Independent Promoter Checklist FROM: ROCK CITY NEWS, LOS ANGELES, VOL 18, NO 25
Part 2
This issue we continue with what you should look for in an indie promoter. The following are the more subtle things you should look
for when hiring one...
CONTACTABILITY: This is probably going to be the one thing that you end up really liking or disliking about the way your indie
operates. Some indies are always there when you call, others are never there. The ones who are never there will invariable tell
you, ÓI spend all my time on the phone talking with the stations...IsnÕt that what you want me to do with your project?Ó
Good try. What these non-contactable indies are actually doing is spending ÓsomeÓ time on the phone with ÓsomeÓ stations, and
spending a lot more time dining at restaurants and seeing friends. And if you thought it was difficult reaching them before you
hire them, just wait until AFTER they get your money. I see this again and again and again. If you think about it, an indieÕs sole
job is to talk on the phone. Why then, if they are there by the phone, would they not pick up when you call? What if a station
calls?
And that is exactly it: They are NOT there when a station calls...because they REALLY DONÕT spend that much time talking to
stations on the phone. They only want you to think that they do. And worse, if they say they give clients (and potential clients)
a different phone number to call than the one they give the stations, then you can guarantee that you (the paying client) will never
get that person on the phone when you need them (or much less, to be able to spend any time learning from them.)
A true indie promoter is a non-stop call center, who gives TOP priority to incoming calls. They should have several people
available to answer calls; if everyone is still on the phone when the phone rings, someone should HANG UP and answer that incoming
call. Remember, incoming calls are top priority...it could be a station.
REPORTS: Reports are a requirement that well-organized promoters provide to you. There is no other way you are going to be able to
understand (within an hour) what is going on with your airplay each week...much less let someone else (stores, papers, clubs) know
what is going on, without a report.
OFFICE: If the promoter does not have an office (even a small one), then you will be competing with things like the promoterÕs
sleep, TV, neighbors, dinner, etc.
ASSISTANTS: If a promoter handles more than one genre of music at the same time, or if the promoter does college radio at all, then
assistants are mandatory. The phone calls have to be made, and no one person can call more than 150 stations a week AND do reports
AND do faxes AND do emails AND talk to you when you call.
COMPUTER LITERATE: I donÕt have to go into how important computers are becoming. But I should mention that as web radio becomes
used like regular radio, those promoters that are not up on computers are going to have a problem. Already, web radio is used in
the college CMJ charts, and some commercial charts.
COLLEGE RADIO: College should be considered for every campaign, even if you are doing high-level commercial radio. College radio
is relatively inexpensive, and will make some good looking reports to show retail, press and clubs.
FAXES: Serious promoters uses faxes; faxing is simply the fastest way to get a one-page synopsis of info to the stations...with
pictures if needed. They are not cheap, but a good promoter should still include these faxes.
EMAILS: While you may get excited about email, remember that since email is free, stations get them from every artist on the
planet. And all the emails look the same. So in order to build a project, you must use faxes and calls, because most artists canÕt
afford them (and that is why you will stand out.)
REFERENCES: Any promoter worth consideration will have a list of clients or past clients. What you are looking for is a promoter
with projects that are on your (independent) level. A list of ÓbigÓ clients, however, means the promoter is used to having massive
help from major label staff promoters, national tours, retail promotions, advertising, not to mention hundreds of newspaper,
magazine, and TV appearances. Since that promoter will not have these with your project, you will be very difficult for them to
work. You need a promoter who is set up to work with indie projects like yours.
More than likely, however, the Ómajor labelÓ promoter was actually not the promoter that worked the major projects (because,
promoters that DO work major projects just canÕt do anything with indie projects). They were probably just assistants in the
office, or were mail people, or more often than not, they were just outright lying. You will have to ask the artist directly to
find out.
Bryan Farrish is an independent radio airplay promoter. He can be reached at 818-905-8038 or airplay@radio-media.com
FROM: ROCK CITY NEWS, LOS ANGELES, VOL 18, NO 22
FROM: ROCK CITY NEWS, LOS ANGELES, VOL 18, NO 21
FROM: ROCK CITY NEWS, LOS ANGELES, VOL 18, NO 20