Dodgy Promoters

[JosieRose]

First of all there is 1 or 2 I know that I am certain to be decent.

 

BUT I am curious as to weather this is something lots of you have come across. So far, (baring in mind I have only been gigging for a year), the majority of "promoters" I have met do nothing in the way of "promoting" but are only interested in filling a slot that they have to fill and I am left to fill the seats myself, even if it is a place that I know nobody; which is not what I signed up for.

 

Another thing I have come across is lots of offers such as "Oh yes we will get you playing at this festival... this gig" or just promising something that it seems they make no effort to actually make happen.

 

Wondered what your similar experiences were?

Also if there was any tips on how to know if a promoter is genuine or not? Questions to ask them?  

I don't want to have to say no to everything just in case!

 

Josie 

[TapperMike]

This may not be the response you were looking for.  The "scene" is different everywhere.

 

In California it is a pay to play system - http://www.laweekly.com/2010-11-04/music/to-pay-or-not-to-pay-to-play-the-sunset-strip/

I've known many who have gone to California and tried to work their ways up through the bar scene to the big time.  Only to come back broken in spirit and destitute.  Some of them (Kid Rock, Sponge) finally had a shot at the limelight only after returing. But they never would have made it as far as they did without doing the SoCal scene.

 

 

On the East Side of Metro Detroit.  It's the old boys mafia network.  When a bar owner is looking for a band to fill a spot they...don't bother listening to the CD (though you are still expected to have one) They don't bother looking in entertainment circulars.  They ask other bands what they think of you. If another band doesn't know you or doesn't like you....You aren't getting the gig. Playing the East Side as a career means joining an already established east side band and using that bands credibility to launch yourself from.  Stay for a few years and try to leave on good terms.  Even if there are severe personality conflicts don't show it.

 

On the West Side it's all about cultivating the audience.  You may get straglers who aren't chasing after their three or four favorite bands and when the opporituntiy comes. It better not be wasted.  I live on the west side.  I've had the good fortune to work at popular night spots in various capacities when not gigging which has allowed me to see and hear the best the west side has to offer.  It is a challenge if your music does not match the cultural (or lack thereof) influences that the venue caters to,   It means a lot of glad handing. If they've never heard of you before it's up to you to make a lasting impression so that they remember you next time.  I've seen more acts then one can imagine through the years.  Being great, and engaging the audience on and off stage still might not be enough for a return gig.

 

Managers are seen as an act of desperation locally.  When you get a manager be expected to play at shotgun weddings, retirement parties and bar mitzvah's.

 

 

Also...... it wouldn't hurt to get to know Jan Hutchinson