Following on with The Fair Play Guide series, in the previous post, we introduced the suggestion of co-promotion deals and what the MU says constitues a bad deal. This post offers up a few more tips for negotiating and arranging co-promotion gigs.
- You can say “no” to a gig. It’s always worth trying to negotiate, but if there’s no flexibility on the promoter’s behalf, and the deal isn’t right for you, don’t do it – you’re not losing anything, but you are applying quality control.
- Promotion – work with the promoter and other artists on the bill – share physical and digital promotions, in order to reach all fanbases and mailing lists.
- Press – ask the promoter for a copy of their press contact list, with a view to securing features/interviews.
- Check out radio opportunities, as many local and regional BBC programmes feature live music and interviews with artists.
- Create a show advance sheet, and send it to promoters when you agree a gig, in order that they can complete the required information and return it to you. This can include: load-in details, time of sound-check, stage times, guestlist policy, dressing room info, details for promotion, and many other factors relevant not just to the show itself, but to logistics surrounding the gig. The information returned can give you an idea of what the quality of the show itself will be.
Avoid:
- Taking sole responsibility for promoting a show – the venue/promoter should play an equal part.
- Last minute promotion: if you give yourself enough time, you’ll cover more ground, and attract a larger audience.
- Deals that require you to sell a minimum quantity of tickets.
- Selling tickets without receiving a fair share of the ticket price.
- Lying about your pulling power – if a promoter asks you about the size of audience that you typically attract, be honest.
As always we want to hear your opinion on things and this we feel co-promotion deals are a worthy discussion point. So dont forget to leave us a comment.
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