The psychology of live music
Social Strategies & organization techniques for a successful live music event
Halfpenny Music Production 2020
Live music events are the lifeblood of the music industry. They give artists the opportunity to expose themselves to a new audience, as well as allow them to physically interact with their pre-established and potential fans across states, countries and the world. Live music events are also the epicentre for sourcing industry connections and fostering career-long relationships – successful artists, promoters and producers have often made their start by forming tight relationships through their local live music scene. This networking aspect can make live events extremely strenuous environments for those involved in their execution, pressured to show their best work on the night of the gig. This essay will analyse potential issues that may arise when planning and executing a live event, as well as methods of overcoming these issues using communication and psychology. It will focus on how to successfully communicate with relevant industry practitioners, and how to maintain mental efficiency using organisation techniques and analysing common problems when preparing a live music event.
“Treating yourself as a brand will influence the way you communicate with others in the music industry”
Professionalism is a key factor of success when collaborating with other industry practitioners, as maintaining formality and confidence will positively affect the individuals you are working alongside (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). To achieve and maintain this level of professionalism, one effective psychological technique involves viewing yourself as a brand (Allen 2018). This involves treating every relevant interaction as a business endeavor, and viewing the way you present yourself as the way you present your business (Allen 2018). Often in the music industry, individuals find themselves blurring the line between work and play, as it is common to be working alongside friends and socialising with colleagues. In high-stake situations, this can negatively impact your focus and performance, and can potentially lead to inappropriate workplace behavior which can be viewed negatively by industry colleagues (Dwyer 2016). By holding the mindset of a business rather than an individual in professional situations, the way you work, present and interact with others will become formal, objective and less emotional (Allen 2018). This will also shift your perspective towards long-term career goals, rather than short-term results (Allen 2018). Treating yourself as a brand will influence the way you communicate with others in the music industry, your organisation and workflow, and will enhance your reputation by leaving a positive impression on those you work with (Allen 2018). This will also enhance your personal communication, articulation and negotiation skills, which can be aided by studying typical industry vocabulary (Dwyer 2016; Feist 2013).
The importance of clear, proficient communication skills when dealing with artists, venues, managers and other industry practitioners cannot be overstated (Isenhart & Spangle 2000). When booking a venue, articulate and cohesive communication is paramount, and will often be the deciding factor of whether you are able to successfully negotiate a performance date (New Artist Model n.d.). In most cases, the first contact you will have with a venue will be via email, making polished, eloquent writing imperative to achieving a successful and impactful first impression (New Artist Model n.d.). Mood and tone-of-voice are key factors of communication which cannot be easily translated via the written word, so you must pay close attention to word choice, context and language conventions (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). You must appear knowledgeable in your writing, yet maintaining approachable and friendly language with a sense of personality (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). Doing research and having prior knowledge of the venue will be extremely beneficial when negotiating a booking (New Artist Model n.d.). This research can be as simple as spending time in venues watching bands perform prior to contacting the venue management (New Artist Model n.d.). Formalised communication with event investors will make event organisation more efficient and enjoyable and will benefit the overall quality of the final event (Loveland, Loveland & Lounsbury 2016). You will find that the motivation of those involved will be influenced by your personal presentation and drive to create a successful outcome (Williamon 2004). Invested and enthusiastic performers will foster a positive and motivated work environment, which will influence the mood and work ethic of everyone involved (Williamon 2004). This mindset and energy will ultimately show on stage, giving your event an energetic, positive atmosphere and will strengthen your industry relationships (Williamon 2004). If a basic level of defined communication is not met, the project as a whole will suffer (Isenhart & Spangle 2000). Poor communication can easily lead to disagreements, planning oversights and can sabotage industry relationships (Isenhart & Spangle 2000). Formalised communication can be aided by making agreements in writing, as well as understanding the desires and requirements of colleagues working towards the event (Feist 2013). Furthermore, formalising your interactions will assist in maintaining businesslike composure and fostering a positive brand image with those you work with (Allen 2018).
“…the motivation of those involved will be influenced by your personal presentation and drive to create a successful outcome.”
When organising an event, it is necessary to clearly establish what will be expected of all parties – identify what you will be responsible for, and what responsibilities other stakeholders may have (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). As you further your work in the live music industry, it may be useful to develop standardised documents which can be modified to suit the needs of any given event you are partaking in (Wrathall & Gee 2011). These documents can range from budget spreadsheet templates, booking sheets, invoices and equipment documentation, all of which will assist you and others in solidifying event details and maintaining progress when preparing for a future event (Feist 2013). Using contracts is essential for monetary agreements and can be extremely useful for defining event details with those you are working with (Feist 2013). Contracts also assist in formalising the agreements made with those contributing to the event, which will set the standard for future communications and investments (Feist 2013). Creating a basic contract that outlines all parties’ necessary commitments in a descriptive, yet succinct manner will help prevent miscommunication and can be referred to throughout the event timeline (Feist 2013). A contract may include pivotal information such as backline required, key dates, service expectations and, most importantly, the pay model used for each stakeholder including when and how they will be paid (Feist 2013).
Discussing the monetary side of the event arrangement is a difficult task, which requires psychological tact and empathy towards the emotions of your collaborators (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). In this instance, clear and ethical communication is essential to maintain trust and leave all parties content with the monetary outcome of the event (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). For many live music shows, the headline act (usually the artist with the most notoriety) will receive a larger fee than the opening artists (McDonald 2019a). In some cases, the headlining artist or their manager will ask for a percentage of door sales or a combination of a flat fee with a smaller cut from door sales (McDonald 2019b). Opening bands will usually receive a single flat fee agreed upon prior to the event (McDonald 2019a). Standardising your contractual paperwork in the early stages of planning an event will clarify these typical payment models, and will allow for an open and clear discussion of alternative options between you and the artists and co-workers (Feist 2013). By presenting honest, high-quality contracts to those you are working with, you will present a strong work ethic to industry colleagues, and will foster relationships built on trust, clarity and honest communication (Feist 2013).
“…Maintaining clear, ethical communication will assist you in developing trust among your peers – the most valuable asset of the event and your career.”
Establishing trust and maintaining peer motivation can be difficult within the short period of the event preparation timeline. In most cases, the artists you work with will be more productive and put more effort into your event if they are satisfied with the outcomes leading up to the execution of the event (Loveland, Loveland & Lounsbury 2016). These outcomes may include when they are playing, who they are playing with and where the event will be held (Wrathall & Gee 2011). You will be required to collaborate with bands, managers and the venue to agree upon dates which suit all parties in a way which is direct, efficient, and clear (McDonald 2019c). Familiarising yourself with the individual positions of all parties can be pivotal to maintaining trust and empathy (Dwyer 2016). It can be useful to identify their point of view by establishing the needs, wants, threats and benefits they may face by partaking in the event (Dwyer 2016). This will lead to a deeper understanding of the nuances of the event and those you are working with (Isenhart & Spangle 2000).
Maintaining clear, ethical communication will assist you in developing trust amongst your peers –the most valuable asset of the event and your career (Isenhart & Spangle 2000). Maintaining trust will benefit you both long term and short term, especially when issues arise during the event timeline, as having mutual trust with your peers will allow for easier and swifter conflict resolution (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). When issues do arise during or leading up to the date of the event, it can be an emotionally volatile situation for those involved in its execution. Tensions can be extremely high, therefore managing these issues can be a struggle for the leading organiser, and can affect the quality of artist performance at the time of the event (Isenhart & Spangle 2000). In this situation, teamwork and fast decision making are essential (Isenhart & Spangle 2000). The first step towards resolving the issue is by identifying it, and analysing the other stakeholders’ positions (Furlong 2020). You may wish to use analysis tools such as the ‘circle of conflict’, a conflict resolution model which considers factors of conflict such as relationships, values, data, structure and moods (Furlong 2020). This can help you methodically analyse every element of a conflict and find the source of the issue at hand, even when the source is not immediately clear (Furlong 2020). Once you have identified the issues and potential resolutions, it is crucial to be diplomatic: avoid immediately insisting upon the solution you think is correct (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). Present your position as calmly, clearly and logically as possible, and ensure that you are attentive to the stakeholders’ reactions when presenting your solution (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). The ability to logically analyse and problem solve is a valuable and rare skill within the music industry, and even more valuable is the ability to reason empathetically with those you work with (Archee, Gurney & Mohan 2013; Wrathall & Gee 2011). It is important to remind yourself that in every large project, conflict is almost inevitable (Wrathall & Gee 2011). Infighting, disagreements and low morale will not inherently hurt your reputation or career, but your ability to resolve these issues quickly and efficiently can positively impact your status within the industry (Wrathall & Gee 2011).
When managing an event, it is important to maintain an objective yet empathetic and receptive mindset throughout its development and implementation. Viewing event organisation and execution as a psychological and relationship-based endeavour can be crucial when not only creating a successful outcome, but fostering the foundations of a positive career mindset and building a strong network of industry connections. The techniques presented, although used in the context of live music, can be applied to multiple facets of the music industry, and serve as a means to view your work with others with a professional yet empathetic approach. This will allow for focused productivity and will enhance the quality of your interactions with others as you expand your brand within the ever-changing landscape of live music.
References:
Books
Archee, R., Gurney, M., & Mohan, T 2013, Communicating as Professionals, Cengage Learning Australia
Wrathall, J., & Gee, A 2011, Event Management: Theory and Practice, Mc Graw Hill,
Project Management for Musicians: Recordings, Concerts, Tours, Studios, and More (Music Business: Project Management) Feist 2013
Williamon, A 2004 Musical Excellence: Strategies and Techniques to Enhance Performance
Artist Management for the Music Business Paul Allen 2018
Dwyer, J 2016, The Business Communication Handbook, Cengage Learning Australia
Furlong, G 2020, The Conflict Resolution Toolbox: Models and Maps for Analyzing, Diagnosing, and Resolving Conflict
Isenhart, M & Spangle, M 2000, Collaborative Approaches to Resolving Conflict,
Journals
Loveland, J, Loveland, K, Lounsbury, J, & Dantas, D 2016, A Portrait of the Artist as an Employee: The Impact of Personality on Career Satisfaction, International Journal of Arts Management,
Websites
McDonald, H 2019c, ‘Learn About Being a Music Promoter’, The Balance Careers, viewed 20 November 2020, https://www.thebalancecareers.com/music-promoter-2460880
McDonald, H 2019b, ‘How a Door Split Deal With a Promoter Works’, The Balance Careers, viewed 20 November 2020, https://www.thebalancecareers.com/what-is-a-door-split-2460749
McDonald, H 2019a, ‘How Much the Opening Band Should Make at a Gig’, The Balance Careers, viewed 20 November 2020, https://www.thebalancecareers.com/how-much-should-the-opening-band-make-at-a-gig-2460698