(or, the Art of Hounding)
The other day, someone asked me, “What’s the difference between a promoter and a booking agent?” Booking shows can be a two-part process, with most artists using both an agent and a promoter. For those who don’t know, a promoter can be
as corporate as Live Nation, as grassroots as a local rock club owner, or a local promoter (who might be somewhere in-between). The promoter is essentially the person who hires the band to play a venue and is responsible for production, advertising, tickets, and more. Booking agents are the middle-persons, the liaison between promoter and artist. Most artists hire an agent from a booking agency. The booking agent represents the artist and books their tours and concerts; sometimes an artist will have multiple booking agents in different territories of the world. For Y&T, I do all the booking “in-house,” worldwide, and I deal directly with promoters, venue owners, and talent buyers.
While I was prepping for tour, a friend once asked me, “What could you possibly have left to do? Doesn’t the promoter do everything?” I thought, promoter? As in singular? Oh, how I wish there was just one person I could contact who would magically do everything. Wait…that person is me.
Dealing with a plethora of contacts—promoters, venue owners, talent buyers (and crew!)—I’m miraculously able to assemble a tour every year, all around the world. But planning isn’t without its highs and lows.
I’m in constant communication with many promoters, talent buyers, and venue owners the world over, and I’m pleased that most of them are responsive and professional. Unfortunately, most don’t handle anywhere close to everything required in assembling a tour. Some necessitate relentless hounding in order to extract the information I need to ensure that show day will run smoothly for my crew and the band.
In perhaps 98% of the shows on the tours that I plan, the promoters don’t plan the travel from point A to point B—that massive chore falls on me (read: travel agent—another of my many hats). In the instances where promoters happen to be providing accommodations, I certainly don’t demand five-star, but some try to cheap-out on fleabag motels instead of a more acceptable moderate hotel. I realize that promoters regularly deal with a multitude of acts and with varying requirements, and I’d like to think that puts them in a more experienced position, but it’s not always the case. Some don’t initially allow ample timings for show day, and instead leave less-than-adequate timings for the crew to set up, the band to sound check, dinner to be squeezed in, changeover after the support act, and ultimately my artist’s (the headliner’s) lengthy set. A good promoter first knows not to book a venue that has an inadequate sound systems and lighting that barely illuminates the stage (or is so dim the guitarists can’t even see their strings), or if they do, they’re willing to provide appropriate supplements when I point out the inadequacies.
These are just a few of the many details that must be sorted in advance of every show on every tour. If it’s a fly date*, there’s no way in hell I’m leaving the backline** solely to the promoter to hire; left unchecked, my artist would likely end up with a student drum kit instead of pro kit, subpar amplifiers instead of prime gear in working condition, and speaker cabinets that sound as honky as a horn on a 1972 Ford Pinto.
These factors all affect the final intended result, which is the most important thing to Dave and the guys—a stellar show for the fans. I love dealing with professional promoters who have the same goal.
* A fly date is when it’s logistically illogical to transport the band, crew, and gear by ground. Therefore, the people, guitars, and suitcases must fly, and the promoter must provide the backline.
** Backline is everything but the guitars, drums, and cymbals (in other words, the amplifiers, speaker cabinets, drum kit and miscellaneous stage items).
another great Blog from the inside of touring and the work of the woman with many hats,better known as Jill.
Thanks, Russ. Glad you enjoyed it.
Hi Jill – I will give you five stars after reading about booking a tour. Just the thought of trying to keep it all organized makes my head spin.
KennyC
Thanks, Kenny. Mine, too. :-O
Thanks for the interesting articles Jill. They give a great insight into what it takes to put a tour together. You deserve a medal for the work you put in!
We always look forward to seeing Y&T in Newcastle as it’s always a great night.
Thanks, Paul. And I always look forward to Newcastle!
Love this! Great Job.. I am so proud of you, thank you for the insight!
Thanks, Shari. Much appreciated. 🙂
Jill .I think of myself as organised however after reading your blogs which are a great insight into one of the hardest working and best live units around,I realise you are more organIsed than me on a totally different level. my hats off to you all and welcome back to Wales
Thanks, Darren. It’s still mind-boggling to me sometimes, just how much attention to detail is required. Good thing I’m a hardcore note-taker. 😉
That’s fascinating. Thanks for sharing this with us.
You’re welcome, Stu. Thanks for dropping by for a read.
Reads great Jill. At age 49 after a lifetime of loving heavy rock, ( saw Y&T for the first time on the ac/dc support tour in about ’82, will be at the Glasgow show in November 2014) I’ve started to help out a local band, fixing up gigs , promotion, flyers etc, never realised how hard it was to get venues to even reply to you about possible bookings, at the end of it though, great fun and loving it!
Thanks, Kevin. Yep, it’s much harder than it seems on the surface, but the efforts are so rewarding on many levels–and working with such a great group of guys sure helps.
Holy crap that’s a lot of stuff to have to worry about. The best thing is that Y&T have you Jill. :o)
As I’m sure it’s quite the task to plan these tours, they are very lucky to have you because just from what I’ve read of your blog posts, you really know the A-Z of what you do.
Very cool to have the opportunity to learn about the “behind the scenes” of the music business. I’d love to see a flow chart. lol Sheesh….you would need part of the Great Wall just to lay it out, eh? ;o)
Thanks, Kristin. Of course, there’s much more than what I’ve mentioned, but at least you get a taste. Ha!…Yeah, that might be a fair estimate. 😀
Just joined to your blog and found it very interesting about all the background stuff that revolves around the setting up of a tour. You truly are the secret fifth member of the band. At least they have a good manager that has the bands interests at heart, unlike some managers that I have met. You seem to have driven the band from strength to strength since you have been in charge of running the band.
Thanks, Mark. Very kind of you to say. The guys just want to play–they live to play–and I’m more than happy to keep making that happen. 😉 As long as you all continue to come out to the shows, I’ll keep bringing the band back.
Hey Jill, after seeing you in action for many years I must say-you set the standard! It is not common these days for someone to have their profession be their passion. I can say without hesitation that you really are the glue that holds everything together and the end result is the most loyal fan base I have ever seen. Aside from the band I think it is fair to say that Y&T fans appreciate you soooooo much and that’s why Y&T are who they are. You rock Jill!
Thanks, Adam. That’s very kind of you to say. These fans are certainly exceptional!
Thanks for some inside info.
I would like to thank you for not bashing the AMC Gremlin or Pacer and used a Pinto in your story.
You’re welcome, David. At the end of the day, it’s just an annoying horn, so nearly any model will do. 😉 Thanks much for reading.