INDUSTRY ADVICE
College booking
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by Chris Hacker President of Howling Clue www.HowlingClue.com chris@howlingclue.com |
Q: In your opinion, Chris, what is the value of touring for an artist today? Many think it is the only way to truly develop a sustainable career. Can you expound upon that?
There's only so much an artist can accomplish in their hometown. After an album is recorded and a publicist has contacted press for reviews a tour is a crucial part of keeping the story alive. Once a tour is booked this gives the artist an opportunity to reach out to local press, tv, radio etc. in these markets who are much more likely to get involved due to the fact are now playing a show in their town. And of course playing for new people, selling CD's and making fans is immensely important for a long term career.
Q: How many different artists do you work with as a booking agent?
About 10-15
Q: We understand you focus on the college booking circuit. What does it take to get a foot in the college booking scene?
I feel to be in the college scene need to have a sound that is upbeat and is appealing to a wide diverse audience, as the college buyers are looking for bands who can entertain their student body which is made up of kids with an array of musical tastes. Also being friendly and having a sense of humor is a huge plus.
Q: Can you discuss your involvement with NACA? Are conferences and companies, such as NACA, worth an artists' time and money?
Yes and No. If doing it alone as an independent artist it is very expensive and would need to book a lot of shows to recoup and there's no guarentees of that happening. Its best to try and sign with an agency or by starting your own collective with other musicians you know who would all share the costs making it much more affordable.
Q: Is college touring a good way to take steps towards national club touring? Are they very separate from each other?
If done the right way then yes you could potentially go from the college circuit to the club circuit but many people get stuck playing strictly colleges as the money is so good, and a lot of these shows end up being cafeterias and coffee houses....not that glamorous. Instead of playing a college show and returning home with some money in your pocket if you use that to fund a weeks worth of club dates this can get you closer to touring in that world.
Q: Are you interested in working with new artists on a booking level?
Yes, but for college only.
Q: Does this directly relate to your work with Howling Clue and with Engine Room Recordings?
At Engine Room Recordings one of my main duties is to book tours for our artists. I submit them to NACA through Howling Clue so yes these two things are directly related.
Q: Can you tell us a little bit about your work with both?
Engine Room Recordings is a full service record label and as I mentioned I head up the booking department. But its a small label and I basically have my hands in all the dealings of the day-to-day operations, which is anything that can be done to promote an artist we do: press, online marketing, radio, touring, retail etc.
At Howling Clue I'm mainly involved with college booking, but I also work with Howling Clue artist and founder Derek James in an artist management role.
Q: Finally what is the best advice you can give to an aspiring artist on a booking level?
Write and play, write and play, write and play, write and play. If you don't have any fans you're probably not going to get a booking agent whose going to throw you on a national tour. Build up a following in your hometown then expand into the region. If crowds reach 100 or 200, people in the industry will start to notice.