Transcript Weekly Hdip Slide week 23oct

BS HDIP LESSON FIVE
LIVE MUSIC AND TOURS
DISCUSSION
1. How many of you are currently
in Bands?
2. How many of you have bands
that play live?
3. If not why not? What are
constraints/issues?
4. If you do it why do you do it?
5. Do you make any money?
6. Can you see yourself making a
living from it in the future?
PLAYING LIVE
• Live gigs are important for you as a
band, musician or vocalist.
• They can be your bread and butter, in
the same way Remixes or DJ’ing is to
producers. Or sessions are to a
Musician.
• Especially as a student it is important
for you to build these up and
understand this area of the Music
Industry.
LIVE MUSIC AND TOURS
• Live music is the life blood of the music
industry and the commercial live music
scene is varied and vibrant. Unlike the
record industry, it is not threatened by
piracy and associated technology.
• The Licensing Act 2003 has as its
objectives the prevention of crime and
disorder, the promotion of public safety,
the prevention of public nuisance and the
protection of children from harm.
• Any venue that plays music or sells
alcohol needs a license.
VENUES
• Festivals, stadiums, conference
centres, theatres, hotels, restaurants,
pubs and clubs will all have to be
licensed for live entertainment.
• It is now easier to get an Alcohol & Live
Music License and there has been an
increase in Live Music as a Result.
THE LIVE SCENE
• The live scene is a fragmented market, it
can be hard to calculate precise figures.
• Counting The Notes, published by the
National Music Council, estimated
consumer spending on non-classical
music in 2000 at £487 million. Opera,
classical music and musical theatre
together accounted for £360 million.
• This high market share of 42 per cent
contrasts dramatically with the classical
music share of record sales at around 6
per cent. i.e. There are a lot of people
who go to Classical concerts but do not
buy the Music
Live Figures
• Almost half 47% of pubs, clubs, student
unions and restaurants featured at least
one live act in the past year.
• In 2004 an estimated 1.7 Million took
place.
• MU says this signals an increase.
• This is why you have more Live
Opportunities in Guildford.
• If you want to play Live you just have to
speak to BDC and submit a demo.
Figures
• PRS Showed £13m in Live Music
Ticket Sales in 2004 up 16%.
• In the US Revenue from concert
ticket sales reached $2.8
Billion.
• Selling 37.6 Million Tickets in
the US.
GROWTH
• Live Music has been the fastest
growing sector of the Music
Industry in the last few years.
• It is now the biggest employer
in the Music Industry.
• This has been significantly
helped by Sponsorship.
Live Music Sponsorship
• Carling, 02 (Wireless Festival),
Vodaphone (Live Music Awards), TMobile, Tennants (T in the Park).
• TV Coverage of these events help.
Channel 4 has been particularly
involved.
• 02 spent £2m on Music sponsorship in
2006 and plans to spend £7m in 2007.
Festivals
• T in the Park: 75,000 People.
• Hyde Park Calling organised by
the UK’s Biggest promoter Live
nation: 80,000.
• Glastonbury next year: 175,000
people.
• There is a huge demand and a real
opportunity for you as live artists
to get involved.
THE LIVE SCENE
• For the first time in many years, live
music is providing music publishers
with a higher level of royalties than the
record industry.
• The top end of the market has driven
this growth as major organisations
such as Clear Channel and Mean
Fiddler Group have invested heavily in
larger venues, major festivals and
large-scale, one-off events.
The Change
• Even popular acts are occasionally being
asked by bookers, promoters and agents to
take a lower fee in exchange for a share of box
office. Each operator in the live music scene is
now looking to shift the profit risk towards the
artist.
• Corporate gigs for product launches,
entertaining customers and Christmas parties
remain profitable opportunities for acts and
musicians.
• You need to start establishing contacts at the
grassroots level.
• Guildford remains an excellent place to start,
and will allow you to cut your teeth and gain
experience before tackling London and then
abroad.
THE WHO’S WHO OF THE
LIVE SCENE
• There are many operators in the live
scene. Some take on several roles and
some stick specifically to what they
are best at.
• It is often difficult to define what role
someone is carrying out when they
talk to you about a possible
performance – so ask.
THE VENUE OPERATOR
• The venue operator runs the venue and
decides what sort of acts it can make profit
from. The venue can be a pub, club, restaurant,
theatre, village hall, church, shop, field and no
doubt many others.
• The smaller venues tend to earn their income
from non-music activities, such as alcohol
sales or dinners. For these, music is a way of
drawing in an audience and is an operating
cost subordinate to their main business.
• Venue operators are responsible for licensing
issues, health, safety and security. They may
well provide the stage and PA system, but
check first.
THE BOOKER
• The task of booking an act for a venue is
that of the booker. The booker is usually
employed by the venue for a salary or
project fee and aims to attract acts that
will sell 100 per cent of the tickets at the
highest price.
• If you are selling yourself to a venue, then
you need to talk to the booker. Not the
venue operator – although in smaller
venues they may well be the same person.
THE AGENT
• The agent is the person in the middle who
takes a cut – often without either side knowing
how much.
• The agent’s task is to find venues for acts and
acts for venues. Some agents find work for
individual musicians.
• Agents trade on their networks and their
thorough understanding of the value of the
product. They are not the most loved operators
in the industry and both sides would like to cut
out the agent.
• However, they would have to build and
maintain
the
equivalent
network
and
knowledge.
Venues
and
musicians
are
probably better concentrating on what they do
best.
PROMOTER & TOUR MANAGER
THE PROMOTER
• The promoter is responsible for marketing the
gig or event and guarantees a fixed or
minimum income for the act and the venue,
thereby taking the profit risk. The promoter
works closely with an agent where one is
appointed.
•
•
•
•
THE TOUR MANAGER
The tour manager’s role is to ensure that the
act turns up on time.
Is properly rehearsed and is kitted out and
sound checked.
The tour manager also ensures that those
involved in a tour are looked after between
sets and gigs.
This may mean booking hotels, transport and
meals as well as maintaining the wardrobe and
the technical kit.
LICENSING
• There are two licences that have are important
in live music. Generally the venue operator is
responsible for both, but you may have a
special interest in one of them if you are
performing your own songs.
Licences issued by the local authority
• Any venue supplying live music entertainment
must apply to the local authority (the council)
for one of the following:



A premises licence
A club premises certificate
A temporary event notice.
• There is an exemption for something described
as incidental music, and this covers live music
that accompanies other activities such as
eating in restaurants. This exemption only
applies where the capacity is less than 200
persons.
PERFORMING RIGHTS LICENCE
• The Performing Right Society collects
money on behalf of writers, from all
venues playing live or recorded music.
• Some of these venues are asked to
supply PRS with a play list so that PRS
can distribute the licence fees to its
members.
• Small venues do not have to comply
with this requirement.
• If you are a member of PRS and you are
playing your own songs to a capacity
audience of 500 or more, then you
should make sure you complete a PRS
play list form, which can be obtained
SUMMARY
• Look at the live music scene as a number
of different markets. See how playing
background music in a restaurant is a very
different experience from playing a largescale event with a featured band.
• Recognise that the commercial backdrop
is just as different in each sector.
• The bigger the gig, the more complex the
contractual arrangements and the interrelationship between venue operator,
booker, agent and artist.
• Ensure that you fully understand the risks
taken by each member and how the money
flows from the consumer to the various
participants. Do not expect others in the
profit chain to help you earn your share.
VIDEO: TOUR ADVICE
FROM THE INDUSTRY
VIDEO QUESTIONS
1.
2.
3.
4.
Why is Touring Important?
What do you need to Tour?
Have any of you actually been on Tour?
In what ways is it different to the studio
experience?
5. What do vocalists have to do?
6. What was Stewart Copeland’s advice?
7. What does Sting say?
8. What key piece of advice does Sharon
Osbourne give?
9. What other reasons other than money are
there for doing a Tour?
10. Is Touring easy?