A Contract’s Just a Piece of Paper:
We have standard agency agreements. I don’t want to put too much on the contracts, because this is a service industry. If my clients are not happy with the work I’m doing, a contract isn’t going to do much. It helps if you have some kind of ugly split and want to sue somebody, but if you’re not planning to go to that level it doesn’t matter.
Getting Started as an Agent:
You need to go to some agency, get your foot in the door and learn the ropes. Most people start as an intern or an assistant. Once you know the structures of deals, then it becomes a case of the talent you can find and book. You can go from having nothing to having a big band and becoming a successful agent in a quick amount of time. Finding those artists, though, is not easy, especially if you’re a new guy and you’re competing with other agents that are established and probably have a lot more to offer. Learn the business and then start moving to high-end clients who can sell tickets.
The Long Approach:
Everyone’s main interest is: how do I make money and fast? My goal in terms of how I represent my artists is to not think short-term. How you get money the quickest is by setting up to make the most money long-term. That’s what I try to show my artists. A lot of times, it’s an education process. Most people want a quick hit. I tell them how to make sure they’re bigger, making more money and selling out venues 10 years from now. That’s not a quick hit approach. You don’t just go to an arena. All the artists playing at the bigger sizes have worked their way up. There’s a rare case where someone explodes and goes to the biggest venues, but it usually takes time. I try to push that on my artists as a reality. And if you do the right things, take the right steps and make the right deals, the money’s going to come.
Making Moves:
Sometimes, people make changes. An artist is out for a few years, you’ve done a great job with them and, for whatever reason, they think someone else can do better. Maybe an artist is with you for a few years and it’s not doing as well as anyone would like; the agent can take the fall. Generally, if you’re doing a good job, they’ll let you keep your job. If you see someone going downward, then maybe it’s time to let an artist go. There’s only so much time in a day and you want to focus on things that are going in the best direction.
Playing to Size:
The goal is to sell out the venues we’re playing. We book with that in mind. We’re very conscious of the size of the venue, ticket price and demo of the fan. There’s no better publicity, excitement and growth for an artist than when you have sold out shows. It’s a big part of the story for the artist and how we’ve had the most success. That’s the same formula I use for hip-hop, reggae, kids’ music, rock. To me, that is the only approach. Other approaches are short term. If you go to a venue that’s way too big and it doesn’t do as well, it won’t look good. If I put them in a venue that’s going to sell out, then people are talking about it, the promoters are making money, you’ve got a big story. There’s nothing like saying a show is sold out.
Book Right:
If possible, get to an agent who can help you. Try not to do it yourself. It’s better to do it yourself than not do it at all, but find the right shows to be on. Align yourself with groups that are popular. If you’re from Seattle, don’t try to become popular in Boston yet. Focus on the region you live in and build your base from there.
Get Buzzed:
Get your music out there. If the music is good, it can go places. You can become a phenomenon in another country. Look at Psy. There’s a perfect example of how one thing in another country can turn out to be an insane craze. Nowadays, groups are being signed based on what’s on the web. Create your own buzz.
