Sheena
Featured in Music Connection!
Vol. XXVII, No. 21 October 13 - October 26, 2003
PROMOTER PROFILE
Sheena Metal Productions
The Joint, Universal Bar & Grill, Zen, Lava Lounge, Knitting Factory
sheenametal@onemain.com
www.sheena-metal.com
Cable star, radio jock, comedienne, writer, hostess, and
so much more, Sheena Metal is a true jack-of-all-entertainment. Which
only makes her even more of a powerhouse promoter. Take a look at how
she fills her week and you'll understand how she can help your band,
your club, and so much more. We caught up with Ms. Metal to find out
what makes Sheena rock.
Music Connection: How many "nights" do you now promote?
Sheena Metal: There's "Manic Mondays" at Zen;
one of the two Mondays I do is usually a showcase for solo artists and
acoustic bands. On our other two Mondays we do "Chicks Rock"
at the Lava Lounge -- you must have a girl in your band in order to
play. On Tuesdays I'm at the Cat Club with "Plug In, Plug Out,"
which features both acoustic and electric artists. The Cat Club has
full backline gear, so it's easy to book 10 bands in one night. Wednesdays
at the Joint I do "Songs Rock" with full band showcases of
songs as opposed to just singer/songwriters. Thursdays at the Universal
Bar & Grill is called "Sheena & Friends." Then once
a month we do one big industry showcase at the Knitting Factory.
MC: What kind of artists can you really use right now?
Metal: I do a lot of pop, a lot of alternative, a lot of Triple
A, metal, punk, alt-country, roots-rock, country crossover. I do pretty
much anything, and I'm looking to do a hip-hop night before the end
of the year.
MC: How do you get industry people to come down?
Metal: It's a favor trade. Someone will come out to see my bands
and then maybe I'll sit on their [seminar] panel for nothing. The problem
is that bands get disheartened when nothing happens. You can make the
industry come out, but they're very specific about what they want sometimes,
so you can't always get them to bite. It's a hit or miss. I tell the
bands it's like getting quarters and playing a carnival game; sometimes
you get the stuffed animal, sometimes you don't.
MC: What's your take on playing in L.A. versus out of town?
Metal: You need to play as much as you can in L.A. and still
draw. For some people it's every six weeks, for others it's once a week.
It depends on their following and their promotional skills. It's always
a good thing to play outside of L.A., to find people for your mailing
lists and potential people who'll buy your CD. But if you're looking
to attract labels and get signed, playing out of L.A. doesn't do much
for you above and beyond that it makes you a tighter band. I don't know
many A&R people hanging out in Idaho.
MC: How does a promoter appropriate a specific night to do a
certain club?
Metal: I used to be really into big places -- you know, really
exciting events where you pre-sell a thousand tickets and there's four
hundred people there. But it's not my thing anymore. I like smaller
places. My theory is that most of my weeknights do an average of 100
people per night. I don't want to book that in a bigger place for two
reasons: first, it's disheartening to a club owner if they have a 400
people room for 100 people. I also think it's disheartening to bands
if the venue looks empty. Better to fill up a small room than leave
a large one empty.
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Vol. XXVII, No. 18 September 01 - September 14, 2003
Ticket Pre-Sales
U Want 2 PLay?
U Got 2 Pay!
By Bernard Baur
That's how it is in Los Angeles and it's spreading across the country.
Artists who want a gig in L.A. are required to sell tickets for a spot
on the bill. This practice is so pervasive that it's now the norm. Music
Connection, which has covered the scene for over twenty years, can recall
when this concept was passionately contested. Today, however, it's commonly
accepted and MC wondered why. To find the answers, we turned to bookers,
promoters, club owners and artists. Their comments and insights not
only explain this turnabout, but also inform us why they think it's
necessary.
LOOKING BACK
Pay-to-Play used to be fightin' words! In fact, in the mid-Eighties
when the notion first arose that a band should pay for the privilege
of playing a club on the Sunset Strip, artists as well as much of the
music community were horrified. Protests took place, boycotts were organized,
fights broke out and local music publications slammed the idea as being
greedy.
Today, the name has been changed but the tune remains the same. It's
now called "Pre-Sales" (as in tickets) and it's standard operating
procedure at almost every club in the Los Angeles area. Not only that,
but nowadays it's totally accepted by artists who want to play an L.A.
venue. Indeed, they consider it part of "paying your dues"
-- literally.
In the Sixties and most of the Seventies, music fans went
to clubs because the venues fostered a cool atmosphere. It didn't matter
who was playing -- it just mattered that you were there. It was a musical
movement with a communal spirit. But things changed and people no longer
wanted to just hang out. They started following their favorite acts
and walk-in numbers decreased. Hard-pressed for bodies many clubs closed,
while others let promoters rent out nights. To lessen their risk, promoters
instituted a "Pay-to-Play" policy. After the initial shock
and astonishment bands that would go on to be among the biggest acts
in rock history paid to play and pre-sold tickets.
"There was competition among a lot of the young bands," Mike
Giangreco recalls. "It was a macho game of who could sell the most
tickets. Guns N' Roses, Poison and L.A. Guns all competed. Years later,
Korn, System of a Down, Incubus and Linkin Park did the same thing.
They all sold tickets to make a few extra bucks and get the best spot
on the bill."
Giangreco reasons that acts from all over the world come to L.A. trying
to get signed, and because of that there are more choices for fans.
All those choices limit walk-ins and put the burden on the artist to
bring in the draw.
By the Nineties, Pre-Sales had a strong foothold and, although some
of the dinosaur acts complained, the younger artists accepted it. Giangreco
believes, "Kids are more aware of what it takes to make it. They're
smarter today. They know about the bottom line and how important a total
package is. The times have changed and that wonderful dream that the
'music is enough' won't get artists what they want anymore."
"About 30 percent don't cover their tab. Our response depends on
the act and whether or not they really tried. If not, we won't work
with them any more and will share that information with other bookers."
--Sean Healy
THE BLAME GAME
Even bookers and clubs that originally resisted Pre-Sales eventually
came around -- and they all claim it's because of the artists. "I
don't know if it's good or bad," sighs Neal Rocklin, owner of The
Gig. "But, I do know it became necessary to assure that artists
fulfill their obligations to promote their shows." Rocklin concedes,
"The last thing I want to see is an act come out of pocket to play
my club, but it takes money to keep the place open." According
to estimates, most clubs have to make between $200 and $500 per act
to break even. And, Rocklin states, "The hope is to make money
-- the target is to break even -- but, all too often, the reality is
to lose less money."
Sheena Metal changed her tune after she was burned several times. "I
like booking the smaller, more intimate clubs," she says, "but
I noticed that a lot of acts used them as a 'warm-up' for larger clubs
(where they pre-sold tickets). Often, less than 10 people showed up
for the set. That's insulting, and I think the music community should
have better etiquette than that."
According to Sheena, "Industry Showcases" can be the worst.
"A lot of acts promote those shows less. They're only concerned
about industry and not their draw. What they don't understand,"
she declares, "is that industry likes to see a vibey crowd -- it
gets them into the act."
Sean Healy, whose organization books over 25 clubs in the Los Angeles
area, points out that some venues cost several thousand dollars a night
to rent. And, some clubs demand bar guarantees on top of that. Obviously,
that's a heavy financial burden. "If a band doesn't draw well,
we're the ones who hear about it," Healy explains. "Consequently,
we need a guaranteed head count -- especially if an act wants to play
a prime slot."
"Every day I get calls from bookers across the country asking how
this arrangement works." --Mike Giangreco
NUMBERS COUNT
Actually, every booker MC interviewed tries to accommodate artists to
make the system work, and there are several options available. One involves
upfront money -- buying tickets in advance and then selling them before
the show. The Whisky a Go Go and the Roxy were most often mentioned
as utilizing this method.
Additionally, artists looking for a slot that supports a national touring
act will usually be required to pay a deposit in advance.
More common, however, are "consignment sales," where an act
is expected to sell a certain number of tickets and pay for them before
the gig. Naturally, it doesn't always work out that way. Healy reports,
"About 30 percent don't cover their tab. Our response depends on
the act and whether or not they really tried. If not, we won't work
with them any more and will share that information with other bookers."
But, Healy emphasizes, "the system is designed for artists to make
money. We sell tickets at a discount and artists can charge more. If
an act takes 200 tickets at $4 apiece and sells them at $10, they can
make a $1,200 profit." Additionally, Healy claims that selling
tickets gives the act a monetary value that brings more people to the
show. He maintains, "An act that sells tickets will draw better
than one that relies on the door. People are more likely to save a ticket
and mark the date because it's worth something."
The amount of tickets and their cost varies according to the venue,
day and time slot. A primo set time at a premier club will obviously
cost more than a small gig on a Sunday night. A spot at the House of
Blues or the Viper Room may require 100 or more tickets, whereas the
Joint is happy with 20 to 30.
Other options, in lieu of selling tickets, include a "guaranteed
head count." That's where an act guarantees a draw, and if they
don't meet it, they pay the difference. This method is generally used
for acts that have proven themselves.
And, lastly, everyone claims that once they're satisfied with an act's
work ethic and draw, they won't impose any conditions. Nonetheless,
some successful artists still insist on using Pre-Sales as a promotional
tool.
In case you're wondering if it's any different outside of Tinsel Town,
think again.
Giangreco reports," Every day I receive calls from bookers across
the country asking how this arrangement works."
"People are more likely to show up when they have a ticket. Sure
it makes us work a little harder, but we're an unsolicited band in a
solicited world."
--Marc Monroe, Soulshine
WHAT ABOUT MUSIC?
It might seem that commerce is crushing art and that the almighty dollar
counts more than the music. But not everyone feels that way. Legendary
L.A. booker Len Fagan also uses Pre-Sales occasionally -- depending
on the slot a band needs. However, he's quick to voice his disdain for
the system. "I detest it and I'm ashamed to do it, but I have to
answer to club owners."
Fagan continues, "But I also have an obligation to myself and the
music loving public. As such, I'd rather book a 'great band' with less
draw because they need to be seen and heard. You know," he reminds,
"if this Pay-to-Play mindset existed in the Sixties, the Doors
would never have had a career."
Almost all of the other bookers claim that they would also help a promising
band -- in different ways. For example, they'd start them at smaller
clubs and develop them for larger venues. Giangreco states, "Pre-Sales
are not always required. If I know an act and like them, I'll set them
up with a good spot. Sometimes all they need is a little assistance."
Gig owner, Rocklin concurs, "It really depends on how well I know
the act and if they need a specific time-slot to make their mark. There
are always exceptions in this business."
If Fagan likes an artist, he gives them residencies for a month or longer.
"You need to play on a regular basis to build a buzz," he
says. "And, in the process, I don't mind sacrificing money for
quality. I want to present an act that will knock your socks off."
Fagan believes, "If a booker just goes for the gold, it's called
'greed.' And if that's all they're concerned about -- shame on them!
I want to be proud of what I put onstage." Advancing his viewpoint,
Fagan likes to make sure the best acts get the best shot because, he
says, "Too many of them fall through the cracks." As a result,
Len Fagan has probably gotten more acts signed than any other booker
working today.
ARTISTS RESPOND
Off Limits is one of Fagan's favorite new bands. They're based out of
the L.A. suburb of Lancaster, and according to lead singer Eric Slater,
"We've been doing Pre-Sales since we started. Most of the clubs
in the Lancaster area demand it and we just assume it's part of paying
your dues." That is until Fagan took them under his wing and gave
them a residency. Even with that opportunity, however, the band pre-sold
tickets at other venues, such as the Whisky a Go Go and the Troubadour.
"For out-of-town bands," Slater explains, "the goal is
to be part of the L.A. scene. And if we have to do Pre-Sales, so be
it." Slater contends that it does give young acts experience with
promotions, but it also can detract from the creative process. "Sometimes
it's hard for an unknown band to sell tickets and the pressure can get
heavy. But we managed to sell 200 tickets for our Whisky show and made
a little money."
Soulshine is one of those acts that have already proven themselves.
Sean Healy reports that they insist on Pre-Sales even though he no longer
requires it. Lead singer Marc Monroe clarifies, "People are more
likely to show up when they have a ticket. Sure it makes us work a little
harder, but we're an unsolicited band in a solicited world."
According to Monroe, some acts are natural promoters while others need
motivation. "Pre-Sales gives you that push," he states. Moreover,
Monroe firmly believes that better venues give you a better draw. "We
brought 300 people to the House of Blues, and I'm sure a big reason
we did so well was the club." Of course, a venue like HOB often
requires Pre-Sales. "But it's worth it," Monroe contends,
"because people will come to see you play there."
"I'd rather book a 'great band' with less draw, because they need
to be seen and heard. If this Pay- to-Play mindset existed in the Sixties,
the Doors would never have had a career." --Len Fagan
CROSS-PROMOTIONS
In Los Angeles, artists are expected to promote their own shows and
bookers buy ad space in local publications. The bookers who spoke to
MC for this article also maintain that they will give additional help
to acts that need it. Sheena Metal will put notices in her extensive
mailing list. Neal Rocklin and the Gig staff collect information from
successful (as well as struggling) acts, and shares it with other artists.
Sean Healy brainstorms and offers suggestions like hosting an after-party
or getting a celebrity to introduce your show. Mike Giangreco and Len
Fagan will contact industry, labels, managers and media and get them
to your gig. In fact, all of the bookers want their acts to be successful
because, obviously, it benefits everyone.
However, promoting a show can be hard work. When Soulshine first started
doing Pre-Sales, Monroe says, "It affected us and bled into our
performance. We're artists and we love to play. But we found that having
to sell tickets got us into a different frame of mind that wasn't always
conducive to a great show. After awhile," he claims, "we got
used to it and came to appreciate the process. Now, we're a promotional
machine."
LOOKING AHEAD
Of course, not everyone requires that you pay to play. There are some
venues and some situations where the Pre-Sales arrangement is still
not a factor. In fact, singer/ songwriters seem to be exempt from the
Pay-to-Play trend.
But, most of the popular clubs that present rock and pop music will
demand some sort of guarantee count from the artist. And, no one sees
this situation changing anytime soon.
In fact, Sean Healy offers some perspective. "Unless a prominent
music movement takes hold and clubs can start surviving on walk-ins,
things aren't likely to change. The big difference between today and
Bill Graham's day (the Sixties) is that he had the benefit of a movement
and cultural phenomenon. The only thing close to that now is hip-hop.
Fans who enjoy that style of music will come to a hip-hop show at any
time on any day. That doesn't normally happen when you're talking about
rock or pop."
The bummer, according to Soulshine's Monroe, is that Pre-Sales prevents
acts from playing very often. "We'd love to play every week, but
twice a month is the most we can do when we have to sell tickets. Occasionally,"
he says, "we'll play a local bar just for the fun of it and keep
our chops tight."
Len Fagan believes the real key to success is giving value to the music
community. "You can't just take, take, take and expect to succeed
-- you have to give something, too." In some instances, Fagan believes,
Pre-Sales could be a double-edged sword. "They might ensure a draw,"
he argues, "but they could also be a 'vanity affair' that has nothing
to do with talent."
True enough. But, for acts like Off Limits and Soulshine, Monroe contends
that Pre-Sales can have a positive effect. "If artists don't learn
how to promote themselves, I don't think they have a chance in this
business. At the very least, Pre-Sales will get their promotional muscle
working."
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