Are you passionate about music and interested in starting your own concert promotion business ? The concert industry is booming, with millions of music lovers attending concerts and festivals every year. As a concert promoter, you have the opportunity to bring artists and fans together, create memorable experiences, and make a profit in the process. However, starting and running a successful concert promotion business requires careful planning, strategic thinking, and effective execution. In this article, we will explore seven essential strategies to help you succeed in the concert promotion industry.
Before diving into the concert promotion business, it’s crucial to develop a comprehensive business plan. This plan should outline your goals, target audience, budget, marketing strategies, and potential revenue streams. A well-thought-out business plan will serve as a roadmap for your concert promotion journey, helping you stay focused, organized, and accountable.
Building strong relationships with artists and venues is key to the success of your concert promotion business. Attend local shows, network with musicians, and establish connections with venue owners and managers. These relationships will not only help you secure quality acts for your concerts but also negotiate better deals and build a solid reputation in the industry.
To create successful concerts, it’s essential to understand your target audience. Research their musical preferences, demographics, and buying behaviors. By gaining insights into your audience, you can curate lineups and experiences that resonate with them, increasing ticket sales and attendee satisfaction.
In today’s digital age, having a strong online presence is crucial for any business, including concert promotion. Create a user-friendly website that showcases your upcoming events, provides information about the artists, and allows fans to purchase tickets easily. Leverage social media platforms to engage with your audience, share exciting updates, and run targeted ad campaigns to reach potential attendees.
Effective marketing is essential for promoting your concerts and attracting a large audience. Utilize various marketing channels, such as social media, email marketing, influencer partnerships, and local press coverage, to create buzz around your events. Craft compelling messaging and visuals that highlight the unique aspects of your concerts and appeal to your target audience.
Concert-goers today are looking for more than just live music; they want memorable experiences. Consider incorporating unique elements into your concerts, such as interactive installations, art exhibits, food vendors, or immersive themes. These additional experiences will set your concerts apart, create a buzz, and encourage attendees to spread the word.
Successful concert promotion requires meticulous attention to logistics and operations. From securing the appropriate permits and licenses to managing ticketing, security, and crowd control, every aspect of your event needs to be carefully planned and executed. Partnering with experienced professionals, such as event planners and production teams, can help ensure smooth operations and a seamless concert experience.
In conclusion, starting and running a successful concert promotion business requires a combination of strategic planning, relationship-building, marketing prowess, and operational excellence. By following these seven strategies, you can increase your chances of success in the competitive concert industry. Remember, the key to success lies in understanding your audience, curating memorable experiences, and staying ahead of industry trends. So, go ahead and turn your passion for music into a thriving concert promotion business!
Consider taking the NYU Business of Entertainment online course and certificate program offered by Yellowbrick to further enhance your knowledge and skills in the concert promotion industry. This program will provide valuable insights into the business side of the entertainment industry and equip you with the tools and strategies to succeed.
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Concert promotion is key to organizing a successful live event. After all, if people don’t know about your show, they’re not going to go.
Table of Contents: • Importance of concert promotion • Benefits of effective concert promotion • Key elements of a concert promotion strategy • Know your audience • Set goals and objectives • Budget and allocate resources • How to create a promotional strategy for concerts • Online promotion • Offline promotion • Public relations and media outreach • Ticketing platforms and partnerships • Keep fans engaged throughout the process • Making the most of your gig
If you want to attract attention, generate ticket sales, and create a buzz, you’re going to need to promote your show. And in the process, concert promotion also helps you establish your brand, build a fan base, and increase your visibility in the music industry.
When done right, concert promotion will create anticipation and excitement for your upcoming show. Promoting your show is an obvious way to fuel your online presence through social media activity, and it can be a chance to engage with fans and create a community around your music.
Ultimately, though, concert promotion is all about increasing ticket sales and maximizing your revenue. Not only will larger crowds buy more merch, your promotional efforts can help you secure sponsorships or partnerships with local businesses, which can open doors to additional marketing resources and financial support.
To successfully promote your upcoming concert, you need to know your audience, set goals, determine a budget, allocate resources, create a promotional strategy, leverage ticketing platforms, form partnerships, and keep fans engaged through your email and social media channels. You can also try grassroots strategies , like busking or performing acoustic shows leading up to your concert to engage with the local community.
Knowing your audience is the foundation of effective concert promotion. This isn’t surprising. You probably already know who your music is for. But by spelling out their age ranges, interests, preferences, and even where they live, you can tailor your marketing efforts to reach them more efficiently. Do some market research and communicate with your fans and musical peers to gain a better understanding of your audience.
What do you aim to achieve with your concert promotion? Are you looking to sell a certain number of tickets, increase awareness, or attract media coverage? You might say yes to all three, but setting clear, measurable goals will allow you to track your progress so you can evaluate the success of your promotional efforts.
For instance, your goal might be to sell 500 tickets for your show. By setting this goal, you can focus on strategies and tactics that drive ticket sales, like social media advertising campaigns, influencer collaborations, or pre-sale discounts.
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Determining your promotional budget and allocating resources effectively are important components of concert promotion. Establish a realistic budget to cover marketing and promotion expenses, venue rental, sound and production costs, and other costs associated with the show. Then, when it comes to promotion, prioritize things that will have the biggest impact on your target audience.
For example, if your target audience spends a significant amount of time on Instagram, consider spending money on social media advertising campaigns or hiring a social media manager to engage with fans and promote your concert effectively on that platform.
To create a comprehensive marketing campaign you’ll need to:
Online promotion plays a central role in concert promotion strategies. Use social media platforms such as Facebook, Instagram, Twitter, and TikTok to connect with your audience, build anticipation, and create a buzz around your concert.
Write a compelling press release that highlights the unique selling points of your concert, such as special guest performances or charitable initiatives. Include relevant details and contact information for media inquiries. Include a press release and concert info in your electronic press kit .
Research local media outlets, journalists, and influencers who cover music events like yours. Be sure to personalize your messages and follow up a day or two after sending out your release.
If the venue you’re playing doesn’t have its own online ticketing platform, compare platforms such as Eventbrite or TicketSpice to find one that suits you. Look for features like easy integration with your website, mobile ticketing options, and analytics to track sales and audience data. And leverage concert listing and promotion sites like Bandinstown to spread the word, build an email list, and link fans to your ticketing platform.
Look for potential sponsors and influencers who appeal to your audience. Reach out to them with partnership proposals, highlighting the mutual benefits of collaboration. This could include social media promotion, branding opportunities, or exclusive meet-and-greet experiences.
Keeping your fans engaged and excited will help build momentum and drive ticket sales. Here are a couple of strategies to accomplish this.
Selling a lot of tickets to your is great, but don’t forget to sell CDs , vinyl LPs , and merch, too! Gig sales are a band’s bread and butter.
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Career Overview
Concert Promoters organize shows by booking talent, securing venues, and marketing their events.
Alternate Titles
Talent Promoter, Promoter
Avg. Salary
Salary Range
$28K-$187K 1
Table of Contents
Career outlook, career path, experience & skills, education & training, additional resources.
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People also ask.
What does a concert promoter do?
Do concert promoters make money?
Who is the largest concert promoter?
What is the difference between a concert promoter and a producer?
San Francisco Concert Promoter Robbie Kowal of HUSHConcerts says, “I like to say we’re not in the music business, we’re in the people business. Bill Graham used to be famous for saying that. Our job is taking care of the boring stuff behind the scenes so madness can ensue. What does that mean?
“We have broken it down to anywhere from sixty to eighty individual tasks to be done to run a successful show. Each one of these details is no more important than the others. For instance, there’s getting the right artist and the right venue, making an offer to the artist, agreeing to a deal with the artist, booking support, getting the artwork done and approved, and building the marketing and advertising plan.
“Then you start getting into twenty different tasks just in marketing, [including] four different things on Facebook, and knowing how to use your own email list most effectively. All these different things go into promotion of the show. You have to do the hotels, ground transport, backline , get them the schedule of load in and load out times, all those production things.
“Any one of them, if done incorrectly, can shut down the entire show. When the artist is flying in and your guy isn’t there to pick them up, the artist will be pissed. That’s a problem.
“[It’s the same] if you use the wrong photo or misspell something in the flier. If you pick the wrong date, artist, or venue, that can change everything too. At the show itself, maybe the sound isn’t mixed right or the lighting isn’t arranged the way the artist wants it. It’s very detail-oriented and math-driven.”
Since Concert Promoters have a hand in all aspects of throwing an event, they work with a wide variety of people, including Talent Buyers , Personal Managers , Booking Agents , Nightclub Managers , DJs , Club Promoters , Poster Artists , Public Relations Counselor , Advance Person , Tour Publicist , musicians, and Lighting Technicians .
Concert promoters play a pivotal role in the live music industry by orchestrating and overseeing the various elements involved in staging a successful concert or a similar kind of event. At the core of their responsibilities is the intricate task of liaising between artists, venues, and other stakeholders to bring live music experiences to audiences. It sounds simple enough, but it is far from it.
Concert promoters are essentially the architects of almost every concert. They’re responsible for negotiating contracts with artists and their teams, securing suitable venues, and meticulously planning logistical details such as ticketing, sound engineering , and stage setup. They navigate the ever-changing landscape of the music industry, utilizing their (hopefully) keen understanding of audience preferences and market trends to curate events that resonate with large crowds that should, in theory, make everyone involved money.
The average annual salary for a Concert Promoter is approximately $78,600. Concert Manager salaries can range from $28,000 to $187,000.
“We never made what people consider a full-time salary until very recently,” Kowal says. His experience is not atypical. He says, “An independent Promoter gambles on every show they do. If the band gets paid in advance and the club gets paid, we only get paid after everybody else gets paid out.”
“It took years and years to get it right. Small-scale concert promotion is the riskiest role in the entire business. Anybody can do it, but to build a sustainable business is very difficult. All the successful Promoters who make money have some other source of income that helps to support it.”
“Another Planet, for example, own the Independent, have exclusive booking arrangements with the Fox Theater and get the bar at the Fox Theater — no matter what happens to the Promoters, the bar always makes money. As an independent Promoter, there are certainly times at a club where you’ll get part of the bar but it’s very rare.”
Concert promoters have the potential to generate serious revenue…though it’s not a guarantee. One primary source of income for concert promoters is the profit earned from ticket sales. Promoters negotiate deals with artists and venues, calculating the budget for the event and determining ticket prices to cover costs while ensuring a profit margin.
Additionally, promoters may earn revenue through sponsorships and partnerships with brands looking to align themselves with specific events or genres. While some of that money may go to the promoter, the musicians themselves, as well as the venue, from time to time, may also insist on getting in on that action.
Furthermore, savvy concert promoters diversify their income streams by exploring ancillary financial avenues. This can include merchandise sales at events, concession deals, and even streaming rights for live performances.
It’s important to note that a concert promoter’s financial success depends on factors such as the popularity of the artist, the efficiency of event planning, and the ability to effectively market and promote the concerts. While there are potential financial rewards, the industry also carries inherent risks, and success often requires a combination of business acumen, industry connections, and a deep understanding of the ever-evolving dynamics of the live music landscape.
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Concert Promoters handle business activities during the day and spend evenings and weekends at shows — both their own and those put on by others. For many, though, concert promotion isn’t the only way they earn a living.
Kowal says, “I do like four or five things in music to make a living. It’s just like being a guy in a band; he’ll play in another band, he’ll teach lessons. If you really want to do this, you have to be willing to do anything and that’s the first point I would make.
“It’s one of those things everyone wants to do like being the quarterback of the Denver Broncos or something. If you want to be that person you have to not only have talent but you have to work harder, work longer hours, do the things people won’t. If you’re not willing to work hard you should look elsewhere. There are probably people who just walk into stuff but they’re certainly the exception.”
The nature of the business itself is turbulent. Kowal says, “Even if you think everything will go right with a hot band, a hot club, and a great night, it can go wrong. Some Promoters really play nasty with each other and actively try to put each other out of business but luckily not in my market. If people are at your show, they’re not going to be at theirs.
“The way things are working today with dance music talent, it used to take three or four years for an artist to establish themselves and sell out a club. Today with social media an artist can put out a track on YouTube, it picks up steam on SoundCloud and pretty soon they have the ability to sell 500 tickets.”
“The Promoters and Talent Buyers have never even heard of the guy; the Booking Agent calls us and says ‘this guy is super hot.’ [We put on the show and] we do well, but next time maybe he’s not as hot. The up-and-down is tough.”
Live Nation Entertainment is widely recognized as the largest concert promoter globally. Live Nation is a prominent entertainment company that operates in various aspects of the live music and events industry, and some would call them a monopoly of sorts. They are involved in concert promotion, ticket sales, artist management, and venue operations. Live Nation’s dominance extends to many countries, and its is known for organizing a vast number of concerts and events featuring a diverse range of artists and genres.
Advancement in this career means booking bigger name acts, pulling in more money, and ultimately, being able to make your living off concert promotion. Most Promoters begin their careers as Interns with a concert promotion company, serving as Assistants, then throwing their own small-scale gigs. Others start as performers themselves.
Kowal explains his own career trajectory: “I was a touring DJ for a long time before I became a Concert Promoter. [HUSH co-founder] John and I met because he was booking me as a DJ and at the time I had this DJ residency at this really small bar. It was aimed at funk and soul geeks and every week I’d make a little newsletter to put on the bar so people would know what I was concentrating on that week.
“People started emailing me to find out what was going on and before I knew it I had thousands of followers. Before I knew it I had the power to deliver human beings to a club and I had venues. (The neat part was I could get into shows for free and they’d also book me to DJ.)
“John Miles, who was a little more advanced than me [in his career], was promoting at a few tiny bars and clubs. He would book me to DJ and see I was delivering and drawing in people through my newsletter so we talked about it and decided ‘Why don’t we put some shows on together?’
“Early on it was really simple. I would book the bands and DJ; people would show up or not show up. I had the idea I wanted to put on a funk festival. I had read this book about what funk really means and I wanted to put on a festival that spoke to that. It was pretty naive and ambitious.
“In 2001 I was still working a day job to support myself and right around August 2001 John and I found a guy who would give us $10,000 to put on a funk festival. We decided to do it and started working on it. John was already a Production Manager for a local jazz festival so he knew how to do stuff like that.
“I quit my day job on September 5th, 2001 and we know what happened on September 11th. We went from ‘hey, we’re launching a funk festival at the perfect time’ to ‘we’re launching a festival and starting a company at a time when people really don’t want to party.’
“The whole landscape changed. It’s an incredibly risky business. So many things can go wrong. It wasn’t like I could go back and get another day job; I really had to stick it out because there wasn’t anything available. We were very poor for a very, very long time.”
To land a first job in concert promotion, Kowal advises “the first thing to do is build a resume. Don’t even reach out till you know how to use Photoshop, how to use Excel and writing. Start your own blog or contribute to one so you know how to create copy and content. With the people who come to us and write for blogs, I can read their work, and these skills are invaluable to someone like me.
“[On the other hand] I’ve had people come to us and show us their resume and they don’t have the skillset yet. I say, ‘Go out and learn these things.’ They come back, and at this point, I don’t have time. Either come to me with these skills or it’s useless to me. It’s amazing when someone comes to us and has those skills and I don’t have to teach them.”
“Build those skills first, go to a lot of shows and find out which club you want to work for or which Promoters. Where would you want to spend your time? You can find out a lot.
“Some people don’t even think about that stuff and are like ‘I’ll take anything.’ You should think about that stuff because your life could change tomorrow. Make sure you’re spending your very precious time on this earth with people you want to spend time working with, in the places you want to be doing it, even if it means you have to wait longer.”
“Make some art. Learn how to get a good picture in a nightclub. Learn how to create content. Learning how to promote is communicating to people and learning how to create great content is a key part of that communication. Start a blog on what happens in bars at your college, or start the coolest blog on the music scene around your college.”
“Learning how to create great photos and turning that into Facebook posts or something is the difference, in some cases, between an internship and a job — and it’s fun. Whatever you’ve created, you’ve done essentially what I did with my newsletter twenty years ago.”
“I wanted people to come out and see me DJ, so I taught myself Photoshop and graphic design and designed pretty much 60% of our art. You can easily tell I never had graphic design training so some of it sucks but it saved us $250 a show and that’s real.”
“Learn now to be a performer of one kind or another — whether it’s learning to DJ or play guitar. To some degree, as Promoters our job is a sacred responsibility. Take the time to learn how difficult it is to play music (and especially in front of other people); it takes years or months.”
“You want to learn that process so when someone comes to play, you can help set up their gear or at least know what they’re going through. The people who come to work for me have to maintain that standard. We don’t slack because doing so would be letting the artist down.”
“We have a responsibility to the artists who put their careers in our hands. Understanding that artistic process is really important. Ex-musicians can sometimes be very good production professionals. They get the gravity of what we’re trying to do.”
How To Get Started
Diving into a career as a concert promoter opens the door to an exhilarating journey within the music industry. If you’re fueled by a passion for music and a desire to orchestrate unforgettable experiences, here are a few ways you get started. Of course, there’s no one right way to find a path into this field, but these are a great launching point.
Consider taking the entrepreneurial route by establishing your own concert promotion company. This option provides the ultimate creative freedom, but demands a comprehensive understanding of the industry, strong networking skills, and a willingness to navigate the challenges of running a business. Okay, so this isn’t the best way to begin this journey, but it’s also not out of the question–especially for those with some experience.
Get hands-on experience by volunteering for nonprofit organizations that organize concerts or events. This not only allows you to immerse yourself in the practical aspects of concert promotion, but also offers a chance to build connections within the industry. It’s probably easier to find a role at a charity than in a for-profit firm, so volunteering can be an ideal beginning.
Seek out internships with established concert promoters or entertainment companies. Internships provide a structured learning environment, allowing you to grasp the nuances of the industry, develop valuable skills, and build a foundation for your future endeavors. Just like volunteer positions, these may be an easier way in when you’re just getting started and don’t have enough experience to find a full-time career.
If you think you’ve got the goods to be attractive to a company, feel free to look for entry-level positions with independent concert booking firms. These roles may involve tasks such as assisting with logistics, coordinating events, and learning the ropes of the concert promotion business from experienced professionals. It’s a hands-on approach that lets you learn while contributing to the success of live events.
Whichever path you choose, remember that persistence and a proactive approach are key. Attend industry events, network with professionals, and stay abreast of industry trends. The journey to becoming an independent concert promoter is as much about learning from experiences as it is about building relationships and a solid foundation in the multifaceted world of live music promotion .
The roles of a concert promoter and a producer in the music industry, while slightly related, involve very different responsibilities. A concert promoter is primarily responsible for organizing and promoting live events, such as concerts and music festivals. Their tasks include negotiating contracts with artists, securing venues, managing logistics, and marketing the event to attract an audience. Concert promoters are the driving force behind bringing live music experiences to the public.
On the other hand, a producer in the music industry typically focuses on the creation and recording of music. Producers work closely with artists in the studio, guiding the recording process, and overseeing the technical aspects of music production. Their responsibilities can include selecting and arranging songs, working with session musicians, and ensuring the overall quality and artistic vision of the recorded material. While producers contribute significantly to the creation of music, their role is more centered on the studio and the production of audio recordings than anything to do with a live show.
In addition to writing skills, Kowal says “there are some basic software things you can do” to make yourself competitive. “Become an expert in Excel. It’s everywhere in our industry and you basically have a bunch of people who are shitty at math having to do a lot of math. That’s why Excel is our friend.
“It’s something people could get really good at before coming to work. You have to know how to read a spreadsheet, how to read a contract and look for where those poison pills are in the contract. If you don’t catch those things you’re screwed.”
Also important: “Graphic design training or having a familiarity with Photoshop at the very least. [Learn] Illustrator if possible, because you never know when you’re going to have to make your own art or resize someone else’s. Quickbooks is pretty important. [Although] some companies use it and some don’t.
“Go to a lot of concerts of all different kinds, not just the kind you like. Go to a rock show, a classical performance, a jazz show, an EDM festival. Go and stand back maybe fifty feet to the side of the stage, diagonally, and watch what happens between the sets. The artist finishes. What happens when the artist comes offstage and the next comes on?
“Look at the fencing, where the security is, who’s driving around in golf carts and what they’re doing, watch the Bartenders for a while and see how many people they serve in a minute and count it. Break it down in those little details because when you get your first internship or assistantship, those things are really important.”
“I can’t teach that to someone; they have to learn it themselves. Go to a show and watch the business operations of the show. But if you don’t really want to be a Promoter, don’t do that — because once you start looking at shows that way it’s hard to go back to just enjoying the show.”
“We need people who are very detail-oriented,” Kowal says. “There are essentially three different kinds of Promoters. [There are] the ones who made a bunch of money selling weed and want to throw a party.
“[There are] the ones who are paid to party with people and deliver bodies to a club; you see it more in New York City or Los Angeles. (Clubs are clubs. It doesn’t matter who’s playing, people just want to go there.)
“Then you get the live music model that’s essentially music-driven. That’s a lot more tricky because you need to find the specific audience for that kind of music and get them to come out.”
“You have to not only be passionate about it, but very disciplined. You have to love the music and have a gut instinct for what other people like. When I started I thought it would be super fun and all about the passion of it, but what I didn’t realize at the time is this is probably the most business management training anyone could ever want.”
“You get management training and learn how to manage a staff of volunteers, plus marketing management.”
Becoming an independent concert promoter is not just about enjoying the music–it’s about honing a critical perspective that will set you apart in the world of live events. Attending concerts with a discerning eye is not merely an exercise in observation, it’s a strategic approach to understanding the nuances that make or break an event. Every detail, from the timing of performances to the intricacies of lighting, security measures, and the ticketing experience, contributes to the overall success of a concert.
Thinking critically at concerts is a crash course in event management, providing valuable insights into the logistical challenges and solutions that go unseen by the average attendee. By keenly observing the ebb and flow of a live event, you can gain an understanding of what works seamlessly and what might cause frustration for the ticket holders. This heightened awareness lays the groundwork for informed decision-making when you step into the role of a promoter.
Consider the timing of events, for instance. A well-paced schedule ensures a continuous flow of energy and entertainment, preventing moments of boredom that can disengage the audience. Through critical observation, you can discern the delicate balance required to keep the audience captivated from start to finish and balance that with the needs to the crew setting up for each musical act.
The lighting design is another facet that demands careful consideration. Beyond enhancing the visual spectacle, lighting sets the mood and can elevate the entire concert experience. As a promoter, this insight empowers you to collaborate effectively with lighting professionals, creating an immersive atmosphere that resonates with your audience.
Security is a paramount concern at any live event, and thinking critically about crowd management and safety measures will equip you to plan and execute events that prioritize the well-being of attendees. This understanding becomes particularly crucial when considering the logistics of larger-scale concerts, when crowds can become dangerous in the blink of an eye.
Watching the ticketing experience can shed light on potential pain points and areas for improvement. A seamless ticketing process contributes to the overall satisfaction of attendees, ensuring a positive first impression and encouraging repeat attendance. The worst case scenario for a promoter would be tickets not selling because of a technical issue or because the process is unwieldy.
In essence, thinking critically at concerts is a form of apprenticeship, an investment in your future as an independent concert promoter. It allows you to anticipate challenges, envision improvements, and, most importantly, appreciate the intricacies of live events. This mindset not only empowers you to innovate within the industry, but also helps you navigate the constraints and realities that may limit certain changes.
Finding a mentor or working for a concert promoter is a great way to learn the ins and outs of the concert promoting industry, but it’s not the only option. If you don’t have anyone to teach you these things–or even if you do–thinking critically when attending shows can be one of the best educations in this exciting field.
As with any industry, there are a lot of words, phrases, and terms that are used commonly when it comes to booking concerts that might not be familiar to those who aren’t in that world. There are too many to list all of them that might come up in someone’s journey to becoming a concert promoter, but here are 20 that are especially important or which are commonly used.
Advance – A payment made to artists or their representatives before the actual event, typically a percentage of the agreed-upon fee, to secure their commitment.
Box Office Split – An agreement between the concert promoter and the venue on how ticket revenue is divided, typically expressed as a percentage.
Concession Agreement – A contractual arrangement between the concert promoter and vendors for the sale of food, beverages, and other goods at the event venue.
Dead Day – A day in the schedule without any events, allowing for setup or teardown activities, essential for managing tour logistics effectively.
Event Insurance – Insurance coverage that protects against potential losses or liabilities associated with organizing and hosting a concert.
Gate Receipts – The total revenue generated from ticket sales at the venue’s entrance, a key factor in calculating the overall success of an event.
Guarantee – The minimum payment agreed upon for the artist, irrespective of the actual ticket sales or revenue generated by the event.
House Lights – The general lighting in a venue, usually dimmed during performances and raised during breaks or intermissions.
Load-Bearing Capacity – The maximum weight a venue’s stage or structure can support, crucial for ensuring safety during performances with heavy equipment.
Load-In Crew – The team responsible for transporting and setting up equipment and stage elements for a concert.
Load-In/Load-Out – The process of bringing equipment into and out of the venue before and after a concert.
Radius Clause – A contractual agreement limiting an artist from performing within a specific geographic radius for a specified period before and after a scheduled event.
Rider – A set of contractual requirements requested by an artist, covering specific needs such as technical equipment, backstage amenities, or catering.
Secondary Market – The resale market for event tickets outside of the official primary ticketing platform.
Settlement – The final financial reconciliation between the concert promoter and the artist, covering fees, expenses, and any other financial agreements.
Soundcheck – A rehearsal session before a concert where the audio equipment and levels are tested to ensure optimal sound quality during the performance.
Technical Rider – A section of the contract detailing the technical requirements for a performance, including sound, lighting, and stage specifications.
Ticket Scalping – The unauthorized resale of event tickets, often at inflated prices, by individuals or entities not associated with the official ticketing process.
Tour Routing – The strategic planning of concert dates and locations for an artist’s tour to optimize travel, costs, and audience reach.
Venue Capacity – The maximum number of attendees a venue can accommodate legally and safely, a crucial factor in planning and promoting events.
Embarking on a journey as a concert promoter requires more than just a passion for music–it demands a nuanced understanding of the industry’s inner workings. One of the most invaluable resources at your disposal is the wisdom of those already entrenched in the field. Engaging in candid conversations with seasoned professionals can provide unique insights, guidance, and a realistic perspective on the challenges and triumphs of concert promotion.
When you talk to industry veterans, ask about their beginnings. Enquire about the paths they took to enter the world of concert promotion. Discovering the diverse routes people have taken can offer inspiration and help you tailor your own approach. Delve into the skills they found crucial for success, and ask about the ones they wish they had possessed when starting out. This insider knowledge is akin to a compass, steering you away from potential pitfalls and guiding you towards honing the skills that truly matter in the live music event landscape.
Professionals in the industry often have unique stories about surprises and unexpected lessons learned along the way. Understanding the unforeseen challenges they encountered and overcame provides you with a practical education that textbooks can’t offer.
Additionally, reach out and ask to talk about their perspectives on the future of the concert promotion industry. Industry veterans can offer valuable foresight into emerging trends, technological shifts, and evolving audience expectations, allowing you to position yourself strategically and adapt to the ever-changing landscape.
Not all Concert Promoters go to college, but the academic training, internship opportunities and networking possibilities can be tremendously helpful. For example, Kowal says to be successful in his industry “the first thing is writing. Learn how to write. I don’t mean 140 characters and I don’t mean a blog post.
“Learn how to write a press release and effectively communicate in long-form. Turn it into short form and then into shorter form so it works for whatever the outlet is. Learning how to write teaches you how to organize your thoughts and effectively communicate a point and in the case of a show, your point is why you should spend money to go see this band.
“I’ve had people come to work with me who can’t write a complete sentence and they don’t last very long. Read books, not just magazines, and take communication classes. Learn how to write copy. That’s incredibly useful in concert promotion.”
However, much of the education required to be a successful Concert Promoter is learned only through trial and error while on the job. Kowal says this includes “learning how to be cautious, to really do the math, then just trust your gut. Really the only power the Promoter has is to pass, to walk away if the Agent wants too much money or something.
“Let somebody else take that stupid deal. Everyone wants to do the shows they want to do and thinks their taste is everyone else’s taste but it’s just not true. And it’s a really good way to lose a ton of money really quickly.
“My advice to anyone who wants to be an independent Promoter is 1) don’t do it and 2) intern with a small company or small club and learn how the real world works. If you go to a big company you’ll be opening mail or answering phones.”
“If you intern with someone like us you’ll learn how promotion and production really work. Then throw a party, see what works. Do a small party so if you lose all that money you’ll be ok. [Do it] just to see if you like it.”
Promoters usually aren’t members of a union or association but professional opportunities for networking exist via conferences such as PollStar Live! , Aspen Live , and IEBA .
What is the single biggest suggestion you would give to someone wanting to get into this career?
“Build your skill set while you have time. You know how they say guitarists have to go out to the woodshed and practice for a year before they go on stage? [You should] woodshed. Know how to shoot photos, set up a DJ booth, etc. Theoretically, you should also have some job experience so we know you know how to show up to work on time.”
“The most important thing is the ability to communicate and make a point; that comes from reading books and writing. Anyone who wants to get into this business has to read certain books like How Music Works by David Byrne. The second book is Bill Graham Presents , the official autobiography of Bill Graham, the guy who created our industry.”
“ Mansion on the Hill is about David Geffen and Neil Young; it’s a look at the modern concert industry and where it came from in terms of record labels. There’s Last Night a DJ Saved My Life for dance music.”
“Those books will give you an idea of what we do and if you want to do it. I recommend David Byrne’s book to anybody; it’s about how scenes work and so on. All these books are fun to read and fascinating.”
What’s the #1 mistake people make when trying to get into this career?
“Throwing a show before they’re ready. There are more people trying to do it than can. There are people who’ve been around for a long time who have the relationships you don’t and you’ll be left with lesser choices. That’s the biggest mistake people make, when they’re like, ‘I just want to throw this party. I know it’s going to work.’
“They lose a lot of money and it’s the last thing they ever do. Make a real budget and a real spreadsheet. Do the math beforehand.”
“Or, they go too big too soon. Agents and Managers prey on people like that. Before you do anything, go to work for a club or a small Promoter. Book a small show, and learn how to do it on a small scale with very little risk. Do your own little thing before you try to do something bigger.”
“The skills are the same for the small shows as the big shows and sometimes you can even learn more. You learn what people’s expectations are and how to manage them, how to build culture and a community. Do something cheap and small and not risky.”
If you could describe in one word what makes you successful, what would it be?
“I would say focus. It’s not just one word. Focus, detail-orientation, and humility. Humility is so important. Everything I’m telling you has been learned through making some bitter mistakes and through knowing how your situation changes constantly.”
“How we used to do it may not be relevant today, so you have to maintain humility and know the twenty-year-old kid who walks into your office for an internship may know more about marketing to a certain audience than you do. I embrace that and I love that about this job.”
“I love learning from people who are hungry and love music and want to make things happen. They’re like me twenty years ago. They love the music and the culture. It’s like, ‘what can you bring to the table?’ It’s not like, ‘I’m the boss.’ It’s an attitude of shared empathy and perseverance.”
Concert Promoter Robbie Kowal is the Founder/Creative Director of San Francisco Bay area concert promotion company HUSHconcerts. They have hosted shows by Flaming Lips, Flying Lotus, The Orb, Giorgio Moroder and Wu-Tang Clan — to name just a few. HUSH is well-known in the Bay area for organizing the SF Funk Festival, Sea of Dreams, and North Beach Jazz Fest.
In 2006, Kowal was the first DJ to ever play a silent disco in the US, at that year’s Bonnaroo festival. Kowal makes music as Motion Potion ; his latest project is Subterranean Homemade Alchemy, an album of Radiohead remixes, edits, and mashups, with all proceeds going to charity. His work as a Promoter has been featured in the LA Times , San Francisco Examiner , SF Weekly , LA Mag , and Billboard .
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Concert and Event Promoter Business Plan, Marketing Plan, How To Guide, and Funding Directory
The Concert and Event Promoter Business Plan and Business Development toolkit features 18 different documents that you can use for capital raising or general business planning purposes. Our product line also features comprehensive information regarding to how to start a Concert and Event Promoter business. All business planning packages come with easy-to-use instructions so that you can reduce the time needed to create a professional business plan and presentation.
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Concert promoters operate within a very exciting industry given that they are able to work with a number of musical acts as well as artists that are looking to perform in a live venue. Concert promoters, once established, are generally very profitable businesses given that they are able to receive a portion of the sale from each ticket. Additionally, many concert promoters generate significant incomes based on the fact that they are able to provide outsourced marketing for a number of musical groups and other artists that fly by performing in a live environment.
A concert promoter business plan should have a three-year profit and loss statement, cash analysis, balance sheet, breakeven analysis, business research page, and a very well-developed marketing plan that will be used in conjunction with both obtaining clients will consist of musical artists and groups as well as how to market specific events to the general public.
Even more important than the business plan is the marketing plan. As stated earlier, concert and event promoters you have a very well-developed marketing plan so that they can properly obtain service contracts for promoting individual music and artistic acts. Additionally, a second marketing plan needs to be developed so that the business can effectively market any specific promotion to the general public. This usually consists of using radio advertisements, social media, online advertisements, and guerrilla style marketing that will allow individuals have a specific interest in a specific genre of music to find out about the specific event promotion. Approximately 35% to 50% of a concert promoters underlying expenses revolve around marketing costs.
Once the marketing plan and business plan has been developed, a concert and event promoter SWOT analysis should also be conducted so that an understanding of the strengths, weaknesses, opportunities, and threats can be properly assessed to ensure that the business is going to be economically viable. As it relates to strengths, these businesses are generally able to remain profitable in most economic climates given that attending a concert or event is considered to be a low-cost form of entertainment. For weaknesses, much like any other entertainment businesses there is a substantial amount of competition among companies that want to acquire someone’s entertainment dollar. Concert events compete with movies and sporting events as it relates to obtaining an audience. For opportunities, one of the ways that concert and event promoters expand their operations is by developing ongoing service relationships with musical artist and artistic groups that need specific marketing as it relates to their host events. For threats, one of the common threats faced by these businesses is that many artists look to stream concerts online and as such they do not have nearly the same attendance that they did for certain genres 10 years ago. However, given this is a low-cost form of entertainment there really are no ongoing flats outside of a potential economic recession and competitive issues that need to be dealt with on an ongoing basis.
By: Author Tony Martins Ajaero
Home » Business Plans » Entertainment Sector » Music Sector
Are you about starting a music festival company? If YES, here is a detailed sample music festival business plan template & FREE feasibility report.
If you are a good event organizer and you have what it takes to organize and promote events that people will be willing to pay for, then you should consider starting a music festival business. This is one business that is thriving in the united states of America and in most countries of the world.
As a music festival organizer, you are expected to work on behalf of music artists and promoters in order to successfully organize paid musical festivals. Most music festivals are organized for the purpose of making profit because the music festival organizer spends a lot of money to bring in the musicians, rent the venue, and pay their team members.
They also have to spend a lot of money in marketing to boost ticket sales. At the end of the day, the most important thing is for them to achieve their primary objective and that is profit.
If you have decided to start a music festival business, you are expected to sit down and map out strategies on how to a raise startup capital, run the business, promote the business as well as how to make profits. Here is a sample music festival business plan template that can help you to start yours as soon as you can.
1. industry overview.
Music festival business is grouped under the Concert & Event Promotion industry and players in this industry create, manage and promote live performances and events, ranging from concerts and theater performances to state fairs and air shows.
Some promoters lease space from stadia, arena and theater owners, while others own and operate venues. The origin of music festivals date back to ancient Greece, where such events often involved competitions in music, arts and sports. Modern music festivals in the U.S. grew out of the establishment and ethos of Woodstock.
Though it was not the first event of its kind (the Newport Folk and Jazz Festivals, Milwaukee’s Summerfest and the Monterey Pop Festival predate Woodstock), the 1969 event holds a mythical place within American pop-cultural history.
A 2019 Deloitte survey of millennials—a group that makes up at least 45% of the 32 million people who attend music festivals—finds that 57% of respondents said they prioritized travel and seeing the world over owning a home. For artists, appearing at music festivals is an easier way to make money than depending on record sales or long tours.
A recent report published by IBISWorld shows that the concert and event promotion industry’s success has been the result of continued demand for live entertainment and its value to US consumers. Over the five years to 2019, industry revenue is expected to grow at an annualized rate of 4.6 percent to $33.3 billion, including an increase of 2.3 percent in 2019 alone.
The current period is marked by the growing success of music festivals and rising ticket sales. Billboard Magazine estimates that over 32.0 million Americans attended at least one festival in 2015. These trends, in conjunction with growing per capita disposable income, have fueled industry growth.
Statistics has it that in the United States of America alone, the concert and event promotion industry generate over $33 billion annually from more than 73,811 registered and licensed concert and event promotion companies (music festival organizers inclusive).
The industry is responsible for the employment of over 263,969 people. Experts project the music groups and artist industry to grow at a 4.6 percent annual rate between 2014 and 2019. Please note that the companies holding the largest market share in Concert & Event Promotion in the US are Live Nation Entertainment Inc. and The Anschutz Corporation.
The concert and event promotion industry cannot be said to be oversaturated despite the fact that the entry bar for starting such business is dependent on the sponsors. As a music festival organizer, if you are creative and hardworking, you can successfully create your own steady market. It is safe to say the industry is still growing especially with the advent of new social media platforms.
Some of the factors that encourage entrepreneurs to start their own music festival organizing business could be that the business is easy to set up, the startup capital is affordable and the running cost can be put at the minimum level; you can actually start your own music festival business from the comfort of your home. All you need to do is to create an office somewhere in your house.
One good thing about a music festival organizing business is that even if you decided to start it in the United States of America, your market will not be restricted to entertainers or musical artists in the U.S.; the world will be your target market.
Many thanks to the internet that has made the world a global village. All you need to do is to strategically position your music festival organizing business on the internet and you will be amazed at the rate international musical artists from all parts of the world would want to perform in your musical festival event.
One Nation® Music Festival, Inc. is a concert and event promotion company with strong niche in organizing world – class music festivals within the United States.
The company will be based in East Rutherford – New Jersey. One Nation® Music Festival, Inc. is a client-focused and result driven concert and event promotion company that provides broad-based experience at an affordable fee that won’t in any way put a hole in the pocket of our clients.
At One Nation® Music Festival, Inc., our client’s best interest would always come first, and everything we do is guided by our values and professional ethics. We will ensure that we hire professionals who are experienced in a wide variety of concert and event promotions.
One Nation® Music Festival, Inc. will at all times demonstrate her commitment to sustainability, both individually and as a firm, by actively participating in our communities and integrating sustainable business practices wherever possible.
We will ensure that we hold ourselves accountable to the highest standards by meeting our client’s needs precisely and completely. Our plan is to position the business to become the leading brand in the industry, and to be amongst the top 20 concert and event promotion companies in the United States of America within our first 10 years of operation.
This might look too tall a dream but we are optimistic that this will surely come to pass because we have done our research and feasibility studies and we are enthusiastic and confident that East Rutherford, New Jersey is the right place to launch our business before spreading to other parts of The United States.
One Nation® Music Festival, Inc. is founded by Mr. Tony Angelo and his wife Tammy Angelo. The organization will be managed by both of them since they both have tangible experience working at various capacities within the entertainment and event promotion industry in the United States.
As a matter of fact, Mr. Tony Angelo is a notable figure in the entertainment industry in the United States and the wife had worked with the team responsible for organizing the Grammy Awards. Mr. Tony Angelo graduated from both University of California – Berkley (First Degree), and University of Harvard (MSc.).
One Nation® Music Festival, Inc. is going to offer varieties of services within the concert and event promotion and entertainment industry in the United States of America. Our intention of starting our concert and event promotion company is to make profits from the industry and we will do all that is permitted by the law in the US to achieve our ambition. Our business offerings are listed below;
Our Business Structure
One Nation® Music Festival, Inc. will build a solid business structure that can support the growth of our business. The fact that we want to become one of the leading concert companies in the United States makes it highly necessary to deliberately build a well – structured business from the onset.
We will ensure that we hire people that are qualified, hardworking, creative, customer centric and are ready to work to help us build a prosperous business that will benefit all the stake holders.
As a matter of fact, profit-sharing arrangement will be made available to all our senior management staff and it will be based on their performance for a period of five years or more as agreed by the board of trustees of the company. Below is the business structure that we will build One Nation® Music Festival, Inc.;
Entertainment Lawyer/Legal Secretary
Concert and Event Promotion Manager
Admin and HR Manager
Marketing Executive
Chief Executive Office:
Client Service Executive
One Nation® Music Festival, Inc. engaged the services of a core professional in the area of business consulting and structuring to assist the firm in building a well – structured concert and event promotion company that can favorably compete in the industry.
Part of what the team of business consultant did was to work with the management of our organization in conducting a SWOT analysis for One Nation® Music Festival, Inc. Here is a summary from the result of the SWOT analysis that was conducted on behalf of One Nation® Music Festival, Inc.;
Our core strength lies in the power of our team and the location of our business. We have a team that can attract first – class music artists from any part of the world; a team that can effectively manage music artists. We are well positioned and we know we will attract loads of sponsors and attendees in any location we choose to organize our music festival.
As a new talent management agency, it might take some time for our organization to break into the market and attract some good music artists to perform in our festival; that is perhaps our major weakness. Another weakness is that we may not have the required cash to promote our business the way we would want to.
Household disposable income, which is affected by changes in interest rates, wages, taxes and employment, can influence demand for and expenditure on performing arts events held by Concert and Event Promotion industry operators.
Since industry events are discretionary, lower per capita disposable income results in weaker demand. Per capita disposable income is expected to increase in 2019, representing a potential opportunity for the industry.
It is worthy to note that many nonprofit establishments in this industry rely on federal funding, particularly grants from the National Endowment for the Arts, an independent agency established by Congress in 1965 to provide funding and support for projects deemed to have significant artistic merit.
Nonprofit establishments can put on more shows if they are given a higher amount of government funding. Federal funding for creative arts is expected to decrease in 2019, representing a potential threat to the industry.
The concert and event promotion and entertainment industry is in a continuous state of evolution and as such, ground breaking strategies and ideas that are once highly successful are no longer as productive as they were in times past.
Close observation of the trend in the industry reveals that the past few years has seen the rise and proliferation of social media and new tech tools. The trend also extends to increased attention paid to engagement and new market segments, adopting eco-friendly measures and sustainability when planning events, and of course increase in demands from event sponsors.
As a matter of fact, social media has now become one of the most important tools music festival promoters/organizers leverage on to disseminate information about their events, interact with attendees, solicit feedback, and create year-round engagement with their target audience.
When we talk about the business side, music festivals have become more streamlined by the advent of big music promoters over the last decade. Putting on a festival is a challenge, between having to pay artists enough to secure their performances, needing to sell a certain number of tickets in order to be successful, the additional costs of insurance and the risks of bad weather.
Large corporate live music promoters, such as Live Nation or AEG Live, have, in recent years, acquired hefty controlling stakes in some of the country’s biggest festivals. Their organizational capacity helps to manage ticketing and other factors that come into play in organizing a festival.
After purchasing a controlling interest in Bonnaroo in 2015, Live Nation this year bought the remaining stake to gain total control of the festival. Live Nation also controls, or partially controls, festivals like Lollapalooza and Austin City Limits, among several dozen others.
Lastly, music itself has changed, thus making festivals a bigger attraction for listeners. As streaming becomes one of the most popular ways to listen to music, sales of tickets and merchandise make up the bulk of fans’ expenditures on music.
As an all – round concert and event promotion outfit, One Nation® Music Festival, Inc. organizes a wide range of music festivals hence we are well trained and equipped to services a wide range of clientele.
Our target market cuts across people of different classes and from all walks of life. We are coming into the industry with a business concept that will enable us attract first class music artists. Below is a list of the people and organizations that we have specifically designed our services for;
Our Competitive Advantage
We are quite aware that to be highly competitive in the concert, event promotion and entertainment industry means that you should be able to attract first – class music artists and you should be able to meet the expectations of both participants and sponsors.
One Nation® Music Festival, Inc. might be a new entrant into the industry in the United States of America, but the owners of the business are considered gurus. They are highly qualified concert and event promotion professional in the United States.
Lastly, our employees will be well taken care of, and their welfare package will be among the best within our category in the industry meaning that they will be more than willing to build the business with us and help deliver our set goals and objectives.
One Nation® Music Festival, Inc. is established with the aim of maximizing profits in the concert, event promotion and entertainment industry and we are going to ensure that we do all it takes to attract clients on a regular basis. One Nation® Music Festival, Inc. will generate income by offering the following services;
We are well positioned to take on the available market in the U.S. and we are quite optimistic that we will meet our set target of generating enough income/profits from our first six months of organizing music festival and grow the business and our clientele base beyond East Rutherford to other cities in New Jersey and other states in the U.S.
We have been able to examine the concert and event promotion market, we have analyzed our chances in the industry and we have come up with the following sales forecast. The sales projections are based on information gathered on the field and some assumptions that are peculiar to startups in East Rutherford – New Jersey.
Below are the sales projections for One Nation® Music Festival, Inc., it is based on the location of our business and the wide range of concert and event promotion (music festival) services that we will be offering;
N.B: This projection was done based on what is obtainable in the industry and with the assumption that there won’t be any major economic meltdown and natural disasters within the period stated above. Please note that the above projection might be lower and at the same time it might be higher.
We are mindful of the fact that there are stiff competitions amongst concert and event promotion companies in the United States of America, hence we have been able to hire some of the best business developers to handle our sales and marketing.
Our sales and marketing team will be recruited base on their vast experience in the industry and they will be trained on a regular basis so as to be well equipped to meet their targets and the overall goal of the organization. We will also ensure that our excellent job deliveries speak for us in the marketplace; we want to build a standard concert and event promotion business that will leverage on word of mouth advertisement from satisfied clients.
Our goal is to grow our concert and event promotion company to become one of the top 20 companies in the United States of America which is why we have mapped out strategies that will help us take advantage of the available market and grow to become a major force to reckon with not only in the East Rutherford but also in other cities in the United States of America.
One Nation® Music Festival, Inc. is set to make use of the following marketing and sales strategies to attract clients;
We have been able to work with our brand and publicity consultants to help us map out publicity and advertising strategies that will help us walk our way into the heart of our target market. Below are the platforms we intend to leverage on to promote and advertise One Nation® Music Festival, Inc.;
When it comes to pricing for music festivals, it is in two – folds. Firstly, pricing packages for sponsors and secondly prices for attendees (music festival access fee / ticket)
At One Nation® Music Festival, Inc. we will keep our fees below the average market rate for all of our sponsors and attendees by keeping our overhead low and by collecting payment in advance. In addition, we will also offer special sponsorship discounted rates to startups, nonprofits, cooperatives, and small social enterprises who want to sponsor our music festival.
The payment policy adopted by One Nation® Music Festival, Inc. is all inclusive because we are quite aware that different customers prefer different payment options as it suits them but at the same time, we will ensure that we abide by the financial rules and regulation of the United States of America.
Here are the payment options that One Nation® Music Festival, Inc. will make available to her clients;
In view of the above, we have chosen banking platforms that will enable our clients make payment for sponsorship deals and tickets without any stress on their part. Our bank account numbers will be made available on our website and promotional materials to clients who may want to deposit cash or make online transfer for our services.
Starting a concert and event promotion (music festival) business can be cost effective because, on the average, you are not expected to acquire expensive machines and equipment.
What you should be concerned about is the amount needed to secure a standard office facility in a good and busy business district, the amount needed to furnish and equip the office, purchase the required software applications, pay bills, promote the business and obtain the appropriate business license and certifications. These are the key areas where we will spend our startup capital on;
Going by the report from the market research and feasibility studies conducted, we will need over two hundred and fifty thousand (250,000) U.S. dollars to successfully set up a medium scale but standard music festival business in the United States of America.
Generating Funds/Startup Capital for One Nation® Music Festival, Inc.
One Nation® Music Festival, Inc. is a family business that will be owned by Mr. Tony Angelo and his wife Tammy Angelo. They decided to restrict the sourcing of the startup capital for the business to just three major sources. These are the areas we intend generating our startup capital;
N.B: We have been able to generate about $50,000 (Personal savings $40,000 and soft loan from family members $10,000) and we are at the final stages of obtaining a loan facility of $200,000 from our bank. All the papers and documents have been duly signed and submitted, the loan has been approved and any moment from now our account will be credited.
It is easier for businesses to survive when they have steady flow of business deals. We are aware of this which is why we have decided to organize a wide range of music festivals and other related services. We know that if we continue to deliver excellent concert and event promotion services, there will be steady flow of income for the organization as a result of attracting sponsors and attendees.
Our key sustainability and expansion strategy is to ensure that we only hire competent employees, create a conducive working environment and employee benefits for our staff members.
In the nearest future, we will explore the options of either selling out franchise or expanding our scope beyond East Rutherford – New Jersey to other major cities in the United States of America. We know that if we implement our business strategies, we will achieve our business goals and objectives in record time.
Check List/Milestone
The russian music industry and concert promotion in asia, europe.
In this piece, we hear from Moscow-based concert promoter Sophie Chicanova on how the Russian music industry works, why good streaming numbers don’t always translate to ticket sales, and how the live music business is fairing in Asia and Europe
Guest post by Rutger Ansley Rosenborg of Chartmetric
Although she is a consultant for Korean concert promotion company MyMusicTaste, Sophie Chivanova is based where the East and West converge: Russia. And that gives her a pretty unique perspective on the state of live music in Asia and Europe during the coronavirus pandemic .
Having graduated from the National University of Kiev with a BS in Computer Science, the data-driven Chivanova also co-founded two Russia-based live music companies, giving her more than eight years of experience in the European and Asian markets.
Sophie was formerly the Head of Europe & the Commonwealth of Independent States (CIS, i.e., nine Eurasian countries with Russian as their official language) at MyMusicTaste, which has offices in Korea, Los Angeles, and Moscow. The data-driven concert promotion company has organized concerts for GOT7, MONSTA X, Kehlani, The xx , and many more in 30+ different countries around the world — all based on fan requests.
In Part 1 of our conversation with Sophie, we discuss the Russian music industry, whether streams translate to ticket sales (at least pre-coronavirus), and the state of live music in Europe and Asia.
From the Western perspective, Russia may come across as somewhat of an enigma, but with Spotify going online in Russia and 12 other Eastern European markets in July 2020, music may begin to tear down that wall.
According to Sophie, the Russian market is a bit isolated, in no small part thanks to the language barrier. As a result, the live music market is huge with local Russian and CIS artists, which comprise the main portion of all live music in Russia.
However, some genres are blooming for locals and foreign artists. In fact, some international Hip-Hop artists are bigger in Russia than other places in Europe and Asia, according to Sophie. Meanwhile, other genres like Blues Rock and Country are “ridiculously small.”
Still, not everyone was happy about Spotify’s launch. After all, Russia already had Apple Music and local music services Vk (comparable to Facebook) and Yandex (comparable to Google). So, another tech company entering the fray in Russia was likely more exciting for Spotify than it was for Russian music fans.
In our June conversation on Career Strategies and the Future of Live Music With Paradigm Talent Agency’s Diana Gremore , we broached the subject of whether streams actually translate to people buying tickets for an artist’s concert, at least pre-coronavirus.
Sophie’s assessment was the same as Diana’s: not necessarily. But in Russia, the discrepancy seems to be far more pronounced, affecting even international superstars like Luis Fonsi.
I do remember ‘Despacito’ author Luis Fonsi coming to Moscow, to a big venue of 7K or 8k capacity and selling around 800 tickets…. That’s all you need to know about streaming vs. ticket sales…. Or think of Tekashi69. I love the boy, his music videos are huge … but imagine if he sells as many tickets as his music videos are getting views. It’s crazy, but it’s not happening. And it’s not going to happen, because there is a correlation … but it’s not that you can throw out this coefficient of, ‘Okay, this million views, and these tickets sold.’
Interestingly, however, more niche genres tend to demonstrate more predictability when it comes to this correlation, and that’s largely because they are more community-based, according to Sophie. When it comes to mainstream genres like Pop and Hip-Hop, it becomes harder and harder to predict.
With her many years operating in the Asian and European live music markets, Sophie has a keen sense for the particularities of each. That said, when it comes down to it, the West and East seem to share more similarities than differences.
According to Sophie, “Live music is live music everywhere. Stadium shows are no different in New York, London, Seoul, Hong Kong, or Moscow. Same with club shows.”
Listen to The Russian Music Industry and Concert Promotion in Asia & Europe With Sophie Chivanova on your favorite podcast listening platform here.
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With the internet and digital technologies driving rapid change within the music industry, articles about new releases and who has been hired and fired are no longer enough. Our up to the minute industry news alongside insightful commentary helps our readers sift through the rumors and developments to find the information they need to keep their businesses moving forward.
Hypebot is read daily by more than 30,000 music industry professionals including executives and senior staff of music related tech firms, internet based music sites, every major label group and most indies as well as many managers, artists and members of the live music community:
“I swear by Hypebot every morning over breakfast.” Derek Sivers Founder, CD Baby
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“Well done.” Seth Godin Marketing guru
The first step in our concert marketing guide is laying the foundation – the sooner the better. You’ll want to get to work on marketing as soon as a show is confirmed. The more initial effort you put into marketing the show the better the attendance will be.
Most artists and agents have approved promotional material and press photos to use for marketing. Make sure to request these as soon as possible. First up you’ll need to create the show artwork. If the booking is part of a tour, there is usually an ad mat or art template to use for design. You’ll want the artwork in a few different formats
Required Assets:
Just posting the show flyer over and over again isn’t very effective marketing so you’re going to want a variety of assets to use to promote the show. This is where press and performance pics come into play. The more assets you can initially gather the more engaging and varied your marketing will be. Put them all into a folder so they’re easy to find later.
Creating video assets will make concert marketing all the more effective because video outperforms images on every platform. If the concert is part of a tour, the artist may have a video asset already created. If they don’t have a video, request any raw video footage they have and have a video editor put together a show sizzle reel.
Having the artist create a shout out video is a great way to engage fans for the show. It’s as simple as recording a selfie video with the artist or band saying something along the lines of, “What’s up New York! We can’t wait to play CBGB’s on Friday, March 4th!”
If you’re doing paper campaigns, get the flyers and posters ordered as soon as the art is ready. Production and shipping can take a few weeks so the sooner the order is placed the better to get them in time for the announcement.
All of the work that’s gone into the show so far has been behind the scenes. It’s time to go public with it.
Next up in our concert marketing guide is getting the word out. Traditionally, the announcement is the first thing that goes public about the concert. If the artist has a fan club or if your venue has a loyal following, it could be a good idea to let them know about the show a day or two before it goes public. It creates goodwill because they know about the show before anyone else which is one way to make them feel special and creates buzz.
The date of public announcement should be set in advance and usually needs to be coordinated with the artist’s management. The concert should be announced eight weeks before the date.
The announcement time should be set when it’s most likely to be seen, generally somewhere between 10 am and 3 pm on a weekday.
If tickets go on sale at the time of the announcement, a ticket link should be included everywhere the concert is listed. If tickets will go on sale at a later date make sure to update all listings when they do.
With the announcement, the basic idea is that you want to make fans and potential attendees of the concert know about it no matter where they are.
With the show announced, the third step in our concert marketing guide is to start moving tickets. Every ticket that you sell is an anchor for attendance. When someone buys a ticket to a concert, they often encourage their friends to go. There is nothing more effective than word of mouth marketing for a concert , so your goal is to move as many tickets as you can early on to get as many people talking about it as possible.
Most of the time ticket sales pick up exponentially the week before the show. Again the more tickets you move early on, the better the show will do , so put as much effort as possible into selling tickets early on.
The more sustained attention you can keep on the concert the better. Feature the show in any email blasts that go out after the announcement and before the show. Post about the show on socials and always include a ticket link in every post . You want the easiest path to a ticket sale as possible so make it convenient.
Post about the show on your socials as much as possible. All the work you did initially to gather assets will now pay off because you have a repository of awesome content to use. Organic social posts can definitely help get word out about the show but your audience is limited to the people that follow you on socials. The more that you can reach outside of your following the better. There are a few strategies to do this.
One of the most effective ways is paid campaigns. The Facebook ads network, which includes Instagram, other websites and apps, is an effective medium for reaching potential concert attendees. Using a traffic or conversion campaign directed to your ticketing website is usually your best bet.
You can target people who like the musician or similar musicians. The more precise your targeting, the more relevant the concert will be to them. Broader targeting generally means you reach more people but it comes at the expense of relevance. Keep a close eye on the ad campaigns and make adjustments as needed.
Another tip from our concert marketing guide is to get outside of your following by hosting a “like and share contest.” The basic idea is that you hold a contest for a pair of tickets. To enter the contest, people have to share or retweet content about the concert.
By sharing your content to their network, you reach exponentially more people because it reaches people both in your network and their network. The more people that share the content the more people you reach. This is the same basic principle that facilitates something going viral.
If you printed posters, get them up inside the venue and anywhere else you can post them. It’s worth having agreements in place with other businesses. You can give the business a pair of tickets in exchange for letting you hang up posters in their establishment. Coffee shops are perfect because they often have bulletin boards. Flyers can still be a useful marketing tactic. If you’re using them, designate some concerts in a similar genre at your venue and hand out flyers to attendees as they leave.
One of our best tips is to connect your financial app to your ticketing platform so you can see how each ticket sales impacts your bottom line – as it happens. You won’t have to wait for your ticketing partner to send you weekly or monthly reports and then have to manually enter the data into your accounting software. When you integrate the systems, you get real-time updates and the ability to make earlier, smarter decisions about your budget.
During the show make sure to capture as much content as possible. You can easily record stories for Instagram and Facebook with someone’s phone. Stories can be informal , so capturing a quick video is all you need. It’s also a great opportunity to give followers a look behind the scenes of a concert. Hire a photographer to take photos of the show. Make sure to get crowd pics in addition to photos of the band.
The “show” isn’t over when the show ends. The final step in our concert marketing guide happens after the show. The day after the concert, post in the Facebook event and thank everyone for coming out. This simple effort can reap long-term rewards in terms of keeping your existing fan base happy and encouraging a new fan base to stay engaged.
If photos from the event require approval from management, make sure they’re submitted as soon as possible. When the photos are approved and ready, you can also add them to the Facebook event. Make sure the photos find their way to albums on socials. People can tag themselves on Facebook which is a great way to keep people talking about the event even after it’s over.
The recommendations in our concert marketing guide are the minimum that should be done for concert marketing. Effective concert marketing requires effort and upfront work. Early effort leads to early ticket sales which results in a greater turnout. The more creative you get with your marketing the more effective it will be , so let this guide serve as a starting point for your concert marketing and build off of it. Want to give Prism’s purpose-built, all-in-one live music management software a try to see how that ticketing sales platform integration works or what automated offer generations look like? Discover what these and so many other capabilities can do for your business. Schedule a free demo of Prism today.
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Also Called Tour Promoter, Promoter
Concert promoters organize and present live music events, taking care of everything from booking talent and securing venues to setting ticket prices and marketing the show.
It's easy to confuse the work of concert promoters with that of talent buyers , booking agents , concert producers , and other behind-the-scenes players in the live music business, and for good reason: there's plenty of overlap. But while a talent buyer books performers for the venue where they work and a booking agent represents performers looking to set up live shows, concert promoters aren't affiliated with a venue or an artist. Rather, they independently plan, market, and sometimes produce live concerts, including single shows, tours, festivals, and special events.
Promoters need to be as disciplined as they are passionate, able to negotiate intelligently, keep tight control over expenses, and pay careful attention to the myriad details involved in producing a live music event.
For concert promoters, every job begins with budgeting: determining the right amount of money to spend on a concert, tour, or festival in order to maximize returns. Concert promotion is at heart a numbers game, and since promoters assume all of the financial risk for the shows they put on, they have to be sure that the event will be profitable. Success hinges entirely on the promoter's music and market savvy, negotiating skills, and ability to recruit an audience. Once a budget is in place, they might secure performers, pick a venue, and negotiate contracts and fees. Then there's the matter of designing and executing a marketing strategy. Finally, the promoter works with concert/event producers —either in house or third party—to arrange travel, transportation, and lodging for the artist and crew, as well as on-site hospitality; to devise a rider (a set of requests, usually creature comforts) with the artist; and to create a production schedule for load-in, load-out, lighting, and sound. If the event is a festival, the promoter will also hire a festival director and event operations coordinators .
At its heart, concert promotion is the art of creating an audience for a show and can involve almost anything that has to do with filling seats, such as ticketing and quality control. But if that's concert promotion, then why talk about concert production and booking above? The answer is that most medium- to large-sized concert promotion companies— such as Live Nation or AEG Presents—actually do much, much more than just promotion. It's common for these companies to own and manage a number of venues where they plan, book, produce, and promote their own shows—the whole live event pipeline. In addition, some even manage their own roster of artists. While a few independent concert promoters remain who create and distribute flyers, help plan radio visits, and organize online media campaigns for shows booked and produced by someone else, concert promotion companies focus on planning and organizing events from start to finish. When people talk about concert promoters, they're often talking about employees of these companies, rather than the independent variety.
The concert-promotion industry is dominated by corporate behemoths like Live Nation and AEG Presents, but small, independent promoters—often operating regionally—have managed to carve out a niche. Most concert promoters start out producing or marketing events, concerts, and festivals at their college or within their local area. Some go on to become interns and assistants at concert-promotion companies, where they can advance within their departments, while others found their own independent companies or simply work as freelancers within the DIY music scene. Success as a concert promoter means having the connections and clout to book bigger acts in nicer venues. The best concert promoters have a solid reputation for creating well-attended, talked-about, and financially successful events.
Aspiring concert promoters can get experience by putting on house concerts in their home or at friend's place—handling the booking, ticketing, promotion, and even production. Entry-level jobs and internships are also available at major concert promotion companies like C3 Presents , Live Nation , AEG Presents , Bowery Presents , Another Planet Entertainment , and Jam Productions .
While a love of live music is a helpful quality for any concert promoter, it's not enough to make it in this risky and competitive business. To succeed, concert promoters must be as disciplined as they are passionate, capable of keeping tight control over expenses. They must also be highly detail-oriented, both while planning and producing live events and while sitting at the negotiation table with artists , agents , and managers .
Concert promotion is a consuming job, which requires performing business duties—usually out of an office—by day and attending shows at night and on the weekend. Concert promoters are constantly networking with other music business professionals, and constantly searching for up-and-coming artists with momentum and strong fan bases. In the lightning-speed world of social media and viral sensations, concert promoters have to be ready at all times to capitalize on changes in the music community.
The berklee boost.
Employers look for skills learned in the following Berklee programs.
The MoSCoW Method is a prioritization tool that helps professionals in managing their time and effort .
To do so, it proposes to classify the importance of the different characteristics of a product (or a Project) according to their importance .
Its name is an acronym of the 4 Prioritization Categories proposed (adding two “o”):
Must Have : Essential Requirements that the product or project must have.
Should Have : Important desired Requirements for the product or project.
Could Have : Improvements to the product or project.
Won’t have : Characteristics agreed not to be adopted .
Let’s see the first example:
Imagine that you have been hired to create a Website for a Law firm.
They want a professional Site where people can Register and, once inside, track their court cases .
Since you want to deliver the best possible Site on time, you decide to follow the MoSCoW method .
How does it look like?
Must Have :
Should Have :
Could Have :
Won’t Have :
As we usually say, this Method may seem obvious.
Then… Why is it important?
Many of professionals end up wasting time , effort and resources on useless task s that are ultimately not essential at all.
Surely you have experienced this situation working in a Team:
That is why this Method is so important:
As you can imagine, this Tool can be employed in practically all kinds of situations.
But when do we especially recommend it?
We highly recommend to use the MoSCoW Method:
Now, let’s see more examples:
We have chosen different real examples where the MoSCoW Method can be of great help for the development of certain products.
Let’s begin:
Let’s imagine that you are developing a wallet .
As you know, wallets are very modular products.
They can have:
There is not a canonical wallet (one that is the benchmark for all the others).
After some thoughts, you decide that your wallet:
In this example, we’ll imagine that you are preparing a wedding Cake .
In addition, as you also know, Cakes can have lots of variations.
That is why you decide to use the MoSCoW Method.
How does it look?
Well, your Cake:
You are now an artist hired to Design a poster for a Rock concert.
Obviously, this is a Design job with infinite variations possible.
No need to mention that you will use the MoSCoW Method.
Finally, the Poster:
The MoSCoW Method is a prioritization tool that helps professionals in managing their time and effort.
It proposes to classify the importance of the different characteristics of a product in 4 Categories :
Although this Method can be used in all kinds of situations, we highly recommend to use it:
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2. Executive Summary. Eric Moore® Concert Promoters, Inc. is an all - round concert and event promotion company with the capacity of organizing and promoting world - class music concerts within the United States and all across the globe. The company will be based in East Rutherford - New Jersey.
Here are seven tips for creating a concert promoter business plan that boosts experiences, relationships, and overall success. 1. Conduct market research and define your target audience. To effectively market your upcoming event, conducting market research to gather more data on your target audience is essential.
Business Planning. Creating a comprehensive business plan is crucial for the success of your concert promotion business. A well-crafted business plan outlines your vision, mission, target market, marketing strategies, financial projections, and more. It serves as a roadmap, guiding you through each stage of your business journey.
This plan should outline your goals, target audience, budget, marketing strategies, and potential revenue streams. A well-thought-out business plan will serve as a roadmap for your concert promotion journey, helping you stay focused, organized, and accountable. 2. Build Relationships with Artists and Venues. Building strong relationships with ...
3. Create a Solid Marketing Plan. A well-thought-out marketing plan is crucial for promoting concerts effectively. Start by defining your goals and objectives, such as ticket sales targets, brand awareness, or audience growth. Then, develop a comprehensive marketing strategy that includes online and offline channels.
Learn how to attract fans to your music show with 15 effective concert promotion strategies. From making your show so good, people are scared to miss it, to using social media, flyers, email marketing, and more.
Concert promotion is a business, and like any business, it requires a solid understanding of the financials. You need to be able to create budgets, manage expenses, and project revenue. This includes everything from negotiating deals with venues and vendors to calculating ticket prices and managing cash flow. 8. Be Prepared for the Unexpected
The concert promotion business is extremely rewarding once you learn to navigate it. Most will say a concert promoter isn't in the music business. They're in the people business. You need to understand how and why people make the decisions they do. Psychology plays a large part in any industry that deals with people.
Promoters able to seamlessly balance event logistics with creative marketing campaigns will maximize their impact and ensure the success of the artists and venues they represent. Consider this guide to seizing opportunities in concert management and live music promotion heading into 2024 and beyond. Download full PDF here.
The Concert Venue Business Plan: Navigating the Music Industry. The Essence of a Business Plan: A business plan remains a fundamental document for concert venue operators. ... Marketing your concert venue is an ongoing process that requires consistent effort and adaptability. The more you invest in effective marketing techniques, the more ...
If you are interested in having a professionally written business plan for your concert and event promotion business - please feel free to contact us anytime at 646-216-9844 or through the contact us form on this website. Have any questions? Talk with us directly using LiveChat.
5) Get creative with giveaways and merchandise. A giveaway can really bring the concert experience home for fans. Not only do they have something they will want to hang on to (and talk about), but it improves the value of the experience. Fans often walk away feeling like they got more than they expected, which can lead to positive reviews and ...
Discover seven vital strategies for launching and growing a successful concert promotion business, from audience understanding to effective marketing.
Key elements of a concert promotion strategy. To successfully promote your upcoming concert, you need to know your audience, set goals, determine a budget, allocate resources, create a promotional strategy, leverage ticketing platforms, form partnerships, and keep fans engaged through your email and social media channels.
Start Here: 1. Pick one. I am a musician or performer. I just want to work in the music business. 2. What are you most interested in? Select as many as you like. Concert Promoters produce and organize shows by booking talent, securing venues, hiring event staff, and marketing their events.
Approximately 35% to 50% of a concert promoters underlying expenses revolve around marketing costs. Once the marketing plan and business plan has been developed, a concert and event promoter SWOT analysis should also be conducted so that an understanding of the strengths, weaknesses, opportunities, and threats can be properly assessed to ensure ...
Below are the sales projections for One Nation® Music Festival, Inc., it is based on the location of our business and the wide range of concert and event promotion (music festival) services that we will be offering; First Fiscal Year (FY1): $250,000. Second Fiscal Year (FY2): $650,000.
The data-driven concert promotion company has organized concerts for GOT7, MONSTA X, Kehlani, The xx, and many more in 30+ different countries around the world — all based on fan requests.
The first step in our concert marketing guide is laying the foundation - the sooner the better. You'll want to get to work on marketing as soon as a show is confirmed. The more initial effort you put into marketing the show the better the attendance will be. Most artists and agents have approved promotional material and press photos to use ...
Concert promotion is a consuming job, which requires performing business duties—usually out of an office—by day and attending shows at night and on the weekend. Concert promoters are constantly networking with other music business professionals, and constantly searching for up-and-coming artists with momentum and strong fan bases.
The MoSCoW Method is a prioritization tool that helps professionals in managing their time and effort.. To do so, it proposes to classify the importance of the different characteristics of a product (or a Project) according to their importance. Its name is an acronym of the 4 Prioritization Categories proposed (adding two "o"):. M ust Have.; S hould Have.; C ould Have.
Get the Simple Plan Setlist of the concert at B1 Maximum Club, Moscow, Russia on August 18, 2009 from the simple plan Tour and other Simple Plan Setlists for free on setlist.fm!