Local Crew
STAFF COST
VENUE COST
RUNNER COST
TICKETING COST
MISC COST
TOTAL COSTS
Compare cost to budget
Is the show financially feasible?
What would your ticket prices be?
What happens when you sell 10 tickets? Do you have the money in the bank?
Compile survey / determine wish list
3 MONTHS OUT
Determine committees and assign responsibilities
Who is responsible for what and when
2-3 MONTHS OUT Begin planning for offer
Reconfirm venue and budget
Start to develop marketing plan based on genre
I.e. this is how we market a comedy show, this is how we market an urban show, etc
Contact potential print media
Contact potential radio
Contact poster printer
Contact school paper
Develop internet marketing plan
Consider "non-traditional" source - youth organizations,
Community centers, etc
Contact other schools
Determine ticketing procedure- online? outlets? Etc.
10
MAKE BID
Have top 10 choices, in order, ready to go
Include any and all details in the offer
Show time
Ticket prices
Radius clause
Merch rate
Include school paperwork - school criteria / rider / contract
Venue restrictions
Curfew
Support Act ideas
Deadlines for Paperwork return due to school policy!!!
THE MORE YOU TELL THEM UP FRONT, THE LOWER THE CHANCE OF
PROBLEMS
ONCE BID IS ACCEPTED
Tell venue
Tell staff
Alert media, campus PR office
Alert catering
IMMEDIATELY
begin marketing - radio, print, flyers, table tops, email blasts
Speak with record label contacts
acquire available promotional materials
Bulletin boards, door hangers, etc
Continue marketing until show day
Continue to evaluate and change marketing to suit needs
Assign rider sections to responsible committees - I.e. catering,
production,marketing
Begin paperwork review/editing - BREAK OUT THE RED PEN
Talk to all involved parties-campus lawyers, agent, etc.
Create "working copy" of paperwork with changes
Sign and return contracts ASAP WITH ALL NOTATIONS –
Send contracts in a form that be tracked, I.e. FedEx
HIRE PRODUCTION COMPANY - Do you have one you have used in the past? If not,
get recommendations!!
Send them current band riders relating to production.
Get production mgr / tour mgr info
Begin master phone list of all relevant participants
Secure runners
Hire / secure security
DETERMINE HOW MANY SECURTY AND WHEN
Pros? campus police? Student?
Secure labor
pros? students? YOU CAN NEVER HAVE TOO MANY LABORERS!!
Set preliminary schedule
Have student workers sign contract
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1-2 MONTHS OUT GO ON SALE
PEOPLE WILL TRAVEL TO GO TO SHOW, BUT NOT TO BUY TIX
online, outlets, 24 hour availability, ease of access!
Assess marketing with ticket sales - adjust as needed
Confirm all aspects of show, in general
Venue
Production
Catering
Staffing
Security
House electrician-needs to be on call ALL DAY!!!
1 MONTH OUT
Confirm return of contracts
Negotiate any final issues
IF CONTRACTS NOT RETURNED, SEND WRITTEN NOTICE WITH DEAD
LINES FOR PAYMENT
Contact tour mgr - review:
Set times
Load in / out times
Crew
Directions
Tech issues
Put prod mgr in contact with your prod company
Venue restrictions
Any "quirks" of the show
Start master phone list
2-3 WEEKS OUT
Reconfirm with facility and crew
Reconfirm contracts are signed and returned
Reconfirm checks are ready/being processed
Reconfirm crew
Reconfirm logistics with prod / tour mgr
Reconfirm catering
Check ticket sales - adjust outlets / marketing as needed
1-2 WEEKS OUT
2-3 calls with tour/prod mgr
Confirm load in time for band and production
Confirm internet access for venue
Get phone numbers for phones / fax / etc
Venue review
Create All Access Passes/Create Working Passes
Check with prod mgr if they are carrying working passes for your local crew
Final marketing push if necessary
1-2 DAYS Out
Final check in with tour mgr
Confirm and clean dressing rooms / prod office
Confirm venue staff
Get petty cash ($200-500)
Charge phones, walkie talkies, etc
Get: bus stock, dressing room requirements, ear plugs, water, sharpies,
phone books, flashlights. gloves, lanyards
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Runner info, gas up cars
Finish phone list
Reconfirm runner
FINAL MENTAL CHECKLIST
1. Production / tour mgr cell numbers SHOW HAS BEEN ADVANCED WITH THEM
2. Sound, lights, staging, power, barricade, etc. are all secured
3. Arrival times for production
4. Arrival times for bands
5. Crew, crew, crew, and crew AVAILABLE ALL DAY
6. Petty cash
7. Runner(s)
8. Band checks
9. Everything is cleared and set w/ the venue
10. Catering is all set and times for food are all reconfirmed
11. Security - who is doing it, when are they arriving, how many?
12. Tickets - are you selling day of? do people know where? do you have cash available
for sales?
13. Everything has been advanced with the production manager and he/she has spoken
with you
14. You have a day of show schedule and the volunteers are ready, willing, and able to
follow it
15. Your electrician and facilities folks (janitorial, etc) are ready
16. Dressing rooms are reserved and will be cleaned the night before
17. Parking is reserved and blocked off
18. If any part of the show is outdoors, the rain location is ready
19. All paperwork is complete
Show Day
STAY CALM, HAVE FUN, BE PREPARED TO IMPROVISE
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CONCERT ADVANCE SHEET
What You Need to Know the Day of the Show
An advance sheet contains the relevant information that you will need the day of your
show. It includes (but is not limited to) who is arriving and when, how many vehicles are
coming, who your main contact with the band will be, when the show starts, and what
your security needs are. Advance sheets are designed to make all of your important
information available to you on one, simple form. Advance sheets are usually very specific, detailed, and thorough. We designed this form in order to help you prepare for your
show and to help you understand all the different information that is relevant to a concert. Not every term listed below will apply to your show, but we wanted to make this
form as thorough as possible.
DEFINITION OF TERMS:
Show - Who is performing.
Day/Date - The day of week and and the calendar date.
Tour Mgr. - The tour manager is the “big boss” on the road. He or she reports directly to
the artist and is the ultimate decision maker the day of the show.
Production Mgr. - The production manager usually arrives early in the day and is
responsible for making sure everything is running smoothly. He or she reports to the
Tour Manager.
Sound Contact - This is the company and person who you have hired to be responsible
for your sound.
Lighting Contact - This is the company and person who you have hired to be responsible for your lighting.
Settlement - If your show involves paying bonuses or percentages, make note of who
you settle with. This is usually the tour manager. Settlement should be done after the
show.
Merchandise Contact - This is the person with the artist responsible for selling the tour
merchandise. They report to the Tour Manager.
Venue Contact Info. - Phone numbers, fax numbers, e-mail and any other relevant contact information for your building setup.
Phone Day Before - Where you can reach the tour manager the day before your show.
This is good to know in case there are any last minute changes.
House Manager - This is the person who runs the facility where your show is being
held. Most gyms do not have managers, so this may simply be the contact for your
gym ( i.e. the physical plant contact). This is good to know in case there are any facility
problems, such as unlocking doors, turning off the power, etc.
Buses Arriving - How many buses does the artist arrive in and when are they getting
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there? This is important because you may have to secure special parking permits and
spaces.
Trucks Arriving - Ditto.
Limos Arriving - Ditto
Vans Arriving - Ditto
Cash Needed - You should always have petty cash around for unforeseen emergencies. Also, do you need any special cash for things such as dinner buyouts? It’s always
good to keep track of this.
Crew Call - You always need a crew to work your show. If you hire a production company ( i.e. sound and lighting contact) they will bring a small crew. You, however, will need
to provide most of the crew. The production manager will tell you how many people you
need and when you need them. Your crew should plan on being available all day. Load in
refers to starting crew, load out refers to break down crew.
Runners - Runners run errands. You always need at least one, but sometimes you need
additional runners.
Security - Each show has its own security needs. Again, the production manager will
tell you what is required. Also, your school may have specific requirements. Should
check with your security office for details.
Rigger - A rigger climbs into the scaffolding and “rigs” sound and lights. Some buildings
cannot rig. If you can, and if your act requires rigging, you will need to hire a rigger.
Most production companies can supply you with a rigger.
Photos - Are they allowed? Check with the Production Mgr.
Audio - Ditto.
Video - Ditto.
Showtime - When does the show start.
Lobby Open - If there is a lobby, when does it open.
Hall Open - When can you actually get into the show room.
Sound Check Time - The production manager will tell you when the band is going to
sound check. Everything must be set up before the sound check, and the room is usually empty except for the band and essential personnel during the sound check.
Spots - If you need spot lights, find out how many. Any good production company can
get you spot lights.
Support Start Time - When does the opening act, if there is one, go on.
Headliner Start Time - When does the main band go on?
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PRODUCTION RUNDOWN AND ADVANCE:
SHOW DAY 101
Show: _____________________________ Date:_______________________________
We’ve designed this advance sheet to help you keep track of the myriad pieces of information needed to produce your event. These questions will help the band and you keep
all of your data together and aid in having a fun and successful show.
BASICS:
Venue name: ______________ Arena / Gym / Theatre / Ballroom / Other____________
Is your show Inside / Outside (rain location: ________________)
Remember, if you don’t have a rain location, and the weather prevents the show,
you still have to pay the acts
General Admission / Fixed Seating
Door time: _________ Show time: __________
Parking for production: _______________vehicles will be at: _____________________
Parking for the band: ________________ vehicles will be at: _____________________
Make sure you have all relevant permits and passes, and that parking areas are secure
Do you have photos of the venue? Y / N
Does the venue have any “quirks” (i.e. a difficult load in, limited availability, etc)?
______________________________________________________________________
It’s always better to tell the band EVERYTHING – surprises make for a difficult day!
SOUND AND LIGHTS, STAGING, AND PRODUCTION:
Load-in time for production: _________
Load-in time for the band: __________
Production company contact: ______________________________
Band’s production manager contact: _________________________
House electrician contact: _________________________________
Have all of these people spoken with each other?
Stage size (w/wings): _____________ Stage backdrop? Y / N Stage skirting? Y / N
Load-in time for stage: _________
Barricade? Y / N How many feet? _________ Load-in time for barricade: _________
Pipe & Drape / Bike Rack / Other for sides of stage? Bike Rack / Other for FOH board?
Do you have cable matting? Y / N
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Generators? Y / N How many? ________________ Arrival time: _________
You usually need 400 amps / 3 phase for lights, 200 amps/3 phase for sound
Can You Fly Lights? Y / N
Can You Fly Sound? Y / N
How many? _________
If you can fly, are you providing riggers? Y / N
Rigger contact ______________________________
If you cannot fly, will you provide Genie towers for lighting? Y / N
Are hazers allowed for your building? Y / N
Do you need any backline? Y / N
How many? ______
Arrival time: _________
Backline contact: ______________________________
CREW, ETC.:
Number of volunteers at load-in: ________________
Number of volunteers for change-over:___________
Number of volunteers at load-out: ________________
Student / Pro / Both
Student / Pro / Both
Make sure you volunteers stay until released! Also, if your volunteers come in
shifts, make sure they overlap
Security contact______________________________
Number of security (Student, staff, and pros): _________
_________
Security arrival time:
PRODUCTION OFFICES:
Number of offices available: _________
Number of phone lines: __________
Phone number 2: _______________
Phone number 1: ________________
High-speed Internet access? Y / N
What time will all of these be available? ______
Have any and all codes posted in the respective rooms! Make sure everything is
ready at least 30 minutes before the bands arrive
Number of runners available ALL DAY_________ Petty cash available? Y / N
DRESSING ROOMS / HOSPITALITY:
Catering contact ______________________________
How many dressing rooms? _________
When will they be ready?__________
Is there after-show food? Y / N
Will there be furniture in them? Y / N
Do you have signage ready for these rooms and the public sections of the venue? Y / N
Make sure the catering contact has your amended riders and contacts the tour
manager. As a precaution, make sure that everything arrives a little ahead of
schedule. Have a great show!
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A SAMPLE DAY OF SHOW SCHEDULE
9:30am:
Advisors Arrive
Phone Lines Set
Dressing Rooms Cleaned
Entertainment Chair Arrives
Runner Reports In
10:00am:
Tech Load-In
11:00am:
Box Office Opens
Hospitality Coordinators Arrive
11:30am:
Security Arrives
12:00pm:
Band Load-In
Crew Lunch
2:30pm:
Preliminary Dressing Room Set
5:00pm:
Merchandising/Concession Check-In
5:30pm:
Security Meeting
6:00pm:
Crew Dinner
6:15pm:
University Police Arrive
7:00pm:
Doors Open
7:55pm:
MC Introduces Show
8:00pm:
Opening Act
8:45pm:
Set Break/Intermission
9:00pm:
Main Act
9:30pm:
Box Office Closes
10:30/11:00pm:
Show Ends
11:00pm:
Load-out
18
PART ONE: THE GUTS OF IT ALL
THE GREATER COSTS OF TALENT AND PRODUCING A SHOW
Inflation aside, artists and concerts are getting more expensive.This may mean less
opportunities for schools, and it may also mean fewer dates for artists. In our opinion, all
this really means is that when planning shows more time should be put in when determining budgets, the reason behind the show, and how much all your non-band related
costs will be. Costs have not become prohibitive, but a little extra planning may be necessary.
Before you even consider what act to bring, when to bring it, or how to structure your
show, you should take into account the expense of producing a show.This is one of the
most commonly asked questions in the college market today and ultimately one of the
most important. Regardless of your intentions or goals, if you do not have the financial
reserve to back your show your options will be slim to none. However, there is no concrete answer to this question. Every show is different, every school is different, and
every band needs different things. The numbers suggested here are nothing more
than estimates based on experience. Regardless, you should always shop around.
Prices for every aspect of a show can vary greatly from company to company, so always
do your homework.
The biggest cost associated with a concert (excluding the cost of the talent) is the
production. Production entails the physical aspects of the show: sound, lights, stage,
barricade, generator, roofing, etc. Prices for production are also affected by where you
do a show. Gym shows usually cost less to produce than outdoors shows, while theatre
shows usually cost less than gym shows. Here are some basics:
The cost to produce a major concert in a university gym can range from $7-15,000. This
should include renting sound, lights, stage, barricade, and a generator. This does not
include the cost of hiring personnel, covering the floor, or any other in-house costs you
may have. This also does not include facility rental. However, if you are getting quotes
higher than this range, you should do some more checking. If the show is booked, one
excellent resource is the band themselves. Ask the production manager what he or she
thinks it should cost to produce the show. This will give you a good measuring stick to
work with.
Outdoors shows can cost more because you need to get a roof for your stage. A roof
alone can cost you $1,500 to rent. Theatre shows tend to be less expensive because
you do not need to rent a stage and most theatres have some usable lighting. This being
the case you might save a couple thousand dollars. Again though, these are just estimates.
19
Hospitality is another significant cost, especially if you are having more than one artist.
A three act show can run up a $2,500 catering bill. Remember that you are usually feeding the band and their crew two meals (and sometimes three). True, a lot of catering can
be edited out of the contract, but do not think that $250 will cover your costs.
Security is another cost. Depending on whether you hire professional security, use volunteers, or hire campus police, you may need to spend upwards of $2,000 on security
as well. There is also the cost of EMS and town police, should you need them.
Publicity is difficult to pin down. Some schools will only spend a few hundred dollars
printing posters, while others spend thousands on more involved campaigns. This is up
to you and what you feel is appropriate and sufficient. However, do not underestimate
you need to publicize your show. If people do not know about it, they will not come.
Period.
Again, these are all just estimates. There are always unexpected expenses and it never
hurts to overestimate your costs. Plus, if you do additional things like print t-shirts or
have staff parties, you must compensate for these costs as well. As a general rule,
budget $15-20,000 for non-band costs. Although this may seem high, its better to have
money left over than to have bills you cannot pay.
After dealing with your budgetary issues, the next step is to determine why you want to
bring an act to your school. Do you just want to entertain the campus, or the campus
and the community? Perhaps you want to educate the student body, or appeal to a specific student demographic. The next step is to decide if the show is going to be free or if
there will be a charge for tickets. Then determine what type of show you want. Small?
Large? Comedian? Concert? Multicultural? This question is important because it will
affect who is available, where you have the show, and possibly how you promote it. Your
advisor should be able to help you in this area. In addition, your group’s constitution may
offer direction. Whatever the answer, this question is important because it will affect
what type of talent you bring to your school. For example, if the goal of the performance
is to draw a wide audience, it is essential to bring a well known act. A smaller, lesser
known act (although entertaining) may not draw the crowds that a larger act might.
HOW TO CHOOSE AN ACT
The choice of what act to bring does not come until several other decisions have been
made. The most important of these decisions is does your school have the right type of
facility for the variety of show you want? Not all schools have facilities appropriate for
putting on concerts. Although almost all schools have ballrooms and gymnasiums, certain acts may not be appropriate for these locations. If you do have a facility, reserve it
for as many possible dates as you can. The last thing you want is to book an act and not
have a place to put it. It is also important to know the specifics of your facility. Check
what type of power supply it has, where equipment can be loaded and unloaded, and if
there are any restrictions placed on the location. Try to eliminate as many potential day
of show problems as you can in the preplanning stage. Some schools go as far as digitally photographing the entire venue to show an act before they accept a bid.
You may also want to consider the timing of your event. Is there another activity going
on at your campus or in the community on the same day?
Events close to one another often make students choose, and if your show is going to
be affected you may want to change your date.
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TO RAIN OR NOT TO RAIN
(That is the Question)
When considering where you will have your event, remember: outdoor shows are risky.
They can be fun, extremely successful, and the highest attended events you may ever
have. But they also leave a lot to chance, so you should consider the risks before doing
an outside event.
Obviously the largest concern and greatest negative regarding outdoor shows is weather. Rain, low temperatures, and even wind can affect your show. Covered stages can
alleviate some of your concerns, but not all of them. If a torrential downpour happens
and rain is blowing and or splashing onto the stage and the band does not feel safe performing, you still have to pay them. You will see this point under the “Force Majure” or
“Inclement Weather” clause of a contract. These clauses cannot be removed, and are
usually non-negotiable.
Solutions include inclement weather insurance (which you can purchase on a day to
day basis ) or having a rain location. Rain locations are preferred because that way you
will still have show. Insurance will just cover losses.
As mentioned before, outdoor shows also require greater production. This generally
means larger sound systems and more security. You may also need to rent fencing to
secure the area where the show is being held. Finally, if your outdoor venue is a field,
where will you put the dressing rooms? If they are across campus a band may need to
be driven from one location to another.
Although there are negatives, the are also a lot of positives. Shows tend to be more fun
outdoors because there is more room to move around and there are less concerns
about crowding. It also tends to be easier to reserve an outdoor location. More often
than not you can also get more people in an outdoor venue. Finally, outdoor shows
seem to create a “friendlier” environment for the audience, and this leads to fewer problems.
Once you have confirmed that you have a facility, decided why you are going to have a
show, and what type of show you want to have, then you can talk about who specifically
you want to bring.
This is often the most difficult aspect of bringing a show to your school. Everyone has
different tastes, and everyone has his or her own ideas. The key is to find a middle
ground that the most people can agree on. Student opinion can be difficult to pin down,
and there is no guarantee that you will make the right choice. Also, you are always
subject to the marketplace: what is actually available and touring during the time
frame you’re looking to fill. As a preliminary step, you might want to poll the student
body through the campus newspaper or take a survey in your student union. The key is
to get input and feedback from the students and from the community. It is also important
to do this as quickly as possible. If you take two days to make a decision as opposed to
two weeks, your chances of getting the act you want are greatly improved. Try to determine what act has the greatest appeal. Figure out what or who your target audience
likes and go from there. Do not make decisions based on the desires of a few individuals. Concerts are for the student body at large, not a handful of people.
BIDDING ISSUES
21
Once you decide on a type of act, you need to find out what is available. Most schools
use a middle agent or buying service for this task. A good agent can find out availabilities, prices, help with contracts, and even help you choose an act. An agent should also
help you with any problems you encounter along the way, but not intrude into the
process. It is your show, and the agent is there to help you.
Making an offer is just as involved as all the other aspects of putting on a show. This is
where your agent really enters the fray. It is the agent’s job to make bids for the acts you
want and to help you through the bidding process. Find the agent that is right for you
and ask him or her to explain the process to you. The more details you know the better.
In addition, your advisor must give your agent the ‘ok’ to make the bids for you. School
policy dictates this for a variety of reasons - the least of which is legality.
An offer is a BINDING commitment, so do not make one unless you are 100 % serious.
In addition, offers must be made in writing and you can only have one bid out at a time
for the same date. Do not be surprised if the act you are after tries to get a higher price.
The talent you want may receive several offers for the same date, so be prepared to
haggle. Location, timing, and the amount of money offered all factor into whether an act
accepts a bid. Certain acts simply do not want to play colleges. In addition, colleges and
universities cannot always provide acts with everything they want. This is particularly
true in regards to alcohol. Furthermore, some acts have stage shows that are too big for
a campus. Finally (and this is often difficult to accept), certain acts do not play colleges
because they feel that they have “outgrown” the college market. Simply wanting an act,
having the location for it, and obtaining the needed funds does not guarantee that an act
will agree to play.
The bidding process can be slow and tedious, and often bands take weeks to respond.
Your agent can usually get a feel for what is going on, but the end decision lies with the
band. Yet once the date is accepted and contracts are issued by the act’s agent and or
manager, the deal is closed. The key to successfully navigating this part of the concert
process is a good relationship with your faculty advisor and with your agent.
Your first glimpse of a contract may be overwhelming. The band may ask for things that
you cannot possibly supply, and quite possibly you have never heard of. 99 percent of
the time your school will get the same contract that a 10,000 seat arena will get. It is
important to go through the contract with your advisor and your agent to remove anything that is not applicable to your school. Don’t be alarmed by huge contracts: you can
usually work your way through them.
ADVERTISING
Even before your offer gets accepted, you need to think your advertising. If you don’t
properly advertise your show you will not sell tickets. Period. Even if your show is free,
you have to let people know about it. There are a variety of ways to advertise your show,
and the effectiveness of your advertising is impossible to determine. In other words, it’s
worth going the extra mile.
Bands and record companies will provide a limited amount of help. You will get some
pictures, probably a few CD’s, and maybe some posters. Maximize what you get. Print
your own posters, flyers, and signs. Plaster your campus. Also advertise at record
stores, clubs, high schools, other colleges, any other place you want people to know
about your show. Think about where your target audience is and how to advertise to
them. Use your campus radio station as well as local stations. Arrange ticket give-a-
22
ways and announcements, as well as getting mentions in the calendar sections of you
local newspapers. Most importantly, you should be able to do all of this for very little
money. Posters and flyers are cheap, and if you do ticket give-a-ways stations will
announce your show for free. Being mentioned on concert calendars is also free.
If you are going to buy ads, buy wisely. No one watches television to find out about concerts. If you approach a radio station, get a marketing plan from them before you agree
to anything. Newspaper ads can get expensive, so again, choose wisely. We recommend also utilizing your public relations office, as well as other schools.
E-mail everyone regularly, use the campus website, the listserve and any other tools at
your disposal. Post messages on band sites, fan sites and even at other schools’ sites.
The best thing about digital resources is that they are usually all free. REMEMBER:
NEVER EXPECT PEOPLE TO REMEMBER ABOUT YOUR SHOW. You have to tell
them.
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SOME EXPANDED TIPS TO HELP YOU
PUBLICIZE YOUR SHOW
1. Student Newspapers and Radio Stations As soon as your show has been confirmed you will want to get the word out to your campus. School newspapers and radio
stations should be top on your list for announcements. Make sure that you know the
deadlines and procedures for submitting announcements to both of these organizations
and try to update them as more information (on sale dates, locations, etc.) becomes
available.
You may also want to approach “regular” stations in your area. Some may be willing to
do trades while others may want to sell you advertising time. It’s your choice, but carefully consider your options. You might be able to get your show mentioned in exchange for
some ticket give-a-ways, but it might cost you some money. Also, makes sure you know
the station’s call numbers, name, and phone number. Just knowing that you want to
approach WXYZ doesn’t help.
2. College Public Relations Office Most campuses have an individual or an office that
is the clearing house for media relations and the college. Check with this office to get
contact names and numbers for community newspapers, radio, newsletters, etc. Most
local papers and radio stations have calender sections that your concert announcement
could run in. Also you will need to decide whether to buy ads in local papers and on
radio, depending on your budget and your needs.
3. Flyers, Posters, Table Tents, etc. Do not depend on publicity materials provided by
a band or comedian as your only source!!! Chances are most acts will provide only a
few photos and posters and you will need to make publicity materials from these. Make
sure that the show date/time, ticket locations, hours and a phone number for additional
information is prominently displayed on anything you print for the event. Make anything
you print for the event eye catching and clear so people will be both drawn to it and
interested by it.
4. Canvassing the Campus and Beyond Okay, you’ve printed up all these materials,
now get them out there! Hit residence halls, classroom buildings, common areas, gym
bulletin boards, student union, dining halls - anywhere on your campus that students
are apt to see your announcement. Putting them up once alone doesn’t help either, you
need to constantly check to make sure that your materials are visible.
Shows that are open to the public also need community canvassing. Other local colleges and high schools are great places to start. Store fronts, bus shelters, grocery
stores, bars and restaurants are some great places to start putting up fliers and posters.
Don’t forget places such as health clubs, bowling alleys, dance clubs and movies theaters, too. Local record stores usually are great places to put up publicity and also to
use as a local ticket selling agent. Most independent record stores will usually set up
displays for acts and/or sell tickets in exchange for a couple of pairs of tickets to your
show.
Another part of this, again, is the Internet. It’s easy for reaching, and free e-mails, fansites, official sites, blogs and other campus list serves can all help.
5. Getting more creative! Balloons, banners, side walk chalk writing, buttons, fortune
24
cookies - you are only limited by your own imagination when it comes to publicizing your
event. Brainstorm with your committee and advisor and see what ideas you come up
with! Have fun and get the news out there about your event!
6. Don’t EVER let up A common mistake made by schools is to let up on their advertising as soon as tickets go on sale. Don’t slow down! People should not be able to
walk through campus or town without some sort of reminder of your show and how to
get tickets. Letting up? Well that happens the day AFTER your show!
25
TICKETING
Ticketing is just as important as advertising. If people can’t get tickets easily, they won’t
come. In terms of ticket printing, there are dozens of places available to you. Some
schools print their own tickets. Whatever direction you go, make sure your tickets are
numbered and printed on paper with designs that cannot be counterfeited. Do not print
plain black and white tickets - anyone with access to a copy machine can duplicate
them. Also, you would be surprised the quality of some laser printers and how easily
they can print fake tickets. Using a bonded professional ticketing company is always a
good idea.
While most schools make tickets available to students first, after a few days or a week
you may decide to open the show to the public. If so, make it easy to purchase a ticket.
People will drive an hour to go to a show, but they will not drive an hour to buy a ticket.
This being the case, make sure it is easy for people to get access to your tickets. If you
are only selling tickets at your campus bookstore and they are only available from 11am
to 3pm each day, people who live 40 minutes away will have a difficult time getting tickets. If they have a hard time getting tickets, chances are they are not going to come to
the show.
The solution is relatively simple: expand your ticketing. There are a variety of ways to do
this. One simple way is to set up a Musictoday (or some other ticketing system) account.
Musictoday will sell whatever number of tickets you want; if your school is isolated this
may be a good means to get tickets out. You may also want to approach local record
stores about selling tickets for you. For example, you approach XYZ Records and ask
them to sell tickets. In exchange for a few pairs of free tickets they agree to sign for a
predetermined number of tickets (for example, say 250). They then sell these tickets,
advertise your show, and give you the proceeds and unsold tickets back. Our experience
with this approach has been pretty successful, and most local stores jump at the chance
to be involved in large productions.
Also, make sure tickets are available at the door the day of the show. Walk up ticket
sales can account for hundreds of tickets, so make sure that if you have tickets left they
should be available.
You may also want to pursue a similar approach with other area campuses. Go to other
schools, talk to the activities office, and set up a similar deal as with the record stores.
This has also proven to be successful, especially since you are targeting college students for your show.
Make it easy for people to get in and you will have a much better chance of having
a successful show
26
SHOW DAY
Every show is different, but the basics of concert production remain the same. Here is a
partial list of some of the items we think you should have prepared the day of your
show. Keep in mind that every entertainer has their own demands, but this list should
help you develop a day of show game plan.
Coffee ( lots of coffee) ready for the crew when they arrive and available all day long.
Trash Cans, brooms, etc.
Tape (Duct, masking, etc.) and Pens (Sharpies, etc.) for putting up posters and making
signs. You should also have poster paper available.
Office space for the entertainer(s). This room ( commonly called a production office)
should have phone lines and Internet access. If it does not, the band needs to have
access to a phone and fax line.
Petty cash (a couple hundred dollars should be sufficient)
A local yellow pages (and someone who knows how to get around town!)
A runner with a vehicle
Ear plugs
Work gloves
Water, water, water, and more water
Tables (i.e. cafeteria tables) for merchandising and ticket sales
A copy of the contract and rider
Identification (T-shirts, passes, etc.) for all event staff
Parking for performance related vehicles (trucks, buses, cars, vans) and parking passes
for these vehicles
Extension cords
Charged cell phones
Every contact # onhand
A strong stomach and a good sense of humor. You need to be able to roll with the
punches the day of the show, so be prepared!
27
PART TWO: PAPERWORK
BE NICE TO THE PAPER PUSHERS
(Why it is important to have all your paperwork ready)
Before discussing details, a basic definition of terms is needed. After you make an offer
and that offer is accepted, an artist will issue you contracts. These contracts will detail
the terms of the agreement ( how much money, the date of the show, etc.) and list the
artist’s specific needs ( lighting, catering, transportation, etc.) As the buyer or purchaser,
you are required to sign the contracts. If you have issue with particular parts of the contract, address them with the band’s representatives. By amending the paperwork, more
often than not any obstacle you have can be overcome.
Once you sign the contracts, you then return them to the artist for their signature. They
will then return a copy to you with all the signatures attached. This final contract, signature in place, is called a fully executed contract.
This being said, every school has its own contracting process. At some schools, activities directors simply review, edit, sign, and return artist contracts. Some schools must
attach their own contracts. Others cannot accept artist contracts and rewrite them to
incorporate school terminology. Still others have complicated state processing laws they
must follow which take months to expedite. Regardless of what method your school
uses, if there is any chance that the paperwork for your show will be delayed (and hence
the check will be delayed), inform the artist immediately. There is no better way to upset
a performer than to tell them two days before a show that - because it took three weeks
to process the contract - the check will not be ready.
It is always better to inform artists of potential issues then to wait and see what happens. Many schools fax their contracts with their offers for artists to see right from the
start. Others send letters detailing their processes so that the band knows what they are
getting into. If you are lucky, the activities office can process the paperwork internally,
eliminating a lot of potential delays. If this isn’t the case, put all your cards on the table
from the start.
State schools often have the most extensive amount of paperwork to do. Laws differ
from state to state, so you simply need to understand and deal with the situation. Again,
let the artists know what is going on. If there is going to be a problem, deal with it at the
start.
Paperwork can also be a double edged sword. Bands are often delayed on their end,
and that may tie up your ability to get signed contracts back from them. However, if you
need them by a certain date for whatever reason, such as getting checks cut, tell them
from the start. For example, many schools use terms such as “School must have fully
executed contracts no later than one week prior to show in order to have a check available the night of the performance.” Again, every school is different, but the point is the
same: tell everyone what you need. If a fax copy will not suffice, make sure everyone
knows it. If you need your school’s contract signed as well, tell everyone. The more thorough you are with your information, the easier your job will be.
Contracting can be a long and drawn out process. Furthermore, both artists and
schools are looking more closely at contracts and being more critical. Although this protects everyone, it can take time to process. So, like everything else, plan early and have
your support network in place.
28
THE POWER OF THE RED PEN
(The Art of Negotiating)
Negotiating never stops in the concert business. A deal may be signed, sealed, and
delivered, but the process of give and take doesn’t stop until the artist goes home. Why?
Because the entertainment business deals with personalities and individuals, not inanimate objects and numbers. People change their minds, have differences of opinion,
have individual wants and needs, and can sometimes be difficult to deal with.
As with any offer, you should thoroughly think about what is contained in a contract and
rider. Although certain aspects of a contract can never be altered, such as the agreed
fee, a great deal of any contract and rider is negotiable. When you receive a contract,
grab a red pen and go through it line by line. A lot of what you see will either not be
applicable to your show or simply not apply at all.
Remember that contracts and riders are written to be all-encompassing. Every buyer
(that’s you and every one else who is putting on a show) gets the same basic contract
and rider. Sure, the time, date, venue, and guarantee will change. But the bulk of a contract and rider will not be changed on a day-by-day basis by the performer. An artist and
his or her staff sit down and figure out everything that they need or want, and they leave
it up to the buyer to amend their requests. A classic example of this is alcohol. Just
about every artist out there requests some sort of alcohol, but they all know that there
isn’t a school in the country that can provide it. The club down the street can buy an
artist beer, so it is therefore included in the rider. Artists know their requests will not
always be fulfilled, but they will always ask. Think about it: wouldn’t you ask for everything that you could possibly want? Somebody somewhere is going to give you everything. If you don’t ask for it, you won’t get it. Artists know changes will be made.
This is a very important point. Contracts and riders are not cast in stone. If an artist
wants 36 towels and you can only provide 20, chances are life will go on. The spirit of
the contract and rider is what matters. Artists want their shows to be handled professionally and respectfully. You will always need a good crew, top quality production, and
catering.Yet if you can’t provide a certain brand of something, chances are things can
be worked out. Make a list of everything in a contract and rider that you take issue with,
and review it with you advisor and agent. Some items will most certainly be acceptable
to strike, but others may require you to go the extra mile and provide. Don’t let anything
you see intimidate you. If you have serious concerns, ask to see a rider before you
make an offer. That way you can address your concerns up front. The key is to remember that the entertainment business is a fluid business, and there is usually a way to
work things out.
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CROSS THIS OUT & CROSS THAT OUT
(Editing Contracts and Riders)
As mentioned, a great deal of things in the entertainment business are negotiable. When
reviewing contracts and riders keep in mind that they are often written as “wish lists,”
with the understanding that several items may be abridged or stricken. Here are some of
the issues you may encounter and proposals as to how to deal with them. Keep in mind
that all changes have to be approved by the artist, so do not assume that you can
change anything you want. Review your changes with your agent to confirm that they
are acceptable.
DEPOSITS:
Don’t agree to pay deposits. You should pay an artist by university check after the show.
Most schools have this as a standard policy.
TRAVEL AND HOTEL:
Try to make your offers inclusive of travel and hotel. If an artist knows you’re going to
pay for their travel, chances are they will fly first class and stay in expensive places. Let
them pay for it.
PROFESSIONAL CREWS:
Although you may need to provide some professional staff (i.e. electrician and rigger),
this is a college show so you should use at least some college crew. Just make sure
that you have some personnel who are technically trained.
ALCOHOL:
Most schools are not allowed to use university funds to purchase alcohol. Artists generally know this.
EXTENSIVE CATERING:
Remember that your school is an artist’s home on show day. They want to eat well and
be taken care of. However, some artists ask for extreme and outlandish food requests. If
you cannot provide everything, review with your agent and the artist’s tour manager
what is acceptable to strike.
“UNIQUE” ITEMS:
It is not uncommon to see requests for socks, batteries, televisions ( for viewing, not
keeping) and other “unique” items. Again, review with your agent and the tour manager
to see what is actually essential.
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WE CANNOT HAVE ANY BROWN M&Ms (Why bands ask for what they do, and
how to navigate around a contract rider)
What do bands care about most? The answer is pretty simple: they want a professionally run show and they want to be taken care of. Simple right? Not necessarily. Sometimes
bands and performers ask for things that sound outlandish, and we’re often left wondering why. The key is to work your way through their demands and understand what they
are hoping to get.
Years ago a major national act used to ask for a bowl of M&M’s with all the brown ones
removed. The band didn’t care about the M&M’s specifically, but they wanted to see if
the promoters would go through the trouble of removing them. If the band showed up
and saw a big bowl of M&M’s without any brown ones, they knew the promoter was paying attention to the little things and that the day would go well. If the brown M&M’s were
there, the band knew things might not go that smoothly.
Performers want everything to go smoothly. They want top notch equipment, adequate
catering, and a professional staff. Furthermore, college shows always scare bands.
Why? Because unlike the club down the street, you don’t do 150 shows a year. Schools
have volunteer staffs and not a lot of experience. In other words, bands arrive at colleges feeling very nervous.
Don’t let this deter you. Use your resources to be prepared. Putting on a concert is not
rocket science. It just takes hard work, dedication, and a great group of people. When
you get a rider, understand what the band is trying to accomplish. Make sure you get
first class sound and light systems, take care of their catering properly, and have the
stuff they ask for. If a band asks for ten stage hands, it never hurts to have a few extra.
Also, you can never have too much water. Any left over food can be given to local shelters, so don’t worry about wasting food.
Also remember that for the day of your show the band is essentially living on your campus. They want a clean, well-lit, comfortable, and private dressing room and office. Put
yourself in their shoes: Would you want to hang out in a smelly locker room for 8 hours?
It doesn’t take much to make a band happy, but it takes even less to make them unhappy. Again, be professional.
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INSURANCE
(How to navigate, define, and just plain figure out what it all means to your major events)
Insurance can be a difficult item to figure out. Every state, school, venue, and artist asks
for different coverages - and these coverages can vary from show to show. Furthermore,
recent nightclub tragedies have further pushed insurance into the spotlight.
Is there a simple way to navigate through the mess that is insurance? Not really.
However, if you arm yourself with a basic understanding of insurance you will be able to
protect yourself and your school.
Insurance is designed to protect you, the school, and the performer from negligence and
accidents. Types and amounts of insurance vary. But to start, here are some very, very
basic concepts.
WHO NEEDS INSURANCE
Artists want insurance to protect themselves. For example, when the roof of your venue
collapses on the guitarist - or some student accidentally gores the production manager
with drum hardware - they need to know that you have proper coverage. Simple enough.
This is called accident medical or workers compensation.
Your school needs to know that artists have insurance. When the lead singer swings a
mic stand into the crowd and knocks an audience member unconscious, you need to
know that they have the coverage to repair their actions. Again, simple enough. This is
called general liability or artists liability
This is where the simplicity ends. If you are a private school, your needs and regulations will undoubtedly vary from those at a state school. Certain types of performances
may require different types of insurance, and certain venues may require different types
of coverage.
Now it gets tricky. Before going further, lets get a basic understanding of some basic
insurance terminology:
TERMINOLOGY
GENERAL LIABILITY POLICY
Often referred to as CGL (or spectator liability) this policy provides broad protection for
situations in which a business (i.e. your school or the visiting artist) must defend itself
against lawsuits or pay damages for personal injury or property damage to third parties
(those who are not affiliated with the insurance holder).
Every college and university in the country has insurance. You can’t go to class or sit in
an office if the school doesn’t have insurance. Most schools have millions and millions of
dollars worth of insurance. If the roof collapses during Physics 101, the school needs to
be insured (And to take its own Physics 101 course!).
Artists who tour regularly usually carry general liability insurance as a form of protection
on the road. Artists who do not carry insurance can buy long or short-term policies
depending on their needs.
INDEMNIFY
If you indemnify someone, you cannot come back to them for restitution even if they are
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liable. Most companies/institutions prefer either mutual indemnification or none at all, as
a balancing measure for the two parties.
HOLD HARMLESS
This means exactly what it sounds like. No matter what happens, you will not / cannot
sue because you do not hold them responsible.
ADDITIONALLY INSURED
Provides protection to the additionally insured party should they be named in a lawsuit
or claim from the event.
For example: College XYZ books the Joe Schmo Band for a concert on April 24. They
require anyone performing at the university to provide them with $1,000,000 in general
liability / artist liability insurance (see definition) naming the university as additional
insured.
The university may also ask sound lighting or any other supplier for proof of coverage
indemnifying the university
SELF INSURED / CARRY A POLICY
This means you are not buying coverage from an insurance company and that you will
pay any and all claims out of your own pocket and defense cost.
AGGREGATE
The total amount of insurance provided under the policy. For example, if you have one
claim for $1,000,000 and your aggregate coverage is $1,000,000, you are out of
insurance.
And that’s just the tip of the iceberg. However, most if not all of these terms will come up
when reviewing contracts. In the simplest terms, everyone wants to make sure they are
protected. And they want to be protected in as many ways as possible. Again, your
school and state will have its own policies, so you must do your homework and have all
the appropriate information.
AS A SCHOOL, WHAT DO YOU NEED TO BE AWARE OF?
1. What does your school require from performers in terms of insurance? Are your
requirements flexible? Insurance can be difficult and expensive to obtain, so it helps to
have room for negotiation with the artists.
2. What coverage does your school have? Are you self-insured, or do you carry a policy? What are its limits? Can it be amended?
3. Does your school have a risk management office to discuss issues like this?
Every school, big or small, has insurance. It’s the type of insurance and amount of insurance that vary. Like everything else with event planning, the key is information. Do not
wait until three days before your event to ask a band for their certificate of insurance –
ask in your offer. Furthermore, don’t vary what you are asking from the band from day to
day. Constantly changing what you need sends a message that your school does not
have a clear policy.
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If you need help or have questions, consult your staff or an experienced insurance
agent. There are very good companies that specialize in event insurance, and they are
designed to make the process easy to navigate and simple to understand. Depending
on your needs, policies can be bought and amended, and all of your concerns can be
quickly and readily addressed. Insurance may not be the simplest event related issue to
figure out, but it can be relatively simple to work with.
PART THREE: STAFFING
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At this point, it is useful to divide the different responsibilities of the show in to categories. No single person can do everything, and it helps to divide the show for organizational purposes. In general, the following divisions are a good starting point:
1. Chairperson
2. Production
3. Publicity
4. Hospitality
5. Tickets
6. Business (someone to keep track
of expenses, income, etc.)
No one of these divisions is more or less important than the others. Without one, the
others cannot function; as a result, there will not be a show. It is therefore essential that
they are all taken seriously and handled with diligence and professionalism at all times.
The chairperson’s job is to make sure everybody else is doing his or her job. Like a
manager, the chairperson supervises what is going on. He or she needs to keep in
touch with everyone else in the organization and make sure everything gets done. Time
tables and check lists are helpful in this respect, as is the ability to prioritize. He or she
should also have an understanding of all of the different aspects of putting on a show. If
something is not getting done the chair needs to be able to do it. If the production person (or persons) failed to order the stage, you need to be able to do it. If no one contacted the public relations office at the school, you need to do it. The title of chairperson
rests with the most responsibility; if something goes wrong or does not happen, the buck
stops with you. A good relationship with your advisor and agent is essential if you want
to be a successful chairperson.
Production involves the physical aspects of the show. Where do you get a stage? How
many seats are there going to be? How many hands do you need to help out at the
show? Who is going to do security? Do you need to hire outside lighting and sound? Do
you need a generator? When are you going to start setting up? Do you need electricians
and riggers? These are just some of the question the production people deal with.
Production is a difficult job, and it usually involves a lot of physical labor. Close contact
with your group’s advisor is essential for the production manager, and more often than
not s/he will be in contact with your agent. One of the biggest problems faced by production managers is finding people to help the day of the show. Class schedules can be
tough to work around, but it is essential that there are enough people at the facility to
get the work done. The good news: after you do the process once (and don’t be surprised if you encounter some stumbling blocks along the way), the process becomes
much simpler. Like anything, you learn from experience.
Publicity is essential. The person or persons handling publicity have as much to think
about as the production people. Where are you going to advertise? Should you buy time
on the radio? Should you do a ticket give-a-way? What type of advertising can you do
for free? What should your posters look like? Are you just going to advertise on campus,
or in the community as well? The task is far from simple.
Each school has a public relations office, and the staff there may be able to help. If you
have a graphic arts department they may be able to help with poster design. In the end
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though, what you do and how you do it is up to you. The key is not to wait too long to
start advertising. If you start advertising on Monday for a show on Thursday, chances
are your attendance will be less than amazing.
Hospitality seems like the most thrilling aspect of putting on a show. It can be exciting,
but there is a lot of work to do as well. Those in charge of band relations should take
care of catering, hotel reservations, ground transportation, and anything else the artist
(or artists) want. Hospitality is essential to a good show. If the band (or the band’s crew)
shows up at six in the morning and their coffee is not there, chances are it is going to be
a long day. Do not take this job lightly; too often its importance is underrated.
Those in charge should also be prepared to act as runners the day of the show. A runner runs errands for the band, the crew, and anyone else who needs anything the day of
the performance. These people may also be responsible for cleaning up after the show.
This job can get very hectic, but it can also be a lot of fun.
The business manager handles the money. He or she works with everyone else, and at
times can be the glue that holds the whole process together. If the publicity people need
money they get it from the business manger. If the production people need to hire security, they go to the business manager, etc.. The business manger will pay the band, the
crew, the booking agent, the caterer, and anyone else who requires money. It is essential that the business manager remembers there are always several “hidden costs” associated with shows. For example, it is always necessary to have petty cash the day of the
show for sudden expenses.The business manager needs to keep excellent records and
be well organized.
The ticket manager (or managers) work closely with the business manager and with
the publicity people. They should determine how much tickets are going to cost, if students, faculty, and non students are going to pay the same or different prices for tickets,
where the tickets are going to be sold, how many tickets are going to be sold, and how
many tickets are going to be sold to each person. Ticket prices should be based on
venue capacity, income requirements, and supplementals. The ticket and publicity people should determine where it is best to advertise the show and if tickets should be sold
there. Local record stores are excellent locations. Your advisor can offer a great deal of
assistance in this area, as well. Keep in mind the purpose of the show, and who your
target audience is (Will a student pay fifteen dollars for a ticket?). It is essential to keep
meticulous records of all tickets sales not only for financial reasons but also for attendance reasons. You can learn a lot about musical attitudes at your school from the number of tickets sold.
Additional Hired and Volunteer Labor
Several different personnel are needed to work a show. We suggest you break down
your staff into different groups: Production, hospitality, security, ticketing, and advertising.
Right now we want to focus on production labor. The most basic worker needed is the
stage hand. Stage hands move equipment, set up and break down the stage.
Remember that there are probably 2 hours of work left after the actual show; if some
students are volunteering just to see the show, tell them to buy a ticket. Most bands
require a certain number of stage hands, which is outlined in the rider. We recommend
having a few more than requested. You may also need an electrician, a rigger (someone
who can climb scaffolding and hang sound and lights). Whatever production company
you use should be able to provide these personnel. It is very important to find a production company you’re comfortable with. They should answer all your questions and handle
all of your production needs.
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Nothing ruins a show quicker than losing your crew. If you are a volunteer worker you
need to work. Producing a concert is a job and you need to consider it as such. If you
have concerns about your crew, make them sign a contract stating very clearly what
their responsibilities are, and what the penalty is if they fail to fulfill their obligations.
Bands aren’t interesting in hearing about your crew’s lab, classes or jobs. They need
them to work. A useful way to deal with crew issues is to have them work in shifts. Sign
people up for when they are available and have overlapping shifts. For example, 8 am –
noon. 11am – 3pm, 2pm – 6pm, etc. Always make sure the minimum number of
required workers is present. However, you can never have too many. Some schools
pay their students. Some have other student groups use the work as a community service fulfillment, while others hire various organizations outright. Any one of these works
as long as the bodies are there.
More and more artists are requesting that at least some of the labor employed for concert production be professional workers. For some schools this is fine, as it’s less work
for the students to do. For others it presents a problem: working the show is part of the
concert experience and they want their students to do it. In addition, professional hands
can be expensive. We feel that supplementing student workers with a few professional
hands can benefit everyone. First, it puts the artist at ease. Second, it can help students
learn “the ropes” by offering assistance in learning what needs to be done. These laborers can also act as a “buffer” between the band and the school. The decision, however,
is always yours. Just make sure you are prepared
GO TEAM GO!
(Motivating student volunteers)
Sometimes it can be difficult to get volunteers to work a concert. There is a lot of work to
do, the schedule can be hectic, and the hours are definitely long. The key is to give your
volunteers a vested interest in the show. The following are some ideas regarding just
this.
1. Invest your volunteers weeks before the show. It is essential to get people
involved from the beginning. Ask the people who will be working load in and load out to
help develop publicity ideas, coordinate ticket sales, and help out in general. The more
involved people are the more they tend to stay motivated. Getting people involved from
the ground floor will help ensure their dedication throughout the process.
2. Be realistic about what will be involved as a worker. Informational meetings with
your perspective crew are valuable for many reasons. They allow you the opportunity to
introduce yourself to everyone, to establish department and crew chiefs, and to lay out
what is really involved with working a show. In other words, its a good time for a reality
check. Make sure everyone knows what is involved and is willing to commit to the project. If people just want free tickets, show them the door. You need people who are willing
to work.
3. Investigate incentive programs for your student volunteers. People like to get
stuff. Whether its staff shirts or free tickets, when a student gets something for his or her
efforts, they feel involved and rewarded. If your budget is limited, you might want to consider approaching local businesses about donating gifts that you can give to the crew.
However, make sure you have the commitment before you give away anything.
4. Enlist the services of organizations on campus. ROTC, greek organizations, and
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other campus groups can be great sources of labor and assistance. Establishing relationships with these groups ahead of time can not only help you for the impending show,
but also for events still to come. Wouldn’t it be nice to know that there would always be a
pool of workers from the XYZ organization?
5. Never underestimate the power of a kind word. As programmers, your job is to not
only put on a first class show but also to make your workers feel appreciated for the
time they have put in. Make the effort and time to thank everyone; your efforts will be
rewarded.
SECURITY
Security has always been a major concern at universities. As moshing increases and
audience participation grows, colleges are taking closer and closer looks at their security concerns. Security varies (like everything else) from band to band. Every act has
their own requirements, and most schools have their own guidelines. Security is becoming a bigger and bigger issue everywhere across the country, and you should sit down
with your advisor and discuss your options. Student security, off duty campus police,
and town police are all options, as is a professional security. We recommend talking to
the road manager long before your show so that you can develop a feasible plan of
action.
The band will want to discuss with you their specific security procedures. For example,
some bands allow photos to be taken while others do not. No bands allow video, but
some allow audio recording. The tour manager will advance all the information with you
so that you can brief your staff.
When determining how many security personnel you need, first consider the type of
show. A gospel show does not have the same security requirements as a punk show.
Generally, you need 8 to 12 people between the barricade and stage, and about a
dozen or so on the floor and in the venue. Have security at the various entrance points,
especially at the front doors.
Finally, remember that everyone is there to have fun. An over zealous security staff can
ruin a show, and bands have been known to stop performing if they see that the security
staff is over reacting. Conversely, make sure that your staff is there to work, not watch
the band. Be smart, talk to everyone, and plan ahead. Security is an essential part of
your show, and it needs to be handled carefully.
PART FOUR: PRODUCTION
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CONCERT PRODUCTION: DON’T BOOK A SHOW WITHOUT IT
(The importance of having the right stage, sound, and lights)
There are several key parts of producing a successful show. Obviously the most important part is having the right act. Whether you’re doing rock or comedy, make sure you
choose your talent wisely. However, publicity, catering, security, and production are all
vitally important as well. All shows are the sum of their parts, and a successful program
requires the proper planning and execution of these parts. Production - or the physical
and technical sides of a show - is essential to your program’s success, but is often a
misunderstood and under-appreciated part of a concert.
WHAT IS PRODUCTION, AND WHY DO I CARE?
Basically, production entails sound, lights, staging, power and hospitality. Depending on
where you do your show and what type of show you do, you will have to provide different levels of production. For example, if you are doing a comic in a seated auditorium
with a built in stage, you will not need to bring in a large amount of production. However,
a rock show outside requires a great deal of production, and it can often be expensive
(It will also be, in most cases, the most expensive aspect of a show besides the cost of
the talent).
When you are doing the initial planning for your event, consider what type of show you
are going to do and the venue. Indoor shows (unless you are doing your event in huge
room) are generally less expensive to produce than outside shows. Why? Smaller rooms
require smaller sound and light systems. Please remember that this is not always the
case - just a general rule; no two rooms are the same and every band has its own
requirements. It is essential, therefore, that you do your homework. What you need will
most likely vary from what every other school will need, so be careful when making
decisions.
Production Equipment
The production company is mainly responsible for the physical production requirements:
sound, lights, stage, barricade, and generator(s). All bands have their own particular
requirements. On average, in terms of power, you need 400 amps three phase for lights,
and 200 amps single phase for sound. Check with your physical plant department to see
if your building has enough power. If not, your production company should be able to
provide you with a generator.
Costs are hard to estimate because each show is different. Production costs can run up
to $15,000, but they can also be as little as $7,000. It all depends on the venue, the
band, and what the school has. You will need to gather a lot of specific information on
your end before you hire a company. Never underestimate what a band needs. If the
sound quality is lousy, they won’t play.
You want to find a production company that you are comfortable with. It is a competitive
market, so shop around, find out who other schools use and if the company will send a
stage manager. Also, are they close by in case there is a problem and you need more
gear? Again, do your homework.
DOES MY COMIC NEED TEN MICROPHONES?
There are three basic types of college-focused shows: comedy, rock, and R&B / Hip
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Hop. For comedy, your production normally involves basic lighting, a stage, a spotlight,
and a first class sound system (regardless of whether you do the show inside or out).
Costs vary, but you shouldn’t have to spend very much. Sound is usually the most
important part of the show. Since comics aren’t very loud, a high quality sound system is
a must, and you need to make sure that all your bases are covered. For example, if
someone talks in a very monotone voice, and it is unlikely that your basic campus PA
will be able to properly broadcast his show.
Rock shows generally require the greatest amount of production. They have the greatest power needs, the most inputs, and biggest number of instruments. Bands require
larger stages than solo artists, and almost every band requires a barricade. Remember
that production can cost several thousand dollars, so don’t spend your whole budget on
the band. Bear in mind that the larger the number of musicians the greater the cost.
And if you are doing your show outside you may require a larger sound system.
There are two different types of R&B and Hip Hop shows: track and live band. Track
shows have prerecorded music that the artists sing to. Most track shows require DAT
recorders and CD players, as well various microphones. Live bands have the same production needs as rock and roll acts. Check ahead of time as to what type of show your
getting and plan accordingly. There are other bands that have some pre-recorded music
and some live instruments, therefore requiring both types of production.
ARE YOU SURE YOU CAN GET THAT STAGE FOR US?
Like every other part of doing a concert, each event and each school has its own needs.
Finding production, however, is generally pretty easy. There are hundreds of production
companies across the country, and finding one isn’t very difficult. Be sure, however, that
the company you are using can do a good job. Like with anything else, get references.
Fax them the technical requirements for your show and get a bid. Shop around. Have
your agent help you find a good company. Have they worked with your band before?
Have they done shows in rooms like yours before? Remember the importance of production and make sure you get what you need. Also, certain bands have specific
requirements, and certain rooms cannot handle some specific types of production. For
example, some buildings cannot hang lights and require ground lifts to support lighting.
Check with your facility ahead of time and see if there are any restrictions. Do you have
enough power or do you need to rent a generator? All of these considerations are
important, and use the people and companies at your disposal to ensure the production
is professionally handled.
HOSPITALITY
Hospitality often seems like the easiest day-of-show job; you get to sit around, bring the
band food, and hang out. This is not the case. In effect, you are the band’s right-hand
man on show day. Although you are responsible for food, you are also responsible for
taking care of odd things that come up the day of the show. This includes (but is not limited to): ground transportation for the bands, running errands for the bands, and running
errands for the production company. You are also responsible for confirming and securing any and all travel and hotel arrangements (if your school is responsible for them).
You should also have access to a vehicle and a few hundred dollars in petty cash available. You may never run an errand, but you may be out buying guitar picks, cranberry
juice, and wrist braces all day. It can be fun, but it can also be a lot of work.
In order to best address this position’s responsibilities, it is best to break them up. First
and foremost, obviously, is food. Every band eats, and most bands eat a lot. Depending
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on the magnitude of your show, you may be responsible for up to three meals for over
fifty people. When you get the band’s contract all the catering should be outlined. HOWEVER, NO CATERING IS FINAL UNTIL IT IS ADVANCED BY THE ROAD MANAGER.
THIS BEING THE CASE, DO NOT FINALIZE YOUR CATERING UNTIL YOU HAVE
SPOKEN TO HIM OR HER. Although bands ask for a variety of things, what is needed
for your day may be different from what the rider says. For example, if the band is flying
in for your show, they probably will not need breakfast. The best way to start is to figure
out who is going to do your catering (in-house or an outside caterer) get a price quote
from them, and put them on hold until you finalize everything. Work off the rider, but
make sure everyone knows that there may be significant changes. That way, if things do
change, you will not get stuck.
You may also encounter bands that ask for outrageous things or things you cannot find.
Again, consult with the tour manager. Remember that not every band wants to eat pizza
every day. Some people have restrictive diets, and some are simply very specific. Do
your homework, make agreeable changes, and keep everyone informed.
Other bands may give you the option of a meal buyout. What this means is that you will
give the band a certain amount of money for each member of the band. For example, if
a band has ten people they may want $20 per person for dinner. A lot of schools like this
option because it cuts down on their work. Again, consult the tour manager and see if
this is acceptable. If this is the case, have plenty of menus from local restaurants available. Let them choose, use their buy out money, and then pick it up. These menus will
also come in handy for after the show.
Another important aspect of catering is breakfast. Whether a band asks for it or not, if
they are arriving in the morning have breakfast for them. Donuts, bagels, cereal, milk,
juice and coffee can go a long way. It may seem obvious, but it is not to be overlooked. If
a crew can put some food in themselves in the morning your day will go much smoother.
On a related note, have juice, coffee, soda, and water all day long. Ultimately, you can
never have too much water. Its hard work setting up a show, so make sure people can
get a drink whenever they want one.
When you are responsible for feeding a band, get the meal times from the tour manager
in writing. This way your chosen caterer will know when everything needs to be ready.
Also, double check these times a day or two before your show. Remember that bands
(for the most part) are big eaters, so it never hurts to have a little extra food. Finally,
never break down or remove the catering until the tour manager tells you to. Not everyone will eat at the same time, so make sure everyone has had chance to eat before you
strike the meal.
You will also need to feed your crew. Whether they are student volunteers or professional laborers, they still need to eat. Usually sandwiches and pizza will suffice, but it can be
nice to feed your crew a good meal. DO NOT LET YOUR CREW EAT THE BAND’S
FOOD. This will cause you nothing but headaches. Band food is for the band. Period.
You may also want to have your crew eat in a different spot just to avoid any confusion.
There is also a good chance that you will need to provide some after show food. This is
usually sandwiches, pizza, or some sort of easy and quick food. Again, have menus
available and check with the tour manager. This is one of those little things that can help
your day go smoother.
Hospitality is also responsible for running errands. The runner (or the person who runs
the errands) should have access to a van and a few hundred dollars in petty cash.
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Depending on how your day goes, the runner may sit around or be out buying cranberry
juice and guitar picks all day. You never know. A runner is essential though because
every day and every show is different. Remember that the crew has to spend all day setting up, and if they need someone to run out it is your responsibility as the buyer to do
so.
In terms of what to pay for, this is a judgment call. If a band needs some more water, it
is probably not going to be that expensive. However, if they want a Playstation, that is
not your responsibility. If a band wants you to buy something that seems like it is not
your responsibility, get the money from them. Most of the time they will not have a problem with this. Simply get receipts and everything should be fine.
Finally, a band may need some simple assistance the day of the show. Some bands
want to go play in your arcade, some might want to go swimming, and others might
need you to help them move stuff on the bus. Remember that you are their host for the
day and it is your responsibility to act as such. If you are professional and responsible,
the crew and the band will respond in kind. Like so many other things associated with
putting on a show, a clear head and a calm demeanor should see you through with a
minimum of problems.
CONCERTS: WHAT WE’VE LEARNED
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The day of the show will be wild and hectic. A million things will be going on and no matter how organized you are something will happen that you did not expect. This is all par
for the course though, and as long as you don’t panic everything will go smoothly.
Contingency plans are a must and never assume anything. Better to over prepare than
to have no plans at all. In addition, keep in mind why you got involved in the organization
in the first place and what the responsibility of being involved entails. Remember that the
school and the community are counting on you. Learn from your experiences: a lot of
important skills can be picked up along the way that you can use later in life. Maintain a
good relationship with your advisor and agent; they are essential to the whole process.
Be smart and plan ahead. Do not be afraid to take pride in what you have done; it takes
a lot of hard work to put on a show. Most importantly, have fun with it. A lot of pleasure
can be derived from a successful show. It is hard to describe the feeling of seeing several hundred or thousand screaming fans and knowing that you are at least partially
responsible for their joy. Fun, after all, is what it is all about.
These breakdowns are general; they are not cast in stone. You may need things not
mentioned here, or you may not need to do half of what is mentioned. Regardless, be
prepared. Have your agent walk you through the process and help you with anything you
need. They are there for you. Your best bet is to go the extra mile and do a little more
than is required. Double check your production requirements and make sure that your
tickets are printed properly. Make that extra phone call and confirm that your security is
in place. It’s your show, and if you do the work, you will have a wonderful day.
Perhaps the most important thing to remember is that in the entertainment business,
there are no guarantees.
However random it might seem, there is a method to the madness of the concert industry. True, there are an infinite number of variables, but there are some basic guidelines
that apply regardless of the act, location, or timing. Although the specifics will change,
there are some concepts that remain the same.
Perhaps the best place to start is budgeting. If your school is going after a major national act, whether its musical or comedic, there are a lot of expenses associated with the
show besides the cost of the talent. The greatest of these costs is usually production.
Production includes sound, lights, staging, barricades, and any other “physical” aspect of
the show. Depending on the size of your venue, the technical requirements of the act,
and what equipment your school already has, you may need need to budget between
$7-12,000 for production. Unfortunately, there is no general rule that you can use. Some
schools have their own stages, and some acts bring their own sound and lights.
Comedians need smaller sound and light systems than bands, and outdoor shows have
completely different requirements. The best way to come up with a basic idea (and keep
in mind there is no way to determine an exact budget until all technical information is
known) is have whoever is working for you (i.e. your middle agent or buyer) do as much
homework as possible. Determine what the band is carrying, what the performer’s stage
requirements are, and what (if any) peculiar items they need. Your agent works for you,
so have him or her do the legwork. Budgeting is essential, and if you are unsure about
how much you have to spend get this information before you even go after an act. Like
any project you undertake, have as much information as possible available to you before
you start.
There are other expenses as well, such as catering, the cost of having tickets printed,
advertising costs, and hiring personnel such as security, electricians, and/or riggers. In
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other words, putting on a show with a $10,000 act could cost you almost $25,000.
Another important thing that we have learned is that it is essential to have an experienced crew available to work the show. Every act has a contract rider that details what
kind of personnel they need. These individuals will help set up the stage, install sound
and lights, assist backstage, run errands, and breakdown after the show. Be certain you
have more than enough stage hands and plenty of technically experienced personnel
available for the show. Also make sure that your crew is available after the show for
breakdown. When the band hits the stage, the work is far from done. Plan on a couple
hours of work after the performance.
Another situation that often arises involves the opening act; many national acts bring
their own support act(s) with them, usually for a relatively low price. Most artists want an
act to start the show and get the audience going so that the crowd is excited by the time
they hit the stage. If they are carrying support, artists starting a tour rarely know who
they are bringing with them until right before they hit the road. Ask your agent about
opening acts. Is your headliner bringing one? Can you put your own on the show? If you
are in a situation where you want a certain act to open, spell everything out in your offer.
It never hurts to give all the information you have right up front. In doing this you eliminate “surprises”.
Also check with your risk management office to see if you need insurance information
from an act. More and more schools are concerned about insurance and risk management. It should not be a problem for an artist to provide proof of insurance, but make
sure the act knows right up front that your school needs to see their certificate of insurance.
There is also the issue of security. “Crowd surfing” and “moshing” are serious and
increasing concerns, and if they are an issue think carefully about the acts you are considering bringing to your campus. Remember that regardless of the act, people are
going to dance and probably mosh. (I once saw a video of an act where people were
crowd surfing during their sound check!) There are definitely steps that can be taken to
control crowd surfing and moshing, but since this is a serious issue, obviously certain
bands are inappropriate. Also consider where you are going to have the show (ie : don’t
put a punk band in your new performing arts theater).
After you have considered all of these variables, you’re probably ready to make an offer.
However, do not make an offer unless you are ready to commit to it. Written offers are
legal and binding, so do not enter into negotiations unless you are 100 percent sure that
this is what you want to do. Ask as many questions as you want, and check the availability of as many acts as you can. But do not put anything in writing until you are sure.
Having a building, money, and the right date does not mean the act will come perform.
This business is not exact, and there are a million variables. An act that should sell out
might not, so never compromise on publicity. Utilize your public relations office, use public service announcements, make posters, fliers, use the radio and newspapers in your
area, and use other schools. Take advantage of every medium at your disposal, and
always ask your agent for help. A good agent can be indispensable in helping with a
show. Furthermore, never expect to sell anything out or depend on ticket sales to cover
your expenses. In some ways, it pays to be a bit pessimistic. If you assume everything
will be glorious and wonderful, what happens when something goes wrong? Be prepared and be organized. These are the keys to excellent programming.
44
If all this sounds a little wild and almost disheartening, then the article has done its job.
This topic could fill volumes, but our objective here was to alert you to some of the
major concerns and issues that we have encountered through out our years of experience. Your most valuable tool is communication. Talk to people, other schools, your
agent, other personnel, and learn what you can from them. Be prepared to trouble
shoot, and never make assumptions. There will always be a glitch, and there will always
be issues that arise unexpectedly. Use your resources to their fullest, and remember
that the entertainment business (like any other business) is full of egos, politics, and
agendas. Surround yourself with people who can help you, explore all of your options,
and chances are you will have a wonderful program.
IN SUMMARY, WHAT YOU NEED TO PRODUCE
45
A GREAT SHOW:
1. DEDICATION - Concert planning takes a great deal of time, effort, and energy. Make
sure your schedule will allow for it.
2. SUPPORT - No one can produce a show on his or her own. You need the help of your
fellow students, your advisor, and any number of other individuals. Don’t try to do it by
yourself.
3. FINANCIAL SECURITY - Concerts, as we all know, are expensive. Bands, production, catering, professional staff, publicity, and everything else associated with the concert will cost you a significant amount of money. Do not depend on ticket sales to recoup
your expenses: be prepared to pay for everything regardless of how many tickets you
sell.
4. DECISION MAKING - Makes sure you have the ability to make decisions when the
need arises. Quick decision making can be the difference between a successful show
and a missed opportunity. Makes sure you can easily reach everyone involved in the
process. If you only have Monday meetings but something comes up on Tuesday, having
to wait until the next week it is going to greatly hurt your ability to get things done.
5. ATTENTION TO DETAIL - There are a million different things involved with concert
production. This being the case, be certain to review everything thoroughly.
6. THE ABILITY TO GET THINGS DONE - One reason bands are often hesitant about
college shows is that it is often difficult to get results. They want to make sure they are
going to get paid the day of the show, there are no unreasonable contract delays, and
that everything is going to be handled professionally. If there are any questions, concerns, or possible delays with anything, give the band plenty of advance notice.
7. THE RIGHT ATTITUDE - This can be a stressful, time consuming job. Don’t take it
personally – it’s part of the job. Always remember why you got into this and why you
want to do a show. The campus is depending on you, so keep a level head and do your
best. Putting your best foot forward is all anyone can ask, and by doing so you will see
the results you hope for.
ON SHOW DAY, YOU NEED
A. CHECKS
Make sure you have everyone’s checks. There is nothing that makes people more
angry than not getting paid. If you have any concerns about having enough time to get
checks cut or to process paperwork, tell the band as soon as you make an offer. You
can never give too much information when it comes to contracts and checks. If you need
materials returned to you two weeks before the show, then say so at the beginning.
Cover yourself and leave a paper trail that details everything. That way no one can
argue with you or fly off the handle about not knowing.
B. CREW
Far too often, colleges encounter obstacles in regards to having enough people to work
a show. It is imperative that you have the numbers of hands that the band asks for. In
fact, it may be beneficial to have more than they ask for. Also remember that if a bands
46
asks for 15 stage hands, those people cannot also be responsible for catering, tickets,
running, etc. It takes a lot of people to produce a show, and the fewer you have the
more work and longer hours you have in store for you. If you think it will be a problem
having enough workers, consider hiring professional hands or another student organization to help you. If a band shows up in the morning and only sees six students waiting to
unload three tractor trailers, you are going to have a long (and mostly likely bad) day.
As mentioned earlier, nothing ruins a show like a disappearing crew. If your show is during the week, take into consideration that it may be hard to find two dozen volunteers
for an 8am load. Again, plan ahead. Have all your volunteers sign and agree to the
terms of volunteering. Working a show is a serious job, and if your volunteers are not
serious, you do not want them. Some schools have students sign contracts and some
even pay them. Others have volunteers come in overlapping shifts.Whatever course you
choose, just be certain they show up and stay there. Load out is just as important as
load in. If you don’t have the bodies for load out, chances are you will not leave the
building until 4am.
C. FOOD
Catering pretty much explains itself. Every band will ask for gourmet this and gourmet
that, and sometimes you have to give it to them. Some artists have strict diets, while
others only want sandwiches. Work with your agent and advisor to see what sort of give
and take the hospitality rider has. Catering can get expensive, so set aside the proper
funds. First and foremost, though - even if the act does not ask for it - have breakfast
ready when they arrive. This cannot be emphasized enough. If people can put food in
their stomachs early in the day it makes them much more agreeable.
Also, you can never have too many beverages. Juice, soda, and especially water are
essential to have at all times. Be prepared to run out and get more water as the day
goes along. Coffee is great as well. You should be prepared to feed all of your crew,
since they will be there all day and night. Sometimes having pizzas around for load out
is all you need to ensure a satisfied crew. Ultimately, it doesn’t hurt to go a little overboard. If bands see that you are going the extra mile, it will make them happy. Anything
left over can be given to local shelters, and that’s something everyone can be proud of.
In the end, remember that bands eat... A lot. Also, make sure that your volunteers do
not eat the bands food. Catering is for the artists and their crew - your students should
be dealt with separately. Also, do not break down the catering until the tour manager
says its “okay.” Bands do not always sit down and eat together, so be sure that everyone
has eaten before you take everything away.
D. TOOLS
Here are a few things you may want to have around the day of the show:
copies of the contract and all relevant paperwork, the checks, a campus directory and
phone book, work gloves, ear plugs, tons of water, duct tape, sharpie markers, flashlights, a copy of the yellow pages, poster making supplies, aspirin, scissors, a campus
map, take-out menus, two way radios, a few hundred petty cash, pens and paper, utility
knives, cell phones (or access to a phone), crew ID, trash bags, and a good sense of
humor.
E. RUNNERS
You must have a runner on show day. Things come up that you have to deal with, and
often you will need to run errands for the band. Nearly every contract asks for a runner,
and more often than not bands are now asking for two or three runners. You may need
47
to do next to nothing, or you may be driving around all day. Again, your runner cannot
also be a stage hand or catering assistant. Every job is separate. Make sure your runner(s) has access to vehicles, cash, and knows his/her way around.
F. CALMNESS
Never, ever panic at a show. When situations arise (and they will), just work towards a
solution. 99% of the issues you will face can be easily dealt with. Your professionalism in
these instances will set the tone for the rest of day. For example, if a tour manager
comes up to you and says that one their guitars broke and that they need to find another one, freaking out about it won’t remedy the situation. In this case, equipment is easy
to rent ( and one of the reasons you may need a yellow pages). Again, simply deal with
the situation as best you can. Everyone - from the band to the crew - wants things to
work out. Your ability to deal with situations will determine if this will happen.
You could write volumes regarding day-of-show preparation, but these are a few of the
issues that stand out. Remember to plan ahead, be prepared, and get ready to roll with
the punches. Everyone wants the day to go smoothly, and no one is looking for trouble.
THE TRUTH
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(20 Hour days, a tired crew, and the potential for a lot of headaches. What show
day is really like, and how to prepare for it)
This is a true story: on the way to cover a show, a middle agent passes a truck overturned on the highway. A few minutes later he gets a call from the school he is going to.
The panicked director says the stage isn’t there yet and that the truck carrying it overturned somewhere.
“Thats funny, I just passed an overturned truck.”
The middle agent turned around, backtracked, and sure enough it was the staging truck
he had passed. Not the best way to start your day.
Although situations like this are very uncommon, problems do occur. In reality, it is
advisable to plan on something going wrong; it is how you deal with these problems that
matters.
The above scenario was resolved by finding another staging company, but obviously this
is an extreme case. The key is preparation. It is essential that you have excellent communication with everyone involved in the concert process. Talk to the road manager, production manager, security, catering, staging company, and everyone else involved in
your show repeatedly to ensure that everyone knows what is going on and that every
detail has been addressed and dealt with. Do you have the right number of volunteers?
Do you have all the last minute catering changes? Do you have petty cash for unexpected things?
NEVER HESITATE TO ASK QUESTIONS. IT IS BETTER TO ASK AHEAD OF TIME
THAN TO HAVE TO DEAL WITH UNADDRESSED ISSUES THE DAY OF THE SHOW.
When something does go wrong, never panic. The worst thing you can do is panic. A
concert is a business deal, so treat it like one. Sit down, pull your resources together,
and arrive at a solution. There are countless scenarios that could occur, so it is impossible to deal with them all here. Ultimately, bands, tour managers, and everyone else
involved with the artist simply want things to work and to work smoothly. More often than
not they are open to compromise so long as the “integrity” of the show is not jeopardized. Unfortunately, artists and their crews often expect colleges to poorly manage their
events and to be so star-struck that no one does their job. Why do they think this? The
average college does 2-4 shows a year. The majority of the concert staff is volunteers
who, more often than not, will have to leave the event at some time to deal with school
work, a job, or some other issue. Although college shows are among the best and most
entertaining, they can often be understaffed and ill prepared. However, if you are professional they will be professional. If your crew is late, the food isn’t ready, and all you
seem to be concerned about is getting autographs, you will have a very long and difficult
day. If your crew is prepared, the catering is good to go, and you are prepared to
answers questions and resolve conflicts, your day should be fun, entertaining, and fulfilling.
A BRIEF DAY OF SHOW LETTER
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The band, and more importantly their crew, are traveling long distances. It is important
to remember that they may be a little irritable from a lack of sleep. It is for this reason
that the “little” things are very important.
Although the rider does not call for it, it would be a good idea to have some coffee and
donuts or other breakfast items there when the crew arrives. It is important that the crew
is kept happy. They have been working long hours and getting little sleep, so every little
thing is important. If the crew is unhappy you’re going to have a long, long day.
Furthermore, if load in is called for 9AM, make sure your crew is there and ready at
least 30 minutes early. The crew’s job is to assist the road crew. They should be prepared to do a lot of physical labor, including carrying heavy equipment. It is a long,
demanding job.
Security personnel, especially those located directly in front of the stage, should arrive
early so that they can be told what to do. The security in front of the stage should stay
focused on the audience, not the band. They are there to work. Other security personnel
should understand this as well. They might enjoy the show, but their priority is to
work.
Wrist bands are an excellent means of keeping track of people during a show. If you
have different sections, such as floor and bleacher, you might want to put wristbands on
the floor ticket holders. In addition, if you are concerned about people going over a barricade, you might want to give everyone a wristband. The first time they go over, remove
the wristband and tell them if they go over again they will be asked to leave. The wristband, or lack thereof, is your proof that they went over.
Make sure there are enough people available through out the day. Even if the main
stage work is done, keep people around. You never know when work will need to be
done. This goes for your stage crew, your publicity people, and everyone else involved. It
isn’t over until the band drives away.
The main point to keep in mind is that there is a lot of work to be done before, during,
and after a concert. The concert committee’s job is to make sure everything goes
smoothly. A major part of this is simply helping the road crew. As long as everyone
remembers that there is work to be done, you should have a wonderful show.
HOW WE MAKE LIFE HARDER THAN IT NEEDS
50
TO BE
••••••••••
Performers, agents and schools are making the world of college entertainment more
complicated than necessary. Here are some ideas to make the process easier.
When we initially had the idea to write this article, we went on a nonsensical rampage
for about an hour. We talked and talked and talked about all the craziness we’ve seen
over the years: all the seemingly harmless situations that became insomnia-inducing
nightmares. All the little things that just got blown out of proportion.
After a good hour or two of venting we realized that things could be simpler. MUCH
simpler. So why aren’t they? Why does college entertainment have to be so complicated? More importantly, how can it become LESS complicated?
The short answer is “communication.” But that would make for a pretty short article.
So…
Understanding the problems comes from recognizing the concerns of both the schools
and the performers. If both sides can look at a situation from the other’s perspective,
then perhaps we can reach a compromise that works for everyone.
We set out to contact agents, bands, activities directors, students and anyone else with
an axe to grind. We got a lot (and we mean A LOT) of responses. Some were constructive, and some were not. We worked through it all and broke down the information
into three categories: school-related complaints, artist-related complaints, and issues we
all complain about.
To address all of these concerns would fill a novel. So we focus today on some of those
things we can all agree to disagree on. No names are used. We only specify if the
comment is from the artist side or the school side. After each issue is presented, we
offer our thoughts on the matter. As a middle agency, we often have the ability to look
at a situation from both sides and offer what we think is an acceptable “solution” to the
problem. Obviously, in most instances there is no single answer. However, we feel that
if both sides candidly look at the issues as presented by the other, the entire process
can run more smoothly. And we hope that this process can be applied to any questions
that might arise.
Since this is a guide for colleges, all of these issues are addressed with a school focus.
And, for the sake of clarity, we’ve grouped comments made by acts, agents and managers as simply “ARTIST,” and those from activities directors, students and administrative staff as “SCHOOL.” Our thoughts are in the bolded paragraphs.
Brace yourself…
THINGS WE CAN ALL AGREE TO DISAGREE ON (A PRIMER):
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• Getting paperwork on time
• Amending this paperwork
• Dealing with insurance requirements
• Terms changing after the bid is accepted
• Neither side being able to reach the other
• Taking too long to commit to an act or offer
• Security concerns
• Dealing with so many mixed signals
• Having to cancel a show
Getting Paperwork on Time:
For most shows, the buck starts here.
SCHOOL: “It takes us forever to get signed contracts back from artists. And it takes us
a few weeks to get checks ready for them. When their payment isn’t ready the night of
the show, the acts are always upset. But there’s no other way we can do this. How can
we avoid these headaches?”
Perseverance is the key – Along with plenty of advanced notice. Many school are
now putting very explicit check writing requirements directly into their offers. If
you need three weeks to process contracts, say so in your offer. If you need fully
executed contracts back by two weeks prior to the show, say so. It spurs acts
along, and also covers you in case something still takes too long in getting back
to you. But remember…
ARTIST: “Schools want us to sign contracts in three days, but they can’t do it in three
weeks. Plan better.”
Schools usually require more people to look at, review and sign contracts than
acts do. However, this cannot be an excuse used to rationalize delays. Don’t
expect artists to jump through hoops for you if you take a month and a half to
process the paperwork on your end.
••••••••••
Amending This Paperwork:
They want you to give them everything. You want to give them nothing.
ARTIST: “Yes, our riders are big. But we understand there is some give and take. That
doesn’t give you the right to cross everything out.”
Remember that the artist is living at your school for the day. They understand
that you cannot provide certain things, but they also want to be comfortable and
taken care of. Both your school and the “Enormo-dome” get the same rider, so
changes are commonplace. Just keep in mind that if you take issue with a
request, review it before you make arbitrary changes. And remember to offer an
explanation for everything you cross out in a rider.
For bigger, production-related issues…
SCHOOL: “Our school doesn’t have the means to accommodate some of these acts’
excessive production and staging requirements. But we still feel like we can offer them
52
an acceptable set-up to perform with.”
Most acts will let you see a rider before you make an offer. If there are major concerns from the beginning, ask right away if it seems like something you can do. If
you make an offer, put very plainly into it the restrictions you have in terms of
stage size, dressing rooms, production budget, etc. Send the rider to some production companies to get quotes before you commit to anything by sending an
offer. Some acts really do need a stage that size and lighting that complex. Only
go forward with a bid if you are totally confident you can pull the show off.
Reciprocally…
ARTIST: “Schools have way too much paperwork. Sometimes I think they have paperwork just to complicate their lives. Even worse, most of it hasn’t been reviewed in 30
years and is useless. The worst is state schools, though. I have acts that won’t play
state schools because of all the BS. We have to sign everything, do everything, but they
won’t lift a finger. Do you think that when the governor wants a big event the act has to
jump through all these hoops? Never. Never, never, never. The staff just doesn’t want
to raise the issue because they’re afraid to rock the boat.”
The fact of the matter is, a lot of schools have a lot of paperwork. To help yourself, send your paperwork in with your offer, and explain everything in a cover letter. It also helps to review your school paperwork every few years. Often, terms
that were relevant 20 years ago are not relevant now. So reviewing everything will
only help you out in the long run.
••••••••••
Dealing with Insurance Requirements:
Since the events in Rhode Island and Chicago, this has become more of a concern.
SCHOOL: “Our Risk Management department has suddenly become really pushy
requiring acts to show certificates of insurance. We’re getting a lot of resistance from
the artists, but there’s nothing we can do.”
The first thing to figure out is exactly what you are requiring from the act. Do you
just need to see that they are insured? Do you need to have your school named
as additionally insured? What type of insurance do you require them to have?
There are many different types of coverage out there, and it is imperative that you
know exactly what you are asking for. Since many acts do not carry insurance,
this will cost them money. Is you school prepared to raise an act’s guarantee to
cover this cost? You need to make sure everything is spelled out clearly in your
offer to them – NOT after they have already accepted your bid.
ARTIST: “The school is asking for a one day, $5 million dollar policy naming them additionally insured. It’s excessive, and in our case actually exceeds the guarantee we are
being paid for the day. There’s no way we can do the show.”
The industry standard for insurance at colleges is a $1 million dollar general liability certificate. Depending on your room size and the genre of the act, this can
53
run them a few hundred to a thousand dollars (you should contact an insurance
broker for more specifics). A $5 million dollar policy, on the other hand, can run
nearly $10,000. In some festival situations, schools are only requiring the headliner to supply the insurance – not the $250 opening act. And certain policies allow
for multiple acts to be named on the same certificate. In rare cases, a school has
accepted an indemnification letter absolving them from any responsibility for an
act’s actions. Ask every question you have to BEFORE you enter into an agreement with an artist.
••••••••••
Terms Changing After the Bid is Accepted:
Riders, ticket prices, show capacity, support acts, oh my!
ARTIST: “You better tell me everything weird about your school from day one – radius
clauses, security issues, content, etc. Don’t change the terms after the deal is done.
Your merch rate, venue size, support acts and ticket prices all affect our decision to do
the show.”
This happens more frequently than it should. Before an offer goes in, you should
estimate your expenses as well as you can to accurately reflect ticket prices. You
should know exactly how many tickets you are able to sell, and if the show will be
open to the public or closed to your campus. If you are unsure of how much you
will need to sell tickets at, overestimate in your offer. Very few artists have a problem with you lowering ticket prices.
The issue here is surprises. If you need to raise ticket prices to match rising
expenses, you will need to review the changes with management. So make sure
you can provide proof that the increase is needed. If your building has a policy
on merchandising, say it on the offer. A typical rate is an 80/20 split with the artist
keeping 100% of any CD sales.
If you’re turning your show into a festival, give a lot of advanced warning. Artists
like to have some say over who they are playing with, unless the offer given to
them explains it as a festival billing with the school choosing support. But a twoact show becoming a five-act show can affect the whole day – load in, sound
check, travel, etc. So it is imperative that they know about changes in writing if
they come up. And then, of course, there is…
SCHOOL: “I just got a faxed rider that is supposed to ‘supercede’ the signed contract I
got back a week ago. The problem is, the tech and catering have changed pretty substantially, and we have already ordered everything and invoiced the check requests. If
we revise this now, no one will get paid the day of the show.”
The best bet in situations like these is to have a constant dialogue going with the
tour manager and production manager. When amending the contracts, note on
the rider that all requirements are “to be advanced.” Then have your first conversations with the touring personnel before finalizing any production or hospitality
orders. If necessary, have the act’s production folk talk to your sound, lighting
and staging people to insure that everything they need will be there. In some
cases, these talks may even anticipate new riders from management. And if it’s
54
too late to change things, then it is too late. But sometimes…
••••••••••
Neither Side Being Able to Reach the Other:
We are but two ships, passing in the night…
SCHOOL: “Why do artists wait until the week of the show in order to get back to me
about advancing it? There are production and logistical issues that I need to know 3 or
4 weeks before then in order to have everything the way that they need it.”
There are often two reasons for this. One is that bands on tour are most concerned with the dates they are just about to play. If they have a month’s worth of
shows before yours, they feel they have more pressing matters at hand. In the
club world (which is the only world some of these people know), things work on a
much shorter schedule.
The second reason is that – at the beginning of a tour – some acts still have to
hire tour and production managers! There is a lot of unseen internal work
required to put a band on the road, and (again) these are often viewed as first priorities.
Anything you will need to know well in advance should be spelled out in your
offer or addressed to the artist’s representation as soon as you know about it.
You may be able to find out what you need to know well enough to get your production and catering in order.
If you still cannot find out the specifics you need, it may be time to write a letter
detailing what you will be providing for the day. Many clubs have built in sound
and lights, so the situation for them is what it is. If you need to get things
secured on a deadline, you may have to do the same. Just be very up front about
it, and make sure everything is in writing: “Production will be this. Catering will
be this. Etc.”
ARTIST: “So I can only talk to one person at the school about our show. And they’re at
a conference. Or on vacation. Or in a meeting. It never stops! And I never get a call
back. Why be the production contact if you’re unreachable?”
Sometimes, delegation is the key. If you’re the answer person, it’s okay to have a
few serfs under you dealing with the overflow! Major issues with shows can
appear up at any time. So if you know you’re going to be busy or unreachable,
make sure that someone in the office is up to speed on what’s going on. And that
he/she’s someone you can trust to either make a quick decision or to be able to
get a hold of you at alternate numbers, etc immediately. Waiting on some problems often makes them worse. So be prepared.
••••••••••
Taking Too Long to Commit to an Act or Offer:
Unlike wine, the best things in programming do not come to those who wait.
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ARTIST: “Committees drive me crazy. ‘Well, we only meet on Tuesdays, so I can’t tell
you anything until next Wednesday.’ Guess what? Don’t call me – my acts aren’t sitting
around waiting for the 10 of you to get together. Ever hear of the phone? Internet?”
This is becoming a bigger and bigger problem, and it doesn’t need to be. Too
many schools lose opportunities due to their communication problems. Call an
emergency meeting, send e-mails, conference call, etc., etc., etc. Only meeting
once a week takes artists away from you. There is absolutely no valid reason for
being unable to communicate with each other more often.
SCHOOL: “Why do artists take so long to respond to our offers? Why do they ignore
our deadlines? I’ve waiting five weeks to get answers before, only to have the date be a
pass. And all while missing the opportunity to book something that would have been
just as successful and have actually happened.”
For better or for worse, college events are not always a priority for artists. College
shows do not break artists – public plays in major markets do. Therefore, finding the
“best” public (i.e. club or venue) play is more important to managers. However, this is
not an excuse for ignoring deadlines or stringing a school along. If you have a deadline,
stick to it. Often agents think schools will wait around as long as necessary to get an
answer. If you need to move on, then move on. Spend the time between submitting an
offer and its deadline by looking for good backup plans if the need arises.
••••••••••
Security Concerns:
We must deal with this barrier between us.
SCHOOL: “We have an act coming to campus whose public persona makes our campus
police and administration really nervous about having them. How can we ease their
concerns?
The easiest initial answer is to get other college references. Many artists that
have a “dangerous” persona are actually very professional touring acts – playing
a role no differently than someone in a theater performance would. If they have
played other college shows without a hitch, have those concerned ask those
schools about their experience. Most people are more than happy to help each
other out.
If the act has no college history (and even a spotty club one), you just need to
make a judgment call: Is it worth giving a new artist a chance? Or are there too
many “if’s?” Not everyone wants to be the test case. And sometimes it really is
safer to err on the side of caution and go with something you know is tried and
true. Do you have a good relationship already with the act’s representation?
Have you handled difficult situations at shows before and come out okay? These
are all questions to ask before moving forward. You may want the hottest new act
out there, but the higher-ups may not want to risk your school’s reputation on it.
ARTIST: “School security is always a disaster. They have too many campus police with
no idea how a concert crowd is supposed to look. And all of the folks behind the barricade are students! No one knows what’s going on, and they are trying to randomly
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enforce some ‘no moshing, no crowd surfing’ policy.”
Liability and public safety are obviously paramount on everyone’s mind. But if
you have an act coming to campus that will inspire an energetic crowd, you need
to have all of risk management’s concerns up front – and a battle plan to deal with
any worst case scenario that may arise. A mix of professional and student security is highly recommended. Students can have a difficult time dealing with their
peers, and this can take some of the heat off of them.
We recommend a warning system for handling crowd surfing and moshing. Give
the offender a difficult to wash off mark on their hand, make sure they are okay,
and tell them that if it happens again they will have to leave. If you have these
policies in place, make sure the signs and tickets reflect them.
Not everyone that crowd surfs means to. And the safest way for someone in this
position to get out of it is to be safely brought over the barricade by security. If
people are afraid they will get thrown out for a first offense, they may try just
falling into the crowd, which is much more dangerous. Also, kicking people out
after only one offense guarantees a fight every time.
••••••••••
Dealing with So Many Mixed Signals:
Or, why double coupons don’t work in the entertainment industry.
SCHOOL: “Why do I get so much mixed info on availability and pricing? Every 5 minutes I get a new e-mail, fax or call with information that is different than the last e-mail,
fax or call. Not only is it frustrating, but it is confusing as hell.”
ARTIST: “I hate getting calls from seven middle agents about the same school. What do
you think you are going to accomplish? I’m either going to just pass or probably ask for
more money. It’s stupid, really. I make the decisions and they act off the info I give
them. Find who you like and stick with them.”
At its core, booking an act seems so easy. You have an act you want to book, and
the act needs a place to perform. Why isn’t there harmony? Mostly because
there’s so much extra STUFF out there getting in the way.
Information on an act is constantly changing. What was accurate last week may
no longer matter now that the artist has some newfound exposure. And, like in
every business, everyone is out to make money. So how do you know who to listen to? Where to go?
Unfortunately, only experience can really guide you. So surround yourself with as
many experienced people as you can. NACA and other groups exist for these networking reasons.
There are two ways to book an act: directly with an artist’s representation, or
through some type of “middle” agent (a consultant you pay to help you secure
acts and produce the show). This is your first major decision. For some, tracking
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down artists is a full time job. For others that are looking for something extremely specific, they know just where to go. The values of each are for another article.
If you have the resources and are going direct, make sure you are not being overquoted. If you are using a middle agent, do your homework, find one you like and
stick with them for the duration of that show’s planning. Again, use your references at other schools. Be informed. Go with someone people seem to trust.
What does not work is calling many different people about the same act for the
same show. This will guarantee confusion on every front, and almost certainly
hinder your ability to get what you want. There is no “shopping around” for a better deal. Once someone figures out you are doing this, you will become vulnerable to he/she just telling you what you want to hear – only to bait and switch you
into something else. And you may also annoy the act’s representative agent
enough to no longer consider you for the date.
••••••••••
Having to Cancel a Show:
And on its tombstone, it read: Dammit!
None of the quotes we got for this were re-printable, on either side! While (in the
scheme of things) cancellations are rare, they feel like they happen much more
often than they should. In nearly every case, the side being canceled on feels
slighted and angry. For everyone, reputation is at stake. In every case, it should
only ever be the LAST POSSIBLE resort.
As a school, you are only as attractive as your past performances. It takes a
while to build a nice concert program. Artists talk all the time, and word spreads
quickly if a certain college is a great place to play or a definite to avoid. The key
here is to not go into a show unless you are sure you can handle it. You must
plan for the worst-case scenarios, and over-budget all of your expenses. Only put
in an offer for an act if you can deal with these possibilities. Realize that if you
cancel for any reason other than a definite breach of contract by the act, you will
chance legal action and permanent damage to your reputation. If the attitude is
too laid back about whether or not the show happens, don’t bother booking it.
Reciprocally, an act may cancel on you with very short notice. Movie offers come
in, record labels demand certain events and sometimes people just get sick.
Depending on the circumstances surrounding the cancellation, shows can get
rescheduled with minimal damage (though plenty of hassle). Have a plan ready
for ticket refunds, buybacks, etc.
But if you really get it stuck to you, the action you take is up to how much time
and energy you want to invest. Some schools are able to recoup advertising and
(in very, very last minute situations) production costs. Realize that it will be an
uphill battle, but you and your colleagues must agree on how far you are willing to
take it. Furthermore, if you waver in your course, you will lose. You must be prepared to follow through on everything you demand.
••••••••••
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In Closing:
You don’t have to go home, but you can’t stay here…
We realize that this article is set up to reflect upon some of the gripes everyone
encounters in the course of producing a show. But the point here is not to stress
the differences between schools and artists; it is to show that – at the end of the
day – we’re all in this for the same reasons. We want a fun, successful event
where everyone walks away happy.
While everyone is trying to protect his/her best interests, it’s important to remember that we all have to accept compromise. And the easiest way to empathize and
accommodate each other’s plights is by talking. Talking, talking, talking. It may
not be that easy to do. And it may not be fun. But it is essential. The key is to
avoid surprises, personalize the event, and have the type of successful and professional show we all know we’re capable of.
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NOTES
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