Thanks so much!! 🙏🙏🙏

That’s awesome!!! Great company! Have you started promoting any of your own shows yet? If not, start with local shows. I’ll throw a video I did on local shows here.

Here you go - kzfaq.info/get/bejne/gMlnY7FnsL3XgmQ.html

Thank you!! 🙏

This might be a good video idea for this Summer. You have to ultimately create value for your artist. Festivals like to see - 1. How much engagement you have on socials & spotify 2. Are you local or regional to the festival location (some support their local scene) 3. They a lot of times book smaller artists from the same agencies, labels, and management companies as their headliners - so the team makes a big impact. 4. Are you worth tickets in the area, and do you have a positive relationship with venues/promoters. 5. Do you have a relationship with the festival producers. Best plan of attack - 1. Put out good music 2. Test and run consistent ads to gain new fans 3. Build from a small venue, sell that out, patiently grow into the next size venues and don't move up until you're able to sell out the previous capacity 4. Put out consistent content 5. Be patience & be consistent over a long period of time. For some artists like the 502's, it might take 3-5 years to get on a Live Nation tour. For artists like Jelly Roll, it might take 10-15 years. There is a saying - you become an overnight success by being consistent for 10 years. Then you're "best new artist" even though you've been grinding for years. Hope this help! Got a little long in the tooth and passionate on this response. ha!

Promoting shows is definitely high risk. But if you go bankrupt you’re not doing it right. If you do it well, you could land a job with LN or AEG which opens up lots of doors. Or be great independently and get bought out.

@@chrisgoyzueta looking at a loss on the show as investing into your business is about tens too old of advise for a small promoter. You're just the village idiot at this point who paid too much. Also, asking someone who is incentivized for lying to you, to get you to pay more. Not a good strategy, unless you own the venue, make money off parking, ticketing, ect..

Hey Erik, that’s great! It’ll be hard to become a Talent Buyer without getting those reps in. That would be a good video to do. What to do if you work for Live Nation but want to be a Talent Buyer. I know Ben Weeden loves to hire people that are getting a lot of reps. Even the Jr Buyers have a hard time getting promoter because they’re not always dealing with agents and promoting their own shows. It’s almost like you have to leave to come back. Wonder if Yerke or Weeden would do a quick interview with me on this.