Why It Sucks To Tour in the West US

[Miguel]

That was an interesting article. Thanks for posting it. Made me think of all the places Casey Abrams has been playing. Seems like whoever books his show knows to avoid the Western U.S.

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I was doing some research earlier tonight related to Haley's friend performing at the House of Blues Foundation Room and came across this:

We played the "House of Blues" in Hollywood. Only it wasnt the main stage, it was a room upstairs called the Foundation Room.
And even for that room, they wanted us to pay them $300 (30 tickets, $10 each), though they gave us 200 tickets to sell at any price we wanted. We ended up breaking even, recovering expenses. Id not do it again.

Prior to that, I found this informative article:

"Pay-to-Play" the Great Debate

Almost everyone is against "Pay-to-play," but once you understand the reasons behind it, the more it makes sense. There are always exceptions, but when 1.9 million bands are wanting to be that exception and want to play for free and get paid to play, it is just NOT a realistic possibility.

...Another misconception (is) major artists don't have to pre-sell tickets. You are mistaken. They ALL do. EVERY ONE OF THEM. They all sign contracts guaranteeing a specific sales number and it is typically 80 to 150 in ticket sales for places like The Viper Room, The Roxy, and other venues alike. And, if you want to play at a bigger venue like Hard Rock Cafe, House of Blues, El Ray, Paladium, etc, you better get ready to fork over up to $30,000 if you want to headline your own show....upfront (not based on ticket sales at the box office).

It only gets more expensive from there, especially when union organizations like Live Nation (are) going around to all the major cities buying out all the big clubs. Soon, no one will be able to play anywhere in Los Angeles or New York or any major market unless you're with a major label. It will become too expensive to play anywhere that has a capacity over 500 people. It's no coincidence that this is happening. Major labels make money in three ways: radio airplay royalties, live performances, and merchandising. This is how the major labels are making the bulk of their revenue. With piracy out of control with no end in sight, no one is making a whole lot of money by selling music. Performing live is where the real money is made.

...Yes, there are some great bars and smaller venues that do not charge, but a brand new band out of Hoboken, New jersey is going to have a hard time booking a gig anywhere in LA. You are a risk to the venue to book and that's why there is a pre-sale. If a band was told to pre-sale 60 tickets at $10 each, the club is expecting 60 people to show up and hoping to exceed that number. If three bands booked that night only bring 20 people each in a venue that holds 400 people, it will look empty and fans are disappointed. Everyone loses in this scenario including the club. 60 people cannot buy a lot of food and drinks. This is a major loss and $1,800 in advanced ticket sales does not make up the loss in bar and restaurant sales, when it typically brings in $10,000 to $15,000 in daily sales it needs to stay afloat. Your talent isn't an instant cash machine...not yet.

If you want to play the LA/NY game, it's best to bit the bullet, pay the bill at the venue and sell or giveaway the tickets for free, but don't do this a week before the show. Plan it months ahead, schedule radio interviews to do ticket giveaway contests, and promote like crazy. Find fanatic fans in the area that are willing to create a small street team to pass out flyers and post flyers on college bulletin boards, etc.

Let's put this scenario into another perspective. Los Angeles is vast and clubs are abound. Anyone can go anywhere they want and see some popular artist at any given night. Why would they go see someone from Small Town, USA they've never heard of and why would a venue book a nobody? These are some of the questions bands members and managers have to ask themselves. Most artists live in a fantasy world and cannot grasp why someone won't book them. Of course, there are always exceptions, but it's not the norm.

How are these so-called exceptions made? Well, a booking agent will look at your artist profile. They go to your Facebook page, your Reverbnation page, Youtube account, and your Twitter account and they look at how many fans you have and they look at all your activity. Are your fans active? Are they interacting with you? Are you interacting with them? Are they taking photos of you, sharing your posts, and retweeting your Tweets. Do the videos of you have a lot of people in the crowd? If you fit the profile they are looking for, then they begin to look at other aspects like, does your music fit the theme of what they typically book for their venue. If you meet the above requirements, it's almost irrelevant that you sound good.

You cannot not book a popular venue and expect it to be packed and hope they all love you. The reality is the people that are there, they are not there to see you. They are there to see another band and once their band plays, that crowd leaves when the band does. It's rare to play at a venue where the crowd is there no matter who's playing. This only happens when there is a once a month promotional night, when there is no cover charge and a tall can of Pabst Blue Ribbon is on sale for $2. If this is what you are waiting for, you better stand in line, because you're going to be in for a long wait behind the bands that have a massive draw.

While you're waiting, you really need to keep touring other venues to build up your fanbase and focus on social media branding. Don't wait for the perfect opportunity. The longer you wait, people will begin to forget you. Work on building your own draw, otherwise it's going to cost you.

http://www.allindiemagazine.net/2013/02/...ebate.html