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Job Board News

Music Industry Job Board (October 15, 2018)

Haulix Music Industry Job Board Careers, music biz, music business, music industry, job board, jobs, music jobs, music job board
The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Customer Service Representative (CD Baby – Portland, OR)

If you’re excited by the idea of helping great independent artists make a living doing what they love without giving control of their careers over to companies that only care about the bottom line, then CD Baby is the place for you.We embrace the independent spirit within a supportive, casual and fun (but productive) work environment.

CD Baby team members receive competitive pay and a full benefits package including tuition reimbursement and public transportation subsidies. Don’t bang your head in a boring job. Begin your career in the music industry and get into your groove!

Freelance Sound Designer and/or Composer (Bayonet – Indianapolis, IN)

Bayonet is always looking for people who take audio as seriously as we take visuals. Do you friends thing you are crazy because you’d rather record the sounds of nature than take pictures? Good, that’s the kind of crazy we are looking for. The same goes for music. Nothing draws out the emotion and subtext in a video like a great track. We want your help with custom music.

Administrative Assistant, Touring and Events (Sony – NYC)

Work with Touring & Events Department who oversee the planning, budgeting and travel for tours, promotional events and live performances for artists of the Columbia Label Group.

Sound Designer (AGS LLC – North, SC)

We are looking for a self-motivated person who enjoys the complexities and trade-offs of working in a multidiscipline creative environment. If you love making games, and making them with other amazing people then we want to meet you.

The Sound Designer is responsible for handling all facets of game audio production, , working as part of a creative game development team.

Live Sound Engineer (A&J Productions – North Haven, CT)

Walk into a venue, turn on PA system in correct order. Set up the stage, and mix the band(s). Must have knowledge of signal flow through a console and PA system. Must be good under pressure and have your own transportation. Musicians preferred.

Coordinator, Music (SiriusCM – Washington DC)

Works with members of the music programming team to create superior radio programs as needed. Supports creative processes, content development and production. Exercises both creative abilities and technical skills. Edits materials and operates an audio board. May be assigned to more than one program and perform slightly different functions across channels.

Office Manager (Star Gate Productions – Glenview, IL)

The position of Office Manager consists of being responsible for providing administrative and clerical services to ensure effective and efficient operations.

Administrative Assistant, A&R (Sony – Culver City, CA)

The Administrative Assistant is responsible for providing full administrative support to the senior executive.

Assistant, Entertainment (PMK BNC – NYC)

PMK•BNC New York is seeking an Assistant to join our Entertainment Music team. Candidate must be a self-starter, able to multi- task several moving parts and prioritize multiple running projects. Must be an excellent writer, and possess strong leadership and client service skills.

Are you someone who thrives in a fast-paced environment, who stays organized and positive under pressure and interested in Entertainment PR? If you think this describes you in a professional environment, then please apply for this opportunity.

Music Coordinator (Bungie – Bellevue, WA)

The Music Team at Bungie brings the worlds that we create to life with the music that drives each new adventure. This includes the cinematic scores and the anthems that shape the gameplay experience. The creation of this music is a richly rewarding process, and one that involves a significant amount of attention, including development, planning, composing, orchestrating, recording, mixing, and collaboration. The coordination and alignment of all the various moving parts of the production process is essential to its success. We are currently seeking a motivated teammate to be the glue that helps us to bring all of these components together.

Music Publishing Administration Coordinator (Studio Entertainment – Burbank, CA)

It’s the magic of immersing yourself in a motion picture masterpiece, or a new track from your favorite band, or the spectacle of a live Broadway show. It’s hard to define and even harder to create, but that’s what we do at The Walt Disney Studios. Ours is a culture of innovation, collaboration and creativity. We raise the bar, then step over it, blazing trails through the production and distribution of world class entertainment around the globe. If you want to help tell compelling, enduring stories through movies, music or stage plays, then we want to hear from you. We have an exciting opportunity for a Music Publishing Coordinator (PH) to join the team in Burbank, CA!

Live Events Marketing Coordinator (Townsquare Media – Nashville, TN)

The Townsquare Live Events (TSLE) Marketing Coordinator is responsible for the implementation of TSLE policies and procedures. He or she implements short and long-term programs and processes to optimize work-flow and productivity.

The TSLE Marketing Coordinator is responsible for assisting the Senior Marketing Manager to construct, manage, execute and complete advertising/marketing campaigns for TSLE properties including radio, TV, outdoor, artist marketing, digital and social advertising

The MC will be responsible for coordinating the needs of all festival departments. This person will use online forms, spreadsheets, festival software, site meetings and phone calls to coordinate with both festival department managers and outside vendors to insure everyone has the tools and information they need to do their job efficiently. He or she will report directly to the Senior Marketing Manager.

Marketing Manager, NSO, Fortas, and New Music (John F Kennedy Center – Washington DC)

Manages and coordinates marketing services for the Kennedy Center through relationship marketing activities, planning, data use analysis, reporting, distribution, and other means. Focuses on overall marketing strategy for the National Symphony Orchestra, Fortas Chamber Music series, and New Music initiatives. This role provides supervision to Marketing Coordinator, NSO, Fortas, and New Music. Together with the Director of Marketing, aggregates assigned genre’s plans and revenue projections into advance reports that detail proposed activities and sales projections. Administers audience research programs, review and analyze, and report on results and make recommendations. Develops advanced working knowledge of Tessitura’s Extractions Manager system for use with list planning (email, direct mail, telemarketing) and list exchanges. Liaises with IT staff to ensure proper data management procedures are carried out including approving list counts, list scrubbing/cleaning, and proper back-end setup of all marketing activities and promotions.

Assistant Stage Manager (NCLH Corporation – USA)

To assist the Stage Manager in providing effective and safe operation of all technical systems for programs, activities and events in all lounges.

Executive Assistant, Artist Relations (Ryman Hospitality Properties – Nashville, TN)

Provide executive assistance to SVP Programming & Artist Relations / GM Grand Ole Opry. Serve as administrator of the Opry Trust Fund.

Coordinator, Marketing (Sony – NYC)

The Coordinator, Marketing provides administrative support to the Marketing team in the day to day management of artist projects.

Administrative Assistant, Work of Art & Arista (Sony – Culver City, CA)

The Administrative Assistant will oversee the day-to-day functions of executive and handle a wide range of administrative and executive support related tasks for Arista and Work of Art.

Administrative Assistant (Queen Ciy Music Studio – Keller, TX)

This position will provide main phone support for the QCMS office including sales of music services offered at QCMS and QCMS customer service. 100% interaction with customers and team members is via phone and via Internet (email, text). Other responsibilities involve but are not limited to: enrollment of new QCMS Students; consultation with customers regarding QCMS Music Program’s and Instructor’s specifications; scheduling new students; creating invoices for new QCMS Customers; accepting and posting credit card payments; setting up Customer’s recurring payments in QCMS Billing System. Other duties: maintaining all Customers’ and Instructors’ data; reviewing Instructors’ timesheets; keeping track of all QCMS related deadlines and events (i.e. students’ recitals), managing inventory of office supplies and QCMS Instruments.

Promotion Assistant (WMG – NYC)

Promotion works towards developing awareness and exposure for records through various mediums focusing on but not limited to radio. The department works with marketing, sales, publicity, and digital marketing, creating grass roots and national promotion strategies to garner airplay at key lifestyle, club, and radio outlets.

Entertainment Booker (Olympia Entertainment – Detroit, MI)

The Booker is responsible for developing and maintaining relationships with local and national agents, promoters and managers to effectively negotiate and book events for Olympia Entertainment operated venues and off premise events that are in line with business strategies and objectives. Expected to consistently be engaging current promoters, new promoters and show partners through efficiency, quantifiable results and strong communication.

Senior Booking Manager (SMG – Reading, PA)

SMG, the leader in privately managed public assembly facilities has an opening for a Senior Booking Manager for the Santander Arena and Santander Performing Arts Center. The primary responsibility is to book, develop and coordinate events, tournaments and festivals. Candidate must be a self starter, highly motivated, extremely organized, excellent communicator and a great personality.

Coordinator, Sales Administration (WMG – NYC)

We are currently looking for a high-energy, creative, curious and enthusiastic Coordinator. This individual will work with a small dedicated team to support our efforts as well as learn all aspects of Sales and Marketing. This position is meant to be a stepping stone into a career.

Event Marketing Manager (Amazon – Seattle, WA)

The Marketing Manager will take the lead on our event strategy, including vetting and prioritizing third-party events worldwide for the Alexa business, developing an event content strategy and building an end-to-end system for engaging our event leads through CRM and marketing automation systems. The role will define the thought leadership and education strategy for the business for events ranging from AI to marketing and design. The role will vet speaking opportunities, work with internal stakeholders to find executive speakers and help define leadership presentations. In addition, they may manage large-scale sponsorships.

The Marketing Manager will be expected to innovate and will be empowered to expand our horizons to new approaches. In typical Amazon fashion, this role will hold a high bar for measurement of marketing activities, and will define success metrics, measurement methods and reporting processes for their efforts.

Director of Civic Theatre Academy of Theatre Arts (Kalamazoo Civic Theatre – Kalamazoo, MI)

The Kalamazoo Civic Theatre is accepting applications for a Full Time Director for its Academy of Theatre Arts.

Account Executive, Entertainment Sales & Service (Detroit Pistons – Detroit, MI)

As an Entertainment Sales & Service Account Executive, you will work directly with prospects and current clients to identify their hospitality needs with an emphasis on, DTE Energy Music Theatre, Meadowbrook Music Theatre, and Freedom Hill Amphitheater.

Senior Manager, Artist & Label Services (Soundcloud – Los Angeles, CA)

We’re looking for a Senior Manager, Artist & Label Services based in Los Angeles with responsibility to develop, maintain and nurture relationships with SoundCloud’s artist, management and label community and grow their use and understanding of the SoundCloud platform. You will provide key insights into partner needs on the platform, with a focus on expanding SoundCloud’s relationships with the music industry. You will also serve as an evangelist for SoundCloud and work across internal teams.

The ideal candidate will understand the music streaming landscape and have strong relationships across the creator community – including artists, managers, songwriters, producers, agents, record labels and distributors – and significant experience working directly with these partners.

Program Director (iHeartMedia – Grand Rapids, MI)

Leads all aspects of radio station’s on-air experience in a leadership and operations role, responsible for talent, content, programming, and online presence.

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Job Board News

Music Industry Job Board (July 9, 2018)

The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Ticketing Assistant (AEG – Denver, CO)

The Ticketing Assistant provides support to the Ticketing Manager with various tasks such as ticket counts, coordination of fan clubs and VIP packages, and managing ticket related emails from the public. This position will be responsible for balancing all ticket buys and box office settlements. The Ticketing Assistant will manage daily ticketing tasks for shows, festivals, venues, one-offs and all other events. This position is responsible for submitting show builds in Outbox, show preparation, and auditing ticket counts for final settlement.

Coordinator, Music Services (Viacom – NYC)

The Coordinator, Music Services will report directly to a Senior Manager in Music Strategy & Services. This position will oversee a key function of the music administration workflow across all of Viacom Media Networks and ranges in responsibilities from securing music deliverables for all Viacom commissioned music to reporting and approving all cue sheets submitted across the spectrum of Viacom productions. We are seeking someone who is extremely detail-oriented and capable of developing and executing strategies that will create important efficiencies in the current workflow. The position demands someone who is innovative, driven and reliable.

Social Media Manager (Goorin Bros – San Francisco, CA)

We are looking for a Social Media manager to join Goorin Bros. family of hatters. Now in its 4th generation of leadership, Goorin Bros. blends its timeliness approach to the art of hat making with a high touch experience in its stores and online.

As our Social Media Manager, you will manage all content and creative on Goorin Bros.’s social media channels, manage our content calendar, and build a social strategy.You will drive traffic to our website and shops through engaging social media strategies.You will ensure Goorin Bros.’s presence among style influencers and create partnerships with like-minded brands.

Event Manager, Creator Awards (WeWork – NYC)

We’re looking for a talented Event Manager to join the team responsible for producing the Creator Awards global event series. The ideal candidate will be an experienced project lead with technical proficiency in all areas of production inclusive of the planning and execution of live events.

The right candidate will need to have a solid background within the live event sector including pre- production, administration and on site management of complex conference/arts/performance/activity/music events. They will work in a fast-paced, global organization and will prioritize building and cultivating stakeholder relationships, internally and externally.

Development Assistant (Austin Symphony Orchestra Society, Inc. – Austin, TX)

The Development Assistant is an integral member of the development team at the Austin Symphony, playing a vital role in donor relations, grant writing, and administrative support to the Development Office. A successful Development Assistant must be passionate about the ASO’s mission, motivated to produce a high volume of accurate and detailed work, customer-oriented, and adept at multi-tasking and problem-solving.

Event Planner and Coordinator (Austin Detours – Austin, TX)

Are you passionate about the creating events? Are you a behind-the-scenes magic maker that makes sure everything is organized and seamless from start to finish? If so, this is the position for you! We are looking for someone who will focus on corporate tours who is able to take a client from the first call through the decision making process, then plan the logistics and manage the actual tour.

Festival Ticketing Coordinator, Credentials (AEG Worldwide – Los Angeles, CA)

The Festival Ticketing Coordinator will be responsible for the on-site advancement of festival box office, assisting the Manager Ticketing and issuing daily ticket counts various departments, producers and department heads. This position will process internal orders, both comp and purchased and facilitate external comp ticket orders for artists, agents and record labels. The Festival Ticketing Coordinator will also be responsible for screening, reviewing and resolving customer service inquiries in regards to credit card information, shipping processes, pricing and general festival information.

Sales and Marketing Manager, Urban (Sony – NYC)

The Orchard has an immediate opening for a NYC-based Sales and Marketing Manager, Urban. The position will act as a relationship manager for retail accounts focused on Urban content. The ideal candidate will successfully enhance the company’s operations and profile, driving revenue within the current retail base.

Digital Marketing Specialist (Live Nation – NYC)

Roc Nation, One of Live Nation’s joint ventures, is seeking a Digital Marketing Specialist who will be responsible for supporting all brand digital channels. This position will report directly to the Director of Digital Marketing. The ideal candidate should be proficient in using digital publishing and analysis software, and have a strong/creative eye for copy, design, email and webpage layouts. In addition, social media/advertising copywriting skills are a must. Also, experience using digital marketing programs such as social community management software, campaign management tools (Facebook Ads, SnapAds, Snapchat Geofilters, Doubleclick, etc.), and web content management systems like WordPress (CMS) are also a plus.

Music buyer (Blank – Houston, TX)

Do you love music? We are seeking a candidate with knowledge of music purchasing. Must be familiar with using buying guides and up to date in the latest trends in the music industry. Job requires most weekends and some nights as necessary. Excellent customer service experience required. Looking for someone who is a quick learner and can multitask. Some college education preferred but will consider experience. Social media skills are a plus.Must be 21 and up to be considered for this position. There will be a 90 day probationary period and you must pass a background check.

US Content & Community Partnerships (Mixcloud – NYC)

We are looking for a hyper connected, culturally aware, business savvy person to help grow Mixcloud in the USA.

Your mission is to continue growing and developing our community to make Mixcloud the best place online to discover new audio through the world’s leading tastemakers and creators. You will serve as an evangelist for Mixcloud in the USA, increasing our awareness, buzz and ultimately the growth of the platform Stateside.

Director of Marketing and Strategic Engagement (Baltimore Symphony Orchestra – Baltimore, MD)

The Director of Marketing and Strategic Engagement is responsible for the creation, development and implementation of subscription and single ticket campaigns to meet ticket revenue goals in two markets and venues, including the Baltimore metropolitan area at the Meyerhoff Symphony Hall, as well as Montgomery County, a suburb of Washington, D.C., at the Music Center at Strathmore. The Director develops goals and sales strategies to generate ticket revenue in all product lines, including the BSO’s classical and Pops subscription series, family concerts, orchestra specials, holiday programming, the Pulseseries, and summer concerts. An essential goal is to generate, grow and diversify existing and new audiences, through unique and committed partnerships with arts and community organizations in both markets. Improving customer service and enhancing the patron experience is extremely important as well as sustaining patron loyalty. The Director will also evaluate sales trends and implement strategies to increase earned revenue.

Content Marketing & Social Media Assistant (IK Multimedia – Sunrise, FL)

We are looking for a Content Marketing & Social Media Assistant to join our Marketing team. The ideal candidate must have experience in the production of written/visual marketing content and good knowledge of the music software/musical instrument market and knowlede of music production.

Marketing Assistant Manager/Music Venue & Night Club (Bowery Electric – NYC)

Work for a Music Venue/Nightclub as an Assistant Manager. Live music nightly on 2 floors and a very popular long running weekend dance party. Join a fun, spirited team of people who all love music. Immediate opening. Requirements: Photoshop, strong social media skills, music knowledge, office organization, supply ordering, ticketing, google calendar, record keeping, some knowledge of music production, some design work, weekly promotion mailings, press releases and design and management of promotional tools, intern program management, upkeep of mailing list, good communication skills, ability to work under pressure, some staff scheduling, punctuality, meet deadlines and complete projects. This is a full time (5 days per week) daytime position with possible night management 1 night per week and requires focus, energy and commitment. Salary commensurate with experience. Send resume if you are qualified. No calls.

Digital Content Producer (Cumulus Media – Washington DC)

Cumulus DC has an immediate opening for a full time Digital Content Producer at its broadcast facilities. This individual will help to ensure that all web operations run smoothly and that the interactive properties reflect station priorities, grow audience/traffic, offer unique content appropriate to particular show/brand, and ultimately grow revenue from the interactive properties. The Digital Content Producer is responsible for implementing ad campaigns (audio and/or display) across various platforms (online, mobile, and devices). The position will be responsible for content creation and support, developing reports and pulling analytics, troubleshooting station web site issues, designing web and social media graphics, and executing campaigns across the WMAL & WRQX websites.

Talent and Operations Manager (The Mrs Band – Austin, TX)

The Mrs. is currently seeking out a Talent and Operations Manager to help strategically brainstorm, plan, and execute the day-to-day operations of the band. You will manage all projects – both those spearheaded by The Mrs. and those that The Mrs. is participating in – with poise, attention to detail, and excellence. This will include cultivating positive connections with vendors (including, but not limited to, designers, art directors, copywriters, photographers and web developers) and representing the band in tone, language, and spirit. In addition, you will oversee all financial aspects, including profitability, quarterly reporting, and budgeting. Flexibility (ability to adapt in a ever-changing and dynamic work environment) and alignment (use the overarching mission of The Mrs. to guide every conference call, team meeting, etc.) are crucial. Finally, you will be the liaison between the Founder/Owner and both the internal team and the outside world – strong communication skills are a must.

Sales and Marketing Manager (Spectra Venue Management – Roswell, NM)

The Sales and Marketing Manager is responsible for planning and implementing sales and marketing strategies, both short and long range, targeted toward existing and new markets by performing the following duties personally or through subordinates.

Manage and participate in the development and implementation of goals, objectives, policies, and priorities of all Sales programs and activities.

International Project Manager (UMG – Santa Monica, CA)

Develop and execution of global marketing strategy for artists’ music and music-related products across the Interscope roster. These include but are not limited to single / EP /albums, music videos and video content, merchandise, & direct-to-consumer business.

Social Media Manager (Total Assault – Los Angeles, CA)

As a Social Media Manager, you will be responsible for producing top-of-class social campaigns for music clients, ranging from overarching strategy to day-to-day execution (copywriting, community management, content creation) across all digital touchpoints (Facebook, Twitter, Instagram, YouTube, Spotify, etc. etc.). In addition to general social duties you will be called on to present forward thinking social marketing ideas for clients of all genres, and be able to direct / collaborate with internal design, development and management teams as well as be able to clearly present your vision to clients and partners.

Manager, Digital Marketing (UMG – NYC)

Casablanca Records is looking for a Manager, Digital Marketing to serve as a member of the Casablanca core marketing team located in New York, NY. This role will oversee Casablanca and its roster’s digital presence through the development of digital marketing strategy and execution. This person is responsible for creating and executing digital marketing and promotional plans across all areas of online including portals and distribution partners, artist websites, social media, new technology, CRM, SEM/SEO, third party lifestyle, and e-commerce. The person in this position will be responsible for nurturing and leveraging relationships with the artists and online partners. They will be required to set goals and manage campaigns in an effort to optimize reach and revenue. This person will also be responsible for managing and interpreting departmental reports and partner data.

Coordinator, Marketing (Sony – NYC)

The Coordinator, Marketing provides administrative support to the SVP, Urban Marketing and other product managers in the day to day management of artist projects.

Marketing Coordinator (AEG – Los Angeles)

The Marketing Coordinator is responsible for marketing, social media, online e-marketing public relations, promotions for venues, radio promotions, clubs, theaters, festivals, shows and one-offs. This position will develop promotional initiatives with artists and the community, to promote positive brand image. The Marketing Coordinator may also be responsible for coordinating the work of interns and street team for show promotions.

Head of Music Programming (Amazon – Seattle, WA)

Amazon Music is seeking an experienced music executive to lead our Programming efforts in the world’s largest music market, the US. This role will report to Amazon’s Global Head of Programming and Content Strategy and will architect playlist, station and discovery experiences for US customers, and manage the team that delivers those week-to-week. The ideal candidate will be a seasoned strategist, with an understanding of customer acquisition and engagement that contemplates all the complexities of the current digital music business. The candidate will have the skills to build on this knowledge, and deliver the best experience possible, for all music fans, and will have a proven track record of delivering results.

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How to avoid getting screwed over by a venue

The following post is the latest in our ongoing content collaboration series with the fine folks at Sonicbids. 

There are some types of hateful screwing over that are pretty unavoidable. There are terrible people who’ll screw others over regardless of what securities are in place to prevent that. When it comes to poor treatment by a venue, though, the truly rotten aren’t the cause of most horror stories. Usually, it’s a misunderstanding that’s to blame.

Those situations are still totally infuriating, of course. These five aspects of every show are easily the most susceptible to going terribly awry due to poor communication. Make sure you’ve got them all covered in advance to better your chances of a problem-free gig.

1. Talk about money

If you’re expecting to get paid at the end of the show, then you better have discussed it beforehand. If not, you shouldn’t be expecting any payment whatsoever. The amount you make – if any at all – depends on the venue policy.

Maybe they only book bands for free on weeknights, and it so happens that you’re playing on a Wednesday. It’s possible you were added to an existing bill with a budget that’s already mostly exhausted, so they’re not planning to pay you more than $50. It could be that you get a percentage of the door. There are several different ways to work out payment, so you can’t assume anything until you’ve confirmed the logistics with whoever booked you.

It’s not gauche or taboo by any stretch to discuss how money will work when you’re a booking at a venue (or through a talent buyer), by the way. Do not be shy about it for any reason. You’ve got to hammer out the specifics of the deal before committing to anything. They won’t be surprised you asked – but they will likely be perturbed if you never ask, and then raise hell about it after the show.

2. Will they help with promo?

Bands sometimes complain that venues don’t support them in promoting the event, that they didn’t push it hard enough on social media, or didn’t have a visible poster hanging weeks in advance. Thing is, not every venue’s the same in that department. Sometimes they’ve got a public relations or social media person on that job, and sometimes they’re doing it all (like, everything) themselves.

Discuss the promo effort ahead of time. Who’s putting up the Facebook event, the band or the venue? If it’s them, can you pay them to sponsor a post? Can you do anything to help? Like, say, remind them to share your event if it hasn’t been pushed enough? How else do they normally advertise shows? Do they print posters for shows or should you provide your own? What about flyers? Not only does planning out promo with a venue or talent buyer help ensure they’re supporting you to the degree you expect, but also helps you map out your own strategy more thoroughly.

3. Is it okay to sell merch?

Most venues will say yes, no strings attached, but some charge a fee. It’s not that often that they do, but why not just ask? Avoid any potential problems by simply mentioning you’ll be bringing merch, and asking if there’s anything you should know. Here’s when they’ll alert you of whatever fee or percentage, if any.

Plus, some venues have a designated area for merch, while others set up a table – now’s a good time to ask about that. Maybe they even have a spare you can use so don’t have to lug your own.

4. Confirm all things sound-related

Don’t miss your soundcheck by waiting until the day of a show to ask when it is. (Folks are busy, you know, and they might not see your email until it’s too late.) Ask where to load in, when and how long you’ll get for soundcheck, and with whom. If your sound isn’t what you hoped for, make sure it’s not because you didn’t make good use of that chance to work out any kinks and fine-tune.

Additionally, don’t assume they’ve got a full backline. Not every venue does. Don’t show up with only cymbals and snare because you thought they had a kit, only to find out they don’t.

5. If you’re in a new city, ask around

For those touring through a city for the first time with no local contacts: do some research. Obviously, you don’t want to book at a venue that’s notorious for its poor treatment of musicians. Don’t just book the first venue you like – find one that’s appropriate for your show, first of all, then look into it a bit.

If you don’t know anybody in that particular town, try asking for insight in a subreddit or a public Facebook group. Local music coverage, whether via blogs or the culture section of a news outlet, can be good indicators of the venue landscape, too.

If a venue’s truly bad news, you won’t have to poke around much to hear about it. And if all else fails, check Yelp, where the angriest of people go to scream under the guise of warning others.

Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible.

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News

How to Land Gigs if You’ve Never Played a Show Before

The following post is the latest in our ongoing collaborative series with Sonicbids.

For brand-new bands, landing that first gig can sometimes be a catch-22 dilemma: Booking agents and talent buyers want acts that draw a crowd, but you’re still trying to establish yours. How can you begin to cultivate a local following if you can’t score a show?

Luckily, booking isn’t so cut-and-dried. Maybe you can’t convince a mid-size venue to take a chance on you, but there are other routes to building your fanbase for live shows. Here are five realistic options for working your way up to securing those bigger gigs.

1. Open for more established bands

Talk to local bands who are booking at the level you’re reaching for about opening slots. If they’re iffy about allowing you to join a bill, offer to perform a short set for free. Make the most of the opportunity by manning the merch table, where you can interact with interested attendees. Let them know how to find you on social media and to stay tuned for your next date.

[How to Score an Opening Act or Support Slot and Expand Your Audience]

2. Play free shows on slower nights

Venues aren’t too keen on featuring fledgling bands on Fridays and Saturdays, which is fair, because even clubs that are true champions of their local music community are still businesses with plenty bills to pay. If you can’t get in on a weekend, try organizing a show on a slower night, and offer to perform for free. Get a few bands to join you, so there are more reason for folks to come check out the show, or try a weekly residency for a month or two to help generate a buzz.

3. Hop on an existing event

This is different than asking to open for a more established band. Why not offer to play a set at an upcoming pop-up market event? If your music is danceable, you should try the same with a reliably well-attended DJ night. Any event that doesn’t already feature live music could be an opportunity for your band to add that component – and earn yourself some new fans, too. Same with the previous two options, performing at no cost to the organizers is usually your best bet for convincing them to accept your proposal if you have no existing track record.

4. Organize a show at a nontraditional venue

If you can’t book at a club, turn another spot into a temporary music venue. Know someone who’s willing to host performances in their home? Can you convince the owner of a local business – a restaurant, a clothing store, whatever – that a one-off concert could be mutually beneficial? (It definitely could be!) A free event is ideal in these kinds of situations, but you can ask for donations to help raise funds for the bands and host.

5. Use your social media following as leverage

While venues and booking agents do want proven results in terms of show turnout, bands that haven’t performed much or at all can use their social media followings to demonstrate their expected pull. (Tips for growing your following can be found here.) If this method doesn’t help you land a Friday or Saturday night gig at the club you’ve got in mind, refer to the aforementioned four ideas for working your way up to that level.

Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible.

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News

How to Make the Most of a Crappy Turnout at Your Gig

This post is the latest in our ongoing content collaboration series with the fine folks at Sonicbids.

It’s probably one of your biggest fears as a musician. You’re pumped for your upcoming gig, you’re ready to hear some noise, but when you make it onto the stage, your heart drops as you see the audience is practically empty. For any number of reasons (weird weekday, bad weather), you have a crappy turnout. Your first instinct may be to jump off the stage and run out of the venue, hoping in vain that no one even notices you were there, but pause for a second, and ignore this urge.

It’s too late to get more people to the show, but as long as you do have an audience, you need to play for them. At worst, it’s still a practice opportunity, and at best, you might make a few more diehard fans who greatly appreciate the effort you put in despite the circumstances. Just because there’s a bad turnout doesn’t mean it has to be a bad show, so here are some tips for making the most of a crappy turnout.

Use it as an opportunity to have more personal interactions with the audience

One of the few upsides to a small turnout is that you can see the individuals in your audience better and personalize the show more than you typically could. Make the show intimate. Treat the few people that are there like they’re a group of your friends, and make them feel special for coming out. If you see a funny shirt, comment on it. Ask someone else what the best bar in town is. Ask if anyone who knows your music has any song requests. The specifics don’t matter – it’s much more about letting your audience know their presence is noticed and valuable. This is a great way to create fans who want to see you again (and maybe bring a few friends next time!).

Take advantage of the low-risk atmosphere to try out something new

Another pro to playing for a small crowd is that if anything you do isn’t received well or just falls flat, you haven’t screwed up in front of hundreds of people, and you can calibrate your act for future, larger shows. It’s actually the perfect space for getting honest feedback without alienating too many people. Now, the content of this “new thing” is entirely up to you. It can be a brand new song you just finished up and haven’t gotten any feedback on yet. It can be a personal story you’ve thought about incorporating in your show. Whatever you do, be honest with the audience members that this is the first time you’ve done it. They’ll feel extra special that they’re the ones getting the sneak peek, which will make them compassionate even if it doesn’t pan out.

Give it 110 percent

It might seem counterintuitive, and you may not be in the right mood given the state of the crowd, but you should actually try and go above and beyond when you’re playing for small turnouts. They deserve your best effort anyway, but even more importantly, everyone in that audience is perceptive enough to know you must be bummed due to the turnout, so if they get a truly kickass show anyway, your attitude and performance will blow their expectations out of the water. Rise above the circumstances and show the crowd – all nine people that may be in it – that absolutely nothing gets you down, and you put your heart and soul into your music no matter who’s watching. This is how you leave a lasting impression. People love talking about a great experience that they and only a few others were a part of, so you may be surprised how the word spreads.

Stick around until every single person has left

This goes beyond just working the merch table after the show is over (though you should definitely still be doing that). This is the point of the night where you can solidify a lasting connection with the concertgoers. If you’ve successfully implemented all the tips above, then you should be catching your listeners in very high spirits, which you can capitalize on. Ask people how they’re doing, what they liked about the show, and what they didn’t like. Exchange as much contact information as you can, and let them know how they can interact with you in the future. If you’re financially comfortable enough to part with a shirt or EP for free, use that to “seal the deal,” as giving away free merch is a sign of gratitude that will continuously remind them of you. Ultimately, show how grateful you are that they gave you your time, and convey that this is the kind of musician you are all the time.

Playing to only a few people is not on many musicians’ bucket lists once they’ve gotten used to bigger crowds. This is still no excuse to not give it your all. If you’re ever in this situation, take a deep breath and use everything in your arsenal to make it a great night. You’ll be amazed by how meaningful that small show might become.

Katarina Underwood is an editorial intern for Sonicbids.

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Repeat After Me: I Will Not Pay To Play

Sometimes you know exactly what you want to say and when you want to say it. Other times, life comes along out of nowhere and slaps you in the face with an idea or thought you then immediately feel compared to share with others. It’s a momentary eruption of thought that can be influenced by anything, and that is especially true in the digital age. For me, such a moment struck last night as I was scrolling through my Twitter feed, and I will admit up front I was initially looking at my phone in hopes someone would be sharing something I had written earlier in the day. The answer to my inquiry was a definite no, but before I put my phone down to throw a personal pity party for myself a tweet from Michigan punk favorites The Swellers caught my eye and I knew right away there was a topic we needed to discuss on the blog today.

“We’ve been a band for almost twelve years, played on five continents and never had to sell tickets to play a show,” The Swellers wrote. “You don’t either.”

For as long as I have been a part of the this industry, which at this point is well over a decade, pay-to-play performances have been a topic of debate in the music community. Some will have you believe they are a necessary evil that exists to protect promoters from booking bands who do nothing to promote their own shows, while others – including myself – will tell you they are little more than a bullying tactic used by essentially needless middle men and women to make money off live music without needing to promote or perform themselves.

So, what is ‘pay-to-play’?

There are a number of ways to describe pay-to-play situations, but essentially it is any situation where promotion companies require musicians to pay a “fee” to get on a bill for a show (aside from application fees to appear at musical festivals and conventions). You may be paying with your own money out of pocket, or with funds gathered through advanced ticket sales, but as long as you are paying the venue/promoter/etc. before you step foot on their stage then you have found yourself in a pay-to-play situation. Independent promoters developed this method of booking to take advantage of naive talent, and over the years a countless number of excuses have been developed to cover up this fact, including the need for artists to help cover venue costs. That is not your job, and you should never feel obliged to pay a promoter, including in circumstances where they incur expenses at the end of the night. That is a risk that accepted when they took on the role of promoter, and anyone who is an actual professional will never ask that you help chip in to cover their loss. There is of course an exception to this rule if you are somehow directly involved in the planning of the show, say as a ‘co-promoter,’ but 99% of the time that should not be the case.

Are there good pay-to-play situations?

In short, no. Artists are asked to enter into pay-to-play situations because the promoter either has very little faith in the success of the event or because they know it will be a success and want to cash in as soon as possible with the free promotion presented by local talent. If the show you are paying to play on involves a national headliner, there is a good chance the tickets you are selling will go towards paying that touring act’s booking fee. You know who didn’t have to sell tickets in advance? The touring act who gets the money from your sales.

As I mentioned a few paragraphs above, the risk of loss/expenses in on assumed by the promoter when they decided to book the show. You are not responsible for making sure they break even at the end of the night, and you are definitely not responsible for guaranteeing a profit. You are responsible for showing up on time, performing your set to the best of your abilities, and doing your best to not be a dick to anyone in charge. You’re the talent, not the lead salesman for a promoter who offers you little-to-nothing in exchange.

These companies are asking artists to promote. What’s wrong with that?

When you require someone to do something you are not asking them anything. You are demanding it. Artists should promote shows because that is part of their job as musicians, yes, but nothing in the job description of a musician states that they will market until a specific amount of people agree to purchase a certain product. In pay-to-play situations artists are being forced to hard sell fans, which has been proven to be a terrible marketing approach in music, and furthermore they are made to assume the promoter’s risk, as well as the stress associated with handling the cost of putting on a live performance.

From personal experiences, I have known many small bands to make last minute calls to family and friends hoping people will buy tickets to a show – even if there is no way that person can attend – just so the artist can perform for fifteen minutes an hour and a half before some mid-level national headliner comes out and half heartedly thanks the ‘local talent’ that opened the show. In situations such as this, which happen daily in cities and towns across the country, who benefits except the absent, uninvolved promoter? No one.

It can also be argued that pay-to-play actually hinders marketing efforts, as it forces artists to focus on those they believe they can immediately sell on attending a performance and makes no mention of the need for general, routine marketing. They may send out a few digital posts asking those in need of tickets to contact them, but at the end of the day they are going to focus on hitting whatever threshold they need to meet, be it a number or tickets or an amount of money, and then the initial pressure is off. Once an artist meets the goal set by the promoter they can play the show, and even if the only people who show up are the twenty people who were able to come out of the twenty-five that artist convinced to buy tickets there would be nothing the promoter could say to put the blame on the artist because the artist had, at least on paper, met their obligations as talent.

This is all great information, but if we’re being entirely honest Haulix is a company dedicated to fighting piracy. What do you know about booking?

GREAT QUESTION. We may have built our company online, but as individuals our team has years of experience working with live music, both as promoters and musicians. That said, we understand that when dealing with matters related to tour life it can be more reassuring to hear things from people who are currently involved in your area of the music business. With that in mind we reached out to a number of influential people, including Nate Dorough of Fusion Shows and DC Area show promoter Tyler Osborne, to learn their thoughts on pay-to-play:

"I think it’s bullshit. If you’re required to pay to play an event, that’s not at all cool. Bands should never have to fork over money or do any sort of crazy thing just to get on a gig. However, I am a big believer that for local acts, their draw is best when they help sell tickets to their fanbase.

One of the biggest pushes we make in the concert industry is to get people to buy tickets in advance. That way, it’s sealed that they’ll attend. You can budget based on advance sales, whether you need to spend more marketing dollars or not, how much money you can spend on hospitality for the bands, staffing, etc. If someone does not hold an advance ticket, they may decide the day of the show that the couch looks nice, that they’d rather stay home and watch TV, etc. All of our marketing efforts are pushing to get people to come to the show, however they choose to do so, but it’s easier on everyone if they buy tickets in advance.

So when a local act is added to a show, they have the unique ability to physically deliver tickets to friends and family who would attend. So at Fusion, we give artists the OPTION of selling tickets, and usually pay better the bands who sell more tickets. We also pay bands who don’t sell tickets, if the show itself does well. But no one with our group is ever forced to sell. If they’re just not into it, that’s OK by us.

Unfortunately, some of the folks who want to make a huge fuss about pay-to-play will lump the way we do it into some sort of "scheme”, and we couldn’t be more against pay-to-play situations.“ – Nate Dorough, Fusion Shows (Founder)

”Does it make sense for a promoter to have opening bands sell tickets to play their shows? Sure. That doesn’t mean as a band you have to. We played houses or rented out VFW halls and chose the places where we could build our own fan base. It worked. I still feel guilty when we play a show and the local band had to sell tickets. Sure it helped us get our guarantee, but they did the legwork. The goal is to become an entity to where you get asked to play by a promoter because everyone knows you draw people. Or be good/cool enough to where the headlining band asks you directly. Selling tickets is the insurance policy, but in the grand scheme of things it isn’t guaranteeing those people staying to watch the other bands. Make a good reputation for yourself by promoting the hell out of your shows, building your own scene and following through with a killer show. That’s how you can sell tickets.“ – Jonathan Diener, The Swellers

"It would be easy for me to just give a one liner and say "pay to play” is completely bullshit, and yes that is the case, but there’s more to this. In my time involved in music I’ve seen this play out in many different ways. Most of the time I see promoters give a band X amount of tickets and have them sell as many as possible and then have them pound the pavement hocking tickets to whomever will fork over the money; most often parents and close friends come in to save the day and the show for the promoter to cover the cost of the headliner. Now, this is BS on so many levels. First off the promoter has put all the pressure on the bands to make the show a success and absolved themselves from any risk. Also in doing this, the promoter diminishes the value and morale of the bands that they want to sell their (the promoter’s) tickets. Shows need to be a two-way street with promoters and bands working together and being paid fairly to have a truly successful show. A lot of times bands feel trapped, having to play this game in fear of not being booked again at that venue and that fear is abused by SOME – not all – promoters to keep bands in their pocket. This also bleeds the scene dry and makes concert-goers not give a shit anymore because they’re tired of being hassled by bands to buy tickets. Another somewhat common practice is for a promoter to say you need to sell X amount of tickets or you can’t play. This is the worst of them all. Bands bust their asses to sell tickets, over-post on social media, and still need to come out of pocket to play the show. This makes for a shit show on so many levels…..the bands are pissed out of the gate that they did not meet the promoters goal, that their fan base is not what they thought it was and so on and so on. Then the promoter is pissed because now they fear having to come out of pocket to make ends meet. All that being said it often turns into a crap show with fans/friends/family showing up and watching their kids/friends band and then leaving, leaving it a half empty or less show for the headliner. So I’ve said what is wrong but the real question is how to fix the problem. That’s a way harder question that I think about a lot. So I would love to hear from the fans and bands on what they think would be fair.“ – Danny Fonorow, Jonas Sees in Color

"I know some bands get some good use out of it, but as a concept pay to play shows generally suck. Some scenes are so deeply entrenched in this model that it’s almost necessary, but within the punk scene, if you make good music, people will notice and your band will play shows. I never have and never will run or have my band do play to play shows, there’s just no need at the DIY level.” – Tyler Osborne, DC Area Concert Promoter

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News

Industry Spotlight: Richard Collier (Keynote Company)

Hello, everyone! We are thrilled to learn that you found time in your busy schedule to spend a few minutes browsing our blog. There has been a rising demand for interviews as of late, and today we hope to satisfy those readers with an in-depth conversation on the topics of talent buying and concert promotion.

This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.

Before we get to the interview we have in store for today I must first issue an apology. We started this blog with the mission to highlight all corners of the music business, but in recent weeks those efforts have skewed heavily towards the digital/blog side of the industry. We love every feature we’ve done, but in the interest of keeping things fresh we’ve gone out of our way to try and ensure November is one of the most diverse months we’ve had on our blog to date. Those efforts started several days ago, and now we’re happy to take them one step further by sharing an interview with someone who I’m relatively sure has never been much of a blogger. Ready? Let’s begin…

If you live in New England and enjoy live music you more than likely owe Richard Collier, founder of Keynote Company, a thousand thank you notes. For the better part of the last year Richard and his team of promotion gurus have been putting on shows in Boston, Providence, and beyond. All that effort has helped develop a budding concert empire that continues to grow in leaps and bounds with each passing year. Richard has been the mastermind behind these efforts since day one, and late last week we convinced the nationally recognized talent buyer to share his insight on the music business with our readers. You can learn about his life, the development of Keynote Company, and where Richard believes the industry is headed in the years to come, below.

As a longtime resident of Boston, I’ve known about Richard’s work for a number of years. We’ve spoken briefly in the past, but this interview was the first chance I had to really learn about the man who makes so many great events happen. If you would like to learn more about Richard beyond what is contained in this post, please make it a point to follow Keynote Company on Twitter. Additional questions and comments can be left at the end of this post.

H: Hello, Richard. How are you this afternoon?

R: Hello, James. I’m doing quite well right now. Keeping busy per usual!

H: It’s great to have you with us. I’ve been wanting to feature you on our site for a while, but scheduling got a little messy at the end of summer. Things cooled off a bit and here we are. Has October treated you well?

R: I appreciate you having me! October was a pretty solid month. Honestly we had a pretty rough summer so it was a nice turnaround month. We had a lot of great shows, but a lot of them under-performed and were high finance shows this summer. July was the toughest month we’ve had financially in my seven years of booking. That being said we are back on pace now though heading into the end of the year and 2015.

H: When would you say is the busiest time of year for you? I’ve heard from other people in your position that the fall is usually pretty hectic.

R: It’s tough to say. I mean tours are definitely more frequent in spring/summer from my viewpoint. Every high school band is off and wants to get out on the road so usually I’m bombarded with “Hey were x band from x town just seeking x.” It’s tough because I want to help everyone, but the realistic viewpoint is I can’t with where we are at. We are seeking nationals with a respectable draw and locals that are looking to build the scene.

H: You and I have known each other through industry connections for a bit, but truth be told I don’t really know much about your history. Where do you think your interest in music comes from? Were your parents big on live music?

R: My parents weren’t really big on music. My dad likes classic rock and my mom had a musician friend Matty B that I would listen to, but it wasn’t like a major influence to pushing me by any means. I guess some of my early memories with music would be watching TRL on MTV after school back when they played music. I would listen to N Sync, Jay Z, and Limp Bizkit a lot… so I had a pretty eclectic taste. I just loved everything regardless of genre so I guess that’s where it would start for me. My interest in live music came from school. To be honest I was pretty much a loser in school and I didn’t really have friends. A group by the name of Another Option (still going as War Games now – check them out) started playing out locally in the vfw/legion/school and I started getting into live music. It was also around the time of Myspace so I met a lot of people online. I just would start making a lot of friends and what would later be connections by seeing bands like A Loss For Words, Vanna, Therefore I Am, Four Year Strong, etc… all the bands that MA is proud of today.

H: What was the first concert you can remember attending? Any details you can give us from that experience would be appreciated.

R: I honestly don’t know what my first show was which really bums me out sometimes considering what I do haha. I think it was my mom’s friend Matty B at like some local place, but if not it had to be Another Option in a hall probably. I will say whatever first local show I went to I don’t remember much, but it definitely got me interested.

H: I’m sure you had no idea when you attended that first concert where your life would eventually lead, but I am curious when your interest in the business side of the music industry began. Can you recall what was happening in your life at that time?

R: I mean definitely didn’t expect for my life to be what it is today from being that loser back in middle & high school. I always had an interest from day one that something would happen in music, but I didn’t believe I’d book bands I cherished and people that I see on TV and the radio. It’s just wild. The business side was definitely started in college though. I was approached by my friend Alex Mazzuchelli about helping his booking company. I was always into the booking part, but never knew how to really start so I give him the credit for pushing me. We collaborated on an Eyes Set To Kill show at The Living Room that did fairly well, but I think it lost a few hundred bucks or at the least wasn’t well in the green. So that was my first sign that a quality lineup didn’t equate success. Following that my first personal show was Vanna’s first RI show. We soldout the Riverside legion with the bands I saw in high school – Orchestrate The Incident, Follow The Flies, Outrage (now Raindance), In Response To You, and Dour Cursiva in those halls in all over the southcoast of Massachusetts We even had to sneak people in. I was hooked and there was no looking back!

H: I know you attended Johnson and Wales University in Rhode Island. What did you study there, and how involved were you in the music community at that time?

R: I studied Sports/Entertainment/Event Management there. I was very involved in the music community and would be at The Living Room 2-3 times a week. It was a bummer because I’d always see all these awesome shows in high school going there, but I didn’t really have friends to go with so I’d miss out. I’d walk to most of the shows and start meeting more people and making friends there. I honestly think the RI scene hasn’t had as strong mid level shows as The Living Room days and wonder if it ever will. I saw so many great shows there that I just don’t see any venue filling what they did. The other part of attending so many of those was doing papers in the wee hours of the night/morning and waking up at 7/9 AM and losing sleep. All completely worth it though.

H: Did you finish college?

R: I did finish college. I graduated in 2010 with a Bachelor’s degree.

H: This is a question that comes up in almost every interview we do. It would be possible to argue that your career today is not a direct result of your time in college. A lot of what you have accomplished is owed to your own drive and hard work. That said, do you still feel college was worth your money and time? Why or why not? Would you suggest others hoping to enter the entertainment business pursue a college education?

R: HAH. Absolutely not from the college itself standpoint and that’s nothing against JWU persay – it is a great institution, but for what I do they definitely didn’t get me much in terms of career parth. I will say that dorming in Providence allowed me to be engulfed into the music scene and making connections which would help me later on. That being said I have 100k in loans that luckily are split between me and my parents, but it sucks flat out. I could have went to community college for free, but it has that stigma that it’s “not as good” or whatever. Yes, I learned things in college that goes without saying, but nothing like my own experience taught me. I’m really passionate in what I’ve told people about industry vs college. You can get great grades and learn all sorts of stuff by the books in college. That’s well and good, but when “shit hits the fan” day of the event you need to adapt. It takes a lot of patience and a certain mindset to run events successfully. That’s not to say myself or anyone in this industry isn’t without making mistakes – we all have and will as nobody is perfect at what they do. I’ve done some pretty stupid stuff over the years haha, but I feel I’m definitely very good at what I do. You constantly learn just like anything else. It’s a high stress environment that’s for sure. You’d be better off learning time management than certain things in a class. I strongly encourage people not to attend a high cost private institute if they are looking to get into the music business. Start at the ground level and work your butt off like you never have to showcase your worth in whatever position you can get – even if not directly related to what you want – referrals like anyone will help. Network with every single person possible – you never know who will help you in life and don’t count anyone out because it could bite ya later. One of my best connections in this industry who always offers great advice – Mathew Barletta – was in a small band that I booked several times in a pool hall to tiny shows. We went from a random booking to solid friends that can always relate industry talk. So never ever count out someone because you never know what the relationship can develop to. I answer every single message / e-mail I get even if I can’t help just because that’s who I am. If you want to go to college (which you should) get a degree at a community college and save yourself the money. The other thing is especially for a while the music business isn’t going to be lucrative. You’re going to likely scrap by and not want fat loans to pay off. So that’s my thoughts on all that… def a big subject for me.

H: Keynote Company started in 2007, which would have been during your time in college. Did you intern, work, or otherwise train with another booking company/group prior to launching your own venture?

R: As I stated previously I worked with Alex on a show, but it wasn’t formal interning or anything. I honestly have never worked for anyone else I just observed and knew what to do and who to do it with. I basically behind the scenes studied what worked and didn’t and would learn my own lessons. That’s why I was saying in the previous answer like – books can teach you one thing – you learn so much more by doing it on your own.

H: I really like the name Keynote Company, but for the life of me I don’t know why you chose it for your business. Can you tell us the origin story behind this name?

R: It’s funny because I don’t think really many people know what the name means. Originally with Alex we were X-Mothaz booking. I have NO clue why he chose that ridiculously bad name. I think we were just joking around and were like well whatever it’s just for fun. When I knew that Vanna show was hyping up and it was what I wanted in life I knew I needed a more serious name. Basically everyone assumes the company is Keynote and company is attached as a formality like a company. The name is suppose to be separated – Key (right fit / top notch) Note (music) Company (meaning the company of friends). So essentially it’s a behind the scenes meaning is the right fit top notch music booking with good company. It’s a little trick so I never really explain it that much. Basically though the name was just suppose to reflect that it’s not just about booking shows. It’s about trying to book the best shows with the right company and making them feel like a community.

H: How big is the Keynote Company? I know you’re the leader, but how many people work with you for promotion/marketing/etc.?

R: Honestly right now it’s basically just me although I do have friends that help out. Over the years my best friend Derick Swiader was booking with me, but he left this year to pursue other endeavors in life. I’ve had countless people help me, but the most mainstays that are worth namedropping are my other best friends Nichole Bishop, Erin Rice, Lauren Sullivan, my brother Jason Collier, and definitely my dad and mom have helped a ton as well. Also right now I take a lot of great advice from various promoters in other markets – most specifically Jake Zimmerman, Anthony Cabrera, and Sage Keber.

H: Are you looking to expand your team? I’m sure a few of our New England readers might want to join your efforts.

R: I take pride it my company as like it’s my personal baby. I do want to expand, but the relationship would have to be strong and the person would have to bring a lot to the table. I’m always open to networking and collaborating, but I don’t see myself officially adding anyone to the team anytime soon. I would love for someone to have enough to offer to the company though and change my mind absolutely.

H: Without going too in depth, can you walk us through your typical day at work?

R: I would just say there is no typical day. That’s the beauty of it I can wake up and have a ton of great emails or a ton of spam. Everything can go right or mostly everything can go wrong til I fix it and adapt. I love it. It beats waking up in an office 9-5 and a routine schedule. My owning my own company I can work when and if I want. I don’t have to answer your e-mail right away or I can sit and read them as they come in. It’s a beautiful thing to have that freedom. That being said I still end up working 60-80 hours a week on average.

H: Is Keynote your full time job? If so, how long has that been the case?

R: Yes it is my full time job and always has been. I started in December of 2006 and my first show was February of 2007. So were closing on just about 8 years although I host my anniversary as February to the first show. It’s crazy to think about and I still have people that talk about the early days. Let’s hope they do down the road when were even older!

H: Do you have any advice to offer show promoters and talent buyers about maximizing profits and ensuring they stay profitable?

R: Work work work. There’s the good, the bad, and the ugly. Like I mentioned earlier this past July was incredibly discouraging. I never expected to just take hit after hit after hit. I lost almost 70% of my life savings in one month. It was really eye opening, but as down as I got I knew I wouldn’t quit. It just goes to show you can work super hard and think everything is gravy and a show can just not perform. Unfortunately that month it happened several times on some of the biggest finance shows I’ve had.

H: How far out do you typically book? I know shows sometimes come up at the last minute, but generally speaking how far ahead are you planning? For instance, it’s October now. Are you booking for 2015?

R: Yupp I have 3 shows on the books for May 2015. One is already fully confirmed. Typically I’m 2-3 months out which is the standard for most average booking. I’m not getting One Direction so I’m not getting stuff a year out haha. Maybe someday… but I was pretty stoked on confirming a May date… in October.

H: What would you say is the most difficult part of your job? How about the most rewarding?

R: Definitely the stress and time. As a single person business owner doing 20 shows a month is tough. I definitely will say thanks to my family and friends for dealing with me. I’m not always the easiest, but I think most see what I have to do to make myself succeed. The most rewarding is the finished product really. Watching a show go off without a hitch or when the headliner hits the stage to a packed/soldout show. Or when 20 kids watch an unknown touring band play for the first time and just give them the attention. Sometimes it isn’t about the big shows. Those little things count too. So definitely that and also the same thing I got into it for. I see friendships form and relationships. I see people meet people literally saved their lives. The fact that what I do literally saves lives and changes them in such a positive manner is worth so much more than any dollar. I feel like I’m making a difference and that’s really a powerful feeling.

H: Keynote company has been around for close to a decade at this point. What are your longterm goals for the company? Do you think you will ever have a venue of your own, or would you prefer to stay in the booking/promotion realm?

R: My longterm goals are just the simple “bigger and better”. I’m not content with just booing 500 people shows. It’s been my goal to book Lupos / Palladium downstairs and pack it, but it hasn’t happened yet. It’s on the near horizon and was suppose to happen several times this year, but things feel through. I want to sellout Gilette Stadium or the Dunk one day. Anything is possible if you work hard enough. I don’t doubt that someday it could happen. It’s a bit ambitious and crazy right now… but hey that’s what entrepreneurs get super successful are anyways. I would like to own my own venue someday potentially too, but I rather diversify and book several different markets. Maybe when and if I do have a staff of people someday I’d open my own though. That’s been something I’ve though about a lot before too.

H: What would you say is the biggest misconception about what you do?

R: Easily that I’m just cashing in on talent. It’s so far from the truth. Do I make decent money right now? Yes there’s no denying that. But it’s no different than I would (and likely way less) if I used my college degree to pursue a job. It took me 7 years to make significant money really. I was always profiting yearly from the get go, but I’ve invested a lot back into building the company up. People get a false idea when I work the door and have a fat wad of cash. Just because it’s in my hand or pocket doesn’t mean it stays there. The expenses on shows are a lot higher than most people realize. Promoters aren’t all rich or we’d have fancy houses and cars haha.

H: I know you work with talent from essentially every genre of music. Is one genre typically more difficult to book/promote than others in New England?

R: For once I don’t have that lengthy an answer. I think anything can succeed, but I would feel like country is a weaker genre in the Northeast. Metal and hardcore are more prevalent in MA because they are known for that.

H: What are the biggest challenges facing Keynote Company in the year ahead?

R: That’s a tough one. I think I’m at the stage of branching out from under 500 people to shows that draw 1000 or 2000. It’s definitely going to be nerve-wracking shelling out that money for the artists and venues that bring that crowd in. Yeah… that’s going to be the biggest challenge. Learning how to effectively do those types of shows.

H: I know we talked about the company’s plans, but what about you? Do you have any addition goals you’re hoping to achieve in the next year or so?

R: Not really. I’d like to have some time to travel and maybe attend Fest in Florida this year, but my schedule is tight around traveling definitely.

H: What advice would you offer to those reading this who are currently considering the pursuit of a career in your line of work?

R: As I said before it’s just about hard work and networking. Learn from your mistakes and don’t get too discourage by them because we all make them. Don’t put the word quit in your vocabulary or if it is make sure it’s just out of frustration. You’ll go through hard times, but just strive and adapt to get the success you want.

H: Where is Richard Collier five years from now?

R: Hopefully as a household name in booking on the east coast. I’m not ever going to be Livenation or Bowery because of their financials, but I definitely think we’ll be making a statement and providing quality shows.

H: That’s all I have, Richard. Thank you for your time. Do you have any closing thoughts you would like to share?

R: I appreciate you reaching out to me for the interview. I hope everyone that reads this gets some more insight to what me and my company are about. You can find us at www.keynotecompany.net and keynotecompany on Facebook, Instagram, Tumblr, Twitter and Youtube. We hope to hear from you as we love meeting new people!

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Haulix Advice: 4 Basic Tips For Booking Shows Away From Home

Hello, everyone! After spending the first part of the week learning about the people behind some of the web’s biggest music portals we’ve decided the next two days will focus on advice. If you have any suggestions for future installments of this column, or if you have a question you’d like us to tackle in the weeks ahead, please email james@haulix.com and share your thoughts. You can also find us on Twitter.

There comes a point in the life of every band when they decide it’s time to take their art on the road. This usually leads to a string of local gigs, often in locations that are not technically ‘music venues,’ and it offers artists a front row seat to view how the world reacts to their creative offerings. If it’s a hit, that desire to share their music with live audiences will only grow, and in time you will begin to look at places outside of your zip code with hope that one day you can storm actual stages instead of just your friend’s basement. We’re not a booking company and we cannot guarantee you any gigs, but in today’s column we’re going to do our best to help you get started with booking shows out-of-state.

But wait, if we’re not a booking company then how do we know what kind of advice to offer artists? Good question. To create this piece we partnered with Tyler Osborne, vocalist for DC hardcore band Over & Out, and asked him to tell us about the lessons he learned while booking his band’s first tour last spring. Tyler’s responses helped shape the four tips that follow, and we hope it helps you get a bit further in your career:

1. Be reasonable.

The first thing to keep in mind when approaching the task of booking your first shows outside of your local market is that it’s very likely no one working the venue in the area you’re trying to play has heard or seen your band before. Like the friends of your friends who were dragged to your early performances to help fill space it is up to you to sell them on your sound and its ability to draw a crowd. Demanding ridiculous guarantees and fussing too much over your placement on a bill filled with locals who actually draw will quickly earn you a bad reputation in live music. Just like the PR side of things, the world of live events is actually far smaller than it seems. Everyone knows everyone, and when someone leaves an impression – good or bad – that news gets out. Your first tour should open doors, not close them, so try you best to be gracious whenever possible.

2. Maintain an online media resource (that does not require a ‘Like’ for access).

This seems like a no-brainer in an age where every artist is on at least two or three social networks, but it is absolutely imperative that you maintain an online collection of materials that can help sell your band. This may include, but is not limited to high quality song streams, promotional imagery, live video, and social media stats. This information provides venues with everything they need to know about you and your work, as well as simplifies the marketing process should they choose to give you a gig.

3. Use the internet to learn everything you can about the area you want to visit, and use that information to land the gig that’s right for you.

I’ve never worked in an age where the internet wasn’t available to aide in the process, but I imagine booking tours anytime before the late 1990s was insanely more difficult than it is today. Now when bands, or at least forward-thinking bands want to book shows in other places they can leverage the essentially endless avenues of information gathering that exist online. Research the cities you’d like to visit, learn the venues that work best for your music, and most importantly – network with artists from the area (as well as those who play there on a regular basis). Well crafted pitch emails and great songs will get you far, but it would be impossible to put a price on knowing the person who knows the person who can get you a show in any specific area. This may mean swapping shows with bands or opening a large bill, but it will get your foot in the door of another music scene. Once you get that opportunity it’s on you to make the most of it, and with a bit of luck your next time attempting to visit that location will be a much easier one to organize.

4. Don’t let the word ‘no’ get you down.

We have covered this when discussing other areas of the business, but it’s of the utmost importance that you do not let the word ‘no’ stop you from chasing your dreams. Venues will pass on you, concert attendees will stare at their phones while you perform, but somewhere amidst the sea of glowing screens will be at least one set of eyes entirely transfixed on the art you’re creating just feet in front of their face. Your music will strike a chord in their soul that they never knew other understood and they will want to tell every single soul they know to give your music a chance to have the same impact on them. The buzz will grow and in time things like booking will become easier. It’s hard for everyone early on, but keep trying! Believe in yourself and others will follow.

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