Michael Cooney's Tips for Concert Presenters

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In preparing for the NACA conference, I started recreating a list of tips that I used to circulate to help people put on successful events. In my search for other ideas, Michael Cooney forwarded me this document. (I've made several minor changes, as well as converting it to HTML.) Basically though, it all came from Michael and it already incorporated all the best of the ideas that I and others had hacked together so far. The most current revision of this document can always be found at http://www.alanrowoth.com/ProductionTips.html

Thanks, Alan Rowoth
You can email me at alan@alanrowoth.com

In addition to his work as a performer, Michael, who lives in Friendship, Maine, also publishes a newsletter called "The Friendship Letter" You can contact him at:

Michael Cooney
PO Box 278
Friendship, Maine 04547
207/354-6971
mbc42@mail.ctel.net

Here is MIchael's brief biography.

Now That You've Booked The Performer

GENERAL IDEAS

Little things mean a lot

Attention to details can help enormously in the overall success of your event. These details contribute as much to a show as the music. Concerts are like computers, or sewers, or life: you get out what you put in. An investment in a couple details can sometimes pay off in a much better performance.

Your rules

Don't let irresponsible performers take advantage of your hospitality, good nature, or timidity. If you have any rules, please let us know. Be firm. Some performers are piggy. You don't have to hold your tongue and grit your teeth.

Volunteers

Some organizations seem to have an unlimited supply of volunteers who run the place like a machine - putting up stage decorations, doing sound, running a refreshments table (home-baked cookies, etc.), selling performers recordings (and club t-shirts, mugs, etc.), taking tickets, etc. At other places it's a couple of harried people. What causes an organization to have so many nice volunteers? There are good books on the subject; seek and ye shall find.

WELL BEFORE THE CONCERT

Publicity

THERE IS NO SUCH THING AS TOO MUCH PUBLICITY.

Assume nobody has ever heard of your performer(s) and that the World Series is on TV that weekend. (This is a subject for a whole 'nother paper.)

Tell performers about your audience

It helps us to know who were singing for. Tell us who you think will come (which could be different from who you WANT to come). Let's not set up a concert for adults and then just have mothers with toddlers show up (which has happened to me at libraries & museums).

Directions

Most of us are good at reading maps and finding our way, but it helps to have good area maps. Perhaps one of your members who belongs to an Auto Club can get a supply of city maps. And/or, make a clear set of directions. (Try 'em out on someone else, at night, in the rain...) We're not always sure which direction (or planet) we'll be coming from.

Send directions, requests, etc., well in advance

Generally, we go out for a whole tour. If you send us directions, etc., a week before the concert, we'll never get 'em. With mail service unpredictable, two months in advance is better, but as early as you can. It might be good to send some of us a card reminding us of pertinent details well in advance, in case we've jotted down the wrong date or live amid chaos or something.

A small hall is better than a large one

Theres something special that happens when people are crowded into a room. Everyone has a better time. If you have the option, get a room a little too small rather than one that's too big. Better to have 75 people in a room that holds 50 than to have 1,000 people in a place that holds 5,000.

If you turn a few people away from the small hall, people will say, "Wow! It was a sell-out! They had to turn people away!", but if you have 1,000 people in a 5,000-seat auditorium (4/5 empty), people (and the papers) will say, "Too bad it was such a flop."

Stages

Some people say, "Folk music shouldn't be on a stage." I disagree. It's good to have the height, so the people in the back can see and hear without craning and straining. Four feet is better than two feet (in case a performers sits); one foot is better than none.

Sound systems

You don't need a huge fancy sound system. The object of the game is to get sound that nobody notices, from as little equipment as possible. If you're expecting fewer than 50 people, some performers may require no sound system at all. Don't let performers bully you about sound -- you are not required to have a mammoth system with 32 microphones and sixteen monitors; if they need something extra-special, they can bring it. You tell them, "This is what we have; do the best you can."

Lights

I have done concerts nicely illuminated by just a hardware-store clamp-lamp (or two) with a plain old "outdoor spot" bulb (complete for under $10). Why get all the fancy (and extremely cumbersome) theater lights? This equipment is spozed to work for us, not the other way `round. In many circumstances a couple clamp-lamps are all you need.

Many of us like to see the audience. It need not be terribly bright, but we really need it bright enough to see some faces. In some auditoriums, this is almost (but not entirely) impossible. Lights from directly in front blind performers; lights from the side or high above don't. Take time to check if this is possible - it might mean the difference between a good concert and a great concert.

Outdoor concerts

When you sing outdoors, it's quite different. You have to sing louder. Sound systems are no longer optional. People aren't as attentive. Kids run around and yell. Someone throws Frisbees. It's cold, it's hot; it rains. There are bugs. Sometimes it's less fun to try to sing under these conditions. But not always.

ON CONCERT DAY

No news is good news

Sometimes it's hard to find a place to stop on the road to call and say, "Yes! I'm coming! No problems!" Warm quiet phone booths are a thing of the past ("progress"), and sometimes it's hard to stop unless there's an emergency.

Dinner before the show

We do certainly get tired of restaurants, though we don't have to be scintillating for anyone in a restaurant; we can sit and think about what to sing tonight. But most restaurant food is bland and overpriced. So, sure, most, but not all, of us would love to come to dinner. Most of us have learned to eat anything. I've heard some groups on a tour wish they could get a meal with real meat in it once or twice.

Some of us must eat at 5:00, or earlier, for an 8:00 show, or we go into a Digestive Stupor that lasts into show time. Some performers (like me) need to warm up for a couple of hours before a performance. (This means being in the place BEFORE 6:00, which means leaving dinner at 5:30 or sooner.) Others can warm up, do a sound check, then go out for dinner a half-hour before curtain time! (And sometimes promoters have to go drag 'em out of the bar.) If you want to invite us to dinner before the show, let's get our timing straight. It takes time to drive, park, unload, and unpack before we even start to warm up. Please help "get us to the church on time".

Parking

Sometimes it would be a big help if you could arrange for us to have a parking place as close as possible to the door that's nearest the stage. Some performers have a lot of equipment, instruments, etc., to lug in. Others use their vans as dressing rooms. Perhaps you could park a car or two strategically, to save spaces; move 'em out when the performer(s) arrive.

Backstage refreshments

There's no need to go wild, but sometimes a "little something" helps a lot. Of course, each performer has her or his own likes and dislikes, so this is a difficult area. You're certainly not obligated to supply booze (especially before a performance), or any kind of elaborate spread, but on cold nights it's nice to have a little coffee or tea and cookies to warm and perk one up. In the summer, maybe something cold, lemonade (not-too-sweet), or cola.

I haven't had any experience with those "contract riders" that require promoters to provide everything from huge fancy food and drink spreads to limousines, etc. Seems to me that everything on such riders should be paid for by the performers. If you have to sign one, try inserting something to that effect and see what happens.

[Alan adds: The most important thing about contract riders is that you have to read and understand them. They, and your contract, are the most important key to avoiding misunderstandings that create be an unpleasant surprise for you or the performer on the evening of the event. Most items on a contract rider can be negotiable with ample advance notice. Nothing on the rider should be disregarded without prior consultation with the performer or their agent. Contract riders are just that, part of the performance contract, and you may be liable if you do not comply with the terms of the contract.

The key is communication. If you don't understand something, ask what it means. If you discuss changes to the contract and/or rider on the phone, those changes should be noted, initialed, and mailed to the other party as a reminder that the agreement has been modified. The venue should ask the act to provide a stage plot showing their sound, lighting, and power requirements.]

Mail and forwarding

It gets lonesome out on the road, and it's more than just nice to get mail. If we have mail waiting, please let us know right away. We try to have it sent far enough in advance to have it there when we arrive. If it comes after we've gone, and if we haven't made other arrangements with you, please send it to our home address. Or call and ask where to send it. (I realize this is a bit old-fashioned -- these days lots of people just use the telephone or e-mail.)

Sale of Recordings

People often can't get our recordings unless we bring them to sell. Some performers like to peddle their stuff themselves, others hate the whole process. It helps enormously if you have one or two volunteers to sit at a table out front and sell our records. Sometimes the promoters (folk festivals especially) charge the performers for this (see below). Often concert groups have more than enough volunteers, a couple of whom would love to staff the record table. We realize this is sometimes a bother, and if you must have compensation for this service, we'll try not to grumble.

There's a bit of controversy now over the fact that some promoters are "muscling in" on record sales -- charging a percentage of the take. I believe that if promoters do the selling for performers, they are entitled to SOMETHING. I believe that 10% is too much. The performers dont get these recordings for free -- the "profit" isn't so tremendous that you can give a big hunk of it away.

People say, "Wow! our last performer sold $600 worth of stuff!" It doesn't occur to them that she or he made less than half of that. This is a good topic for "folk" discussion groups (on the internet, in Sing Out! magazine, in the Folk Alliance newsletter). Perhaps promoters could buy stock from performers ("wholesale") and sell it at other concerts when the performers are gone. Or artists could raise the prices on their recordings to compensate for what promoters take. If anyone complains, say the club has placed a surcharge on 'em.

That said...
It's good to have records on sale from the very beginning. Often more records are sold BEFORE the concert than after, though intermission is the best time.

Security for instruments, etc.

It seldom happens, but instruments do get stolen at concerts. (I had one stolen off the stage during intermission once! New York City, of course.) If there's a way for a trusted person to keep an eye on things backstage, it helps keep performers relaxed. (Introduce us beforehand, lest we think he's waiting for an opportunity to snatch & run.) Whenever possible, a private, lockable dressing room should be provided.

Music played before and between sets

When you're setting up the sound system or playing music over the system to "fill the void", could you please make it some sort of "background" music? This means something quiet and instrumental -- classical music, or soft jazz, or instrumental folk music, etc. Pleeze not rock & roll, or songs with words (that need attention) or anything noisy. (What's worse than hearing a song one was "about to sing" being played over the p.a.? Wondering if it got played while you were backstage...)

Timing

Start on time and people will show up on time. Let us know before you open the doors to the public (in case were inclined to practice loudly back stage) A "Five Minutes!" warning to performers is nice.

Tape recorders

Most contracts state that it's the promoter's responsibility to keep people from using recording equipment. It infuriates some performers to see the whole front row with tape recorders. (Some of these guys wear earphones and never look up!) We come to sing to people, not to do a recording session. Some of us tend to be less relaxed if we know our mistakes are being recorded forever. It's our right to not be recorded. It's easy enough for the host of the evening to make a short "No tape-recorders" speech, during the opening remarks. Even easier is a standard no tape-recorders policy.

Introductions and extroductions

Introductions and Extroductions are the visible and audible "markers" to signal the beginning and end of the concert. They are equally important.

Your introduction need not be anything more than one small sentence. ("Please give a warm welcome to...") If you really want to say more, feel free. But dont tell people why they're going to like the performer. They'll decide for themselves. (It's hard to follow an introduction like, "Here's an incredibly funny act -- you're gonna laugh yourselves silly!")

If the performer or group is unusual, it would help the audience to know something about where they come from and why their music is like this, and why it's valuable. Try to say it succinctly. Don't be afraid to run the introduction by the performer before giving it onstage.

Be ready to come up at the end and fill the void after the applause is over. Say thank you for coming, be sure to come to our next event, there are still records for sale (and bring 'em back for autographs!), etc. Plug the artist's mailing list. The end needs a marker.

Opening acts

This is a tricky question. Some performers have so much to offer that an opening act means less of a show from the person you hired. (I once sang in a place on a Wednesday night in the winter, advertised to begin at 8:30. It started at 9:15, with an opening act who went until almost 10:30! People were quite angry.) On the other hand, some performers only know 14 songs. AND, local performers need exposure and encouragement. If you do have an opener, I suggest you have 'em do a short set at the beginning of the concert. If you tell them 15 minutes, they'll take 27. Tell 'em, "Three songs or 15 minutes, whichever is shorter," (or 4 songs/20 minutes). If they can't handle that, they're not ready for the stage.

How to stop a performer who is going on too long

First, have an understanding about set lengths, etc., and you do your part to start on time. Then if there's an ego problem, take him or her a glass of (not-too-cold) water and whisper, "You're going way over time; please make this your last song." If they don't stop, turn off the sound and lights and pretend you blew a fuse or something. Get Big Hazel to lean on 'em.

Noisy audience members

Nobody wants to deal with them, but we (of course) think it's the promoter's job to go over and quietly ask them to be quiet or go out front to talk. This applies to children and parents of those children.

Here's a very useful trick for parents to help kids be quiet: NEVER threaten. [They know when you're bluffing.] First, take them outside, and THEN tell them you understand that they need to be noisy, so "...out here's the place to do it. You let me know when you're ready to be still and quiet, and then well go in again..."

If they act up again, parents have to be ready to go out again, maybe for the rest of the night. Generally once a child learns that the parents mean it that he can't be unruly at a concert, he doesn't try again. Best of all, don't bring small (under 6) children to a concert (unless its billed specifically as a concert for very young children).

Sometimes parents are a major part of the problem, though. They let the kids go down front and do whatever they want -- or worse, drop their little kids off and go away! Try to nip it in the bud; noisy people spoil the concert for everybody.

AFTER THE CONCERT

After-concert parties, receptions, "going out for a drink", etc.

Sometimes its nice, sometimes not. If we're on a long hard tour, then it could be a grind. The object of a good tour is to play two concerts a day for three weeks and then go home for a couple of months. (It seldom works out that way, of course.) Sometimes we need a little get-together to feel human, meet the people who did the work and come down from the excitement. Other times we're "peopled-out" and want to be alone. How to predict? Ask us as far in advance as you can, I guess.

Some performers are extroverts -- they get their energy from being with lots of people. They love parties. More than a few, however, are introverts -- they LOSE energy when in crowds. It seems odd, considering their profession, but a stage is a barrier -- performers on one side, audience on the other. Introverts have difficulty at parties in crowds and close-up small-talk situations. Sometimes. They can do OK in small group situations, or one-on-one.

Hospitality

Many performers can't bear to pay all that money for a motel. After all, it's just a place to sleep for six hours, and get a shower, right? Why so expensive? But motels are better than staying with strangers (with exceptions). But some just can't afford it. So they're at your mercy.

What some performers need is private time. We're over-stimulated, over-talked, over-peopled. We need time to be vegetables, to be rocks, to be logs. To stay with strangers is to have to entertain them by letting them entertain us. (I've heard horror stories on both sides of this topic.)

If you can put us up at a motel, thats nice. (Perhaps you can get a good rate, or free, as a "donation"!) In a commercial establishment, the room is ours, the stuff on the bureau and the night-stand and in the closets and drawers is ours, not someone else's. It makes a difference. If you can't do that, then yes, we'll stay wherever you put us. We're used to everything by now. But we'd especially appreciate your understanding our situation, and why we're not always as communicative as you'd like.

A few of us have solved the problem partially by traveling in campers. That means wherever we go, we always wake up in familiar surroundings. But campers are cold in the winter and hot in the summer. So we like it best if you can provide us with a place to park that's off the street, level (sunny in winter, shady in summer), and close to a place to plug in for electricity. Best of both worlds. Then we can come in for a visit, and go out to our "house next door" for quiet time.

The best thing is to work things out in advance with performers, understanding that a motel is the first choice of most of us.

On Meeting Lots of People

It's nice and difficult at the same time. We've learned to keep to ourselves in some ways. Some have also learned to be best friends without any get-acquainted period. We've learned how to say short good-byes. (It's better that way -- like cats: no good-bye, big hello.)

After many years on the road, everybody looks a little familiar. (In 3 or 4 weeks one can meet, and get to know, over a hundred people!) Try to avoid phrases like, "Remember me?" unless you've met that performer more than a few times. Better is, "Hello, I'm _____________, from the ____________, in _____________. You sang for us last _______________." Then everybody's safe.

Reviews

We need reviews, of course. It helps a lot if you can persuade the newspapers to send reviewers. And most of all, if there is a review, PLEASE send us a copy or two. It's best if you send the whole page (or section) the review is on (in), plus the front page of the section, and the front page of the paper. We need reviews.

Here's a printable Checklist to help you keep track of your preproduction chores.

We need input

This is incomplete. What has worked for you folks?. Where do you disagree?
Let us know, thanks.

alan@alanrowoth.com

last revision 7/29/99

Visit other handouts used at the 1998 NE Regional Folk Alliance Conference