Live Music - Does it Pay to Play?
It's no secret that the music industry has secret practices to guarantee success for artists.
We've all heard the term "payola" before, referring to labels or parties with leverage paying out radio stations to play specific songs. As Spotify rises in popularity, some playlist curators demand payment from artists to feature them on playlists with heavy listenership. In the last few years, many an internet discourse have thrown around terms like "industry plant" (artists made to look as if they've had organic internet virality before a release when, in reality, the label worked with the app to promote that video over others) and "nepo baby" (nepotism baby - child of famous or incredibly successful people who have a leg up in gaining music industry traction). In Music Supervision, this term describes music supervisors taking financial incentives to place songs without performing the proper vetting processes.
A controversial topic is the pay to play for live music.
What is a pay-to-play?
For live shows, a pay-to-play requires the artist(s) to front a set amount of money to play the gig. Pay to plays are usually the result of venues booking artists with a lower draw - the upfront ticket sales help to ensure the venue will profit. Artists with a proven fanbase and track record for selling well or selling out are less likely to encounter this situation, as they have evidence of previous success. With the likelihood of high ticket and liquor sales, it is less of a risk for venues to book "known" artists.
Pay-to-play shows usually feature more acts than the average bill because organizers and/or talent buyers expect each artist to draw fewer attendees than an "established" artist can. The venue decides on a set ticket amount for each artist to pay upfront, securing their spot in the lineup. I've done pay-to-plays where each artist must pay the same amount up front. In the past, venues or other artists and show organizers have offered me pay-to-plays where each artist is required to pay a different amount depending on what the venue believes is "fair" (with "fair being a subjective term), as the venue is taking a risk by booking smaller artists.
Pay-to-plays can add stress to an already demanding preparatory process leading up to a show. Conversely, sometimes pay to plays can also lead to good opportunities. Everyone I've had this conversation with usually has a sour taste in their mouth when they utter the words "pay to play," which makes sense given the inconsistency and feeling of griminess many people experience after playing one. Despite the contentious nature of the subject, I'm here to help you consider when it might be worth it or not worth it to pay to play.
What should I take into account when offered a pay-to-play?
1) Venue Location
It might be worth considering if you've previously played the area with considerable success. Shows in hometown territory are particularly advantageous; if everyone in the room is rooting for you, people will take notice. Having many friends you can depend on to come out to shows also doesn't hurt!
Participating in a pay-to-play can be a risk if the location would be a new market for you.
2) Your Funds
Consider your finances - the cost of the tickets being comfortably within your spending or investing range is a solid reason to participate. However, it's entirely valid to choose to allocate your funds elsewhere.
It's worth asking the venue about their ticket and merchandise sales policy (and whether they'd be taking a cut).
3) Your Ability to Sell Tickets
With the prospect of selling a large number of tickets, the pay-to-play becomes more than just a gig; it transforms into an experience that leads to good times and lasting memories (and great content) for all. Plus, depending on the kind of pay-to-play deal it is, you could profit!
If you feel insecure about selling an adequate amount of tickets for this particular show, it's worth weighing the pros and cons of participating. You can also take this as a challenge to push yourself into exercising your sales muscle - practice makes perfect!
4) Networking Opportunities
The show's lineup could be advantageous to you in terms of strengthening your place in your music scene. There may be other artists, photographers, talent buyers, or sound engineers in attendance that would be good for you to get to know. Bonus points if your friends are playing the show!
As a promotional experiment, you can buy the tickets and hold a contest where winners will receive tickets to the show. You could also invite other musicians, journalists, or other important musically connected people in that area to the show, tickets on you. This promotion method can help you build out your network in that area, solidifying your presence and leaving a lasting impression.
If the lineup, the venue, and the location seem like a net negative, it's perfectly acceptable to decline.
Real Life Examples
My first pay-to-play experience occurred just a few miles from where I lived at the time (Sonia, Cambridge MA, 320 capacity). This show had 7 acts on the lineup. Fortunately, I have a supportive network of friends in the area who were excited to buy tickets when I announced the show. Initially, I was required to buy 25 tickets and managed to sell them all within a week, breaking even. The venue then provided me with 25 free tickets (as they anticipated low attendance), allowing me to profit directly from those sales. Impressed by my sales record, the venue recognized they could benefit from my audience, requiring me to sell tickets online (of which I sold 13 more). They also moved me up the lineup to perform just before the headliner.
The second pay-to-play event was near my hometown, offering a territorial advantage (Amityville Music Hall, Amityville, NY, capacity 85). This bill was an all-day event with about 12 acts on the bill; attendance for each act was rolling, as the venue was small. Once again, I purchased 25 tickets upfront and earned a 30% cut on additional sales. Despite the terms being less favorable than the previous example, the show drew in family and old high school friends, selling 50 extra tickets and creating a profit. Notably, the crowd's enthusiasm caught the attention of other bands and venue management, possibly due to my long-standing connections in the area, leading to new friendships and exciting opportunities.
Regarding the two opportunities I declined, one required a minimum ticket sale of 50. None of the other 8 artists on the bill were required to meet this minimum, which I learned by reaching out to them individually. The second, a music festival, could not provide me with transparency regarding ticket details and their expectations of me. Additionally, both of these shows would have been in new markets. These combined factors of ambiguity of terms and new locations led me to decline both shows.
Conclusion
In summary, the decision to participate in a pay-to-play lies with you. With any situation, it's always best to consider the ROI (return on investment) to determine the best course of action. Make it a great show or not; the choice is yours.
Have you participated in a pay-to-play before? How did it go? Let me know in the comments.
