Metal Booking Agents Tell All
Ever wondered what goes into setting up the metal caravans that pass through your town on a regular basis? Quite a lot, it turns out. Former MS contributor Satan Rosenbloom interviewed two prominent metal booking agents for a feature in the April issue of Decibel Magazine (Carcass / Black Dahlia Murder cover), and the article offers a fascinating behind-the-scenes look into one of the most grueling jobs in the metal business, as any band who’s ever set up a DIY tour for themselves will tell you. Check out the full interview — only part of which made it into the magazine — right here.
The two interviewees, Nathan Carson of boutique agency Nanotear Booking (Agalloch, Behold the Arctopus, Coffins, Yob) and Dave Shapiro (Godflesh, Whitechapel, Memphis Mayfire, A Day To Remember) of worldwide mega-power The Agency Group, give remarkably similar answers despite the different worlds in which their clients operate. I found this part particularly interesting, in which Carson explains the pros and cons of guarantees vs. the dreaded door deal:
Talk about guarantees. What are they, how difficult are they to get, and are they always a good thing to get?
Nathan: A guarantee is good for two reasons: one, it is insurance that a band will be paid at a show that they presumably drove hours to reach. With gas at nearly $4/gallon, the cost of renting or maintaining a vehicle, and feeding, drinking and housing a group of people traveling together, it’s really important for bands to be paid enough to break even on these expenses, and hopefully to profit.
With the pressure of covering that guarantee, promoters are more likely to do their job well. With no duress or possibility of losing money, it’s often just another heartbreaking night at work for them. Promoters all too often let the advertising go slack on the cheaper shows.
I think there’s an important balance that agents and promoters should strike that is a fair market value for the band in question, dependent on the day of the week and many other key factors, and that allows the band to earn a bonus if the show does well. And unless you’re playing real hellholes, or being booked by some shrewd, uncaring asshole, then that’s what we are all trying to do every night.
Guarantees are not always necessary, though. Most of the time, if an agent is willing to reduce the risk to the club and work on a percentage basis, the venue will offer a much greater split of the door proceeds. And confident agents and bands can often gamble and win in such scenarios, which is always good for everyone. Clubs LOVE to pay out bonuses because it’s a reflection of success and good will to all involved.
Check out the rest of the interview here, including some Booking 101 type stuff, how agents typically first hook up with bands and an insane story from Carson about the most stressful show he’s ever been a part of.
