Let's Protect The Brand

Groundins

By: Charles H.E. Campbell

THIS is the final instalment in the series related to my observations of and prescriptions for the European reggae market.

This analysis is important because this market holds the greatest potential for the growth of our unique brand. Like I said on August 28, "The Jamaican brand of reggae is still the most alluring. Being Jamaican lends some authenticity and credibility to the artiste as well as the event's programme... We, however, are continuously missing the boat by not exploiting this for maximum returns, by properly registering and protecting the Jamaican reggae brand, and through the promotion of cultural tourism."

While it is true that a few of our artistes have harmed our reputation through intransigence and unethical behaviour while on tour, unfortunately, our competitive advantage is being further eroded by exploitation from unscrupulous European business people. For example, "too many so-called European booking agents are there giving some of our artistes a bad name, by pretending to represent them based on some prior, nebulous association, and accepting bookings on their behalf."

Here are some of the more common infractions that I've discovered, although I should point out that these 'tricks' are not restricted to French and/or Europeans alone:

a) Passively giving the impression that they represent an artiste or band which they don't. Sometimes it's as simple as putting the name and likeness of a popular artiste on their website in the hope of catching the eyes of festival and venue bookers. When someone calls to book the artiste, they claim that particular person is not available and propose an alternative that the individual/entity may book instead.

b) Falsely claiming to represent an artiste who may or may not already be represented by someone else. Bookers don't like to get involved with an artiste who has more than one representative, so this tactic can be used to scare bookers away from particular artistes. Another ploy that's used is to try to book the artiste knowing that if you wave some money in front of his/her face the artiste will jump because they either have no loyalty and/or a signed/written contract with their official agent.

c) The 'bait and switch tactic' where an agent proposes and books a popular Jamaican artiste they really do represent only at the last minute to switch that artiste with one or two others who are less known and less expensive for various reasons. Usually, the reason given is that the artiste wasn't granted a visa or had an accident. By switching to lesser known artiste(s) the agent might even end up with a bigger fee. Another devious strategy in this regard, even more disadvantageous to our brand is: European promoters who claim to represent popular Jamaican acts and then when booking requests come in, stall, then at the last minute claim the act is busy to then suggest cheaper European alternatives that they also manage.

d) Promoters who put the name(s) of artistes on their advertising whom they did not book and don't expect to show up. This is getting less and less popular because of the Internet and also because of the very real possibility of prosecution.

e) European promoters whoclaim to book for the local acts but do so at exorbitant fees which they then take cuts from before passing to the second or third agent, the much lesser sum reaches our artistes.

f) Most artistes do not ask for and do not receive a full accounting of the tour. They only ask for a fee without knowing how much money the agent is selling the gig for, and thus making on the tour. An agent usually earns a percentage (usually between 10 per cent - 15 per cent) of the net, with the artiste taking the rest. Without the tour accounts, the agent could be making more money than the artiste/band.

g) The most common and easiest 'trick' is to cut back on promises made during the negotiations; cheap backline, bus, hotels, etc.

h) These atrocious business practices are not only being used by small unknown agents and promoters. In fact, the biggest reggae agency in Europe is very famous for most of these malpractices.

It was for this very reason I proposed on August 28 that "Jamaican booking agencies should register and establish offices in Europe, possibly manned jointly by Jamaican and local representatives."

In order for us to protect the Jamaican reggae brand in Europe, the Jamaican Music industry needs to unite and establish formal working alliances with major European organisations, and a more collaborative, structured relationship with their festival organisers.

Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Let-s-protect-the-brand_9784455#ixzz1Z4ZSdaA1