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Tips on Booking Your First Tour

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Booking your first tour

There are a lot of reasons why artists fear that their first tour may be unsuccessful. Booking your first tour involves a lot of decision-making, planning, and use of different resources that will ultimately make or break you while you’re on the road. There are many things you need to look at as an artist, and many questions you have to ask yourself about the packaged medium as a whole. Merchandise like T-shirts always plays a huge role in these endeavors, and can make the difference between profiting or not after the door money is split and allocated. The truly successful tour involves planning a few off nights, and a consistent flow of gas money in between it all. Technology is there to help you but the need to experiment in your hometown and make sure that your craft is up to par is more important than ever. You can come back home in the van successful, but there are a couple different ways to go about it that have become more important than ever.

Where to begin

While still in your hometown, there are a few things that are going to play themselves out no matter where you perform down the road. You have to sit back and watch the future of your band as it relates to the big picture, before you get so eager to book a tour that no one shows up. As if we even had to mention, the quality of recordings is a big factor in the beginning of your journey. The way that the cookie really crumbles still begins with your hometown. Once your professional demos are recorded, you spread them around your hometown and wait for a gig – be proactive of course! Yes, you will play weeknights. If you sound good and have SOME of your friends there buying drinks and generally responding, the owner will take note. It’s not a time to act on impulses, or be full of yourself. Once you land weekend shows on the nights that draw crowds, then its really time to shine. You have to pay attention to your performance craft, social media skills, and how many people you get in the door.

While you are becoming a shining star in your local realm, that is when you hop on the laptop and boost your nationwide presence. Entities like Spotify and Pandora do help, as far as targeting cities with your Facebook page and adding friends. A good rule of thumb from industry professionals is starting this process five to six months out. Building your fan base is not an overnight process. Crafting a great relationship with fans and local venues can be done – but don’t get desperate. We have all seen the social media posts that beg “ looking for a show and place to stay; please help!” To completely play devil’s advocate, these posts can work when you’re in a pinch, but are not recommended. In the current climate, adding followers on social media from the towns you want to play in is your single biggest advantage. You never know when someone is just going to listen to your Soundcloud samples and tell you that they have a venue ready to go, and perhaps even a guarantee arranged for you at the door.

Getting started

One of the best tips we have to offer is within the realm of social media. When you have pounded the pavement hard, and we mean really hard, your most organic and loyal contact may be right around the corner. When you are getting ready to book a nationwide tour, the thing you need to understand most is within the realm of social media. Inviting people to like your page is many times more efficient than the show flyer was years ago. You definitely need to announce when you have events happening, and make people aware of your performances. But as we have tracked data regarding marketing and web presence lately, we can vouch that blanketing all areas you want to perform in prior to securing a performance date is essential.

Weekdays vs Weekends

What really happens in this process? After you add social media contacts in the cities where you want to tour, a lot of seeds get planted. What you are really hoping for is someone who is knee deep in the scene and that has a lot of contacts turns a lot of their friends on to you music with a share. Once this happens, users are listening to your tracks and waiting for you to come to their city. After this occurs, there are a lot of other factors that weigh in on an equation that defines your ultimate success. One thing to prepare for is the way that venues may behave towards you and your craft if you choose to play there on any night before a Thursday. Most of the time Mondays and Tuesdays are reserved for open mic nights, perhaps a local band here and there, or a national touring act if they are a fairly recognizable band. When you embark on the journey of playing venues on these “off nights” there are many things that can happen.

When you are playing a venue on an off night, direct your attention toward the people in the venue – they’ll most likely be your new and existing fans. Put your friendly face on, and know that getting people in the venue are the prime factor in your success. Being polite, approachable, and low key are the main factors here. When you reach success in your hometown and have to travel the entire nation in a bus or van, there’s going to be a few nights that may not work out as intended. Be polite, aware, and humble than ever.

The biggest mistake you can make in these situations is getting out of your van with a Friday night attitude, as if you are a star athlete or performer that can turn the town upside down. These are nights that the bar has to open to stay in business, and you don’t want to demand too much. Guest lists, free drinks and food? Toss them out of your rider or wish list, because they aren’t going to take place. Thank the venue much over the microphone, put forth a grateful vibe, and know that weeknights generally draw a smaller crowd than weekends. One strategy that can overcome this claim and make them great: spend time making friends with the best local bands in the area and inviting them to open up for you.

Tour routing

Industry professionals say to spend about in hour in stops for every five hours of driving, and to spend around 6 to 8 hours driving on an off day. Routing is the most important part of booking a tour, and coordinating what cities you want to visit. If crossing the entire nation, there are some zones in the Midwest where you have to drive ten hours perhaps to a show. If you hit Austin, Texas or a place like Nashville, you’re going to want to do it later in the week. With social media and the reaches of the Internet, once you do get large and noticed there are obvious perks. Your ultimate goal as a touring band is to be the opening act for a much larger and well-known entity. This could take years, and once you accomplish it, their booking and promo managers do a lot of the leg work, as long as you show up polished, sounding good, and engaging the audience.

What about tour expenses?

If you are on your own label and fronting expenses, gas is going to be an issue. The van simply will not propel itself forward without fuel. Calculating costs per mile is a huge benefit when you are on the road, especially when you are taking a cut of the door and have a sense of uncertainty about the tour. Another tip we have heard a lot lately in many circles is to not be afraid of the phone. Some venues that totally go off and have high attendance have a web presence and email, but may still need to be contacted by phone. An email with your sound links and asking availability usually suffices, but some venues get enough requests that they don’t always answer your email. When planning your nationwide itinerary, it’s good to be pushy but still optimistic. It’s fairly easy to find the best venues on social media outlets, and your goal is to line them up in a manner that steers the van clear of ill fate and low turnouts. With some common sense, constant friend adding, and great performance on stage, all its going to take is a couple of photographers circulating your goods to fans and the next tour will be right around the corner.

The Real Story of Nirvana’s ‘In Utero

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Spotify Landmark is a multi-media documentary series focusing on classic moments in music history. The premiere episode below, entitled “The Real Story of Nirvana’s ‘In Utero,’” was released on occasion of that album’s 20th anniversary and a week before the album’s deluxe reissue.

The installment features audio recollections from Nirvana bassist Krist Novoselic, producer Steve Albini, tour mate Curt Kirkwood from the Meat Puppets and comedian — and Nirvana opening act — Bobcat Goldthwait.

Secrets of a PR and Publicity Pro

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Do you crave free media publicity? Learn how to identify a story idea about your brand or business, and then promote that idea to the media for publicity. Every business owner dreams of free media publicity, and why not.

After all, a story on the nightly news service promoting one of your new products or services is far more credible than a paid commercial. And it’s free. You’ll also learn how the media works, how a reporter thinks how a newsroom operates, how to build relationships with reporters, how to write a news release, how to set up a media conference, as well as tips and strategies for when you appear on camera.

Mark Aiston bio: Mark is a television host in Adelaide Australia. he has worked with the the ABC and the Ten Network as well as with the Australian Radio Network.

Performance Booking Agreement Template

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This agreement is made this ________ day of ______________, 20__ by and between _______ (Presenter) ___________ (hereinafter referred to as the “Presenter”) and  _____ Artist_____ , if more than one, listed on Addendum A attached hereto and included herein (hereinafter referred to as the “Artist”), by and through their designated agent or representative (“Manager”) identified below.

WHEREAS, Presenter conducts the event known as: ________________________________________________ (hereinafter referred to as the “Performance “); and ______Artist ____________

WHEREAS, Presenter desires to hire Artist, as independent contractor(s), to provide the Performance generally described below (the “Performance”).

WHEREAS, Artist(s) desire to provide such Performance;

The parties agree as follows:
1. Artists: The names and addresses of the Artist who will appear during the Performance, the amounts to be paid to each.

2. Agent/Manager: The name and mailing address of the Representative, who is executing this Agreement on behalf of Artist(s), is: ______________________________________________________

3. Place of Performance: The place of performance is at _____________________________________________________________

4. Date(s) and Time(s) of Performance:
The date(s) of the Performance shall be ______________________, 2002 and the time(s) of the Performance shall be _______________________. This Performance shall be _______ hours with a __________ intermission.

5. Performance: The Performance is generally described as: _____________________________________________________________

6. Agreement to Perform: Artist(s) agree to provide the Performance in accordance with the terms of this Agreement and any addendums or riders hereto.

7. Price of Performance: Presenter agrees to pay Artist or his agent an aggregate of _______________________ DOLLARS ($0000) for the Performance by cheque immediately following the Performance. The cheque shall be made payable to: _____________________________________________________________.

8. Recording, Reproduction or Transmission of Performance: Presenter will use its best efforts to prevent the recording, reproduction or transmission of the Performance without the written permission of Artist(s) or Artist’s representative.

9. Excuse of Obligations: Presenter and Artist shall be excused from their obligations hereunder in the event of proven sickness, accident, riot, strike, epidemic, act of God or any other legitimate condition or occurrence beyond their respective control.

10. Taxes: Presenter agrees to prepare and file all tax information required of a person who hires an independent contractor and Artist(s) agree that they have sole responsibility for the payment of any federal or provincial taxes arising from the monies paid by Presenter to Artist(s) for the Performance.

11. Indemnify for Copyright Infringement: Artist(s) represent and warrant that they are knowledgeable about the copyright laws of Canada as applicable to the Performance, and that Artist(s) shall not perform any copyrighted materials of others during Performance without full compliance with such applicable copyright laws. In the event that Artist(s) breach this representation, warranty and covenant, Artist(s) hereby agree to INDEMNIFY AND HOLD HARMLESS Presenter and its employees, guests and agents from and against all liability, loss, damages, claims, and expenses (including attorney’s fees) arising out of such breach.

12. Independent Contractor: Artist(s) acknowledge that they shall perform their obligations hereunder as an independent contractor and not as an employee of Presenter. Artist(s) further acknowledge that they are not on Presenter’s payroll and/or tax withholding rolls. Artist(s) shall have sole control and direction in the conduct of the Performance.

13. Merchandising: Artist(s) shall not sell any goods, products, merchandise or services (other than the services provided herein) at the performance except by express written permission of Presenter.

14. Promotion: Presenter shall be entitled to advertise and promote the appearance of Artist(s) and the Performance. Artist(s) acknowledge that Presenter will rely on the terms hereof in all such promotions and advertising and in the brochures to be printed setting forth the names, dates and times of all performances to be held. Artist(s) hereby acknowledge and agree that Presenter may use their names, photographs, likeness, facsimile signature and any other promotional materials in all of such promotions, advertising or other activities used to increase attendance at performance.

15. Parking: Presenter shall provide parking space for vehicles in a location of close proximity to and with direct access to the backstage area where Performance will take place on the date(s) of Performance. This parking space will be reserved for Artist(s) for a period of four (4) hours prior to the Performance and ending three (3) hours following the Performance.

16. Security: Presenter shall provide security for the backstage and stage areas before, during and after the Performance. Presenter shall provide security personnel to protect Artist(s) and their property as deemed appropriate by Presenter in its discretion.

17. Passes: Presenter shall provide identification passes to Artist(s) for the backstage and stage where Performance is to be held.

18. Stage: At its sole expense, Presenter shall furnish the stage, and stage lighting, sound and power for the Performance, and Presenter shall provide all stagehands required to assist the setup for and conduct of the Performance and takedown after the Performance.

19. Dressing Rooms: Presenter shall provide Artist(s) with one private dressing room, which will be clean, dry, well-lit and air-conditioned.

20. Authority to Execute: The representative who is executing this Agreement on behalf of Artist(s) hereby warrants and represents that he has the full power and authority to bind Artist(s) on whose behalf he is executing this Agreement and acknowledges that he is making this representation and warranty with the understanding that Presenter is relying thereon.

In Witness Hereof, this Agreement is executed on the date first above written.

Presenter (Authorized signature)

By: ____________________________________

Date:___________________________________

Artist/Agent or Manager representative

By: ____________________________________

Date:___________________________________

Band Member Agreement Template

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Band Member Agreement

For ________________(Insert band name)

 

AGREEMENT made this _______ day of ____________, 20_, by and between the undersigned Artist and the undersigned Musician(s).

This Agreement is entered into in the City of ___________ and County of ________________, State of __________ and is guided by and governed by the laws of that state.

The undersigned parties hereby agree to the following responsibilities:

1. Show up for practice as agreed upon failure to do so can void contract and end any future agreements. UNLESS there is an emergency or other uncontrollable circumstances out of the Musician(s) control. (Example: Death of family member, illness, accident, act of God.) If there is a problem notify Artist within ________hours before rehearsals were to commence.

2. It is the Musician(s) responsibility to keep their equipment in good working condition, and upgrade appropriately when the revenue is available.

3. There should be no drinking/smoking on stage, always maintaining good showmanship/ quality as deemed by management and myself.

Musician(s) will follow the instructions of the Artist and management team.

Other Provisions

4. Under no circumstances is a bandmember (Musician(s)) allowed to talk to club owners, record labels, radio stations, etc in regards to setting up anything for the band, in which promises are made or money is mentioned, etc.. The bandmembers (Musician(s)) should direct all inquires to myself and then I can pass it along to management, or hand out business cards with our managements contact info on it.

5. Any other outside performing with another band or engagement that interferes with the schedule of Artist will void the contract if necessary.

6. Understanding that the bandmembers (Musician(s)) main job objective is bring to life songs that are in the Artist format and 100% attention, enthusiasm and dedication is needed to make things happen. Lack of any of the above can void contract if it is detrimental to our success.

7. The Artist makes no promises or guarantees about Rewards and compensation but every effort will be in achieving the goals and payment will be made to the Musician(s) when possible.

The following conditions are in effect only as long as the contract is valid.

2. Live performances, bandmember (Musician(s)) will receive 20% of the performance fee.

3. In regards to royalties from any independent release that a band member plays on(examples would be cd’s, cassettes, EP.’S.’s’s. singles, etc., that has been financed by myself and/or management team. The bandmember (Musician(s)) will receive a percentage of 15% after the cost of manufacturing and distribution, production has been made back. Example – I spend 1500 to record and manufacture 2000 cd’s, after the 1500 is made back from the sales of the item, royalty checks will go out in accordance to what was agreed upon. In the event of signing with a major or Indie label the royalty rates may be renegotiated at that time.

4. There will be specific pay days, and dates for all compensation. Band member should not expect payment right after a gig or a sale of a cd.

Merchandising

5. Merchandising (T-shirts, hats, etc), Musician(s) will receive a percentage after the cost is made back. The percentage will be in the 2-10% range, due to the fact that this money will be used to finance upcoming events for the band-tour support, recording, etc.

6. When and if the Artist is signed to a label or any other organization that handles booking, distribution, etc than what is in place presently, then contract will need to be renegotiated to exact out new figures.

7. This contract is an open agreement voided at such time the Artist or Musician(s) deems necessary.

Touring

Musician(s) should meet to discuss all touring and gigs before the actual date. A plan will be made then in the event of prolonged touring to ensure all Artists and Musician(s) are in essence in the right place at the right time. Equipment checklists will be made and followed as well as set lists for shows. Musician(s) are responsible for things such as personal leaves from day jobs for touring etc. Musician(s) will meet with the Artist on specific days and times to discuss issues pertaining to the tour work. Band members will not leave the tour group unless they have let other parties know where they are going. This is only a protection for the band as a whole should an accident or other uncontrollable circumstance arise.

Complaints

All complaints will be handled in an orderly manner. If Musician(s) feel they are being treated unfairly outside the realm of this agreement they may contact the management team and the complaint will be addressed and remedied in an efficient manner.

(Omit or replace with your management information) Management

Company name
Attn.: Contact name
Address
City, State, Zip
E-Mail: 

You may also contact managers’ assistants.

 

_______________________________

Artist

 

 

_______________________________

Musician(s)

Film Synchronization Agreement Template

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THIS AGREEMENT, dated the __th day of ________, 20_, between_________________, (hereinafter referred to as “Composer” and ________________________, (hereinafter referred to as “Employer”).

WHEREAS the Composer has hereto written and composed certain musical compositions, lyrics and arrangements, including arrangements of public domain material (all herein called (Music) as independent contractor of ____(Employer)___, a (insert state) company, in connection with the motion picture now entitled:

“_________________(INSERT FILM TITLE)___________________________________”.

In consideration of the premises, it is agreed as follows”

1.Composer hereby licenses to Employer and its assigns, as their interest may appear, on a non-exclusive basis, the following rights including, without limitation, the complete, unencumbered, exclusive and perpetual right throughout the world to exhibit, record, reproduce, broadcast, televise, transmit, publish, copy, print, reprint, vend, sell, distribute, perform and use for any purpose, in connection with the motion picture as defined herein, whether or not now known, invented, used or contemplated, and whether separately or in synchronism or timed relation with the Picture or trailers, clips or portions thereof, or any other motion picture or otherwise, all or any part of the matters and things referred to in this paragraph and to refrain from all or any part thereof. Employer or its assigns may add lyrics from all or any part thereof. Employer or its assigns may add lyrics in any language, and otherwise add to, subtract from, arrange, rearrange, revise and adapt all such material and the Picture in any manner, and Composer hereby waives the “moral rights” of authors, as said term is commonly understood throughout the world.

Said license of rights is conditioned upon and subject to the following:

(a)Motion pictures containing the Music may be exhibited by any licensed or authorized exhibitor. No such license shall be required in any of the situations referred to above with respect to which Employer reserves the right to perform the Music.

(b)Under no circumstances shall the Composer, and of his successors in interest, or anyone acting in his behalf, have the right to take any proceedings that would have the effect of enjoining and/or preventing and/or otherwise interfering with the public exhibition and performance anywhere in the world and by any means or method now or hereafter known of motion pictures with the Music included therein, nor shall Employer or any distributor of such motions picture be liable to Composer for any action that the association or anybody may or may not take in administering the remaining performing rights or for any payments that the licensing organization (A.S.C.A.P., B.M.I. etc..) may or may not make to the Composer.

(c)Neither Employer or any distributor of any motion picture shall be liable to the Composer, or his successors in interest, or to the licensing body or its affiliates, for any payment of any sums by reason of performances of the Music as contained in the motion pictures, with the exception of payment of the statutory mechanical rate at the time of execution of this Agreement paid by Employer to composer or his music publisher for the sale to the public of the Music on sound tracks released as phonorecords, video tapes, compact discs, cassette tapes or any and all methods now known or that may come into being.

(d)Composer and his heirs, executors, administrators or other personal representatives, agents, successors or assigns shall have no independent right to license performances of the Music as included in motion pictures or to otherwise interfere in any way with the distribution and exhibition of motion pictures containing the Music.

(e)For the purpose of protecting motion pictures in which any music is used or to be used, Employer or its assigns shall always have the right to impose restrictions upon the performance of such Music apart from motion pictures.

2. As used herein, the following terms shall unless the context clearly provides to the contrary, have the following meanings:

“Motion picture” or its equivalent means and includes, but is not limited to motion pictures cinemagraphic films and photoplays of every kind and nature whatsoever (including films for television, video tapes, and films produces electronically), including the sound track thereof, as well as trailer, clips and portions thereof, and copies of any of the foregoing, produced by any means now known or hereafter known, invented, used or contemplated by which photographs, pictures, images or other visual or audiovisual reproductions or representations are or may be printed, imprinted, recorded or otherwise preserved on material of any description (whether translucent or not) for later projection or exhibition in such manner that the same are or appear to be in motion on a screen, mirror, monitor, tape or any other medium or device whether or not accompanied by sound track.

“Sound Track” means and includes sound recordings and reproduction of every kind and nature whatsoever produced by means of electrical, electronic, mechanical, or other processes or devices now known or hereafter known, invented, used or contemplated by which sound may be recorded for later transmission or playback in synchronization or timed relation with motion pictures or separately on phonograph records, or otherwise.

“Copies”, with reference to a motion picture or sound track, means and includes any negative or positive print, dupe, negative, video or other electronic tape recording, disc or other physical article of any kind produced by means of any process or device now or hereafter known or contemplated. on which such motion picture or sound track, or any part thereof, is printed, imprinted, recorded, reproduced or duplicated.

“Exhibitor” means any person, firm, or corporation who holds a valid and subsisting license from the copyright proprietor of the motion picture involved (either directly or indirectly through distributor, subdistributor or other licensee of such copyright proprietor) to exhibit and perform such motion picture (including the Music), publicly, whether theatrically, on free pay or subscription cable television, cable, satellite, airlines, armed services or other, by any means or media whatsoever.

IN WITNESS WHEREOF, the parties hereto have executed and delivered this Agreement as of the date first above

 

By ___________________________

EMPLOYER

 

By ___________________________

COMPOSER

 

How to Copyright your Material

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The most important thing in the large world of art and entertainment is making sure that your hard work or original idea is protected. What you are really accomplishing with this task is granting yourself, the creator of the work, exclusive rights to use and distribution, and the ability to generate revenue from the product. This can be in the realm of music, art, writing, photography, and many others. In a larger structure or entity of work, the rightsholders are individuals that may have paid a fee to attain some rights to a work or holding, and adapt the work to other forms, perform the work if it is music, or financially benefit from it. The origins of copyright in Britain were due to the invention of the printing press, and the fact that more in the general public were beginning to read. What began in the 1700s as a way to make sure rights of the creator were protected grew over the next few centuries into something farther reaching and much more universal.

What Qualifies as material?

There are some minimal standards that a work has to meet to be deemed as property. Different nations have varying requirements and traits for work, but a few general rules of thumb apply. In the United Kingdom, “skill, labor, and judgment” are key components of a work, and in the United States, you are going to want to go through the copyright process for any work that has the potential to generate income. During the last few decades, slogans, and things like smartphone applications have taken the center stage. With the level of use of technology devices and internet on the ever expanding rise, special care will need to be taken by the creators of works to make sure their idea isn’t duplicated. Especially during the creation of video games and other graphic achievements, it became more important than ever to make sure your bases are covered. If you are spending money on research, development, and testing, there is not a chance that you can weather someone taking it all from under your nose. It is more important than ever to know the steps to copyright your material under current rules and regulations.

The steps in registering your work

To properly register your work, send a completed application form with a 35$ registration fee and a copy of the works you want to protect. You also need to send a deposit and visit the Library of Congress’s web site www.copyright.gov, and the current fee is 45 $ for registration. If you use the web portal, you will receive a return email telling you that your application was received correctly, and perhaps a phone call asking for any additional information to complete the process. If the work is accepted right away, you’ll receive a certificate of registration, and if it is rejected for any reason, a letter explaining the reasons why. As with many important duties these days, the online registration is preferred by most owners of property, with a lower fee, and faster processing time.

You can track the status of processing quickly and efficiently online, pay by credit or debit card, and get easy access to “RE” forms, or renewal of copyright claims. The features for group registration are very efficient and user friendly, but be careful to thoroughly check all fees involved to secure prompt acceptance or renewal. As with any process, being prepared all the way before submitting your works will streamline the steps to getting your work copyrighted and make the road much less full of things blocking you from your goal. This is one of the most important steps you will ever make: saving yourself from the ultimate headache of the finger pointing game when something you created yourself may be breached. Not feeling like you are in jeopardy all of the time, especially as an author or otherwise creative individual, who has a lot to lose.

There are those that will tell you that as soon as any piece of intellectual property or song is created, that you can come back at later date and claim intellectual creation and trademark. Just like a prenuptial agreement in a marriage, you really owe it to yourself to do this the right way and not cut any corners. All works created in the United States are subject to mandatory deposit under standards governed by the Library of Congress, and the year of publication may actually affect the longevity of copyright protection.

The address for the Library of Congress for postal mail is as follows:

Library of Congress
101 Independence Avenue SE
Washington, DC 20559