Can’t be arsed

I’ve had two quite connected emails today one from an artist another from an industry person.

Artist says please don’t remove me from the bill, because in spite of not mentioning the 6-weeks confirmed show on my website I have bought a train ticket and I can start to promote now less than a week before the show. And in any case, I promote events myself and would never expect the artist to do the promoting for me.

Industry person says the argument that PAY TO PLAY PROMOTERS ARE COMPLETE CUNTS doesn’t totally stack up and that given they’re the bank, holding the risk, what’s so bad about promoters trying to protect themselves in the face of a tide of lazy bands who promise 30 mates and bring nobody.

There’s a lot of grey between the two arguments. And to start from either position is wrong.

One thing is certain: when you’re doing a show and you check the acts websites and the show isn’t mentioned, it’s just completely soul destroying. This process could be got through far quicker by just handing out some money to some acts, and not actually doing the “event” part.

Christ, my band used to make our own flyers and posters on top of what the promoters did, and hit the promo *hard*.

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One response to “Can’t be arsed

  • skopje

    I was recently let down by some artists that i know very well, made me realize that i need to toughen up. But the whole of putting on shows in the first place was to try and do a better job than some of the darker london promoters. To not be so cold, to not have a huge list of rules and demands etc….. Trouble is i’ve been putting on shows now for 3.5 years, and i’m starting to lose faith in artists….. 3.5 years ago, i thought all artists were golden and most london promoters were shady. … The truth of the matter is london promoters are so stringent (ie bring this many people, don’t play 2 weeks before my gig etc) because they have been let down by musicians so many times ……………I see the future of music as a partnership between venue, promoter and artists…….If the venue puts up some posters and develops a reputation for a certain style of music, its a great starting point. The promoter obviously has to do a good job. But the bands need to raise their game in terms of co-operation. So many artists over gig. Getting 1-4 fans to 10 london shows that month. Instead of getting 40 fans to one great show, and blowing the roof off …..Also artists not staying to watch other artists is so daft. If all the artists stayed in the same room to watch each other, it allows cross over of fans, which is what everyone wants???? If a band just plays their set and then leaves it doesn’t help anyone…….I had a concept for “fair pay to play” called 50/50 artist share.. £6 door fee each artist gets £3 for every person they bring in. Everyone works together. No one does a show in that area for 3-4 weeks. Venue works together with promoter, who works with the bands. I have no idea if that would work….

    Doing SILENCIO in watford i can do old school promotion in conjunction with social media. Pay the artists their travel, and pay for posters and FB ads…Make it all work…..

    But London….I just don’t know, so much music, so many bands over gigging. I don’t know how anyone can promote a london show. so tough in london

    skopje

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