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Thank you guys, your information is greatly appreciated. I love how our generation believes in helping us rise together. It's what the vibe is truly about. Without people like you, a lot of us would be lost in the dark. Cause when you have no one to turn to for help it makes it hard for dreamers to make their passion into reality. Much love and positive vibes. P.L.U.R. to all. ❤

This is such a great interview. Wish this kind of information was circulating the internet when I was touring 10 years ago!

thanks ari, this was really helpful. it seems you're getting a knack not only for asking the right questions, but also for finding the right people to ask! you're a valuable part of the music community and i appreciate you. 🥰

One question: is there a "better" day of the week to send booking inquiries? I assumed Fri - Sun wasn't ideal, but I actually have no idea. As for M - Th, does it make a difference? This was an absolute education to watch. While we're a NY band, we play most of our tours in the UK and Europe, and so have little exposure to the local market (Brooklyn, Manhattan). I will now attempt to fix that, so that we can get to the level where we can play rooms like Brooklyn Bowl. And, I'm going to watch a lot more of Ari's videos. I now understand the realities of what talent buyers like Paul are looking for, and why. I can see how some would say "But they're making money on the bowling, food and bar, yet expecting the band to cover their expenses". It's a valid point. Lanes are $25 1/2 hour (up to 8 people), $30 on weekends, plus $5 for shoe rental. Food is moderately priced, low end $14 and high end under $40. So there's money being made, not a fortune, but it should be enough to cover the bowling, food and bar expenses BEFORE the music comes into it. Yet, never having owned a club, I'm sure there are additional expenses that music has to cover - insurance, security, maintenance, etc. that the other stuff isn't enough to fulfill. I'm wondering if there is a way to send Paul (or Ari) a one sheet. Ours was based on advice from our record promoter, and was geared for radio stations and magazines. It worked great for that, but now I see it's not even close to what's needed for talent buyers. I'm going to revise it today, as best as I can, to what Paul and Ari discussed. But I would really want to get some feedback to see if I did it right!!

Great talk Ari! Learning a lot from all your fantastic guests 👋🏻

Great stuff!

Wow!! 📝📝📝📝

Perfect pitch question is 🔥🔥🔥

Great information

Awesome interview Ari, appreciate it bro 🙏

Great info, love the genuine, honest answers from Paul

In my band, most of us are in our 40s/50s and our drummer is 70. Could that be a turnoff to venues and audiences?

Kind of odd that any talent buyer would imply that a local band (who, assumably, gigs for a living) should not promote any of their other shows for a month for $500 lol. He just went over how much more flexible they can be because of the bowling and food aspect but pay the same rate as 400cap venues in my area that don't have that wack expectation... Not surprising that an organization with that mindset sold out to Live Nation.