Concert Promotion - Artist Management - Tour Management

December 17, 2017

Story time.

Last year I booked a tour called ‘The Southern Sanctuary Tour’. It was (if I remember correctly) 12 shows across four states. I booked this entire tour in eight weeks.

It fucking sucked.

Not the entire tour, though we did hope for better numbers. Some of the shows were great, some were not. Planning the tour sucked. The stress I was under because all of the bands, venues, locals playing the show, were counting on me. I had to preform well. My reputation in the industry was brand new and it very much counted on it.

But why did it suck? There wasn’t enough time.

Three b...

December 10, 2017

A couple years ago I was talking to a musician associate of mine who knew the bassist for a VERY big name in rock. When I say BIG NAME, I mean a band that doesn’t get out of bed for less than 500k per show. A band that at one point I would argue was the largest name in rock music.

The bassist, from what I heard, makes $40,000 a year.

Doesn’t seem like much, does it?

But when we take into consideration the complete tour expenses are covered, plus his equipment, plus his rider, plus his travel, it doesn’t seem so bad.

See, the days of living large as a rock star are gone. We won’t...

December 3, 2017

I’ve touched on this before, which is better, a big crowd or an engaged crowd?

But I never dedicated an entire post to it.

Obviously you, as a musician, and I, as a promoter, want both. And sometimes it happens. And it is a great feeling for both of us. But sometimes it does not happen.

I’ve been to and put on shows where there was a huge crowd (I saw huge based on the bands that are playing – local shows with 300+ and national shows with 10,000+) and the benefit there is that someone is going to be engaged. Even if you are an early opener, someone is going to pay attention to...

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