By Kendra Krumpe
We all know it’s a crapshoot when it comes to selecting a show. An event that is good for an individual artist one year may not be good the next. It is always a gamble — we put $1,000 in and we see what happens. And with the state of our current economy and all of our rising costs, we are often forced to make the biggest gamble of all: the new show. However, the promoter of the new show may actually be the one making the biggest gamble of all.
Planning and organizing a show takes countless man-hours and more money than we can imagine. Everything — the future of the show, the future livelihood of the promoter and his or her staff, and the promoter’s ability to pay the bills that have accrued up to that point — can hinge on one weekend. That, my friends, is what gambling is really all about: The bigger the wager, the bigger the payoff — or the bigger the loss.
Promoters and artists have a symbiotic relationship; one can’t survive without the other. However, we artists don’t want to merely survive. Assuming that we are doing our part, making a good product and presenting it well, more often than not the pressure is on the promoter. With show promotion being the thankless, high-risk job it often is, the question arises: Why would anyone want to do it? I spoke to a few promoters (both newcomers and successful veterans) to see what they had to say about starting in show promotion.
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