Music Biz 101 & More Podcast Reviews
Blue Raven Entertainment
This episode of Music Biz 101 & More features Sean Gilday and Rachel Hill from Blue Raven Entertainment, an independent agency based in New Jersey. I wanted to listen to this episode because of their unique perspective as agents about the live music industry, especially agents of artists who don't play stadiums (most of their clientele plays theaters and performing arts centers).
In the beginning of the episode, Gilday, Hill, and Professor Philp discussed the music industry pre-pandemic. I learned a little more about tribute bands, and I learned that the market for tribute acts has grown within the last few years, according to Gilday. He says it's probably due to the nostalgia factor (as this audience hasn't seen these songs played live since they were young, if at all), and the fact that smaller venues are less of a hassle than larger ones (with parking, crowds, etc.). Hill added that there's a ticket price tradeoff: many people would rather spend $30 for a good show with a tribute band in a comfortable theater/performing arts center setting than spend $300 on a nosebleed section ticket at a huge stadium to see the artist.
They also talked about the present-day pandemic and its effects on the music industry, specifically in live. It was interesting to hear this episode because it was recorded at the end of March, when it was all fairly new. This was also back when everyone thought things would go back to semi-normal by the fall... Still, much of what they talked about still applies to today. For example, Hill mentioned that she believes the live industry could come back stronger when the pandemic is over because people have been cooped up and many (including myself) have been craving the thrill of a concert. Another thing I learned was that the live music industry knew what was going on, in regards to the pandemic, before other businesses caught on, according to Gilday. He says this was partly due to the fact that the shutdown was immediate for live, especially once SXSW was cancelled. Gilday also talked about how many artists were reluctant to pick new dates, which I found interesting, though understandable. Gilday said that he had to persuade artists to pick a future date "just in case." Another thing that Gilday mentioned was that after things in the industry get back to semi-normal (and they will!), everyone needs to be responsible and do their part to be safe—venues, artists, and fans alike.
Tour Manager David "5-1" Norman
This episode featured David "5-1" Norman, music industry professional who has been a tour manager, tour accountant, and/or production manager for the likes of Earth, Wind & Fire, Prince, Fall Out Boy, Alicia Keys, Green Day, and more. He also co-owns Tour Forensics, a company that "provides advancing & tour support for artists, management, labels, and crew," according to Norman's website.
I learned a lot of information about the life of a tour manager/accountant from this episode. For example, Norman mentioned how a tour manager can get involved with a tour as far out as about a year, to as soon as a few days: sometimes people are fired and and a new TM is needed to replace the other. Usually a TM will get involved about 3 months in advance of the tour, in his experience.
Professors Philp and Marcone also talked with Norman about touring deals and contract details. He said that nine times out of ten, an artist will accept a show deal if there is a profit seen in the budget for the tour. Some groups even have a profit margin in mind before negotiating the deal. Additionally, he mentioned that the "guarantee versus deal" is the most popular type of deal, which means that the artist will be paid either a guaranteed amount, or a percentage of ticket sales, whichever is greater. With this deal, the promoter and the artist are able to make more money. With a guarantee deal (the artist gets paid a flat rate), the promoter has a chance of making more money.
Another thing I learned is that being a tour manager means having unusual and long hours: sometimes the workday, on a show day, will be upwards of 18 hours. Load-in at the venue starts early in the morning, and take-down can go until about 1 am, to be repeated the next day.
Norman as well as Professors Philp and Marcone all stressed the importance of networking and doing entry-level jobs to get into the live music industry (after it comes back), as many people get started in the live business this way.
Overall, I learned a lot about the live industry from all three guests on the show. Like me, students of the music industry would benefit from listening!
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Gwynne Stevenson is a senior at William Paterson University pursuing a B.A. in Popular Music with minors in Music & Entertainment Industry Studies and Classical Voice. She is involved as President of the university's student-run Music & Entertainment Organization, and is also a sister of Theta Phi Alpha Women's Fraternity. She is aspiring for a career in the live music industry upon graduation.