Make no mistake- we are currently experiencing an era of change and transition for the music industry. Factors such as widespread online piracy, the dominance of digital downloads as a music format and the popularity of streaming sites such as Spotify have all contributed to what some commentators perceive to be the decline of the traditional recorded music business.

Despite all of this, it has to be said that live business is thankfully booming! Concerts and festivals across the UK are selling out faster than ever as the public obviously still place a vast experiential value on watching live music of all genres, an experience that can’t be replicated or simply downloaded.

The live sector has expanded as a key source of income for artists, gig and club promoters and record labels are increasingly attempting to take a cut through the creation of ‘360 Degree’ deals that encompass rights to recording, merchandise and live revenue.

Outlined in this document are various areas of live work that you need to consider if you are an artist, promoter or both. Lets start with the basics:

Venue Selection

You need to carefully consider in advance of your first show what your specific criteria are, in terms of where to host your event. Ask yourself- what is the most suitable venue for this event?

We’ve put together some important factors that will encourage you to think about this on several levels.

What makes a successful music venue?

Key points / criteria:

1. From a customer / experiential perspective (not in any order of importance):

• Good access points

• Disabled access, viewing platforms, fire exits etc

• Sightlines / visibility- pillars, sloping floor etc

• Speed and high quality of service at the bar. Enough bar staff? Drinks offers?

• Unique architecture points- art deco, original ceilings of the buildings retained etc.

• Production values- Good PA / Lighting / Visual qualities

• Professional security- Not unwelcoming / too heavy handed unnecessarily but visible and able to respond quickly to arising situations

• Enough toilets?

• Location- Near to public transport connections / good bars for drinks before shows

• Effective ticketing and access procedures upon arrival

• Pass-out available for smoking?

• Cloak-rooms?

• Effective emergency procedures and medical care if needed.

2. From an artist / client / Tour Manager perspective:

• Parking space / Landline for bus or tour van?

• Good access points for load-in / load-out

• Good, spacious dressing rooms and access to a production office (Wi-Fi)?

• In-house catering?

• General- Efficient and helpful staff, reps and local crew?

• Good access to stage for technical crew (e.g not through the crowd)?

• Production- High spec PA and lighting in-house.

• Centrally located in the city / town for access to hotel, eating, sightseeing etc..

3. From a venue operator / promoter perspective (specific and in addition to the above, which are all considerations for the company acquiring the venue and national promoters):

Capacity suited to scale of operations, i.e. most shows likely to be busy / profitable according to target audience

• Acoustics / production values / natural sightlines

• Reasonable cost / venue agreement

• Minimum building / restoration work required (not many venues were originally built with live music in mind, many were theatres, cinemas, even swimming pools!)

• Minimum expense in sufficiently equipping the venue for a live show and / or DJs

• Location- Central, close to demographic areas (e.g. Student audience) Not too close to residents (minimal risk of jeopardising premises license due to public nuisance / noise pollution, litter etc…).

Venue Management

When using any venue, you should always ensure that the venue is properly managed and is providing everything that you expect and that the arrangement you have with them is sorted so that you aren’t subject to any unwelcome surprises.

Always stress to the venue owner / manager that when hiring a venue they usually take the bar income and it is as much in their interest that the venue is full as it is yours.

What essential elements does the venue need to have to ensure the smooth running of your event?

• Licences – See above.

• Staffing, door staff, bar staff, box office staff (a promoter will sometimes need to source their own box office staff, it depends on the scale of the event).

• Health and Safety certificates

• Public and equipment insurance

• Day-to-day office admin.

• Venue agreements outlining any hire fees and or percentage payments.

• Check any sponsorship arrangements that they already have in place so if you get any it doesn’t clash.

Remember as well that if you are hiring a venue on a regular basis it is important that you keep on top of the venue management to ensure that they are carrying out their responsibilities which may include repairs, maintenance, interior décor, listings and in-house promotion and day to day admin.

It’s probably wise to have some sort of venue contract or at least a formal letter outlining terms and conditions.

It is vitally important that you use a venue with all the relevant licenses and insurance provision. All venues should have public liability and employer liability insurance.

If a venue isn’t properly licensed then it is the operator is the one in trouble but the last thing you need having paid hefty deposits for your acts as well as covering the cost of marketing / advertising costs is to discover that the venue won’t be allowed to open.

If the venue does not have public liability insurance and there is an accident it is possible that you could be held responsible for any damages / law suits resulting from someone getting injured.

Different kinds of hire charge

A typical venue hire charge will be a straight fee, including all in-house provisions- Room hire, PA and lighting (if already present in the venue) alongside an in-house engineer charge (remember, even if you’re working with an established band who have their own production team you’ll still need in-house for the regional supports), and perhaps box office, local crew and security staff as well.

• Alternately, it can be the case that there is a straight hire fee for the venue and then staff are classified as a separate charge.

• You may arrange to pay a certain % of door take. Or it might be termed as a fixed cost per head. In this case you should always try and strengthen your position by pointing out that the venue usually take the bar income and the lower the hire fee percentage the lower the ticket price and therefore the larger the potential audience may be.

• In this case you may find that you pay a minimum hire fee or a percentage / so much per head which ever is the greatest but never both.

Always compare and check with other promoters in the area that you have been quoted a fair and comparable price. Having a great reputation for quality events and strong relationships with venue managers obviously enhances your chances of attaining a better deal and allows you some leverage and bargaining power.

The Musicians Union are currently implementing a scheme called ‘Circuit Live’ (http://www.circuitlive.co.uk/), which will aim to place certain quality standards and good standard practice on venues.

This is being developed in conjunction with an organisation called ‘Julie’s Bicycle’ (http://www.juliesbicycle.com), a non-profit company aiming to help the music industry in cutting down on greenhouse gas emissions and to generally encourage and facilitate greener and more ethical touring and gig promoting. These are pertinent issues for any new promoter and you need to stay in the loop on such developments.