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An agreement can include either a flat fee or a door split deal. That`s true – a door split deal can let a group and a promoter out of their pocket at the end of the night, but for emerging groups and promoters, it`s a very fair deal. If there is a gain, everyone contributes to it, and if there is none, everyone has shared the risk. Music promoters will take care of promoting an imminent concert in their local media (press, radio, websites), but for this they will need some information from the group. Most promoters will ask for a few CDs and copies of a tape biography so they can make a promo package. Promoters often ask a group (or their label) to make posters for the promoter to promote the show, although this is arranged on a case-by-case basis – some promoters prefer to make their own posters. Try to make sure the promoter has what they need to get the show out there – if they don`t, they can`t get people to see you! There is no fixed rule as to whether or not an organizer must provide accommodation. If you are in a band that regularly wins in concerts, you can easily negotiate accommodation. If you`re playing shows to build an audience and the organizer probably doesn`t break even in the show, no accommodation is needed. In such cases, some very nice developers may install the group in their own home, but do not expect. If a promoter of the group gives a hotel room, it is acceptable to retain this cost from the group`s income.
Many groups prefer to go wild in the van and keep the money. Here`s the truth – being a promoter is hard work, and if you`re just getting started, you can lose money in many shows. But what you can never do is ask a group to reimburse you for your expenses if the show didn`t make enough money for you to pay off everything. This is the risk that a promoter takes. There may be a special case, like renting a ton of special equipment in which you could ask the group to cover the costs, but in 99% of cases, if you lose money for a show, you lose money at a show. Keep your editions and the groups you book exactly in the eighth, and you`ll find a formula that works for you. All accounts related to ARTIST payments must be transparent and accessible to the artist and artist manager upon request, with appropriate notice. Maintaining good relations with promoters is absolutely essential. Be realistic about your expectations when you go to a show. If your band is in the construction phase, you can play a lot of very small shows that don`t make you any money and can actually cost you money. If this happens to you, make sure it`s really the developer`s fault before burning this bridge.
A good promoter can help you. Even if a particular show wasn`t sold out, if you have a good attitude, that promoter will want to work with you again. Be professional and remember to see every show that is a promotional tool for you and your group. Music promoters who work with big money offers would never dream of booking a show without a contract. Similarly, the artists they work with would not consider playing a show without a contract. But in the world of indie music, music promoter contracts are probably the most overlooked type of contract. Relationships between promoters and groups at this level are often casual, but even when it`s not about huge amounts of cash, a contract lets everyone know where it is. Promoters and bands can use these steps in the same way to establish a fair contract that helps make the concert more fluid. Both parties undertake to pay their own tax contributions and to comply with all rules, regulations and agreements relating to health and safety. The artist is committed to doing his best and making available to the organizer materials, photos, biographies, CVs and recordings to promote engagement.
The organizer undertakes to send the artist the technical specifications of the place within thirty days before the event. A good music promotion contract covers important topics: promoters can recoup their investment in the concert before paying the band.