Call the destination, and ask for directions
2007-08-18
Work backwards.
Define your goal (your final destination) - then contact someone who's there, and ask how to get there.
If you want to be in Rolling Stone magazine, pick up the phone, call their main office in New York City, and when the receptionist answers, say “Editorial, please.” Ask someone in the editorial department which publicists they recommend. Then call each publicist, and try to get their attention. (Hint: Don't waste Rolling Stone's time asking for the publicist's phone number. You can find it elsewhere. Get off the phone as soon as possible.)
If you want to play at the biggest club in town, bring a nice box of fancy German cookies to the club booker, and ask for just 5 minutes of their advice. Ask them what criteria must be met in order for them to take a chance on an act. Ask what booking agents they recommend, or if they recommend using one at all. Again, keep your meeting as short as possible. Get the crucial info, then leave them alone. (Until you're back, headlining their club one day!)
I know an artist manager of a small unsigned act, who over the course of a year, met with the managers of U2, REM, and other top acts. She asked them for their advice, coming from the top, and got great suggestions that she's used with big results.
In other words:
Call the destination, and ask for directions.
You'll get there much faster than just blindly walking out your front door, hoping you arrive someday.
You are spot on Derek. Be bold... not obnoxious.
Barry
I have not yet managed to get my Scrumpy and Western music recognised in the USA yet, But I have heard Morris Dancing and Folk are big in California, so that is my next target.
Glad to have you on my side, even though both my music and myself are from a past world, I believe in Circles, what goes around comes around. or in Cornish "Kelkio"
Greg Woods
Thanks for the post Derek sorry to hear about your departure from CD Baby, but I'm sure the time was right. This is Conman from the Heatroxxx formerly G.C. Inc. My partner Sneeks and me found some material from the Evolution EP that was unreleased. I want to get that out a.s.a.p.
Question, 25 years ago I could read and play music, but now I play by ear. My brother and I recorded an album called Evolution: The EP, back in 2003. I played the keys on those tracks by ear; the strange thing about it is I had never played the piano or synthesizer in my life until that point. How could I turn this new found gift into a plus and make a profit? Thanks for your time.
Lonzo: sorry I don't know how to answer that. You now play keyboards, and how can you turn that into a profit? A hundred ways depending on a thousand things.
Become the final destination!
Just a thought about this working backwards:
When I was on the road and playing with my band, it was very hard in the beginning to book the larger/more prestigious venues. The gatekeepers were usually overwhelmed and too busy to consider an act they did not know well.
There are many factors that helped change this situation. Here is one.
It’s something that happened in the “what goes around comes around” department.
So for years we did mostly charity events, freebies, and “good for exposure” gigs. I can’t think of one local or national charity event that we did not participate in if we were able.
After a while I was so involved in the actual fundraising and community service productions, that I inadvertently started becoming one of the organizers, one of those gatekeepers.
Fast-forward ten years. Now I run two arts/entertainment organizations, and among other things, am responsible for booking some awesome venues. It’s a very different mindset when you are looking for the act to hire, instead of being the act trying to get booked.
It’s a great position to be in. However now that I’m aware of all the different factors that go into production of musical events, I can see why it’s so hard for even well known acts to get booked.
What I’ve learned:
Whether it’s a festival, club, or concert, look at the purpose, mission statement, etc. of the event and organization you want to be hired by. And try to find out how and if you can possibly be of help to them.
We look at hundreds of bands every season. And it’s a daunting task to match our budget, audience, and mission, with the right act.
I can’t tell you how many times we hire a lesser-known, helpful act over an unhelpful, well-known act. And really be careful who is representing you. Sometimes a difficult, or greedy agent can sour a deal quickly.
Be willing to adjust your requirements to help facilitate the event.
If you are fair, honest, true to your word, and approach bookers with mutual benefit in mind, you’ll be far ahead of the game.
I still actively play shows and solicit for new venues all the time. But now I see things from quite a different perspective. I am much more selective about where I offer my services. And I only offer to play shows where I truly believe that I am a good fit.
Not only did I work backwards, I became the final destination. Kind of ;-)
PS It’s really weird and enlightening to be trying to get a booking for my act while simultaneously being solicited by several bands each day for the concerts I book.
I'd like to thank you for every article you write. Take this for an overall 'thank you', please.
Brian
Once again, amazing advice; simple day to day things that we do, applied to helping advance our careers.
doesn't believe i'm a musician!? dude, listen to my track, i'm outraged right now., by your candueur. outraged!
that's outrageous!
http://www.youtube.com/minusian2011/&look-for-gone_walkabout: ps_i'm_back)now!0@###ios)