Different agencies offer differing degrees of service to the artists that they represent. So when an artist joins an agency, whether it is for the first time or from another agency, it is really important that they understand what services the agency offers and what the artist and their management need to organise themselves.

As an agent, you will frequently find yourself pitching to talent buyers. More often than not this will start with an email. In this post we look at good practice when it comes to writing pitch emails and how we can attract attention.

In this post I’ll take you through the process of taking a one-off show through from its beginning to its end. It could be a festival, a ticketed show or a private event. It could also be a workshop.

What it says on the tin! In this post we go through the five most common types of deals that music booking agents strike with promoters. Agents need to know when to use each type of deal and understand what they mean for their artists’ income.

In this post, I get under the bonnet of the dreaded VAT as it applies to bands and the deals we strike. There are not many people who are fascinated by the intricate workings of VAT – but truth be told – booking agents need to have a reasonable understanding of VAT so they can quote their artists correctly and spot a settlement that’s been worked out incorrectly.

In this post we take a closer look at the Music Business Conference. They form an integral part of a typical booking agent’s calendar. They provide an opportunity for agents to meet with talent buyers face to face, show-case artists, learn from industry leaders and generally have a good time in a city somewhere else from the normal place of work. Fun it may be, but it is still very much work!

When we make an agreement between the artists and the purchaser then both parties agree that a show will take place on a certain day in the future. If that show doesn’t happen, then a day is missed in the artists diary – this results in significant loss of potential earnings for the artist – and by extension the agency as well. A well considered Payment Schedule can reduce the likelihood of cancellation and assure payment where shows are cancelled.

Booking a great tour can be a very satisfying achievement. A great tour will create shows that artists and audiences will remember. It will also raise the profile of the artist. A great tour will also work financially and minimise travelling. To get this right the agent needs to do their homework first!

Before we start writing emails and making calls, it’s good practice to map out the best tour you could book in the tour window you have. A tour where you managed to hit all the cities you want. A tour with the most suitable venues and promoters. We call this our Ideal Tour.

In Part 3 of routing a tour we get down to walking the walk and getting the job done. It takes a certain type of dogged and tenacious individual to route a tour – especially with emerging talent – do you have what it takes?