Getting Booked on Your Own in the Performing Arts

Are you an artist, artist in an ensemble, or someone interested in representing artists professionally? Are you at a point where you would like to perform professionally? Are you just getting started, and are wondering how to make a living as a performing artist?

First, to successfully make a living in the performing arts, you have to treat it as a business. Secondly, it’s important to know the various markets that exist (street, coffeehouses and small restaurants, clubs, festivals & community events, performing arts centers, theatres, corporate). Third, don’t undertake the journey in the fog—the more you prepare yourself and become knowledgeable about how the business of the performing arts really works, the more likely you will be able to navigate through it and avoid pitfalls.

Whether playing for tips at a coffeehouse, or performing in a 1,000-seat performing arts center, the performing arts is a profit-driven business where the “bottom line” is the de facto catalyst for deciding who gets booked. You must think of your artistry as a commodity that is going to be sold by you or your enterprise. (We are assuming that you feel confident about your performance enough to present it on stage.) There is a deluge of artists in America that want to be discovered. It is a virtual sea of supply; yet the demand is limited. Therefore, you have to stand out to a presenter. (A “presenter” is someone who presents performances much like a “promoter.”) The best thing you can do to start is make your promotion kit as complete, professional, and unequivocal as your budget allows. Your kit should include: a bio, references, color 8x10 headshot or band shot, press (if any), previous venues performed at, a simple tech rider, business card, cover letter, CD or DVD, return self-addressed stamped postcard (which should ask if they would like to opt in to your mailing list or email newsletter), any professional brochures or professionally made literature. The more professional and polished you appear by your promotion kit, the more likely you will get the presenter’s attention. One never “walks” into the entertainment industry; rather one has to “blast” into it.

Note: With the soaring price of postage, it is advisable to not only have a website, but an online press kit which includes everything in the promotion kits you will mail.

Decide which market(s) to pursue. Find out where other artists similar to you perform. Be realistic in your expectations about which types of venues you are ready to perform in. DO NOT under any circumstances mail off an unsolicited promotion kit. Call or email the booking contact for the prospective venue first. Keep in mind that for the smaller markets (coffeehouses, clubs), presenters receive hundreds of unsolicited kits per week. You also need to call one week after sending your kit. DON’T WAIT FOR A CALLBACK. It’s also important to know that larger presenters (especially festivals, community events, PACs and theatres) often throw away unsolicited promotion kits without ever opening them. (Some even have huge dumpsters outside of their building for these types of kits.) Try to only send solicited promotion kits by making contact with the presenter first so that they know you are sending them one. Otherwise, you will be wasting value time and resources.

In terms of the venues, concentrate on your local region first. Getting bookings that located too far from your base may not be cost-effective. Keep a 4-6 hour driving radius to start. If your base is in the Midwest or western states, the radius will be much larger.

Pertinent Questions: How much should I charge for my performance? The presenter never returns my calls, so where do I go from here? How can I tell if a particular venue presenters the type of music/dance I perform? Should I begin by performing for tips?

Next Blog Topic: The Markets—what they are and how they work

Cheers.
Bear Claw