Booking Your Canadian Tour – Tips From Ann Vriend

by Ann Vriend

The tips I’ve written below are things I mostly learned the hard way, either as an independent artist, a booker of a venue, and/or as an artist who has been represented (sometimes badly) by booking agents and managers.  I hope it helps.  I am by no means more of an authority on the subject than many other independent touring artists out there, so feel free to dispute or disregard any of these points and ask around.


1.  Where to begin:  get a google or ical out, map out your ideal tour in a certain colour, and label it “tentative” or something to that affect.  Per date it is good to put a number of options of towns and venues in that town; some flexibility will probably be necessary.   As dates become confirmed put them into the calendar in a different colour (labelled “confirmed gigs”) and delete the options that were previously in the “tentative” colour.  Remember to mapquest/google map distances between places, keeping in mind time zones.  (Canada, for instance, is BIG.  Ontario never ends.)  Write as many notes to yourself in the calendar to keep organized, because things can easily get confusing.  Usually the best thing is to centre your tour around an anchor gig or festival that pays decently, and work towards and backwards from that.

2.  Aproaching venues and artists.  The golden rule is: DON’T WASTE PEOPLE’S TIME.  People in the music business don’t have very much time.  Nearly everyone is wearing a lot of hats in order to pay the bills.  Most of the next points are in regards to this, one way or another.

3.  Research a venue a bit first.  Check it out online or find out from other artists what it’s like, what the best strategy is to booking it.  Look at who’s playing there– does your music fit?  Are the artists playing there at similar levels in their careers as you?  Do they even HAVE live music on the day of the week you’re asking about?   Some of them are folk clubs that book at least a year ahead.  Some of them only book local acts.  Some of them you have to actually call.  Others get very annoyed if you call (the latter is more common; generally try email first).  Some are great but the sound is bad– bring your own sound gear or guy.  Stuff like that.

4.  Ask other artists about venues.  Getting contacts and references from other artists is usually a way faster, more efficient way to find out info and connect with the right people at the venue.  But also keep in mind asking busy artists for tips and contacts is a time consuming thing for them to give you, so be grateful when people do help you out, and be willing and ready to offer something comparable in return.  Having said that, know other artists have spent a lot of time and energy on these contacts and connections and have every right to decide you’re not an artist they want to hand that over to– either for artistic reasons, or simply because they’re super busy, or because they don’t feel you’re ready in your career for the kind of thing you’re asking them for. Or any other number of reasons.  Everything in this country is about helping each other out and most people are kind if you can make it easy for them but it is in no way their obligation to help you.

5.  Think of booking a gig from the perspective of the venue: they need to make sure the venue is well-attended; if no one’s there they lose money and have to shut down.  Some venues, God bless them, give you a guarantee and don’t seem to mind either way if you bring out a crowd, but they are few and far between, and still, no one wins if there’s an empty house.  So, if you don’t have a draw in a town find other local artists who do have a draw to team up with– maybe in return for the same in your territory.  Or be willing to play open stages and not very awesome bars first, to build a fan base.  Or tell the venue truthfully you are just starting out your following there but would love an opening spot for someone else (and realize there’s typically not a ton of money for opening acts).  But DON’T lie and say you have a fan base somewhere that you don’t, or exaggerate the number of people you think will come out.

6.  If someone turns you down for a gig or doesn’t get back to you after one or 2 attempts consider it a dead end and move on, or find out if maybe there’s a different person to contact.  DON’T keep bugging the same person.  I know there is/was advice floating around out there for a while saying that you should just be persistent and in a moment of weakness or exasperation someone might give in to you just to get you off their back, and while that may occasionally be true, people should not book you because you are incessantly annoying.  They should book you because you’re a good performer and your music is good, or preferably great.  If it is and you work hard and smart, eventually that person will hear about you and you’ll get to play there.

7.  Include very the date or options of dates you are looking for in your first email to the venue.

8.  Include what size of band you’re touring with, or if it’s a double bill with 2 songwriters, etc.  If another songwriter include links to their stuff, too.  If the band members are people you think the venue bookers knows, mention that, too, but otherwise don’t bother.

9.  Mention if there is a professional publicist behind the tour (and name them).  Or anything in this regard that will make the venue booker feel like you’ll get some publicity (again, DON’T LIE). If you have radio play in that area or some press in that area from a previous tour send the playlist or the link to that.

10.  By now it should be clear that sending a generic email to every venue you want a show at on your tour is actually not very effective, as time efficient as it may be.  Again, see #2.

11.  When you are approaching a venue who you know may not have heard of you, send them active links to your music/bio/website/myspace/youtube— whatever has the best stuff on you– info wise and music wise.  Usually the venue booker has 30 seconds to check you out, max.  Don’t make the info hard to find, and make sure the info you give them is how you want the 1st impression of you to go.  But DON’T send a large attachment such as a high res photo or mp3 to clog their inbox or smartphone data plan.  Again, think of it from the perspective of a venue booker who gets a LOT of messages from musicians looking for gigs per day.

12.  Make sure that info you’re sending is something you’re proud of.  Would you book you?  Change your presentation (maybe even your music) until the answer is yes.  You may have to spend money on better photos, get someone to write your bio, improve your website, etc.  Your live show could be the best thing since sliced bread but remember the link people click on first is very often their first impression of you, and if it’s not a good impression they won’t look or listen further.

13.  Don’t go on and on in the body of your email about yourself and your music— that’s what the links are for.  But a quick summary of your genre, a few of your major achievements, and a press quote or 2 are not a bad idea.

14.  Have your music on your CD match or at least somewhat match what you’re going to sound like on stage.  Or, if it doesn’t, point that out in a BRIEF description of what you WILL be presenting so that the venue knows what they’re getting.

15.  If you are booking house concerts know the etiquette of that. and can fill you in on this.

16.  Book far enough ahead that you’re not scrambling and desperate.  People feel bad and annoyed when you grovel and they can’t help you.  Generally it looks quite unprofessional if you ask less than 3 months in advance, give or take the nature of the venue.  If you book REALLY far ahead the typical response is that they aren’t working on that time of year yet– then you can say, ok, i’ll get back to you closer to the time– and at least you’ve touched base, though be aware that sometimes this is just a polite way of saying they’re not interested.  Know the difference.

17.  Thank them for their time.  Be easy to work with.  Be easy to get along with.  No one has time for anything else.  You can be a diva when you’ve sold a million records and have an entourage to protect you from the real world of people who would like to be treated with respect.  Until then… (actually, don’t even do it then).

18.  Money.  Most importantly, know what is reasonable pay for that venue for an artist of your level (of recognition, not talent– unfortunately) AT THAT VENUE.  Ask around what’s “normal,” or just point blank ask the venue what their ballpark is, or how they do it (door deal, guarantee, combo thereof).  Don’t email a set fee to people in your first contact with them.  It’s pretty presumptuous and can come across as offensive.  Booking agents for very established artists can do this but even then it’s a series of negotiations and conversations most times.

19.  Money part 2: But, don’t be afraid to stand your ground if what they come back with doesn’t work for you.  Politely refuse, with a (TRUTHFUL!) explanation (ie: in the past I’ve played your town for x dollars so I need to stick to that or I’ll undercut myself), or, thanks very much, I am trying to strictly book guarantees for this town, or I’ve got a band to pay so I don’t think those numbers will work for my budget, etc).

20.  Make an expense budget.  Make a projected income budget (merch sales included).  Both will fluctuate as you book and as you tour.  But it will help you not get in over your head.  It will also help you to determine how many band members you can bring, and what you can pay them.  And make sure you have a buffer zone of income (credit card, line of credit, savings).  Things can go wrong, vehicles can break down, shows can get cancelled, attendance bad due to weather, etc.  (On the up side, things can also go right and you can make way MORE money than you thought.  But err on the side of caution.)  If you are hoping to get a touring grant or some sort of funding for your tour, know the grant deadlines and the number of confirmed shows you need in order to get it, and plan far enough in advance accordingly.  GETTING grants is of course not guaranteed so have a budget for if you get it as well as one for if you don’t.

21.  Don’t undercut other artists.  Do not offer to play for next to nothing in order to get yourself on a bill that the venue/promoter was planning on paying a different artist for.  Not cool.  Also, try to get away from playing venues where there is no cover or just “pay what you can.”  This is what artists have to do when they’re starting out, but keep in mind that eventually, as your career builds, if you keep doing this you’re undercutting other pro artists and making it harder for ALL of us to get paid– venues and patrons will get too used to music being free– no matter what the calibre, and then soon NONE of us can make money at this.  If your show and music is great people will pay for it.  Be confident in that.  You have to find them and they have to find you, but they will and do.

22.  Contracts.  Sticky subject.  I’ve had contracts that weren’t honoured (despite both parties signing it), and hundred of gigs that were just agreed upon and honoured in an email or even phone call or text.  As far as I know an email trail (with date and sender info intact) stands up in court as proof of payment– but don’t quote me on that.  The sad reality is that usually the disputed dollar amount is not worth going to court over.  Luckily, everybody talks– artists, venues, festival bookers, industry members, publicists, agencies– and word gets around that someone has ripped someone else off astonishingly quickly.  So, thankfully that keeps most people inline. Generally a contract will come at you from a venue/promoter/club/festival, and not vice versa. Though having your own template is not a bad idea.  Also having a tech rider on hand is good for when these types of gigs come around.

23.  You need to be a bit tough.  Don’t take it personally if someone turns you down for a gig or doesn’t like your music or simply is too busy to get back to you.  As soon as you charge money for what you do you are running a business, and not everybody wants your business– not every person likes every kind of artist and art.  If you get easily offended or are super sensitive about your music frankly you better stay home and just play for your friends and family (assuming they are nice ;)).

24.  Patience.  There are a LOT of people who want gigs, far more than there are gigs to be had, so it usually takes time, hard work, and a great product to really start being able to make some decent money out there.  Often your first tours into a new territory will COST you money rather than make you any, so unless you’re mainly doing this for fun, you need to think of serious touring in a long-term way;  like any business, you have to think of it as an investment.  If you have a great product and presentation and play it smart your investment will pay off.    There is no absolute guarantee, but generally the smarter decisions you make from the get-go, artistically business-wise, the faster you’ll be able to have financially successful and artistically rewarding tours.

Stay tuned for a follow up blog on advice for the actual tour!

Life of a “Mom”-ager

by:  Terri Cox (Mom of Keisja Cox)

If I can make any current or future young emerging artist’s parent’s journey smoother, even slightly smoother by sharing some of our experiences and lessons learned thus far I would be very pleased. At the beginning of our journey with our daughter I would have loved to have been able to pick up a handbook or article for some guidance on balancing artist management, family life and being the “Mom”ager.

Keisja’s Dad and I knew very early on in her life that music would be a part of her future. At age four, she would sing from the time she opened her eyes until bedtime. Around this same age she began to create her own musical versions of popular nursery rhymes (much to her brother’s horror) so it did not come as a surprise when she announced at 10 years old she wanted to enter a local singing competition. After being one of the winners in this competition she announced “I want to be a singer and record my own CD.” Fast forward to age 14, numerous songs written and co-written, many hours in the studio, numerous performances, a growing passion for her craft and a debut CD being released October 11, 2012.

Over the past four years, I have had the great fortune of witnessing many goals set and achieved by Keisja and some that have not been achieved; life lessons have been taught good and bad but the experience has made not only Keisja a better person, but me as well.

Lessons we have learned; communicate as frequently as possible with each other, always have a backup plan, ask your music industry contacts questions as they come up, clearly define your parenting role from your music manager role, always put time aside for music business so it does not overflow into family time, and never book more than two concerts a week when in main stream school.  Each one of these lessons has helped us to balance the demands of artist management and family life.  This is very important for all members of the family.

I work fulltime, so does Jason (Dad), and Zach (brother) is actively involved in Air Cadets and sports; because of these dynamics combined with Keisja’s growing popularity we practice some pretty creative organizing.  In 2011/2012 school year, she did concerts at 20 Elementary schools. In addition to the concerts Keisja performed at fundraisers, festivals, spent many hours in the recording studio, attended vocal coaching, all the while going to school and maintaining Silver Academic Honor Roll. If our family did not work as a team half of these events would not have been possible. Teamwork is a must.

Keisja and I have attended three Vancouver Island Music Business Conferences; learning as much as we can from current and active music industry professionals. Their advice and direction has been invaluable. When we started this journey we had no connection to the music industry therefore we were entering into uncharted waters.  At the conference Keisja had songs critiqued, attended song writing retreats, spoke to fellow artists while I attended workshops to learn about funding, touring, radio, producers and publishing. At the end of the first conference I was overwhelmed and my brain was swimming with information, all good but so much!  After a nights rest and a chat with Jason, we sat Keisja down and asked her “Are you sure this is what you want to do, because it is going to take a lot of hard work from you and the rest of the family, so we want you to be sure?”  Without hesitation she said, “Even more than before!”  We have not looked back!

As the CD release approaches our excitement builds and I have found myself reflecting a lot.  I have thought about the people we have met, the friends we have made, the events Keisja has been a part of, the opportunities, the assistance and the advice we have received from the contacts we have made these past four years. It is because of all these lessons, experiences coupled with her talent and passion that Keisja has been able to realize this goal!  In closing, the parent in me cannot help express how very proud of Keisja I am and the “Mom”ager in me would not allow me to miss utilizing this blog to promote Keisja Cox’s’ Debut  CD “Take Me Away” available at and iTunes on October 11, 2012. Thank you for being part of our journey.

Click Here to visit Keisja’s Songwriters’ Profile.

How and When to Find a Music Publisher

The 2012/13 issue of Songwriters Magazine is about to hit the stands.  In celebration of our 2nd edition of this annual reference publication, we’re sharing some of the great articles from last year’s issue on our blog.  First off is a frank conversation with Barbara Sedun, formerly the Senior Vice-President of EMI Music Publishing Canada, now off charting new musical adventures.  Read on if working with a music publisher is one of your goals.

Barbara Sedun is a busy woman.  So busy, that this interview almost never happened.  You will usually find Barbara attending showcases across the country, scouting out talent in secret venues, sharing her knowledge on panels at music industry events, and anything else music related.  She eats and breathes music, hence, has some invaluable insight from her former position as Senior Vice-President of EMI Music Publishing Canada.  BEFORE you go knocking on her, or any music publisher’s door, best be prepared by reading her answers to the following questions!

At what point should a songwriter approach a publisher? (What should they have prepared?)  In an ideal world, a songwriter would not approach a publisher. They would have generated enough activity on their catalogue that the publisher would contact them. However, if the publishers aren’t lining up as quickly as you like, you would approach the publisher in the same way that you would approach anyone else in the business. Know what you are looking for in a publishing deal and do your research on the publishing companies to determine which ones would best suit your needs. Know if you are looking for a co-publishing deal or an administration deal. Know which publishers work best with the style of music you are writing. Do your research and find out which member of the staff deals with the style of music as well. You should have had some activity on your music. Know that if you are approaching a major music publishing, they may have different requirements than an indie publisher. There is a lot of work you can do on your own before ever getting involved with a publisher.

Try to place songs with artists if you are not an artist yourself. Or write with artists. Work your songs at radio. Pitch your songs to tv and movies. Or commercials. Or Video games. If this seems like a lot of work, it is. But you are competing with the person down the street who has been doing all of this for the last 2 years and is just now knocking on the publisher’s door. AS well, once your catalogue of work starts earning money, you will need a publisher to administer your earnings.

What are publishers looking for?  What is your ideal candidate of someone you would like to work with?  I am a workaholic yet it seldom feels like I am working because I love what I do so much. I want to work with people who work equally hard on their songwriting careers as I will once you are signed. Basically you should become your own publisher, and do everything a publisher will eventually team up with you to do. I look for talented, hard workers who are not afraid to think outside the box and will do anything to move ahead. I want you to want to be “rich and famous” – one of my pet peeves is when a writer tells me “I just want people to hear my music”.  Put your Canadian humility aside and reach for the stars!! I also want to know that if you have a team around you they are strong and bring something to partnership. Leave your dependencies at the door too, please.

What to bring when you land a meeting with a publisher (and what not to bring)?  Be prepared – bring your best music, make sure everything is labeled very well and you have extra copies in case one of them doesn’t work. bring lyric sheets even if they are not used. Bring your best, most positive attitude – and know your stuff. Have a playlist ready of what you feel is your strongest work – don’t go searching for it. And remember that even though we are sitting on the other side of the desk, we are just people like you.  I see how nervous people are sometimes and I understand it and do my best to help you relax.

What types of songwriters are offered contracts and what kinds of different contracts are there?  The main publishing agreements are co-publishing deal (where we become a co-owner of the song with you); an administration agreement (where our percentage is slightly lower generally but there is little or no creative input) once in a very long while we do single-song agreements. An indie publisher may need sub-publishing agreements (where another publisher in another territory will collect your royalties, etc for them because they do not have an office there) but EMI is a worldwide company and has offices in most territories and therefore seldom have need for sub-pub deals.

What does a publishing contract usually look like (term, exclusivity, commitment)?  Every publishing deal is different and the final result depends on what your focus is. Different points to negotiate include: Term (ie how long the contract is – usually the initial term plus options); Songs that are included; the minimum delivery commitment (how many songs you are required to hand in to the publisher during the contract period); how long the publisher retains the songs after the contract is over; the territory; the advances; Royalty percentages (mechanical, performance, synchronization, other income); administration fee.

Should artists contact publishers as well, or only songwriters?   If you are working to place your songs, you should contact everyone!  There are legendary stories out there of how hard people like Dianne Warren and Chad Kroeger have worked on their careers before they had any interest from the music industry. Look them up. Check out their stories. When you are willing to work as hard as they have (and still do), then come see me!  I’ve heard stories of Ms.Warren sitting outside recording studios in the early days, pouncing on artists when they arrived or left, giving them her demos and asking for them to record her songs. And Chad is notorious for how hard he pushed radio stations to play Nickelback’s music before they got a deal.  I saw approach everyone. When I am pitching a song I approach everyone involved in the project – if I know someone who knows the artist, I go to them. I send copies to producers, engineers, labels, management – anyone who may be able to get the song recorded. And follow up is so important.

What are common mistakes made by artists and songwriters when approaching music publishers?  The most common mistake is approaching the music publisher (or anyone in the industry) too early. If you have written 10 songs and your mom tells you they are great, it’s probably too early to approach the industry. If you have written 500 songs and work full time and have never had any activity on any of your songs (except playing them once a year at family gatherings) you are probably not ready to approach the industry. You really need to be able to make it a full time job. Not everyone is made to be a fulltime songwriter and there have been cases where we have signed single song agreements with writers, but I think in my 20 years at EMI, there have been maybe 2 or 3 cases of that.

To get the new edition of Songwriters Magazine, why not join the Songwriters Association of Canada today.