datamusicata

My friend Jamie O'Reilly wrote this article and passed it on to me. I hope that it answers even more questions:

Jamie O'Reilly Musician Strategies

Chicago Artists Resource http://chicagoartistsresource.org/music/node/10224

Artist Question:

I really want this gig. How do I price myself? How do you talk about money and how much should I ask for?

I have been a singer all my life. I've performed professionally for over 25 years.

I am my own booking agent and run J. O'Reilly Productions, a cultural arts company through which I book a roster of talent.

At this point in my career I rarely perform for free. I am no longer uncomfortable talking about money and asking for what I expect, plus expenses. I require a deposit and a contract. If I donate my time, or receive a modest honorarium, it is as a choice. I may ask for a professional trade or perk in exchange for my time. What the client gets is my complete attention, a rehearsed and often tailor-made program, promotional support and materials, and the emotional commitment that is required of a ballad singer like myself.

As for putting a price on your work, the way I look at it is we are market society.

That which we find of value, we pay for-- the invitations to weddings, tips for servers in restaurants, and plumbers to unclog our sinks. If we can pay for the florist at the party,

we can pay for the musician(s), whose rendition of "Happy Birthday" may be the most memorable part of the night.

That being said, I also adhere to the belief that money can't buy everything. A true musical experience is priceless. I want my effort as a musician who is willing to present the vulnerability and focus demanded by my style of performance, to be listened to, enjoyed, remembered. In the end, I also want it dignified by receiving a fair wage.

I have been advising artists on the navigation of their careers for fifteen years. One of the main dilemmas performers face is figuring out HOW to price themselves confidently, and how to relay that information to a potential venue, client or organization.

Economic need notwithstanding, how much (or if) we are paid (and how and when) affects us in myriad ways--our self-esteem, dreams, scope of an act or project, future plans, ability to bring others into a project, and attitude towards our work in general, can all be tested by whether, or how much, we get paid.

Soliciting work and finding paid gigs is a constant part of our lives. Most gigs are a negotiation-we are selling our service and talent. In the same way that we need to describe our style of music and why we are a good fit for a gig, we need to price ourselves in terms of 'what the market will bear,' and what we find acceptable to ourselves.

Ultimately, we want the final decision, to do it or not, to be our own.

Here are things to keep in mind as a freelance performer when pitching and pricing your services.

* Do your homework

* Practice your pitch

* Use common sense

* Be willing to say yes

* Be willing to say no

* Build your reputation and viability

Do Your Homework:

I have written a guide called "Scoping a Gig" (on my website www.jamieoreilly.com). It is an informal informational survey I use when checking out a venue or situation. Fill it out and keep it on file so that you have a point of reference when you pitch a gig.

Know your market-do some research. I read ads and music listings in the papers and online to see what a venue's ticket prices and cover charges are.

For cultural arts scenarios, I may look at a non-profit's programming budget (this is often public information), to see what they spend on programming. I may ask other performers what to expect money-wise, if they've played there before. (Some fellow artists are open about sharing this information; others are close to the vest.)

Practice Your Pitch: Though awkward at first, there are a variety of ways to bring up the subject of MONEY. -Should I start high and be willing to negotiate down? Should I state a flat rate and they can take it or leave it? Again, remember that finding a price is a negotiation. There may be uncomfortable moments when you begin bargaining.

If I am returning a call or e-mail to a potential employer and I know what it's about, I may have a chance to check out the job ahead. I often feel safer sending an e-mail response. I state my fee, my stipulations, and may cover myself by typing "(negotiable)." Then I may follow up with an e-mail or phone call, at which point I can say, "How did my fee sound to you?"

Use common sense when pricing yourself. Examine your costs. Be aware that this takes practice. We've all thrown caution to the wind at times-spending more on publicity than we make on a job, or expecting a CD release party to pay back an expensive recording.

Consider these things: Will you be paying others as well as yourself?

If so, what's the going rate for 'side musicians'? If you are the booking agent for the job, have you included a percentage for yourself? Will you be paying for parking? Paying for a sound engineer? Staying overnight? (In touring situations venues often have perdiums or pay transportation costs. Having airfare and hotels covered can make or break a deal when you are touring.)

Flat Rates: If I get a call asking me to perform for, say, a concert series or gala, the client may say, "How much do you charge?" and I might respond by asking, "What's your budget for the entertainment?" This requires the client to be specific about their offer.

If I have no idea what to charge, I may ask the client to describe the event. If it is clear that it will be for a crowd in a high profile setting, I may price myself on the high end.

In addition, I may ask how long a program they desire, or whether I need to create something new for them. The amount of time and effort that this will entail is then figured into my fee.

If the event is a 'benefit' situation and I am asked to donate my time, there is often money in a separate budget for expenses. I may still request an honorarium, for transportation and parking reimbursements, and perhaps ask for prominent placement in their promotional materials. (Later I can use their material in my promo kit.)

If I am stymied in the moment and unable to quote a price, I say 'let me get back to you.' Then I think things through and come back with an offer. We musicians often chomp at the bit, afraid we'll lose the chance to score a gig, and may make hasty decisions we come to regret. It is fine to take time to think it over, and return the call or e-mail with an offer you've had time to consider.

Working on a Percentage Basis: Where clubs are concerned, YOU make the call to them. Remember they are in the business of booking acts, so your asking for a gig is not putting them out! Clubs are used to talking to artists and agents and negotiating. Club owners may offer a percentage of the door to their acts. (Cover charges are based on experience, night of the week they are booking, and what they pay other acts.) As for your 'cut' of the door, for many venues, it is 70% performer/30% club. An offer of a percentage against a guarantee means that if you bring in enough ticket revenue to exceed the guarantee, you 'go into percentages', and can come away with more cash then you expected.

In general, be willing to say no to a situation that seems demeaning, or doesn't pay fairly. A promise of 'good exposure' should be just that. Ask, How are you advertising? Who will be at the event? Be willing to say yes as well, especially early in your career. Getting seen and heard is essential in building an audience base. The musical arena is competitive. If you honestly see a lower paying gig as a steppingstone-go for it! But be willing to ask for some of the perks I mentioned above, and let it be your choice.

Get your agreements in writing. No exceptions!!

(I have a sample contract on my website.)

Build your reputation and viability: Our rates are adjusted by whatever stage we are in career-wise, based on the extent of our resume of experience, and what our standing is as emerging, established, or veteran performers. I started my career with people telling me I had a 'gift from god' and that I would be famous. However, talent is not everything. It is what we do with your gift that brings success. As cliche as that may sound, most performers are NOT 'discovered' and made famous over night. In any given city there are performers who are excellent, and have gained a loyal following of fans. We stick it out and make a name for ourselves and work very hard! We refine our craft-take lessons-try new things - listen to other performers, and get seen. As you develop into a seasoned performer, keep in touch with your audience, through myspace, e-mail, and by shopping features to print media. Listen to what the PEOPLE say about you. Use it!

As you develop a niche and a track record, you can price yourself accordingly.

Lastly, the music business can be difficult, if you choose to have a music career, make sure that you really love what you do. Your audience will remember your fire and passion, and they will come back for more. To me, that's money in the bank!

Jamie O'Reilly

Cultural Arts Producer

Visit myspace.com/jamieoreillymusic

J. O'Reilly Productions: Making Art, Making a Difference

E: jamiejoan@aol.com

www.jamieoreilly.com

PO Box 25675

Chicago, IL 60625