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Get Plugged In: Live Music, Promotion and Venue Management Course 2013
12th February 2013 @ 10:00 am - 5:00 pm
Venue: University of Westminster
THIS COURSE HAS NOW PASSED. INTERESTED IN OUR NEXT COURSE? UPDATE ME.
2013 TESTIMONIAL: “Many thanks to all at MusicTank for the well organised and great course, brilliant hospitality and openness of debate. It hit the spot where it was required for the knowledge and insight gained. It couldn’t have been presented by a better entertaining and insightful character. The right person for the right context, making it a very useful, practical and enjoyably entertaining programme of learning. If there were more courses like the MusicTank one, the professionalism of the Events and Live Music industry would improve”
Julian Fedosiuk, Freelance.
A three-day course taking place over three consecutive Tuesdays…
29th Jan, 5th & 12th Feb 2013 (10am-5pm).
Back by popular demand, this refreshed and expanded course returns in 2013 with additional content for a packed three days of learning and insight, with new sessions including tour management, technology, digital marketing and new revenue streams.
Targeting tour managers, promoters, booking agents, marketers, DIY artists and small-to-medium sized venue owners and operators, this three-day course will provide all with a thorough grounding in the business of live music. Today’s best practice will be considered in an open forum and strategies explored for improving attendances and revenues.
Bringing industry context and real world experience to bear on a range of key topics, Luminaire co-founder Andy Inglis will encourage all to look at the live sector’s continually evolving ecosystem, provide pointers for best practice, compare and contrast the UK and European markets, and help inform, encourage and inspire a new wave of live industry entrepreneur.
Andy Inglis: “We’re back for a third year with more tales from the coalface of the live industry.
Over three days we’ll cover every major aspect of the business, getting plenty of dirt and grime under our fingernails as we dig around for the truth behind the headlines and the bottom lines behind the deals.
Together with guest speakers – each experts in their field – we’ll help arm some of the next generation of live industry employers and employees to better face the challenges that lie ahead, in this complex and constantly-shifting landscape, using honesty, embarrassment (my own) and swearing as our weapons of choice.”
“October 2012’s Licensing Act reform potentially brings on-tap thousands of small sub-200 capacity venues, all eager and competing to make live music work for them – there’s no better time for small venue operators , promoters, booking agents, tour managers and musicians to update their knowledge, refresh their skills and drive new business.”
Jonathan Robinson, Programme Director, MusicTank
“With Live music becoming increasingly the most important part of the music business, this course is a timely opportunity to learn about ‘doing it live’ from the ground up.” Keith Harris, Chair, MusicTank
Previous attendees have includes: Universal Music Publishing; Decca Records, ActionAid, Big Sky Song Ltd, MakeOneWish VSC Ltd, Stephen Budd Management / SuperVision, Odd Box Records, The Half Moon Putney
2013 COURSE OUTLINE
“A very enjoyable course. A great mix of information, frank discussion, humour and profanity. A pint down the pub afterwards was also a great way to network and have a general chat about the course. Monday nights will never be the same again!” – Andy Knight, RGS Entertainment
DAY 1 – 29th JANUARY
The Lie Of The Land: Sector Overview
From 150 capacity rooms like The Windmill in Brixton, to 20,000 all-seated arenas, we’ll examine both the common issues and the unique issues they face (how to keep the regular bar punters happy while there’s a Japanese noise core band playing in the corner, in the case of The Windmill). This introductory session – as well as defining what the live industry is and which bodies comprise it – will also consider the changing nature of the audience in a world where attention spans are shortening, where technology and an explosion in media makes never leaving the house an attractive proposition, how venues can adapt to cope and survive in the teeth of arguably the worst economic crisis in living memory, and how the introduction of the Live Music Act in England and Wales will benefit those who wish to begin hosting live music, and potentially hurt those who already do.
Venue Management (The Luminaire)
Though it closed 18 months ago, the basic rules of venue management are universal and haven’t changed much over the decades. One of this award-winning venue’s founders and co-owners opens up about how they did it, the mistakes they made, and illuminates the intricacies of juggling art and commerce.
Artists and Touring: can someone please show us the money?
The importance of playing live, particularly now, and the climate in which bands must now operate. The toilet circuit, and at which level things start to improve. How artists earn on the road from fees, merchandise and branding. What can artists expect from touring in the UK, Europe and America, and how do conditions compare as they drive their splitter vans between Clwb Ifor Bach in Cardiff and Botanique in Brussels?
Venue owners and promoters face a slew of legislation top-down; from the changes ushered in thanks to the Live Music Act (2003 & 2012, to a burgeoning raft of health and safety legislation, noise abatement issues, security and temporary event notices. How does this affect the day-to-day of the live sector, who exactly is responsible for what and how is this legislation best managed. We’ll look at health and safety, fire and smoke machines, overselling shows, and greasing the wheels with neighbours and local authorities.
Festivals: The general consensus of opinion is that 2012 was a very, very tough year for both our household name and lesser-known festivals. Are they still relevant? Does the audience want something more than a general focus on headliners to sell tickets and is the move toward boutique events that better understand their market and cater for niche audiences the way forward? And what effect will high-profile closures and cancellations have on the financial health of this sector? When ticketing agencies stop paying out money in advance to bankroll the artists’ fees, who’s going to put their neck on the line to keep a festival running until the income finally arrives?
“A great course, full of interesting anecdotes and personal experience, with excellent networking opportunities” Sean Hunt
DAY 2 – 5th FEBRUARY Selling The Gig: Marketing & Promotion From promoting the barely-breaking-even backroom gig, right up to sold out arena shows, we’ll consider the full gamut of marketing methods available. From traditional press ads, flyers, posters and street teams to the constantly evolving digital methods and platforms: e-lists, Facebook, Twitter and whatever else has appeared in the past five minutes, we’ll establish what works, what doesn’t and what’s best value for money. What tricks can be learned from the likes of Live Nation and Kilimanjaro and what do the cream of indie gig promoters keep up their sleeve?
Selling The Gig: Ticketing From Ticketmaster and WeGotTickets to the new direct-to-fan companies snapping at their heels, we’ll look at booking and administration fees, kickbacks, paperless tickets, entry systems, fraud and what new technology has in store for the future of ticketing. For those with sell out gigs on their hands we’ll also consider the new front opened by a contentious secondary ticketing market jostling for a slice of a particular huge and tasty pie, and examine the fallout from 2012’s Dispatches (Channel 4) exposé – The Great Ticket Scandal – of the some-would-say nefarious practices of the secondary ticketing sector…
Power brokers: The Booking Agents Little moves in the live industry without the blessing of the national booking agents. We look at the largest and smallest, examine their strengths and weakness, their skills and challenges, and advise on the best way to approach and work with them
Funding and Support: can someone please show us the money?
If London’s streets are paved with gold, why can’t we see it? And what of the rest of the UK? We’ll show you how to find it and which tools you’ll need to chisel it off. We’ll also compare the UK with other territories and look at how different societies view and fund culture and the arts.
“A well run course with useful insights into the industry within live music, promotion and venue management.” – Wayne Yardley, Creative Sound
DAY 3 – 12th FEBRUARY
A Life on The Road: Tour Management The glue that holds it all together, the parental figure, the counsellor, the confidante. The job of a Tour Manager is relentless, rewarding and not for everyone. We tell tales from the road and share experiences of touring the UK, mainland Europe and the US, with plenty practical advice on logistics, accounting, and how not to annoy the venue staff who you need to keep on side for the next eight hours.
Merchandising: how to keep your tour afloat A look at one of the most lucrative forms of income for bands, which can make the difference between a tour losing money or breaking even/going into profit. How to manufacture it, what it’ll cost, what will sell, what won’t
New money When record sales continue to shrink, artists need to look at other avenues for income. We’ll show you how else artists can finance themselves in the live arena
Technology for artists & venues Examination of new technology in the market which can help artists and venues in the live arena.
This course is intended to encourage and inspire a new wave of live industry entrepreneur AND those at the coalface looking to enhance and further grow their businesses. Core participants: small-to-medium sized venue owners and operators, tour managers, promoters, booking agents, artists and managers.
All sessions start promptly and run from 10.00 – 17.00 hrs. Registration from 9.30hrs. All attendees will emailed with details the day before with a reminder of full details.
Unable to attend the series? Contact the office for individual session prices.
Why not buy annual membership (membership benefits here) for £45, reducing the course price to £239, saving £60 on the full price of £299
Students – see savings by becoming a student member
Notes: MusicTank reserves the right to postpone and cancel courses where demand dictates
Andy Inglis - MD, 5000; formerly co-founder Luminaire
Day 1 Guest Speakers
Day 2 Guest Speakers
Day 3 Guest Speakers
Ruth Barlow - Beggars Group
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