Deal or No Deal

Have you ever watched the television show, “Deal or No Deal”? This show was very interesting because it was such a gamble to choose a brief case, hope for small numbers, and wait for the negotiator’s offer. I could only imagine the nerves of the contestants. Similarly, negotiations for independent artists are a gamble because many record labels take risks with many artists who are unknown, similar to the briefcase. As artists, you must be able to negotiate deals with many of the bookers and promoters who will give you the opportunity to showcase your music.

Jeremy Swearin is all too familiar with negotiations as a booking manager at a record label in Houston, Texas. He was able to gain experience as a student at Full Sail University. We were able to sit down and ask Jeremy a few questions about negotiating.

In booking, how is negotiating associated with your job?

“My job as a booking agent is to make sure that we are looking for the best opportunities for our clients and the best exposure. So we look at the markets that are interested in booking them but also the places they’ve gone. We try to our booking form to get all details about event, what is being asked of us, and the budget. After gaining this information, it goes from there.”

Oftentimes, artists are expensive and people don’t want to pay the performer’s fee. What do you do to make sure the company comes out on top?

“Yes, one of our biggest problem is that the industry is so small. We often do customized price packages based on the information given. We then run into someone hearing about the price we charged another client. We let everyone know that each opportunity is different. We are a booking agent and management company, so we are looking out for the best interest of the artists.

Do you look for mutual benefits in most cases? Why or why not?

“It depends, if it is a promoter or an organizer who we’ve done consistent business with, we try to make sure that happens. Also it really depends upon the opportunity, especially if this opportunity can lead to another opportunity for our other clients.”

How do you deal with negative emotions?

“Well, it is a difficult subject because no one should discuss the contract since each opportunity is different as previously stated. For the most part, we are pretty consistent with our fees, and we don’t go down too much on the price. However, if a client is not getting much work, then there is flexibility in the price. I just try to explain to them in a calm manner that separates the people from the problem. If that doesn’t work, we have the upper hand because they are demanding our artists, and if the artist has a major following, then they are able to make greater demands than others. We also use objective criteria, but it really depends upon the present situation.”

Have you ever been caught in a negotiation when someone tried to use dirty tricks?

“We’ve had some, and we didn’t do business. I’ve had that happened to me recently. I’ve had promoters try to go through another booking agent and then come to me, and then try to under cut me. However, me and the other booking agent has a great relationship, so we talked. I’ve also had promoters who have tried to book our artist, not sign a contract to advertise, and destroyed the client’s name and brand. We call them out about it and don’t do business with them.”

How do you approach a negotiation?

“I’m doing both, looking for opportunities for artists and receive requests for the artists. If I am looking for an opportunity, I am pitching through a cold call. Our negotiations are built upon relationships, so I just call to see if any opportunities are available for the artists. If there are, then we go from there trusting that each one will do good business.”

We see firsthand that booking managers have a major job that requires much negotiation. These individuals are the first contact between the potential clients and record label. Mutual benefit, in some cases, is the main goal if it is beneficial for the company. However, status will play a major role because these individuals are calling the record label for the artist. Therefore, they can demand high prices without feeling bad if a negotiation does not go through. In the end, we learn that each negotiation is different and should be approached as such. Research your potential negotiator’s company and background to understand more about the negotiation on the table.