Local promoters, in their turn, embark from a concert space. An art-director of a small club, a local group of party promoters, a team of the major US festival — all those event promoters of different scope would fall into that category. In that context, the role of the agent becomes clear. If promoters are the middle-men on the side of an artist or a concert space, the agent is the middle-man between the middle-men, who builds up the network of promoters on both fronts and artists, serving as a liaison between all sides.
One of the main shifts in the live business is the consolidation of tour and local promoters under the umbrella of entertainment conglomerates, with the most notable examples of Live Nation and AEG. Essentially, these companies have grown their operation to the point where they can build the bridge from both sides, internalizing all the processes. They both produce the concert tours and own or, at least, establish partnerships with a vast network of clubs and arenas, providing venues for the tour.
However, touring under such exclusive promotion remains reserved for the artists of the top echelon — so most of the shows out there are still put together in collaboration between the tour promoters, booking agents and local partners. Tour managers that stay on the road with the artist's crew are the oil that makes the wheels of the tour spin. Even a nationwide tour involves extremely complex logistics, and it becomes exponentially harder to manage the travel as the tour passes onto an international level.
Getting the band from point A to point B seems to be a pretty straightforward job, but in fact, the routine of the tour manager is dealing with unexpected and solving a dozen of new problems each day — all while keeping the artists happy and ready to perform. To give you a taste of an international tour route, here's an approximate map of the Lizzo's tour in support of "Cuz I Love You" release, stretching over 64 locations and 74, km — and that is just the straight routs, not accounting for the actual roadways.
It takes hard work and expertise to assemble the stage, set up the lights and the sound system, etc. The live industry relies on the tech crew to make the show actually happen.
Festivals and venues are at the very core of the live business, providing the space and usually the base infrastructure for the show. Outdoor events are a distinct part of the live performance landscape. Operated by promotion groups, prominent festivals can introduce artists to new audiences, both in terms of fans and music industry executives — all while offering a fat pay-check. A major festival performance puts the artist on the map, and the promotional effect of the show itself has to be considered.
It can become even more important than the immediate monetary gain — especially for independent, up-and-coming artists.
Although recording and publishing industries are not directly engaged in the live business, we have to remember that the music industry is built on collaboration.
By convention, most music tours follow the release of an album, and each artist has to report his set after the show to PROs so that the proper songwriters get paid. The music industry is made up of separate companies and people working on the different parts of the artist career — and, while not completely aligned, they are always interconnected.
The six key parties described above work together to bring the live show to the concert-goers. That said, in the next section we will go through the tour cycle step by step to showcase how all these players interact to create the tour. As it usually is in the music industry, it all starts with the artist. On the first step, agents and tour promoters find and sign the performer. For some types of artists like DJs, for example touring can be relatively huge, while the recording revenues might stay almost non-existent.
As an average show has to be booked months in advance, tour deals are usually signed around a year prior to the actual performance. At the same time, the vast majority of concert tours follow the recording releases to build up the momentum and ride the promotion wave. That has one unavoidable implication: tour promoters and agents sign the artist to perform the material which is not written yet, which can be quite risky.
That is especially true when it comes to the debut artists, that might not even have a minute set or any solid live performance skills when they get their first touring deal. There is a lot of gut feeling that goes into scouting on the live industry side — more than in the recording business at least, where licensing deals allowed labels to mediate the risks of the creative stage. At this step, the tour promoter starts the preparations: building the light show and live visual materials, booking rehearsal sessions to perfect the live performance, and so on.
Meanwhile, the artist, manager, agent and tour promoter work out a general timeframe and draft an approximate route of the future tour. The initial tour planning is usually done around priority shows, like major city performances or music festivals, while the rest of the route is defined in broad strokes. Ones the initial route is set out, the agent goes on to book the tour, pitching the show to local promoters and festivals.
Starting with the priority shows and then filling in the details, the tour route gradually takes its final form. The agent negotiates with local promoters to pick out an optimal venue in terms of volume, style, conditions, etc. Go for a small but safe venue — and you risk losing potential ticket sales and disappointing the fans; go big, and you might end up in a half-empty room, losing on the investment and leaving every side of the deal disappointed.
The agent has to make risky decisions in a situation of uncertainty, and given the venue landscape in some of the regions, sometimes that means choosing between a venue capacity of and for what is reasonably a ticket show.
As for the conditions and splits of the booking contract, generally local promoters, tour promoters, and artists will split the net profits of the show. Artists might also get a flat fee to ensure they'll make some money even if all other parties do their job poorly. That figure is a touch higher than the 3.
Does half of the world's population really watch le Tour? In the number's favour, we're not talking about half the world's population watching at the same time - this is a three-week event.
The Tour's organisers have so far declined to give me the source of the 3. Entering into PGA Tour events puts you in line to win life-changing purses and accumulate enough points to retain your card.
Determining the exact number of golfers exempt from playing in PGA Tour events is difficult to pin down. Nick Lomas is the founder of GolfSpan, an avid golfer, not quite a pro but has over years of experience playing and coaching golfers from all over the world. His mission is to bring the golfing community a better experience then it comes to choosing the right golf gear, and finding the right set up for your game. This begs the question of how many golfers are on the PGA Tour. Final Thoughts Related Articles.
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