Bonus Edition With Derek Norsworthy

One of the most frustrating aspects faced by independent artists is landing a reputable show. A countless amount of time, energy and money is dedicated to preparing a proficient product, however convincing a talent buyer of your products sufficiency is often disheartening. I promise you’re not alone. I’ve personally experienced the dilemma my entire career up until the last few years.

Now I must first say that before I get on my soapbox, I’ve played a lot of really good shows by NOT following this process but was inconsistent in booking those shows. It was the typical “I finally got a show at a big venue, they like what I do, I call them back every time I see a national act or desirable date open on their calendar and I “sometimes” get the call”. I’m also not saying “my way” is the correct way or it’s even a good system to follow but it works me.

Know what you want and know the business

First, you must identify what you want. Do you want to play covers songs, lounge instrumentals, compete for original slots at large venues, etc.? The road you pick is irrelevant but the process is the same, KNOW THE BUSINESS. I could elaborate on all of the listed items but for time purposes, I want to focus on the original act that wants to consistently land reputable shows. First, face the reality that booking agencies control a lot of the talent flowing through large venues. Don’t get irritated; venues have good reasoning for allowing agencies to book their talent. It’s the cold hard truth that one time or another, a “local band” convinced a club owner “his band was ready”, performed terribly, ran everyone off and ultimately cost the club a large chunk of money, while jeopardizing the publics view the venue. Don’t be that guy.  Also, it’s important to understand that booking agencies have no reason to take your word. It sounds harsh but it’s the truth. I’ve found it best to send a professional grade press kit to let your bio, videos and social following do the initial talking (remember that “you only get one shot at a first impression”, so make it good). Again, for the sake of length STUDY THE BUSINESS YOU WANT TO INFILTRATE and align yourself to be inserted accordingly.

Be honest 

When you start thinking it’s time for you to compete for a major show, be honest. Evaluate your product the way a major booking agency would when reviewing what you bring to the table.  Is the press kit professional?  Is the band prepared? Do you have operating capital to get to a show for free if the opportunity arises?  Don’t get feedback from your friends or family when it comes to this part. Go to someone you professionally admire and get their feedback. It may very well save you from blowing an important “first impression”. If you don’t have access to anyone who fits that description, HONESTLY size your group up with a bands spot you would like on a tour. Don’t compare yourself to other local acts unless you want to continue playing locally. Set high standards and BE HONEST with how you size up. If you don’t size up, make the adjustments necessary to compete.

Be pleasantly persistent 

Now that you’ve found the show you want, sent a professional press kit and are ready to deliver a knockout performance, it’s time to follow up.  Generally, a follow up is necessary a week or two following your initial inquiry. If you are unable to contact the person you are trying to reach, it’s ok to call back a couple times in that period until you get them on the phone (be sure to ask for them by name if you know it and be persistent in your follow up process). However, when you do get them on the phone, be professional. People in these positions tend to be extremely busy and honestly probably don’t care to hear the bands life story on the phone. Let them know who you are, that you are following up on the press kit you sent over for a specific date or show. Example: “Ron, it’s Byron Cox with the Kelsi Williams Band, I wanted to follow up on the press kit I sent over regarding the support slot for Elle Goulding on the 27th”.  Once again, I feel it’s important to consider that when representing a group, “you’re representing the group”. Basically, at this point you’re not the “singer”, “drummer” or “guitar player” but the person professionally responsible for booking. I feel it’s important to conduct yourself in that manner when dealing with other professionals. If they have not reviewed your material at the time you call, allow them time to review it and follow up accordingly. I find it helpful to send over an email tied to the original thread following a call. Example: “Ron, it was good speaking with you. I look forward to talking more with you about the show”. It keeps your inquiry fresh on their mind and isn’t abrasive if kept short and sweet. Please remember to be PLEASANTLY PERSISTENT when following up. There’s a fine line between being persistent and annoying, so be careful not to cross it.

With all of this being said, I’m in no way saying this is the best way to go about booking shows but it works for me.  It’s a crazy-tough-ever-changing industry and any edge you can get will be necessary to succeed. So continue to search for ways to excel and find what works best for you.