How to Put on a Rock Show

You've done your time twanging guitars and banging drums, but your act isn't taking the world by storm, or maybe you're just looking to become a different sort of "weekend warrior." Whatever your reasons, putting on a rock show is like no other experience you'll ever have. Perepare yourself, and you'll stand a better chance of making that experience a positive one.

Difficulty: Moderately Challenging

Instructions

Things You'll Need:

• Advertisements
• Cast iron stomach (to weather the bad nights, as well as the good!)
• Cash box
• Contracts
• Fliers
• Hand stamps
• Internet listings
• PA system
• Press releases
• Refreshments
• Volunteers (for security, setup and more)

BUILDING A SHOW TO REMEMBER

1. First things first: who's going to play? If you're a regular showgoer, you'll probably know who's around. If not, attending open mic nights offers a suitable low-key way of assessing talent. So does getting recommendations, which you can follow up by checking out the relevant websites. If all else fails, you can post "BANDS WANTED" ads on sites like Craigslist or Myspace -- after all, in most areas, the supply (talent) greatly exceeds the demand (venues).

2. 
   Offering value for money is the best method of attracting a full crowd.

   Get initial commitments from your bands, and firm things up when you've set the big day (usually one to three months out: eventually, as your productions get bigger, you'll want everything in writing). Double or triple bills generally work best (60 minutes for headliners, 30- to 45-minute slots for support acts). However, don't shy away from creativity, if the occasion warrants (such as a multi-band "revue" of acts playing 15 to 20 minutes apiece).

3. Use common sense when setting lineups. Mixing solo and band acts isn't a bad idea: just don't make the acoustic guy play last. Combining different genres is OK, if it's well-considered: the sensitive folkie might dodge beer cans at a heavy metal bill, but having the spoken word guy open for the roots rap group might work better.

4. To set the door price, divide the upfront costs by your estimated audience. For example, if you've budgeted $400 and expect 200 people, you need at least $2 per person to break even. Get these equations in your head now, and you'll be less likely to spend money excessively.

5. Now it's time to lock in a venue. If you're working with an established promoter, that's simply a matter of clearing up the calendar. If you're doing everything yourself, that may require renting an American Legion hall, church basement, community center, or youth rec room. Scout around for the best deal: what you find will surprise you.

6. Check music stores for PA systems: if their prices aren't suitable, find an aspiring engineer or sound person and strike a deal with him. Use your imagination, but watch your pocketbook, because you'll be laying out your costs (PA, promotion, rental) long before you get to recoup them.

7. 
   When advertising, simple and solid beats clunky and complicated.

   Now comes the "promote" part of your job description: find someone to design an 8.5" by 11" flier . If that doesn't pan out, most computer design programs allow anyone with minimal artistic talent to do the job. Get your friends and bands to post fliers in key spots (bars, coffeehouses, record shops, stores), typically, three to four weeks ahead of the show. Post scanned fliers on Myspace.com, and details on Craigslist, and don't forget to submit a four- to six-paragraph writeup to your local paper. Still, don't rely on one method to do everything; remember, word of mouth is the best promotion, depending on the lineup you're offering.

8. Provide enough warm bodies to keep the night running smoothly: they can volunteer in exchange for admission, refreshments or whatever perks you see fit to define. Have a cashbox and hand stamper ready, so you know how many people paid, and keep lots of $1 and $5 bills for change. Don't let bands treat your guest list like a Christmas tree (one member and one guest should suffice). Err on the simple side for refreshments, since pop, water and light snacks draw less regulation than alcohol, or heavy foods that require cooking. Always have music playing before and after the show, as well as between sets, to minimize your audience milling around aimlessly.

9. Settle expenses promptly: don't leave bands waiting to learn they'll receive a smaller payout because you didn't get the desired attendance. If the night turns out well, thank everyone involved, and collect any writeups you get (they'll prove crucial in persuading established outfits to work with you). No matter what happens, sit down and discuss the pros and cons--the more quickly you learn from your mistakes, the less likely you'll be to repeat them.

Tips & Warnings

• Barter for services whenever it's feasible (such as allowing your sound person to work future shows in exchange for using her PA, if she has one).
• Keep a list of substitutes to call if somebody doesn't show up -- which will happen at least once or twice, if you do this long enough.
• View your promotional activities through a cost-benefit ratio: several artfully-placed Internet posts are worth one expensive radio ad.
• Whatever happens, offer value for money. You're not selling a show to people, but an experience they can't get elsewhere. Give them a reason to seek it out.
• Be consistent: if you advertise an 8 p.m. starting time, don't leave your audience hanging for an hour.
• Be upfront about your expectations. If performers aren't getting a guarantee, say so. If you need people to handle multiple tasks, don't ask them at the last minute.
• Know the audience you're trying to reach: if you guess wrong too many times, you'll lose your shirt!

Resources

• Read more at StyleCareer.com.