Think for a minute about what’s involved in the staging of even an average-sized rock concert. A venue has to be booked; payment for that venue has to be guaranteed; a contract for the booking of that venue has to be drawn up and signed; the band concerned has to be certain that the facilities exist for all its equipment and stage set; equipment that isn’t owned by the band has to be hired; there must be vehicle access to get the equipment in; there has to be somewhere for those vehicles to park until the end of the concert; there has to be back stage and front-of-house security; there have to be changing and hospitality facilities; there has to be an audience so there has to be promotion; rickets have to be sold, and at the right price; and if the tickets don’t get sold, staff and concert hall owner have to be paid anyway.
All the above are often, ultimately, the sole responsibility of the concert promoter. On top of all this the concert promoter has to run his or her own company too, paying staff, office rental, phone bills, etc.
A promoter will not always get involved in all of the above. The job varies from concert to concert, from tour to tour, depending on the type of act, and the type of deal that has been struck between the promoter and that act.
In some cases a promoter will design the set, put the road
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Publication information: Book title: Inside the Music Business. Contributors: Tony Barrow - Author, Julian Newby - Author. Publisher: Routledge. Place of publication: London. Publication year: 1999. Page number: 132.
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