speaker
Moderator: Joey Scoleri, Live Nation Canada
Jared Alpha, Independent Artist Group
Michael Brill, D.LIVE
Ken Farmagrich, UTA
Brad Wabla, Live Nation
Sarah Zawalski, 313 Presents
“Communication is key” may sound like a far-fetched statement, but for venues that collaborate and compete on dozens of concert dates a year, communication is always improving.
“(Communication) is really important for the building side, especially as the beginning and the dates get closer,” said John, senior director of entertainment reservations for 313 Presents, which books and operates six major venues in the Detroit area, including The Little. Sarah Zawalski says. Caesars Arena, Comerica Park, and Pine Knob Amphitheater.
She said that when submitting avails, they try to provide additional information and let promoters know what might impact the success of the event, not just the day of the week. “Additionally, more and more shows are requiring loading days, which may or may not be communicated, and that seems to be starting to happen now. It’s very difficult.”
For artists, a tour loaded with a different environment each night means it's up to the promoter to make sure the experience lives up to artist and fan expectations. Collaboration between venues, a relatively new phenomenon in the concert industry, makes that more possible and benefits both parties.
“We're pretty much the third tenant in any building, so at the end of the day we bring a lot of content to the building,” said Live Nation, promoter of major tours such as the Jonas Brothers, P1NK and more. says Brad Wabla. others. “We've matured a little bit as a business. I mean, you're all connected now. There are partnerships and you're able to share information. That didn't happen before, and it's something that everyone can do themselves.” It happened for. I'm seeing a new generation coming up through building management and they learned how to be promoters with us. The good ones have. They We understand what we need. And a true collaboration with many of you has been born. I go to a lot of my shows, so I wanted you to be my partner. I am thinking.”
Communication with fans is equally important, and venues can be part of the message when announcing tours and creating buzz. Our unique marketing department and proactive approach allows venues to be directly involved, not just a name on the route.
“For global and national tours, buildings are an important part of the start of a tour,” said Ken Farmagrich, a UTA agent and partner who represents acts such as Guns N' Roses and Paramore. “When I started this effort many years ago, I don’t think we really understood what a local building could do on a national level. I mean mainly through social media, but Tours now often use buildings and building assets.”
With new buildings rapidly coming into operation and a focus on artist amenities, dedicated staff, and hospitality, Independent Artist Group's Jared Alpha believes that simply being new is not enough to increase ticket sales. He immediately pointed out that it was not connected to the
“When considering dates, consider which venues have tickets on sale and which sports teams are featured,” Alpha said. “Do people like going there? I don't think it's just new or old.”
To that end, Michael Brill of D.Live, a multi-venue operator in Düsseldorf, Germany, says he relies on direct input from promoters when investing in venues and trying to create a better experience for everyone involved. He said it was valuable.
“All of these expectations are not difficult for us to resolve,” Brill says. “There seems to be a lack of communication throughout the entire process, from asking someone out on a date to ending the show. We will look into finding new ways to get more money from and sharing them with all stakeholders.”
Venues are very passionate about their content and are as tolerant as possible of artists, promoters, and their touring parties, so you don't just hear about when things could have been better, but rather affirmations when things are going well. Zawarski said any feedback would be welcomed.
However, excellence is expected and required.
“As I walk around the building, I see $200, $300 tickets being sold courtside. Maybe I don't care about basketball, but my fans expect a $250 experience. I don't want to sit on a stupid, dirty, cracked leather seat,” Wabra said. “Steam clean the seats in that row so it looks like you know we're coming. Paint the rails and remove the chips. That experience is part of the value of that ticket. We don't make guests go through the garage or past the dumpster to enter the building. We understand it's not always easy, but we can do better.”
