Saying “no, I’m really really sorry but…”
One of the most difficult things to do as a promoter is dealing with the large number of gig requests that come in.
It’s hard to reply to every band (if you’re reading this and you’re a band I’ve not replied to then I’m really sorry - it’s just impossible to find the time to give every band a decent listen on myspace) and any promoter is going to have to say no to some bands who they really like, sometimes because the band is looking for gigs close to already existing gigs, and also due to the sad fact that
bands you like > bands you could possibly ever hope to put on
Part of me is excited that so many people are making music – a sure indication we won the indie wars and the “here’s three chords, now start a band” ethic prevails – but the other part of me is really heartbroken by this whole process, as it’s now become hard for bands to get their head above the parapet and get noticed.
Having said all this, I find it interesting to read the differences between how bands ask for gigs, and it generally falls along a grey scale, which (like all greyscales) has two ends -
The best approach which you can take when asking for a gig is to read up on old play lists of the night (maybe even pop down and say hello to the promoter!), and mention things that you have in common with the promoter in your message. Chances are that you’re a nice person, and so is the promoter, so engage them in a conversation they want to be part of. This is by far the best approach, and even if the promoter can’t fit you in – you’ve both made a friend out of it.
The rudest approach is to demand a gig on a date that the promoter clearly isn’t organising a night on and ask for a dubiously high guarantee. You’d be surprised by how often this happens.
When I do get a chance to reply and I’m saying no, then I always try and encourage bands to self-promote, as I seriously think that this is the way that things have to change in order to address the imbalance between the number of gigs there are available, and the number of gigs which bands are available to play. It’s how the Autumn Store started as a regular thing, and if you can keep the momentum up and get a regular night going then you’ll meet all kinds of interesting people who might help you on your music career.
In fact, I’d go as far as to say that if you’re a new band looking to make an impact, then the best thing you can do is run your own night. It’s simple enough to book a venue such as The Sunflower Lounge or The Island Bar and if you split the financial risk between all the band members then none of you looks to loose that much.
Couple this with the fact that you are in control of your own night - you can get in bands who you’d like to play with, and you can put on the records you like in between songs – then you have the makings of a night you’ll really enjoy!
November 29th, 2007 at 2:36 pm
[...] his series on being a small independent promoter in Birmingham Dunc Autumnstore discusses the fine art of saying “No” to bands who want a gig. When I do get a chance to reply and I’m saying no, then I always try [...]
November 30th, 2007 at 5:48 pm
As someone who is in a band, and has also put on events, it’s terrible how many promoters will have anyone play their events.
As a band Jazz Thrash Assassin are pretty hard to place anyway, but we have been lumped with some pretty tragic line-ups by promoters in our time. I’d rather a promoter take some time & thought over bands their putting togther.
I’d definately encourage people to put on their own events.
December 1st, 2007 at 1:25 pm
Is that not a mathemusical inequation? Do I win a prize for pedantry?
December 3rd, 2007 at 8:49 pm
Um, you are indeed correct - it’s an inequation. I should have paid more attention in math rock class.