Event Promotion – Intense but Exciting

By: Charles H.E. Campbell

Given my experience, but without intimate knowledge of their actual budgets, I am going to share with readers what it costs the Promoters to stage an event like Rebel Salute, Western Consciousness or East Fest, because I believe the public and certainly the government pays scant regard to the valuable contribution which the local entertainment sector plays in the economic life of our country. Unfortunately, with regards to this sector, the leaders have adopted the philosophy that declares “the least said, the better”. I think in order for us to compete with carnival, football and to a lesser degree, cricket, for public recognition, endorsement and corporate sponsorship, it is our responsibility to become more organized and transparent with our business transactions, public and general activity. This is not to say that we will ever get their wholehearted support, nor should we expect it. It might dull the edge, the stridency and universal appeal of our music. We may not have them sitting on our committees or attending the events and dancing to the beat in the thick of the crowd- though it is ironic that they mix with these same ‘dancehall’ people quite harmoniously on the streets during the Jamaica carnival road march each year.
To be a good Promoter, one must have the heart of a gambler and a brain like a computer. Event promotion is far removed from a routine kind of business life. The main motivational factor is the intensity and excitement of creation and power, that major event promoters experience. It is a ‘do or die’ profession, calling on the promoter’s abilities to fuse so many kinds of elements into one whole, that it sometimes does seem like a miracle when the actual Event comes off. In fact, generally it is a high risk business, but the appeal to become a Promoter is so great, that for some, the prospect of success is worth the risk, while some people are attracted to the glamour of the profession.
Promoters/Producers of concerts, festivals and tours often receive more attention than the Acts themselves. They are interviewed, photographed and quoted, and if they last, they become famous and powerful. Amazingly, however, some of the most famous concerts/events and festivals have brought little or no profit to the Promoter because of poor planning and management (lack of attention to details), and sometimes disaster in various forms eliminated success.
So to begin with, we have to define the Event– that idea or concept that we want to transform into an important successful occasion/affair/experience. Is it a concert, fair, fun day or ceremony? What is the most appropriate venue, the locale, the capacity, the facilities? We now ask ourselves, what is the motive or rationale for this Event? Is it for profit; is it to celebrate some important anniversary, or person? The answers to the above will help us to evolve a production theme for the Event.
The locale, the capacity, the facilities, the production and security infrastructure, the cost of rental, all determine your choice of venue. Promotion begins with the choice of Acts to showcase. Factors influencing this choice include air play, record sales, patron support and financial success of any previous Event that an Act has done in the area and reliability of Acts. To keep up with the current entertainment scene a Promoter must read the trade papers, to keep him/her informed on what Acts are appearing on major shows and what reviewers think of them.
If an Act has been overexposed through frequent concert appearances, you may not be able to create sufficient excitement to sell many tickets. If the Act is virtually unknown in your area, it is going to be necessary to do an all out promotion job so that people will be enticed to the Event. Similarly, these factors should affect the setting of the ticket prices. A relatively unknown Act will not sell out if the ticket prices are set too high. Once a price is agreed upon with the Act/Acts, and contracts signed, preparations for the Event should go full speed ahead.
A look at the requirement specifications of a technical rider from the Act/Acts will determine stage plots, band gear, dancing platforms, microphones and like. These will have to be booked and stage (the appropriate size and roofing, if required), lighting and sound equipment and instruments according to the rider, must be finalised. The Promoter must also plan for creative décor, sets, wings, backdrop, if required.
The timing of an Event must be carefully considered, certain holidays may cause people to want to stay at home, while others may pull them out to celebrate. If an Event is to be held outdoors, attendance will be affected by the weather, and you may need to arrange an alternate site or a rain date.
In determining how to promote a particular Event, it is important to know exactly what age group/market demographic, the Event/Act will attract. This will govern the extent of the advertising and promotions. Which radio stations and by extension which programmes, what newspapers/magazines and which days to place ads. Advertising must be planned with great care. The promoter may set a minimal advertising budget and hold a reserve for extra ads if needed, or he could solicit private sponsorship to cover his advertising costs. It is important to advertise in the medium/media that will match the demographic of the target market. Free radio publicity can be obtained through community bulletin board features, community based newspapers and cable networks are somewhat cheaper than the major media. Local entertainment magazines and tourist-oriented weeklies may include details of the Event for a small or no charge whatsoever.
The campaign really gets underway some 6 to 8 weeks before the actual Event. Tickets must be printed and ticket distribution outlets arranged. Sometimes when presenting a series of Events, a promoter may decide to offer a discounted season ticket. Press releases are considered publicity material and should be disseminated along with pictures to the newspapers and magazines. They should be sent out with enough lead time so stories can be printed before the Event. Press releases should be followed by telephone calls and invitations to the Event. Promotional material, like posters, flyers, teaser boards, banners should be printed and distributed in neighbouring towns as well as in the City where the Event is being held. These promotional materials should go out way in advance and placed in important locations such as retail stores, pharmacies, visible intersections, that will cater to the market you are targeting.
As the actual date of the Event approaches, the Promoter should send out mailings from his/her own mailing list (special invitees, V.I.Ps, press passes). If the Event appears to be in trouble a week before the Date, certain remedial measures can be taken. More money can be spent on Advertising, and Group discounts can be offered. Arrange live interviews with any media personnel of influence. Any revenue is better than an empty venue.
By this time, the Promoter should have arranged for adequate parking facilities, crowd control procedures, Security, and must hire competent Stage/production personnel. During the Event, the promoter needs to check on the Light and Sound, make sure there are no disturbances at the box offices or elsewhere, and ensure the programme runs on time.
After it is all over it is time to assess the situation. What do you use to measure success? In the final analysis in the private sector, the question is - did the Event make money? In common, success is assessed by the following criteria - Was it well attended? Were the artistic contributions of high standard? Was the production flawless? Was it incident free? Were the reviews and comments from patrons and Press good? Thank you notes and personal calls should be made to all the people who made the Event a success.
Let’s now look at a breakdown of the basic departments the minimum contributing costs of these major events, and their areas of responsibilities – recognizing that a department may be one person, and/or one person may wear many hats.
• Finance and Administration – budget and cash flow; tickets (purchase, sales & outlets, printing and stationery, office supplies), insurance, permits (JFM, JACAP and Parish Councils), professional fees, legal fees - $437,000
• Promotions – sponsorship, public relations, advertising, publicity, press kits, VIP protocol - $2,021,000
• Artistic Management – booking and contracting an average of 10 Acts, rehearsals, rider requirements, hospitality (dressing rooms, refreshments etc.,) running order (script) - $3,650,000
• Production Management – venue (rental and preparation), chairs, tents, bathrooms, stage and lights, PA System, band gear, stage plots, backdrop and décor, electrical and plumbing requirements, garbage disposal - $1,480,000
• Merchandise – food and beverage, art and craft, event souvenirs, concessionaires - $208,000
• Security & Logistics – transportation, accommodation, radio communications, crowd control barriers and fencing, security plan and personnel - $1,420,000
The grand total is $9,216,000.

© 2005 C.H.E. Campbell.