There are dozens of reference books, starting with the Yellow Pages, that list who to call to book a gig. And there are many more that offer tips, tricks, and techniques like this article. Go to www.google.com and type in "booking gigs". You'll have plenty of reference material. Here's a summary of how I do it.
When you contact a venue, try to view the transaction from their perspective. They want to know:
1. Who will come to see you?
2. How much will they pay?
3. How will they know you are playing at that venue?
If the answer to each is, "I don't know," then you are relying on the venue to provide an audience and promotion for you. These are valuable things: An audience to play for and sell CD's to, and publicity you don't have to pay for. In the beginning, every artist is in this position. So we must play at places that have a built-in audience: Bars, restaurants, coffee shops, the streets. The next level is to be booked as an opener in listening rooms. The job of an opener is to bring a few additional audience members that the headliner would not normally attract. You still must answer the three questions, but on a smaller scale.
Until you can boast a loyal fan base that will come out to see you, your leverage as an artist is limited to your social and selling skills (to get the gig), and your talent on the stage (to get another gig). You need both.
Here are some tips to cut through the clutter of all the people looking for the same gig as you:
1. Call first.
Even if you have a directory or a referral, call to confirm who the current contact is, how to spell their name and that they are willing to receive your pitch. You may have to call more than once to get this info. But be sure you do. People don't like to get mail with their name misspelled and that may not be for them anyway.
2. Follow-up your first call with a letter.
Mention your conversation with them then lead with what kind of music you play and what's in it for the venue to give you a gig. Why should they book you now (or soon)? In the beginning it might be only that they will be supporting a new act that is deserving of notice. That's why most venues got into booking music in the first place. Later they become focussed on the need to break even, if not make a profit. Offer to help with promotion: supply nice pictures of yourself, try to get some local press, offer to show up early and help out with set-up, stay late and clean up. Your letter should be typed, but the envelope should be hand addressed. People open hand addressed letters first. Refer them to your web site if you want to save money on CD's and mailing costs. An on-line MP3 is fine for an initial contact, and may be all you need. Email is an alternative initial contact. Include a link to your site featuring your music, bio, etc. However, there is still no substitute for a hand addressed, personal letter followed up with a phone call.
3. Follow-up your letter with a second phone call in seven to ten days.
Persistence and patience are required. Venues get many of these calls. You'll eventually get through. When you do, ask: "Did they get your letter?" "Is there a spot on the schedule for me?" "What can I do to help you book me in your venue?"
If this phone/letter/phone technique results in no sale, don't worry. You have created a positive professional impression. Now build on your initial work. Stay in touch so they don't forget about you. I recommend a post card every four to six weeks telling them about your successes. Or, even better, a one or two line note containing something nice you heard or read about them. Tie this in with a phone call every six months. Keep it short, light, and always ask for a gig. Brief, courteous, professional follow-up will separate you from the crowd. Very few do it.
If you do this systematically you should be calling, writing, and postcarding a hundred or so venues in your area at any one time. A portion of your day needs to be set aside for this work. You might set an objective of five new calls, five letters, five postcards, and five follow-up calls a day. If you want to book gigs, this is how it is done.
Keep orderly notes on where you are in the selling process with each venue. Dead ends can be dropped (but not tossed, go back to them every year or two... things change), new contacts get added, successes go in to the current client pile for more attention. Few people do this. If you do it you will be remembered and booked sooner and more often. Eventually you will have built an audience of sufficient size that an agent can be induced to do this for you.
Most important: Say, "Thank You."
Say it in writing every time you have any positive contact with your clients. Especially say thank-you after you do the gig, in writing. A hand written note on nice stationery is more appropriate for a thank-you than a typed one on printer paper. Be specific in your praise. Tell them what you liked about their venue, the crowd, and them. Your thanks should take the form of "You were such a gracious host," not "I really enjoyed myself." Again, so few people say thank you in writing that you will be highly visible. Even when you have a manager and an agent, you still must write a personal thank-you after every gig.
Good luck and happy booking. Since I run a venue, I'll be looking forward to your above average selling skills.
