So you are an emerging Hip-Hop artist looking to make a name for
yourself. You have a decent amount of friends on Facebook and Twitter listening
to your music online, but you want to take it to the next level with live
shows.
First I would say to the emerging Hop-Hop artists, do not believe the
hype that you have to be signed by a major label or even have a record deal to
go on tour to spread your music. Ari’s
take on it delivers a detailed blue print on how you can book your own tour
and still make money.
So if you decided to start performing live shows learning to negotiate
with promoters, venue owners, and others will be essential. Learning how to
talk and work out business agreements with these individuals will be a true testament
of how successful you can be in the industry.
You must understand they are the gateway that could lead to that big
break in your music career, so do not take these negotiations lightly.
Here are some great tips from my friend Casey Watkins who is a local
promoter in the South Florida area. Besides being a promoter, he is also the
Director at Rock Pointe
Ministries where he began producing live events since 2005. He handles the
many different aspects of live production including talent purchase, contract
arbitration, sound production, and venue operations.
He also serves on staff at life Pointe Church currently as the
Photography Director. His work in press developed into a strong position within
the industry, that allowed him to cover music festivals all over the state of
Florida, cover local South Florida events, and photograph bands in concerts and
interviews for 91.9 The Call.
In your opinion, what are some qualities that you look for in a
band/artist to have, so that you will know if they are ready to perform at a
concert?
Foremost, I look for musicianship. I want someone whose
heart is in the art. You don't have to be the most recognizable, because you
can be placed in any part of a line-up.
What are some things that you negotiate between artists and the venues
that they perform in?
The key comes down to cost. This is very tricky though;
everyone has a value. Their perceived value and dead costs typically began
apart from each other.
If a problem arises, how do you separate the people from the problem
when you are negotiating?
I like to deal directly with where the problem is. I know
that your friends understand the bottom line. The problems that I have come
across usually stem from the agent. The more money they can guarantee the
artist, the more money they make out of the deal. The only other issue I have
ever had comes from a new band member.
When I have a problem with an agent, I go directly to the
band with it. Most of the time, they are completely unaware of any situation.
It is in a bands best interest to get a deal worked out. The more they play,
the more money they make, and the more
they eat.
When the problem is a new member, it is like any cohesive
unit. Generally, they need to be separated from the pack. Usually they have
conjured up an idea that they aren't being treated the same as everyone else,
or something else that makes them feel out of place. Getting with the lead band
member, and talking to them directly, usually gives them an opportunity to
realize everyone is doing their best.
How do you handle positional bargaining tactics?
This is a tactic that was created by brokers/agents. I
don't like it coming to the point of having to draw them a picture, but I am
not out to lose money. Generally what I do is frame the actual value. If an
agent tells me that his band is worth $3,000, realistically, I need to sell
tickets for about $33 a piece, or tell him that I can see how they are worth
$1,000, and show him how we can build additional value on the end of the
contract.
If you are negotiating a deal with the manager of the band/artist and a
deal cannot be established, do you have a BATNA (Best Alternative To A Negotiated
Agreement) already in place or do you look for alternatives after the failed
negotiations?
Most of the time, I deal with the same levels of talent,
and similar genres. I am aware of the true value, and this is always where my
BATNA sits. Generally, a manager has his best intentions out for the band, so
they will try and work around any hurdle. An agent has his primary agenda which
is himself, and the secondary agenda which is the band that he is currently
trying to negotiate. If you can't find the happy medium with him, things tend
to fall apart a little more easily.
What are some of the most important factors that an artist and a
promoter should negotiate when they are proposing an agreement?
An artist should try to negotiate for what takes care of
them for that expanse of time working/playing a show. I hear new bands all of
the time, that play in a local market, who want compensation for travel, costs,
and meals. This is really crazy. An employer does not pay for your gas and
food. A promoter should be trying to maximize the exposure of the event. If the
event is successfully negotiated, and it is successful in the community, than
everyone should come out a winner. I work on the promoter side, so I would say
there are a lot of factors to make clear. You need to note the cost you will
incur for all advertising including posters and tickets for your event,
staffing, meals, possibly lodging and/or travel, production costs, and your
dead costs for the time that you will be involved making your event a success.
Can you give an example of when a negotiated deal did not meet your
requirements, and if so what did you do to prevent that from happening again?
I worked with a band, and their agent and I had set out
some very specific terms on stage sizing. My stage was slightly smaller than
what they requested. We talked about it, and agreed that it would work. On the
day of the event, the band showed up. Their manager who had failed to call and
go through our hot sheets, begins to complain that the stage didn't have enough
room. I explained that it was worked out per contract. He even threatened to
pull out of the show. I cancelled the next concert that I already had scheduled
with them, until they changed management. As soon as they had new managers, I
booked them for another show.
What was the most interesting request that an artist made in
negotiations?
I had some really nice guys request frosted animal
crackers. I enjoy them, so I though it was a funny request.
Can you give me an example of how you worked toward mutual benefit when
you were negotiating a deal?
I use a base plus percentage deal regularly to benefit all
parties equally.
When negotiating a deal with an artist as a concert promoter, is there
any objective criteria or standards that you base the negotiated deal on, such
as the payment amount that the promoter and artist will receive from the
scheduled performance?
This is usually the sticking point in all negotiations.
Performance fees, and percentages are the toughest thing to handle. It helps
when people can separate numbers from emotions.
What should artists know before they are trying to negotiate a deal with
a promoter?
They should understand their own real value. Think about
your day job, and what kind of values you bring to that company, and how you
benefit from it. I think too many artists are trying to sell a million dollar
work of art, instead of working to buy material to make their craft better.
Have you seen dirty tricks used in negotiations before?
A tactic that I find very deceptive, is not speaking about
negotiated prices. All promoters and venue operators discuss the purchasing
price of talent. Agents, and even mangers, try and keep numbers under wraps. It
doesn't make any sense. It turns music into used car sells.
What
can emerging artists do to negotiate deals with promoters without feeling that
they received the short end of the stick in an agreement?
Come directly out about what you are bringing to the table. I would love to
have someone with conviction tell me what they are worth. I can put a number on
how much I am worth. An artist should be able to do the same thing. Sometimes,
I know I can afford it, sometimes I know I can't. They have the same option as
I do, to lower the value just a little so we are all comfortable, or share the
risk.
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