This is a continuation of a 3-part Q & A with Scott Southard, director of the International Music Network (booking agency) about the state of the field, ideas for new directions, and specific practices in increasing demand for global music, in advance of "Entrepreneurial Approaches to Global Music: An Open Forum" on January 9, 3-5 pm, at the Arts Presenters conference. Read Part 1. Can you tell us about specific concert presenters that are programming in a way that you think will increase the market for live international music?
I think that the programming models at locations like Le Poisson Rouge (NYC), Cedar Cultural Center (Minneapolis), and the Outpost (Santa Fe), are some of the best examples of bringing divergent audience interests together. By not being afraid to program classical, punk, and world music all on the same stage. In some instances, even on the same night. And I’d like to see more of that.
What do you think is missing from the way live music is marketed?
Taking risks. One of the things that stands out in my mind is that many in the arts presenters network are very good at coming up with collaborative solutions to policies and procedures. But they are completely territorial when approaching marketplace issues; to collaborate on commerce, sharing names and marketing dollars, and truly being able to contribute to expanding the marketplace.
Why not share lists? Why not imagine your artist rep or agent as your partner? Since you are both trying to build an audience for an individual artist’s career, and, in a macro sense, build a market overall; instead of the agent taking an adversarial approach to get the most money.
Let’s share the metrics of what makes success, to build the marketplace so the artists enjoy a better long term future. Invest in embracing new technology and invest in ways to add value to the audience. Why not record concerts, if there is no record company. One problem is there isn’t a national radio broadcasting vehicle to get new music out there. The old model of media markets and control over artistic product is gone. There is an opportunity for new models. Take the risk: record the concert, then podcast or stream or give it away to your audience as a CD.
It may be the case that the cost of producing a concert results in having to charge $50 per ticket. But if the patron is going to spend that to see a show, give them more value than simply the show. If it is the chance to meet the artist, the chance to get a recording of the performance, or whatever other value-added experience you can think of. It’s about trying to create new ways to build audiences while building a viable market for performers.
In Europe, there is a broader acceptance of public and private partnerships where broadcasting performances through national media outlets is widely accepted. But here in the US, artists are often reluctant to give their performances away for broadcast. In Europe we’re seeing a lot more distribution of electronic media. As a result of support from the institutional level and from the artist perspective supporting granting those rights. You see more podcasting, more festivals and venues having their own website streaming performances.
Technology is not the only answer to building the marketplace, but it can be an asset we use to add value added experience.
Read part 3 of this Q & A to find out Scott's thoughts on what could change the profit terms for the industry.
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