The role of booking agents varies in different national markets. We spoke with Jeff Aug , Director of MAXIMUM Booking one of the largest European based booking agencies about their role in the current industry, their feelings on where the industry is heading and some advice on bands looking for agents.
DR: How did you become a booking agent?
Jeff: I always did my own booking as a performer playing live around Washington DC. Then, in 1998I moved to Germany and in 2000, landed a job as label manager for netMusicZone Records.
Running netMusicZone Records was basically a one-man operation. I had to take care of Product Management, Advertising, keep an eye on the promotion & PR team, follow-up on the publishing, look for compilations for the single(s), and get a booking agent for the band. We were specialized in new artists, so most of them had no agency. Getting a booking agent for a young, unknown band was always the hardest part.
In 2002, the label´s venture capitalist investor went bankrupt, so I had to find a new job. I knew a lot of bands (mostly punk), I knew a lot of venues and promoters (mostly punk festivals and youth houses who put on punk concerts), and I knew how to book, so I saw a niche and went for it.
My company MAXIMUM Booking officially started on 01.February 2003.
DR: What do agents look for in artists you sign, what things make artists stand out?
Jeff: I look for music I like, first and foremost. What makes an artist stand out? Well, that´s really artist specific. An artist must have a schtick. If you don´t have a schtick, there is nothing there to differentiate that artist from any other musician doing the same thing. The artist must be unique with their schtick.
Once I know I like the music and the schtick, I need to know if the artist can perform live and has a fanbase. I´ll check with a few key promoters and take it from there.
DR: Do you select acts purely based on talent, or do they need management, labels etc?
Jeff: They do need management and they do need a label, but that does not mean that the management and label cannot be the artist! I book quite a few DIY musicians who have their act together much better than other artists who have 3rd party management and/or label!
However the artist does it (on their own or with 3rd party representation), they must have their act together, be motivated, pro-active, and engaged. I set up the dominoes. The combination of the artist´s pulling power, the label´s promotion, the promoter´s advertising, and the management´s PR knock those dominoes down.
DR: What advice could you give for artists that are looking for agents?
Jeff: Don´t bother sending too much paper when you send your demo to the agent. A cover letter with a description of your act / schtick and a CD are enough.
Get in touch on the phone first, follow up with your myspace via e-mail, and follow up a week later if you didn´t get an instant reply. Make sure you have your Twitter, MySpace, and Facebook up, running, and looking good!
Be motivated and don´t sit on your tush waiting for the phone to ring. If you get turned down by 20 agents, well, start booking yourself! If an agent has a choice between 2 x musically compatible acts and 1 can pull in 150 punters in their hometown plus 3 other cities and the other hasn´t played a show in 3 months, with who do you think the agent would be more inclined to work?
DR: How important has live performance become since record sales have dropped?
Jeff: It used to be that an artist went on tour to support an album release. Now, the artist releases an album to support a tour. The artists who understand this are becoming successful and those that don´t will find themselves stuck in the mud. The media is not really interested in writing about bands who are going on tour without a new album, unless they are HUGH artists or legendary artists who haven´t toured in a long time and a tour is highly anticipated. The media are only writing about bands when they have a new album out. So, once the tour dates are set up, the band/label/management sends the new album to the press so that the media will report on it. The record album becomes nothing more than a tool for promoting the band´s tour.
Also, I estimate that live performance situations are accounting for 90% of many smaller artists’ record sales. The best and most successful record store for your band is merchandise table in the back of the club with your buddy behind it with a desk lamp ready to make sales from the time the doors open to the venue´s curfew. No live performance = no record sales.
DR: Since the Recession started globally, have you seen many changes in the touring circuit and live market?
Jeff: I have seen changes, but I don´t know if the changes I´ve seen in Europe are based on the recession as much as those in the U.S. Government cultural funding still exists in Europe and helps. This has never existed in any practical way for young artists in the U.S., so it´s just that much harder when unemployment is over the top. There have been a few cutbacks that I have noticed over here in Europe, but people still need to have live music. They may be waiting a bit longer to buy a new dishwasher or dryer, but they still have a few bucks available for a concert ticket or two.
DR: Do you still see a future for record labels? Or are the new so called 360 business models the way forward?
Jeff: A record label can exist in the future if they are adaptable and take a new approach. If they continue to work like they have for the last 20 years; sign artist, record artist, release album/single; and do not get involved in other ways, then they are doomed. I think many artists are their best labels. 360 degree business models are great for that business signing the artist, but I don´t see how such a business model would be the best thing for the artist. It simply seems like a way of bullying an artist into the corner and telling him/her, “you will never get your music out or be big unless you work with us and the only way you can work with us is if we take a piece of everything.” For some bigger artists, it makes plain business sense to take a 360 deal because they can negotiate millions upfront in such a deal. For smaller artists, it´s lousy.
DR: How is the live industry different in other countries (particularly around Europe) do you see similar sales and audiences?
Jeff: Similar sales and audiences is hard to say. There are so many different markets. I have a British artist that sells out 1500 seat venues in Germany and doesn´t pull in 200 in the UK. I have another German artist who does really well in the UK, but doesn´t pull in more than a few hundred in Germany. I will say that British promoters and venues are very similar to those in the U.S. In Germany, for example, the local promoter really takes a hands on approach to promoting the show to the local media, while in the UK, it seems a lot of the time, that responsibility is pushed onto the artist him/herself. I don´t like that.
Booking is also different in different countries. The French promoters (other than a handful) do not seem interested in speaking with you unless you speak French or are French. It seems you have to go through a French agent just to get things moving over there. The Dutch are much more approachable in comparison.
DR: Your tips for 2010?
Jeff: Watch out for my artists and take notes because they will be taking the scene by storm! I have some seriously amazing things happening. ALEC EMPIRE has a new album coming out and will be ripping across the continent with a burning new show, plus a special surprise (I´ll give you a hint: Space Invaders, Ninja Turtles, and a Clash song with the word “White…” in the title!). ANNE CLARK will be introducing her new band. RAINER VON VIELEN will be conquering the German market with his new album. ALUMINUM BABE will be extending their “Re-Start The Batteries” Tour.
THE INSPECTOR CLUZO will be in Europe after their tour in Australia. CHUMBAWAMBA will have a new album and tour coming up, plus Allan Holdsworth, Terry Bozzio, Tony Levin, and Pat Mastelotto will all be on the same stage at the same time doing a completely improvised show throughout Europe in April 2010.
DR: What’s your classic alternative album?
Jeff: Dopes To Infinity by Monster Magnet
For the latest news and tours go to – www.MAXIMUMbooking.com
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