The Live Music Business: Management and Production of Concerts and Festivals
The Live Music Business: Management and Production of Concerts and Festivals, Third Edition, shines a light on the enigmatic live music business, offering a wealth of inside advice and trade secrets to artists and bands looking to make a living in the industry. Previously published as The Tour Book, this new edition has been extensively revised, reorganized, and updated to reflect today’s music industry.

This practical guidebook examines the roles of the key players – from booking agents to concert promoters, artist managers to talent buyers – and the deals, conventions, and processes that drive this global business. Written by a touring professional with over 25 years of experience, this book elucidates why playing live is crucial to the success of any musician, band, or artist, explaining issues like:

  • what managers, promoters, and agents do and how they arrange shows and tours;
  • how to understand and negotiate show contracts;
  • how to create a contract rider, and how the rider affects the money you earn from a show;
  • how to appear professional and knowledgeable in an industry with its own conventions, language, and baffling technical terms; and
  • a three-year plan using live performance to kickstart your music career

Intended for music artists and students, The Live Music Business presents proven live-music career strategies, covering every aspect of putting on a live show, from rehearsing and soundchecks to promotions, marketing, and contracts. In an era when performing live is more essential than ever, this is the go-to guidebook for getting your show on the road and making a living from music.

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The Live Music Business: Management and Production of Concerts and Festivals
The Live Music Business: Management and Production of Concerts and Festivals, Third Edition, shines a light on the enigmatic live music business, offering a wealth of inside advice and trade secrets to artists and bands looking to make a living in the industry. Previously published as The Tour Book, this new edition has been extensively revised, reorganized, and updated to reflect today’s music industry.

This practical guidebook examines the roles of the key players – from booking agents to concert promoters, artist managers to talent buyers – and the deals, conventions, and processes that drive this global business. Written by a touring professional with over 25 years of experience, this book elucidates why playing live is crucial to the success of any musician, band, or artist, explaining issues like:

  • what managers, promoters, and agents do and how they arrange shows and tours;
  • how to understand and negotiate show contracts;
  • how to create a contract rider, and how the rider affects the money you earn from a show;
  • how to appear professional and knowledgeable in an industry with its own conventions, language, and baffling technical terms; and
  • a three-year plan using live performance to kickstart your music career

Intended for music artists and students, The Live Music Business presents proven live-music career strategies, covering every aspect of putting on a live show, from rehearsing and soundchecks to promotions, marketing, and contracts. In an era when performing live is more essential than ever, this is the go-to guidebook for getting your show on the road and making a living from music.

44.99 In Stock
The Live Music Business: Management and Production of Concerts and Festivals

The Live Music Business: Management and Production of Concerts and Festivals

by Andy Reynolds
The Live Music Business: Management and Production of Concerts and Festivals

The Live Music Business: Management and Production of Concerts and Festivals

by Andy Reynolds

Paperback(3rd ed.)

$44.99 
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Overview

The Live Music Business: Management and Production of Concerts and Festivals, Third Edition, shines a light on the enigmatic live music business, offering a wealth of inside advice and trade secrets to artists and bands looking to make a living in the industry. Previously published as The Tour Book, this new edition has been extensively revised, reorganized, and updated to reflect today’s music industry.

This practical guidebook examines the roles of the key players – from booking agents to concert promoters, artist managers to talent buyers – and the deals, conventions, and processes that drive this global business. Written by a touring professional with over 25 years of experience, this book elucidates why playing live is crucial to the success of any musician, band, or artist, explaining issues like:

  • what managers, promoters, and agents do and how they arrange shows and tours;
  • how to understand and negotiate show contracts;
  • how to create a contract rider, and how the rider affects the money you earn from a show;
  • how to appear professional and knowledgeable in an industry with its own conventions, language, and baffling technical terms; and
  • a three-year plan using live performance to kickstart your music career

Intended for music artists and students, The Live Music Business presents proven live-music career strategies, covering every aspect of putting on a live show, from rehearsing and soundchecks to promotions, marketing, and contracts. In an era when performing live is more essential than ever, this is the go-to guidebook for getting your show on the road and making a living from music.


Product Details

ISBN-13: 9780367859725
Publisher: Taylor & Francis
Publication date: 11/30/2021
Edition description: 3rd ed.
Pages: 334
Sales rank: 1,030,061
Product dimensions: 7.00(w) x 10.00(h) x (d)

About the Author

Andy Reynolds is a concert tour manager and audio engineer with more than 25 years of professional touring experience. He has worked for artists such as Maribou State, George FitzGerald, Maverick Sabre, The All-American Rejects, House of Pain, Super Furry Animals, Machine Head, and Pavement and has also worked supporting U2, Whitney Houston, and Foo Fighters. He also teaches live sound engineering and concert tour management at colleges and universities in the UK.

Table of Contents

List of Figures and Tables xii

Acknowledgements xviii

Introduction 1

Part 1 Live Music Management 3

1 The Artists 5

The importance of live performance 6

Live performance as a promotional activity 7

Live performance as a major revenue stream 8

A significant revenue stream if costs are low 9

The importance of live performance based on genre 10

Live performance enables an accelerated timeline of success 12

Notes 12

2 Artist Management 15

The artist manager's role in live performance 15

The manager's considerations for live performance 17

Production considerations 20

A business structure for live performance 21

Gross vs nett: The manager's commission from live performance 21

Potential revenue for managers from live performance 22

Notes 26

3 Booking Agents 29

What do booking agents do? 30

How do booking agents earn money? 31

Regulations for booking agents 32

Agreements and contracts between agents and artists for live performance 34

Who are the booking agents? 37

The role of the booking agent in live performance 38

Notes 58

4 Concert Promoters 61

What do concert promoters do? 62

Who are the concert promoters? 63

The role of the concert promoter in live performance 66

Industry issues and challenges for promoters 75

Notes 77

5 Creating the Deals 81

100 people in a bar 82

Door split/back-end deal 82

The guarantee deal 82

The guarantee versus percentage deal 86

The guarantee plus bonus deal 86

Cross-collateralised deals 87

The promoter's costs 87

Landed deals 95

The deal memo 95

Settlement 96

Regional and sub-promoters 96

Notes 98

6 The Contract 101

The parties in the agreement 102

The producer 102

The artist 102

The purchaser 102

"Rider and addenda attached …" 103

"Artist rider and addenda attached hereto hereby made a part of this contract". 103

The venue 104

The date of the engagement 104

Billing 104

Services 106

Compensation 106

Payment and deposits 110

Payment 110

Deposit 110

Ticket pricing and scaling 112

Special provisions 113

Notes 113

7 The Contract Rider 115

Elements of a contract rider 116

Technical rider 121

Note 129

8 Revenue Streams from Live Music - Artists 131

Ticket sales 131

Merchandise 133

Sponsorship and endorsements 135

Livestreaming and recording for resale 136

Revenue - multi-rights deals 137

Performing rights 137

Ticket and album bundles 140

Notes 140

9 Revenue Streams from Live Music - Promoters and Organisers 143

Tickets 143

Food, beverage, and other concessions 144

Merchandise 144

VIP packages 145

Live streaming 146

Venture capital and private equity investment 147

Notes 148

10 Marketing and Promotion 151

Consumer buying behaviour applied to concert tickets 151

Advertising and media buying 154

Notes 156

11 Festivals 159

Reasons for the importance of music festivals 160

The rise of the festival market in the US 162

Festival formats 163

The appeal to artists 165

Drawbacks of festival appearances 167

Festivals - the deals 171

The festival promoter's costs 175

Notes 177

12 Strategy 179

A live performance plan for a new artist 181

Years "minus one" 181

Booking agent 181

Year one 182

Year two 183

Year three 184

Note 184

Part 2 Live Music Production 185

13 Planning a Tour 187

Planning for tour support 187

Venues 188

Note 190

14 Budget 193

Tour support 194

Budgets for promotional activity 195

Invoicing the record company 196

Scope of live performance expenses 196

Note 197

15 Wages 199

Performers 199

Non-performers 202

16 Transport 209

Road 209

Air 215

Low-cost carriers 215

Transportation of equipment 217

Note 222

17 Accommodation 225

Hotels 225

Rooming types 225

Driver rooms, shower rooms, and day rooms 226

Other considerations 226

Other accommodation types 227

Travel agents 227

18 Production 229

PA 230

Backline 245

Lighting 249

Video 253

Set and stage 256

Notes 257

19 Other Production Considerations 259

Rehearsals and pre-production rehearsals 260

Visas and work permits 262

Health, safety, and security 262

Set build and associated costs 264

Steel crew 264

Show automation 265

FX & pyrotechnics 265

Communications 266

IT & data 266

Costume and wardrobe 267

Festivals (other production considerations) 268

Catering 271

Meet and greet 272

Finance and accounting 272

Insurance 274

Advancing and the tour book 274

Notes 280

Appendix 1 Concert Production Personnel 281

Appendix 2 A Performance Contract 294

Appendix 3 Contract Rider 296

Appendix 4 Tour Budget Sheet 304

Appendix 5 Day-to-Day Schedules 306

Index 309

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