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Tag: booking

  • Booking Holdings’s CEO Weathered the Dotcom Bubble. He Says the AI Boom is Different

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    Hello and welcome to Modern CEO! I’m Stephanie Mehta, CEO and chief content officer of Mansueto Ventures. Each week this newsletter explores inclusive approaches to leadership drawn from conversations with executives and entrepreneurs, and from the pages of Inc. and Fast Company. If you received this newsletter from a friend, you can sign up to get it yourself every Monday morning.

    Glenn Fogel joined dot-com darling Priceline in early 2000, a year after the “name your price” travel site’s blockbuster initial public offering (IPO). “I joined one week before the Nasdaq peaked,” Fogel recalls. Within a year of his arrival, the stock had cratered to $6 a share. By March 2002, the Nasdaq, a proxy for the burgeoning e-commerce and tech infrastructure companies that went public, plunged 77 percent from its March 2020 highs. Quips Fogel: “At the time, my mother was wondering whether I still had a job.”

    Today, Fogel is CEO and president of Booking Holdings—parent of Priceline, KAYAK, Booking.com, OpenTable, and other brands. His experience navigating the dotcom bubble (more on that in a moment) affords a compelling perch from which to observe the current generative artificial intelligence (gen AI) boom. He sees parallels in the gold-rush mentality of both booms: “There’s lots of investments, lots of new companies,” he says. “Many of them will not make it. Many investors will lose money.” Corporate investment in AI reached $252.3 billion, and private investment in gen AI reached $33.9 billion in 2024, according to data compiled by the Stanford Institute for Human-Centered artificial intelligence.

    The key difference between the dotcom bubble and now? “I would say in terms of the possibility for human society, I think the possible transformations from gen AI are so much greater than what was possible from the [startups of] the nineties,” he says.

    Fogel points to breakthroughs like Google’s AlphaFold model, which decoded protein folding and could accelerate drug discovery. “Every area really of our society can be greatly improved by using gen AI,” he says. “That’s the thing that’s so exciting.”

    Happy travelers

    In travel, the stakes may not be as high, but the impact on daily life could be profound. “Maybe we’re not going to save a lot of lives the way that the healthcare industry is going to be able to do, but maybe we’ll make the experience much happier,” he says.

    Indeed, the company is already deploying AI to reduce customer-service wait times, using gen AI chatbots that can solve problems instantly. When a human agent does handle a call, the bots generate conversation summaries and next steps—work that previously consumed significant amounts of agent time.

    Embracing emerging technology has been key to Booking Holdings’s longevity. When predecessor company Priceline Group bought Booking.com in 2005, it acquired Booking’s prowess in leveraging Google’s paid search and platforms that enabled the business to rapidly test messaging to optimize conversion rates. The company subsequently bought travel search engine KAYAK in 2013 and restaurant reservation platform OpenTable in 2014. Priceline Group changed its name to Booking Holdings in 2018.

    The long view

    Travel itself is currently experiencing a boom. Despite economic uncertainty, U.S. consumers, especially those at the high-end of the market, are prioritizing travel, with airlines and hotels indicating strong demand for premium products. Indeed, at the end of October, Booking Holdings reported better-than-expected third-quarter earnings and said it continues to see “steady travel demand trends” in the current quarter.

    Having led Booking Holdings through the dotcom boom and bust—as well as the Covid-19 pandemic, which led to a near complete shutdown of travel—Fogel acknowledges that nothing goes up forever.

    “I don’t know when those bad times are going to come, but they’re going to come sometimes,” he says. Still, he takes the long view: “I do know, in the long run, travel is always going to increase. It is human nature . . . people wanting to travel.”

    This time it’s different?

    Do you agree that the societal benefits of gen AI companies and technologies dwarf the contributions of the dotcoms? If so, what breakthroughs excite you most? Send your examples to me at stephaniemehta@mansueto.com. I’d love to share your scenarios in a future newsletter.

    Read more: bubble theories

    Why the AI-fueled stock market isn’t a bubble waiting to pop

    There isn’t an AI bubble. There are three

    Are we in an AI bubble?

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    Stephanie Mehta

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  • $2.4 million for a rental: Rich tourists are already booking mega-mansions for the Olympics

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    Three years from now, millions of tourists will pour into L.A. for the 2028 Olympics. For most of them, a hotel room or Airbnb will suffice.

    Some require a more extravagant stay.

    Ten bedrooms. Twenty bathrooms. A private movie theater and infinity pool overlooking the city. A battalion of chefs, butlers and drivers catering to the smallest of whims.

    The Earth’s elite — not just the athletes, but the royals, oligarchs and uber-wealthy families coming to watch them — won’t be here for three summers. And the market for mega-mansion rentals is already getting competitive.

    “We’re getting five to 10 inquiries per week,” said Hank Stark, founder of LuxJB.

    (Carlin Stiehl / Los Angeles Times)

    “We’re getting five to 10 inquiries per week,” said Hank Stark, founder of ultra-luxury vacation rental company LuxJB. “There are only so many homes of this size in L.A., and people want to secure their spot as early as possible.”

    LuxJB owns 14 mansions around L.A., including in Beverly Hills, the Hollywood Hills and West Hollywood. Three of them have already been secured for the Olympics — not just for the last two weeks of July while the Games are taking place, but for most of the year.

    “If you’re an Olympic federation from a specific country, you’ll be here all year training athletes before the Games begin,” Stark said. “If you’re a major sports brand, you’ll want a presence in L.A. before and after July.”

    The crown jewel of LuxJB’s collection is a 39,000-square-foot behemoth complete with nine bedrooms, four kitchens, a gym, spa, movie theater, pickleball court, basketball court and a team of three maids. A client just rented it out from January to August 2028 for $300,000 per month.

    That’s $2.4 million total. Pre-paid.

    It’s an eye-popping price, but there’s a bit of savings to be found since LuxJB covers utilities. They run about $25,000 per month once you factor in heating the pool.

    The home is on the pricier end of LuxJB’s offerings, which start at $1,900 per night for smaller five-bedroom villas and $150,000 per month for larger mansions.

    A backyard and pool

    The backyard and pool of a LuxJB mansion.

    (Carlin Stiehl / Los Angeles Times)

    Stark said the rentals make sense for many. For example, a superstar athlete who travels with an entourage and wants some privacy.

    “You can’t put [Cristiano] Ronaldo in a hotel room surrounded by strangers. He’s the most valuable player in the world,” Stark said. “Plus, our place has a $6,000 zero-gravity massage chair.”

    LuxJB is currently fielding interest from two Olympic committees looking for a large enough place to hold news conferences and host media outlets, as well as U.S. companies wanting to book houses for their top brass.

    A gaming room

    The mansion’s downstairs gaming room.

    (Carlin Stiehl / Los Angeles Times)

    Stark said it’s common for companies to rent their mansions for months at a time, and far in advance. Studios rent them for red carpet season during the fall and spring to host celebrities nominated for Emmys, Grammys and Oscars. Nine of LuxJB’s 14 homes are already booked for next summer, when the 2026 World Cup brings a handful of major matches to L.A.

    But bookings three years out?

    “It’s rare,” Stark said. “But rentals are disappearing, especially after the [January] fires, when so many were leased to house victims long-term. So I don’t think demand will slow down any time soon.”

    The main reason why the market isn’t hotter is because there aren’t that many rooms or houses available yet. Most hotels don’t accept reservations more than a year in advance, and rental companies such as Airbnb and VRBO typically don’t accept bookings more than two years out.

    There’s a reason for such policies: A lot can change in three years. Homeowners can sell their homes, take them off the market, or die.

    Hank Stark

    “There are only so many homes of this size in L.A., and people want to secure their spot as early as possible,” Stark said.

    (Carlin Stiehl / Los Angeles Times)

    Stark doesn’t have to worry about major changes, since LuxJB owns its homes. But other luxury rental companies, such as the Nightfall Group, rent out homes on behalf of owners, so three years out can be a bit too soon for some.

    That hasn’t stopped the calls from coming, though.

    Nightfall founder Mokhtar Jabli said he has received a steady stream of inquiries since the company created a 2028 Olympics landing page on its site highlighting available rentals. They’ve already booked one: a 10,000-square-foot home with six bedrooms, 10 bathrooms, a movie theater and infinity pool in the Hollywood Hills.

    For the month of July 2028, the guest paid $160,000.

    “That house rents for around $110,000 during a typical year, but they paid a premium to book it so far in advance,” Jabli said.

    It came from a longtime client who knew which house they wanted and locked it in before it was blocked by a long-term lease. The owner typically doesn’t take bookings so far out but was willing to make an exception — as long as the guest was willing to pay more.

    Jabli said prices for Olympic bookings are around 40% higher than usual, but he expects that number will go up as the Games get closer.

    Nightfall has rentals in luxury markets across the globe, and around 100 in Los Angeles. Its homes typically start at $50,000 per month, but the company also offers concierge services, so the house is only the start. Jabli said some clients pay $500,000 per month for swanky add-ons such as private jets, yacht rentals, security guards, drivers, chefs and housekeepers.

    The company regularly hosts international athletes: soccer stars Ibrahima Konate from France and Amine Adli from Morocco, most recently. Jabli expects wealthy Olympic athletes in more lucrative sports, such as basketball or soccer, to book homes to share with their families rather than staying in the Olympic Village on UCLA’s campus.

    A master bathroom

    One of the bathrooms in a LuxJB mansion.

    (Carlin Stiehl / Los Angeles Times)

    Another factor in the Olympic rental market is Southern California’s uneven, sporadic enforcement of short-term rental regulations. Rules change from year to year and city to city, and a legal booking today could be outlawed by 2028.

    For example, on Aug. 5, Beverly Hills banned short-term rentals entirely, requiring initial leases to be at least 12 months. Los Angeles beefed up its Home-Sharing Ordinance in March, calling for increased fines and more staff to monitor violations. But the city’s scaled-back budget has put many of those enforcement plans on pause.

    It’s unclear whether exceptions will be made for the Olympics, when millions of visitors will descend on a region already starved for housing.

    Either way, the glut of deep-pocketed tourists should serve as a shot in the arm to a luxury market that has been waning since the COVID-19 pandemic. Homes will rent for thousands per day. Millions per year.

    “L.A. is going through a crisis, both in the high-end luxury rental business and beyond,” Jabli said. “Hopefully, 2028 brings it back to the L.A. we know.”

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    Jack Flemming

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  • Price Comparison for 4- and 5-Star Hotels in 10 Most Popular Tourist Cities

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    Tourism Surge Pushes Hotel Prices Up: Hotelin.com Analysis Highlights Growing Demand for Premium Accommodations

    Hotelin.com research highlights the rise in 4- and 5-star hotel prices in the world’s most popular tourist destinations. Key factors driving this trend include increased tourism demand, luxury accommodations, sustainability efforts, and global economic instability. Here’s an overview of price changes from 2024 to 2025 for the top cities:

    Istanbul
    Prices for 5-star hotels in Istanbul increased significantly from 2024 to 2025. In 2024, luxury hotel prices typically started around $150 per night, while premium locations like Sultanahmet or along the Bosphorus cost more. By 2025, prices had risen to an average of $200 to $250 per night, driven by growing tourism demand and upgraded luxury services.

    London
    The average price for 5-star hotel rooms in London saw a noticeable increase from 2024 to 2025. The cost of a standard 5-star room was approximately $260 per night in 2024, while premium rooms in central London began around $645. By 2025, prices for similar rooms ranged from $520 to $793.5, reflecting higher demand for luxury stays and new luxury openings in the city.

    Paris
    For 5-star hotels in Paris, the price increase was more modest for standard accommodations. Prices went from $287-$519 in 2024 to $336-$600 in 2025, depending on the location and hotel. The premium segment saw more significant jumps due to high demand ahead of the 2025 Olympics, with increases ranging from 10% to 20%.

    Dubai
    In Dubai, 5-star hotel prices fluctuated moderately. In 2024, prices ranged from $123 to $354 per night, depending on the property and location. By 2025, prices were expected to increase to around $171 to $325 per night, reflecting a price rise of 5-10%. Some properties saw more significant increases due to the growing demand for luxury stays.

    Hong Kong
    In 2024, the average price for 5-star hotels in Hong Kong ranged from $94 to $215 per night. By 2025, prices increased to about $165-$190 per night, depending on the location and availability. This rise reflects the steady demand for premium accommodations.

    New York
    New York saw the highest price growth at 31.6%. The average price for a 5-star hotel room in 2024 was $597 per night, with variations depending on location and amenities. By 2025, the average price dropped slightly to $566 per night but still reflected a 10-20% year-over-year increase.

    Tokyo
    In Tokyo, 5-star hotel prices saw moderate increases from 2024 to 2025. Rates in 2024 ranged from $700 to $1,200 per night, and by 2025, prices for top-tier accommodations ranged from $850 to $1,500 per night, reflecting inflation and heightened demand for luxury stays in central districts.

    Hotelin.com analysis reveals that New York experienced the largest price increase, driven by high demand and limited room availability, while Dubai’s market showed more moderate growth. Factors such as inflation, improved services, and event-driven pricing contributed to the rise in hotel prices across these major cities.

    Source: Hotelin

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  • How to make touring possible & profitable for emerging artists – ReverbNation Blog

    How to make touring possible & profitable for emerging artists – ReverbNation Blog

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    Touring is hard. That’s always been true. No matter if you’re Taylor Swift playing a sold-out stadium or a new band with only a few fans at a dive bar hours from home.

    But given the challenges of inflation and unpredictable attendance at live events today, touring might feel more difficult than ever. Especially if you haven’t built a reliable touring network and audience yet. You don’t want to take a leap of faith, play a bunch of empty venues, and go home broke.

    So if you’re an artist who wants to get on the road, here are some tips to help you make touring a profitable adventure that actually moves your music forward:

    Create a Killer Show

    There’s no use hitting the road until you can consistently create unforgettable moments for an audience of strangers. Don’t leave “inspiration” up to chance. Make your arrangements, banter, and movement as captivating as possible. And remember, your live set can differ from the recordings!

    Don’t Oversaturate a Market

    The key to booking good gigs? It comes down to demand. You don’t want to play too often in any particular city, because your potential audience will start to feel less urgency about your shows. Not too often, not too rare. Got it, Goldilocks?

    Only Approach Venues You Can Fill

    Filling a venue might sound like a tall order for an early tour when you’re hitting towns you’ve never played before. But the heart of the lesson is this: Don’t aim to book yourself in big venues too soon. Contact small venues that will seem crowded even with low attendance. You want every event to at least feel like a sellout show.

    Make an Irresistible Merch Offer

    Ticket sales, a bar percentage, tips, or a cover charge might not be enough on early tours. So always have one or two items for sale that fans need to take home with them. The more tour-specific and urgent the merch offer feels, the better.

    Start In Your Region

    Lean on local connections to hit the nearest cities. The same way you’d ask your neighbor to borrow some milk, not a stranger two states away.

    Seek Out Gig Swaps

    It all comes down to favors. Trade opening slots with out-of-town acts. This is one of the most timeless and effective ways to start touring.

    Build Slowly

    Don’t travel too far from home until you’ve proven you can be profitable on the way. Start with a long-weekend. Then add one more city with each tour.

    Be Selective

    Only play cities you suspect you’ll return to within 6-12 months. Otherwise you risk that audience going cold on you. It’s kind of the opposite problem as playing too often.

    Streamline Your Lineup and Gear

    Reduce as many costs as you can without hurting the quality of your show. And costs can mean money or time. Do you NEED four keyboards if one controller and a computer does the trick? Is your duo just as capable as your quintet? Playing with less gear means more venue options, quicker load-in, easier packing, smaller vehicle, less gas. Playing with fewer members can mean all those same things, PLUS fewer people to split the money.

    Limit Luxuries

    Can you crash on a couch instead of a hotel? Can you eat trail mix instead of sushi? The secret to touring on a budget is… the budget.

    Run Ads

    Create a marketing funnel to intro your music to geo-targeted audiences. Then run followup ads to sell tickets or drive event engagement. If you can work directly with the promoter or venue to get quick access to ticket sales and customer data, that can be a big benefit.

    Promote Every Date

    Do everything you can: posts, posters, DMs, calls, press, blog outreach, record stores, college and comunity radio. Because your music is depending on it.

    Supplement with Social

    Not every event has to be IRL. So explore livestreams, AMAs, and other ways to connect with fans you can’t meet in-person. Once you have a sufficient livestream or social audience in a particular town, it might be worth adding it to your tour itinerary.

    Repurpose Your Efforts

    Every show is a chance to capture photo and video content that helps you re-engage attendees afterwards. Don’t drive a thousand miles, play an incredible concert, and have nothing else to show for it.

    Make a Followup Plan

    Get fan emails. Meet everyone at the merch table. Be professional with venue staff. Befriend other acts on the bill. Then be sure to reconnect with those people so every tour can build upon the last.

    Do a “Tour Sprint Review”

    Meet with your bandmates, your family, or your team after every tour to assess what you can do better each time.


    Touring isn’t easy. But it’s doable.

    By taking the right steps, it can also be a profitable way to make lasting connections with your fans.

    Get industry access to book better gigs and festivals!

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    Chris Robley

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  • The key to booking better gigs – ReverbNation Blog

    The key to booking better gigs – ReverbNation Blog

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    Do you want to turn your next gig into an unforgettable show?

    In front of a packed crowd?

    In a cooler venue?

    The key to booking better gigs is right here in this apple…

    No, this isn’t an Adam & Eve reference.

    Instead, I’d like you to imagine you’re moderately hungry. 

    If I offered you this apple, you might eat it. You might not. 

    If it’s been months since you ate an apple (assuming you like apples), you might scarf it down. 

    Now what if I offered you two apples today? You might eat one and let the other go bad. 

    And if I promised I’d bring you free apples every Friday for the next year, you might think:

    “Well, what’s the point of even eating an apple today? There’s always next week.”

    Plus, maybe you’re in the mood for tacos tonight. 

    The economics of… apples?

    Yes, there’s an Economics lesson buried in here somewhere. About scarcity, demand, inflation, and — let it NOT go unaddressed — the Universal Law that tacos are better than apples. 

    But what does this story about apples have to do with gigs, you ask?

    Let’s do a little reverse engineering.

    Bigger venues need to trust you can fill ’em

    Advancement is partially about managing perceptions. 

    In order to book a better gig tomorrow, a talent buyer has to feel relatively certain that you’ll be able to recreate the success they’ve already seen you achieve today. 

    So let’s talk about how to manage perceptions that your gigs are successful events.

    Don’t “oversaturate” your market

    Audiences rally when opportunities are rare. 

    How do you guarantee your gigs look like a success? 

    It should feel like a special event. A rare occasion.

    Meaning: Don’t play too often in the same town.

    Maybe once per season. Once per year, even!

    Every concert should be a can’t-miss event

    Scarcity creates urgency.

    If you only play once in a while, your fans will have a deeper yearning to attend (or a bigger sense of obligation, if we’re talking about friends and family). 

    You want ALL your gigs to feel important enough for people to do the inconvenient stuff: trade work-shifts, hire babysitters, make the drive. 

    Even if that means overall you’re playing fewer gigs, the ones you do play will be more rewarding for both you and your fans. And any new downtime can be used to expand your tour circuit. Or produce better shows. (More on that below).

    Play venues that are too small

    Demand should outweigh supply. 

    Oh no. Supply & Demand? 

    Yep. In terms of your tour calendar, this means don’t play too often in any given region. 

    But you also should play in venues that are slightly too small to fit all of your likely attendees. This creates an atmosphere of exclusivity. We all want to feel special, right?

    So if you can get 400 people out on Friday, play a 300-cap room. 

    If you can rely on 50 people on Tuesday, play a tiny room that squeezes ’em in. 

    If you think 15 people will show up, bring your own PA to a bookstore or boutique or barber shop and host your own pop-up style concert. These can be incredible opportunities to provide an intimate experience that feels exclusive and rare. 

    Groupthink can be a good thing

    Buzz = Permission.

    The more tightly packed the place is, the more you’ll create the perception (or reenforce the reality) that you’re an exciting artist. 

    This can be a bit of a balancing act, of course. Because a line around the block to get into your show is great PR on the one hand. On the other hand, it would also be great to have those people as paying attendees INSIDE the venue. 

    So, just remember…

    Crowds stir excitement, and excitement grants permission to crowds.

    By packing the place, you’re removing psychological barriers for the entire audience. A big audience will often pay closer attention, go deeper into the music, and appreciate what you’re doing on stage all the more. 

    As opposed to a half-empty club. Or a theatre with a bunch of empty seats. Suddenly you’re introducing doubt. “Hmmm, I wonder why more people aren’t here? Is the band slipping? Have trends changed? Should I feel bad for them? Awkward!”

    Less gigs should mean better gigs 

    Redirect your resources to produce an unforgettable performance. 

    When you’re more selective about the shows you play, you can spend more time prepping for each show to make it truly special. 

    Dial in the production. Rehearse some crazy songs. Plan a secret collaboration. Pick a theme for the night. Get amazing outfits. Build props. Curate a must-see lineup. Promote, promote, promote. 

    The time you would’ve spent diluting your audience across too-frequent local shows can now be put to better use: Making the ONE show you do play feel like the event of the year. 

    Basically what I’m saying is: If people show up because you promised an apple, give them a taco! 


    Conclusion

    The point of this article was to introduce a little psychology and economics into your booking strategy.

    If you want to start playing more amazing shows, just remember:

    1. The power of rarity, scarcity, and urgency. Don’t play too often in a single town. More people will attend the gigs you DO play. 
    2. Choose smaller venues to create the impression of demand. Make each gig feel exclusive and exciting, and your audience will enjoy the show even more. 
    3. Spend the time to make each show feel like a special event. You want your fans to not only remember the concert, but to keep talking about it.

    If you do all those things, it won’t be long before bigger venues, notable talent buyers, and local promoters start approaching you. And once you’ve proven that all your local gigs are a success, maybe it’s time to partner with one of these entities to scale-up to bigger and better performances. 

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    Chris Robley

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  • How to book your first music festival slot – ReverbNation Blog

    How to book your first music festival slot – ReverbNation Blog

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    Do you dream of headlining a big music festival? 

    Not surprisingly, a crucial step towards that goal is: booking your FIRST music festival slot! 

    With 1,000+ annual music festivals in the USA and Europe alone, there’s a whole world of opportunity out there for you to wow IRL audiences with your live show. 

    In this article we’ll explore:

    • the pros and cons of festival performances
    • how to know if you’re ready for a festival gig
    • and a few different ways to book your first festival slot

    Let’s dive in!

    Why play music festivals?

    This might sound like a strange place to start, but it’s worth asking: Do you really WANT to explore music festival opportunities? 

    Some festivals are amazing, career-defining experiences:

    Coachella, Glastonbury, New Orleans Jazz & Heritage Festival, Newport Folk Festival, ZoukOut, Rolling Loud, Lollapalooza Brasil…

    Impress those audiences and your music will be all over TikTok and Instagram. As memorable as it may be to rock one of those stages, though, your presence at a festival of that calibre probably means you’ve already built your career to a certain level. 

    Smaller music festivals give you a chance to:

    On the way there, you’ll have to consider OTHER kinds of festivals. Small festivals catering to niche genres. Upstart festivals that highlight your city or region’s art scene. Or brand new events that haven’t been proven yet. 

    • Perform in front of the most dedicated music fans in a geographic region
    • Reach curious listeners who are open to discovering new sounds across genres
    • Build your festival resumé
    • Meet, befriend, or collaborate with other up-and-coming acts

    But let’s be honest: You might also encounter disorganized festivals. Crap attendance. Failed promotion. Bad weather. Scammy directors. Terrible sound and production. And really, is there anything worse than bad sound at an outdoor gig? The answer is no.

    Playing a music festival can be unforgettable. Unforgettably great or disastrous. I’m not trying to discourage you. Just want to set some realistic expectations:

    Not all festivals are created equal. Your mileage may vary.

    Some things to consider about music festival opportunities

    Travel costs versus pay 

    What is the compensation for your performance? How far away is the festival? Do you need a hotel? Can you book other tour dates on your way there and back? How much will you pay in gas and food? 

    If it’s a great festival opportunity, it may be worth the trip for breakeven or even a slight loss. But you’ll want to think through those calculations beforehand. 

    Time and visibility of your festival slot

    I said above that not all festivals are created equal. The same goes for slots within any given festival. 

    What good is playing a festival if your set is early in the day while attendees are sleeping off a hangover, or if you’re playing the most inconvenient stage at the same time as a main-stage act that will draw crowds AWAY from you? 

    If you’re not familiar with the festival first-hand, ask around to gain perspective. Read reviews online. Check out TikTok, Instagram, Facebook, and YouTube for video from the previous year’s event, with a specific search focus on your slot, stage, and time. 

    Level of festival audience engagement

    While it’s often the case that music festival attendees are open-minded and enthusiastic, it can also be true that… they’re not specifically there for YOUR music. 

    A big festival with many competing stages can have the feeling of an all-you-can-eat buffet, where listeners sample a bit of this, a bit of that, but don’t fully invest in anything except the headliners. 

    Other festivals — like Portland, Oregon’s Pickathon — put a huge emphasis on new music, and create an environment where attendees are really excited to hear the lesser-known acts. 

    So again, do a little research to get a sense for whether actual music discovery is happening on the smaller stages. 

    The reality of festival merch sales

     This is another area that can be a huge win or a big disappointment. 

    If you slay, your new fans may jump at the chance to meet you at the merch table (assuming merch sales are permitted during the festival). But it could also be true that in the rush of an action-packed festival, your audience moves quickly to the next set. 

    This is yet another area where a little research can help you set proper expectations. 

    Opportunity costs

    Your default assumption is probably that the festival IS your opportunity. But it’s worth asking what you’ll be giving up to play the festival. 

    That could be the monetary costs we mentioned above, but it could also be other paying gigs you have to decline.

    To festival, or not to festival?

    Now even if you total up the worst of all the above scenarios: Small stage, early hours, unfocused audience, no merch sales, turning down gigs at home…

    … playing your first music festival may still be worth it. 

    It’s a foot-in-the-door and a resumé-builder. A chance to make an impact on a few new listeners. A way to familiarize yourself with a new performance environment. A challenge to push through discomfort and gain confidence for future shows. 

    In other words, the experience alone — even if it’s far from ideal — may be a growth opportunity worth pursuing. 

    But are you READY to perform at a music festival?

    Once you’ve answered whether a festival is right for you, you’ll have to figure out if you are right for the festival. 

    Here are 9 things that music festivals will look for when booking acts:

    1. Great performance skills

    The time to prove to yourself (and others) that you can consistently deliver an amazing live show is BEFORE you attempt to take the festival stage. 

    Music festivals are, obviously, performance events! So you want to be well-rehearsed and have plenty of stage experience before submitting to festivals. 

    Festivals want to know you’ll keep audiences engaged, not turn them away, which would diminish the reputation of the overall event. 

    If your show is great AND unique, all the better — because that uniqueness may help you check off a few of the other boxes below.

    2. Quality live-performance video

    It’s not enough to play great shows. You need to have proof. That means: video and photo documentation of you sounding great and your audience loving it. 

    Assuming the festival staff hasn’t heard you perform before, this live content (which should be easily accessible on your website and YouTube) will be the primary way a festival can assess what you’ll bring to their event.

    Some general rules for live performance videos:

    • Capture great sound — No distorted camera mic. No crowd conversation talking over the music. 
    • Show the audience — Again, the booker wants proof you can move the room. If the venue is packed, capture the crowd. If the venue isn’t packed, capture footage of the band close-up to the stage, and then get additional footage close up on individual audience faces. 
    • Avoid the tripod shot — The motionless camera at the back of the room is boring. Have someone hold the camera and move around to highlight the physical dynamics of your performance.
    • “At home” is okay — If you can’t capture video of a gig, you should at least have a live performance video from your home, rehearsal space, etc. You can also take video from house concerts if that’s appropriate for your genre and the audience consents to being on camera. 

    3. A clearly defined musical brand

    You should be past the point of your musical journey where you’re discovering who you are, what you have to say, and what your sound is. 

    This isn’t to suggest you can’t change and evolve, but rather… you should’ve already made a clear musical statement, backed by a visual aesthetic and a sense of story that resonate with a particular audience. 

    As EDM-festival organizer Evan Bailey says:

    “Regardless of the style of music you love, it’s important to have a defined sound and strive to be an innovator. Although that’s easier said than done — too often, young artists imitate what they hear working elsewhere. Although inspiration is part of any artist’s work, it’s important to really develop your own sound, look, etc. On the business side, it helps promoters when artists have a defined and unique brands, too.”

    Your brand, almost as much as your songs and performance skills, will be an important factor in how seriously a festival considers your participation. 

    4. Industry buzz and social traction

    All festivals want to establish a kind of cultural relevance. Festival directors and bookers want to feel confident that they’re hiring the best talent within their means. 

    The more buzz and traction around your music, in the press, amongst the industry and fellow acts, and on social, the better. That shows the festivals that you’ll bring the excitement factor. 

    Of course the level of buzz you need to reach will differ based on the profile of the festival. But all this to say, your first festival slot will probably be an event that coincides with or follows your social growth and networking. It won’t precede it. 

    5. An official release with momentum

    To put this simply, most festivals are booking acts who’ve released music on popular DSPs like Spotify and Apple Music. Even if you’ve only dropped a few singles, that counts! 

    But most festivals are NOT considering acts with zero output, or output that has gotten zero attention. 

    6. Accessible and digestible pitch information

    Whatever you wanna call it — an EPK, an ABOUT page, a one-sheet — you’ll need an easily accessible section of your website where you can include all the relevant information that a festival planner will want to see when considering your act for their event.

    You’ll be squeezing a lot into this page, so try to make it as punchy and digestible as possible.

    Your website’s festival-pitch page should contain:

    • Links to your music on the most popular DSPs
    • Links to your TikTok, Instagram, and X profiles (if applicable)
    • A short bio (one or two paragraphs)
    • A summary of your social stats, audience size and demographics, etc. 
    • An embedded YouTube video of your performing live
    • Hi-res photo(s)
    • Press quotes
    • Highlights from your touring history
    • Your festival history (though if you’re reading this article, you probably don’t have that yet!)
    • Testimonials from talent buyers, venue owners, or even fans — about your live show
    • Contact info

    7. Availability and commitment

    This probably sounds obvious, but make sure you’re actually available to play the event before you make your pitch. 

    Confirm the availability of everyone else in your act. Make sure every they each mark their calendars with tentative holds. 

    8. An unforgettable festival moment 

    One of the best ways to indicate your value to the festival is to prepare a pitch that includes a performance promise. 

    Can you do something during your festival slot that just screams “viral moment?” Something that will make the audience grab for their cameras? Something they’ll go home talking about more than anything else they saw at the festival? 

    Your unforgettable music fest performance could include:

    • A whole set collaboration with another act
    • A surprise guest for a song or two
    • A big reveal
    • A performance stunt or emotionally-connective moment
    • A tribute to another artist or album
    • A prop (but not tiny Stonehenge!)

      Figure out how to make that moment a reality. And then put it in your pitch. 

    9. Artist and audience demographics 

    Grant-funded festivals may have criteria to  meet as they build the lineup. 

    For instance, some Canadian events are obliged to feature a certain percentage of Canadian artists. 

    Other events may be guided by a specific mission statement that would favor certain artist applicants  based on genre, age, race, geography, or other demographics. And of course many festivals are driven to present a diverse lineup out of a sense of social responsibility, or simply because it makes a better event. 

    As IndieWeek founder Darryl Hurs explained:

    “Diversity and demographics are a big factor, as festival promoters are becoming more sensitive to making sure that everybody is included.”

    All that to say, you’ll want to be aware of the what, who, and where of both the artist lineup and the attendees. If you can help the festival achieve a goal besides just being great on stage, don’t shy away from mentioning it!

    Tips for finding your first music festival slot

    Once you know you’re qualified to take the festival stage, how do you find your first festival slot? Here are some guidelines to point you in the right direction. 

    Start with local music festivals

    Be realistic: You’re probably not going to make your festival debut at the Newport Folk Festival. They’re extremely selective and plan long in advance.

    Like most things in music, it’s easiest to make your mark amongst smaller communities first, whether they’re online or in your geographic region. 

    For your first festival, start by looking in your hometown. Ask local bands and venues. And of course, go to your local festivals!

    Look for NON-music festivals

    There are other reasons to throw a festival, and sometimes those non-music events will still have music stages. 

    When I lived in Oregon, for instance, I played an annual food festival on the river with a huge mainstage for music. Even though attendees hadn’t arrived specifically for the music, it was still a large audience of people that stuck around to listen. In my current hometown, there’s a summer beerfest that has multiple music acts throughout the day. Come for the beer, stay for the music.

    So don’t be afraid to start your search outside of music. Talk to city staff and Chamber of Commerce reps. They’ll be aware of what events are in the works.

    Plan at least a year in advance

    Timing is everything. And most successful events take a long time to plan, promote, and produce. 

    Start your research and your pitching early. 

    Meet people in the festival world!

    Networking. It’s important in most fields. And festivals are no exception. 

    First, be sure to follow the accounts of festivals you may want to play someday. Follow AND engage! Not only will this help the planners get familiar with you, but you can stay up-to-date on the latest festival announcements and deadlines (which are usually shared on social).

    But don’t start and end with Instagram and TikTok. You can often have a more meaningful dialog with people on LinkedIn, Discord, or Reddit. 

    And perhaps even more impactful than online networking, attend industry events and music conferences! I usually attend Folk Alliance International every year, and there are reps from some of the biggest festivals in folk and Americana music at that event. 

    Sure, there can be an expense to travel to a networking event such as that, but you get to meet a lot of people face-to-face, all in one place, get your questions answered directly, and go home with more confidence when you follow up on those conversations. 

    And remember your local industry mixers, musician union meetups, and more. If there are worthwhile music festivals in your area, there’s bound to be someone who knows someone at those events. 

    Get a booking agent

    I know, I know. That’s easier said than done. 

    And you might not be ready for a booking agent. After all, a booking agent expects to be paid commission based on the gigs you’re playing. Are you performing enough profitable gigs per year to justify their work? Many agents won’t even consider you as a client until you’ve proven to tour a certain number of days per year. 

    That being said, an agent CAN help open doors to festivals. It’s their world, after all. And just like PR and various forms of promo, it can sometimes help cut through the pile of pitches and emails to have trusted representation. 

    Go through the VENUES instead

    Many urban festival events host events across multiple music venues. I used to play this type of festival in Oregon (at the time it was called MusicFestNW), and it had the fun vibe of a pub crawl, but with music. This gives you the chance to start inquiries from the ground up — beginning with the venues, rather than the festival organizers.

    Darryl Hurs of IndieWeek reminded me of this when he offered his advice on getting into festivals:

    “Often festivals will work with participating venue bookers as to what artists are playing that venue during the festival. If you are starting locally, really get to know the venues that take part in the festivals. For instance, I worked closely with one particular venue and booked a lot of shows there, and was then able to talk to THEM about how to get artists into certain festivals that their venue participates in. And in some cases, it was a backdoor to actually getting the artist into the festival.”

    Familiarize yourself with the primary music festival roles

    Do you know the right people to contact when you pitch your music for a festival?

    It helps to have a sense of each of the festival staff’s responsibilities. 

    Larger festival staff may include:

    • Festival Director – Like the producer of a record, this person is responsible for the overall financial, artistic, and cultural success of the effort. 
    • Artistic Director – Supervises the vibe of the festival, and can have significant influence over the lineup.
    • Booker (or Talent Buyer) – The person who will consider, negotiate, and hire the acts. 
    • Production and Stage Managers – These people head up the physical infrastructure at the event as well as the sound/lighting for each stage. 
    • Outreach Team – There will also likely be marketers, a publicist, and a sponsorship manager. These experts help grow awareness, attendance, and revenue for the festival.
    • Coordinator and Runners – The people who plan travel and transport festival acts, journalists, etc.
    • As well as a small army of other staff, security, volunteers, photographers, social media coordinators, hospitality, and more. 

    Stay organized as you research festivals

    If you’re taking your festival research seriously, you’re going to want a central place to store all the info you’ve gathered. Make a spreadsheet with all the relevant contact and pitching information for each festival. 

    Your festival contact sheet should include: 

    • Festival name
    • Event dates
    • Address/location
    • Official website and social links
    • Deadlines for submission
    • Submission requirements
    • Contact info or URL for contact form
    • Requirements of the pitch
    • Date of pitch
    • Date to follow-up
    • Any other needs (for instance, if the festival is in another country, will you need to renew a passport or file other paperwork?)

    Make a great festival pitch!

    All your work up until this point has been preparation for the pitch. 

    Now how can you make an undeniable case for your music at this event? 

    Your festival pitch should:

    • Meet all the festival’s stated requirements (read carefully!)
    • Be as brief and punchy as possible, while still emphasizing your qualifications
    • Clarify in the first paragraph what benefit you provide to the festival (remember what I mentioned earlier about unforgettable moments, demographics, and mission)
    • Include your contact info and a link to your website’s festival pitch page

    Stay ready, even if you don’t get booked for a festival

    If you’ve never played a festival, you may be in an early phase of your musical journey where — because you haven’t proven yourself at a festival yet — you get a lot of rejections. Or just a lack of response. 

    That probably feels like a Catch-22: How can I play a festival if I haven’t played a festival?

    But one important thing to keep in mind is: Festivals often have last-minute emergencies. Bands break up. Artists get sick. Flights get cancelled. Vans break down. 

    You might be able to save the day and rock that festival slot after all. But in order to do so, you have to stay rehearsed, stay ready, and be accommodating to the festival staff you’ve already communicated with. 

    If they reject your first pitch, don’t be rude or defensive. Thank them for their consideration, and make sure to tell them that if any acts fall through, you’d be thrilled to fill in. 

    Then be sure to reach back out to the festival in the weeks or days before the event. As long as you’re not pestering these people night and day, that followup might arrive just in the nick of time. 

    I’m not saying to block out your calendar for a festival you’re not scheduled to play. Take other gigs if they come up, of course! But if the dates are still free when the festival nears, check in with the organizers again. 

    As you can see, there’s a lot that goes into playing your first music festival. 

    From researching the options, to considering which are right for you, to making a winning pitch. It can be a lot of work. 

    But when you’re finally playing in front of that enthusiastic festival crowd, the work will have all been worth it. 

    You won’t leave the event thinking about all the steps it took to get there. 

    You’ll be fixated on what’s most important: the audience, your music, and the magic that happens when the two meet. 

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    Chris Robley

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  • How to book your first music festival slot – ReverbNation Blog

    How to book your first music festival slot – ReverbNation Blog

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    Do you dream of headlining a big music festival? 

    Not surprisingly, a crucial step towards that goal is: booking your FIRST music festival slot! 

    With 1,000+ annual music festivals in the USA and Europe alone, there’s a whole world of opportunity out there for you to wow IRL audiences with your live show. 

    In this article we’ll explore:

    • the pros and cons of festival performances
    • how to know if you’re ready for a festival gig
    • and a few different ways to book your first festival slot

    Let’s dive in!

    Why play music festivals?

    This might sound like a strange place to start, but it’s worth asking: Do you really WANT to explore music festival opportunities? 

    Some festivals are amazing, career-defining experiences:

    Coachella, Glastonbury, New Orleans Jazz & Heritage Festival, Newport Folk Festival, ZoukOut, Rolling Loud, Lollapalooza Brasil…

    Impress those audiences and your music will be all over TikTok and Instagram. As memorable as it may be to rock one of those stages, though, your presence at a festival of that calibre probably means you’ve already built your career to a certain level. 

    Smaller music festivals give you a chance to:

    On the way there, you’ll have to consider OTHER kinds of festivals. Small festivals catering to niche genres. Upstart festivals that highlight your city or region’s art scene. Or brand new events that haven’t been proven yet. 

    • Perform in front of the most dedicated music fans in a geographic region
    • Reach curious listeners who are open to discovering new sounds across genres
    • Build your festival resumé
    • Meet, befriend, or collaborate with other up-and-coming acts

    But let’s be honest: You might also encounter disorganized festivals. Crap attendance. Failed promotion. Bad weather. Scammy directors. Terrible sound and production. And really, is there anything worse than bad sound at an outdoor gig? The answer is no.

    Playing a music festival can be unforgettable. Unforgettably great or disastrous. I’m not trying to discourage you. Just want to set some realistic expectations:

    Not all festivals are created equal. Your mileage may vary.

    Some things to consider about music festival opportunities

    Travel costs versus pay 

    What is the compensation for your performance? How far away is the festival? Do you need a hotel? Can you book other tour dates on your way there and back? How much will you pay in gas and food? 

    If it’s a great festival opportunity, it may be worth the trip for breakeven or even a slight loss. But you’ll want to think through those calculations beforehand. 

    Time and visibility of your festival slot

    I said above that not all festivals are created equal. The same goes for slots within any given festival. 

    What good is playing a festival if your set is early in the day while attendees are sleeping off a hangover, or if you’re playing the most inconvenient stage at the same time as a main-stage act that will draw crowds AWAY from you? 

    If you’re not familiar with the festival first-hand, ask around to gain perspective. Read reviews online. Check out TikTok, Instagram, Facebook, and YouTube for video from the previous year’s event, with a specific search focus on your slot, stage, and time. 

    Level of festival audience engagement

    While it’s often the case that music festival attendees are open-minded and enthusiastic, it can also be true that… they’re not specifically there for YOUR music. 

    A big festival with many competing stages can have the feeling of an all-you-can-eat buffet, where listeners sample a bit of this, a bit of that, but don’t fully invest in anything except the headliners. 

    Other festivals — like Portland, Oregon’s Pickathon — put a huge emphasis on new music, and create an environment where attendees are really excited to hear the lesser-known acts. 

    So again, do a little research to get a sense for whether actual music discovery is happening on the smaller stages. 

    The reality of festival merch sales

     This is another area that can be a huge win or a big disappointment. 

    If you slay, your new fans may jump at the chance to meet you at the merch table (assuming merch sales are permitted during the festival). But it could also be true that in the rush of an action-packed festival, your audience moves quickly to the next set. 

    This is yet another area where a little research can help you set proper expectations. 

    Opportunity costs

    Your default assumption is probably that the festival IS your opportunity. But it’s worth asking what you’ll be giving up to play the festival. 

    That could be the monetary costs we mentioned above, but it could also be other paying gigs you have to decline.

    To festival, or not to festival?

    Now even if you total up the worst of all the above scenarios: Small stage, early hours, unfocused audience, no merch sales, turning down gigs at home…

    … playing your first music festival may still be worth it. 

    It’s a foot-in-the-door and a resumé-builder. A chance to make an impact on a few new listeners. A way to familiarize yourself with a new performance environment. A challenge to push through discomfort and gain confidence for future shows. 

    In other words, the experience alone — even if it’s far from ideal — may be a growth opportunity worth pursuing. 

    But are you READY to perform at a music festival?

    Once you’ve answered whether a festival is right for you, you’ll have to figure out if you are right for the festival. 

    Here are 9 things that music festivals will look for when booking acts:

    1. Great performance skills

    The time to prove to yourself (and others) that you can consistently deliver an amazing live show is BEFORE you attempt to take the festival stage. 

    Music festivals are, obviously, performance events! So you want to be well-rehearsed and have plenty of stage experience before submitting to festivals. 

    Festivals want to know you’ll keep audiences engaged, not turn them away, which would diminish the reputation of the overall event. 

    If your show is great AND unique, all the better — because that uniqueness may help you check off a few of the other boxes below.

    2. Quality live-performance video

    It’s not enough to play great shows. You need to have proof. That means: video and photo documentation of you sounding great and your audience loving it. 

    Assuming the festival staff hasn’t heard you perform before, this live content (which should be easily accessible on your website and YouTube) will be the primary way a festival can assess what you’ll bring to their event.

    Some general rules for live performance videos:

    • Capture great sound — No distorted camera mic. No crowd conversation talking over the music. 
    • Show the audience — Again, the booker wants proof you can move the room. If the venue is packed, capture the crowd. If the venue isn’t packed, capture footage of the band close-up to the stage, and then get additional footage close up on individual audience faces. 
    • Avoid the tripod shot — The motionless camera at the back of the room is boring. Have someone hold the camera and move around to highlight the physical dynamics of your performance.
    • “At home” is okay — If you can’t capture video of a gig, you should at least have a live performance video from your home, rehearsal space, etc. You can also take video from house concerts if that’s appropriate for your genre and the audience consents to being on camera. 

    3. A clearly defined musical brand

    You should be past the point of your musical journey where you’re discovering who you are, what you have to say, and what your sound is. 

    This isn’t to suggest you can’t change and evolve, but rather… you should’ve already made a clear musical statement, backed by a visual aesthetic and a sense of story that resonate with a particular audience. 

    As EDM-festival organizer Evan Bailey says:

    “Regardless of the style of music you love, it’s important to have a defined sound and strive to be an innovator. Although that’s easier said than done — too often, young artists imitate what they hear working elsewhere. Although inspiration is part of any artist’s work, it’s important to really develop your own sound, look, etc. On the business side, it helps promoters when artists have a defined and unique brands, too.”

    Your brand, almost as much as your songs and performance skills, will be an important factor in how seriously a festival considers your participation. 

    4. Industry buzz and social traction

    All festivals want to establish a kind of cultural relevance. Festival directors and bookers want to feel confident that they’re hiring the best talent within their means. 

    The more buzz and traction around your music, in the press, amongst the industry and fellow acts, and on social, the better. That shows the festivals that you’ll bring the excitement factor. 

    Of course the level of buzz you need to reach will differ based on the profile of the festival. But all this to say, your first festival slot will probably be an event that coincides with or follows your social growth and networking. It won’t precede it. 

    5. An official release with momentum

    To put this simply, most festivals are booking acts who’ve released music on popular DSPs like Spotify and Apple Music. Even if you’ve only dropped a few singles, that counts! 

    But most festivals are NOT considering acts with zero output, or output that has gotten zero attention. 

    6. Accessible and digestible pitch information

    Whatever you wanna call it — an EPK, an ABOUT page, a one-sheet — you’ll need an easily accessible section of your website where you can include all the relevant information that a festival planner will want to see when considering your act for their event.

    You’ll be squeezing a lot into this page, so try to make it as punchy and digestible as possible.

    Your website’s festival-pitch page should contain:

    • Links to your music on the most popular DSPs
    • Links to your TikTok, Instagram, and X profiles (if applicable)
    • A short bio (one or two paragraphs)
    • A summary of your social stats, audience size and demographics, etc. 
    • An embedded YouTube video of your performing live
    • Hi-res photo(s)
    • Press quotes
    • Highlights from your touring history
    • Your festival history (though if you’re reading this article, you probably don’t have that yet!)
    • Testimonials from talent buyers, venue owners, or even fans — about your live show
    • Contact info

    7. Availability and commitment

    This probably sounds obvious, but make sure you’re actually available to play the event before you make your pitch. 

    Confirm the availability of everyone else in your act. Make sure every they each mark their calendars with tentative holds. 

    8. An unforgettable festival moment 

    One of the best ways to indicate your value to the festival is to prepare a pitch that includes a performance promise. 

    Can you do something during your festival slot that just screams “viral moment?” Something that will make the audience grab for their cameras? Something they’ll go home talking about more than anything else they saw at the festival? 

    Your unforgettable music fest performance could include:

    • A whole set collaboration with another act
    • A surprise guest for a song or two
    • A big reveal
    • A performance stunt or emotionally-connective moment
    • A tribute to another artist or album
    • A prop (but not tiny Stonehenge!)

      Figure out how to make that moment a reality. And then put it in your pitch. 

    9. Artist and audience demographics 

    Grant-funded festivals may have criteria to  meet as they build the lineup. 

    For instance, some Canadian events are obliged to feature a certain percentage of Canadian artists. 

    Other events may be guided by a specific mission statement that would favor certain artist applicants  based on genre, age, race, geography, or other demographics. And of course many festivals are driven to present a diverse lineup out of a sense of social responsibility, or simply because it makes a better event. 

    As IndieWeek founder Darryl Hurs explained:

    “Diversity and demographics are a big factor, as festival promoters are becoming more sensitive to making sure that everybody is included.”

    All that to say, you’ll want to be aware of the what, who, and where of both the artist lineup and the attendees. If you can help the festival achieve a goal besides just being great on stage, don’t shy away from mentioning it!

    Tips for finding your first music festival slot

    Once you know you’re qualified to take the festival stage, how do you find your first festival slot? Here are some guidelines to point you in the right direction. 

    Start with local music festivals

    Be realistic: You’re probably not going to make your festival debut at the Newport Folk Festival. They’re extremely selective and plan long in advance.

    Like most things in music, it’s easiest to make your mark amongst smaller communities first, whether they’re online or in your geographic region. 

    For your first festival, start by looking in your hometown. Ask local bands and venues. And of course, go to your local festivals!

    Look for NON-music festivals

    There are other reasons to throw a festival, and sometimes those non-music events will still have music stages. 

    When I lived in Oregon, for instance, I played an annual food festival on the river with a huge mainstage for music. Even though attendees hadn’t arrived specifically for the music, it was still a large audience of people that stuck around to listen. In my current hometown, there’s a summer beerfest that has multiple music acts throughout the day. Come for the beer, stay for the music.

    So don’t be afraid to start your search outside of music. Talk to city staff and Chamber of Commerce reps. They’ll be aware of what events are in the works.

    Plan at least a year in advance

    Timing is everything. And most successful events take a long time to plan, promote, and produce. 

    Start your research and your pitching early. 

    Meet people in the festival world!

    Networking. It’s important in most fields. And festivals are no exception. 

    First, be sure to follow the accounts of festivals you may want to play someday. Follow AND engage! Not only will this help the planners get familiar with you, but you can stay up-to-date on the latest festival announcements and deadlines (which are usually shared on social).

    But don’t start and end with Instagram and TikTok. You can often have a more meaningful dialog with people on LinkedIn, Discord, or Reddit. 

    And perhaps even more impactful than online networking, attend industry events and music conferences! I usually attend Folk Alliance International every year, and there are reps from some of the biggest festivals in folk and Americana music at that event. 

    Sure, there can be an expense to travel to a networking event such as that, but you get to meet a lot of people face-to-face, all in one place, get your questions answered directly, and go home with more confidence when you follow up on those conversations. 

    And remember your local industry mixers, musician union meetups, and more. If there are worthwhile music festivals in your area, there’s bound to be someone who knows someone at those events. 

    Get a booking agent

    I know, I know. That’s easier said than done. 

    And you might not be ready for a booking agent. After all, a booking agent expects to be paid commission based on the gigs you’re playing. Are you performing enough profitable gigs per year to justify their work? Many agents won’t even consider you as a client until you’ve proven to tour a certain number of days per year. 

    That being said, an agent CAN help open doors to festivals. It’s their world, after all. And just like PR and various forms of promo, it can sometimes help cut through the pile of pitches and emails to have trusted representation. 

    Go through the VENUES instead

    Many urban festival events host events across multiple music venues. I used to play this type of festival in Oregon (at the time it was called MusicFestNW), and it had the fun vibe of a pub crawl, but with music. This gives you the chance to start inquiries from the ground up — beginning with the venues, rather than the festival organizers.

    Darryl Hurs of IndieWeek reminded me of this when he offered his advice on getting into festivals:

    “Often festivals will work with participating venue bookers as to what artists are playing that venue during the festival. If you are starting locally, really get to know the venues that take part in the festivals. For instance, I worked closely with one particular venue and booked a lot of shows there, and was then able to talk to THEM about how to get artists into certain festivals that their venue participates in. And in some cases, it was a backdoor to actually getting the artist into the festival.”

    Familiarize yourself with the primary music festival roles

    Do you know the right people to contact when you pitch your music for a festival?

    It helps to have a sense of each of the festival staff’s responsibilities. 

    Larger festival staff may include:

    • Festival Director – Like the producer of a record, this person is responsible for the overall financial, artistic, and cultural success of the effort. 
    • Artistic Director – Supervises the vibe of the festival, and can have significant influence over the lineup.
    • Booker (or Talent Buyer) – The person who will consider, negotiate, and hire the acts. 
    • Production and Stage Managers – These people head up the physical infrastructure at the event as well as the sound/lighting for each stage. 
    • Outreach Team – There will also likely be marketers, a publicist, and a sponsorship manager. These experts help grow awareness, attendance, and revenue for the festival.
    • Coordinator and Runners – The people who plan travel and transport festival acts, journalists, etc.
    • As well as a small army of other staff, security, volunteers, photographers, social media coordinators, hospitality, and more. 

    Stay organized as you research festivals

    If you’re taking your festival research seriously, you’re going to want a central place to store all the info you’ve gathered. Make a spreadsheet with all the relevant contact and pitching information for each festival. 

    Your festival contact sheet should include: 

    • Festival name
    • Event dates
    • Address/location
    • Official website and social links
    • Deadlines for submission
    • Submission requirements
    • Contact info or URL for contact form
    • Requirements of the pitch
    • Date of pitch
    • Date to follow-up
    • Any other needs (for instance, if the festival is in another country, will you need to renew a passport or file other paperwork?)

    Make a great festival pitch!

    All your work up until this point has been preparation for the pitch. 

    Now how can you make an undeniable case for your music at this event? 

    Your festival pitch should:

    • Meet all the festival’s stated requirements (read carefully!)
    • Be as brief and punchy as possible, while still emphasizing your qualifications
    • Clarify in the first paragraph what benefit you provide to the festival (remember what I mentioned earlier about unforgettable moments, demographics, and mission)
    • Include your contact info and a link to your website’s festival pitch page

    Stay ready, even if you don’t get booked for a festival

    If you’ve never played a festival, you may be in an early phase of your musical journey where — because you haven’t proven yourself at a festival yet — you get a lot of rejections. Or just a lack of response. 

    That probably feels like a Catch-22: How can I play a festival if I haven’t played a festival?

    But one important thing to keep in mind is: Festivals often have last-minute emergencies. Bands break up. Artists get sick. Flights get cancelled. Vans break down. 

    You might be able to save the day and rock that festival slot after all. But in order to do so, you have to stay rehearsed, stay ready, and be accommodating to the festival staff you’ve already communicated with. 

    If they reject your first pitch, don’t be rude or defensive. Thank them for their consideration, and make sure to tell them that if any acts fall through, you’d be thrilled to fill in. 

    Then be sure to reach back out to the festival in the weeks or days before the event. As long as you’re not pestering these people night and day, that followup might arrive just in the nick of time. 

    I’m not saying to block out your calendar for a festival you’re not scheduled to play. Take other gigs if they come up, of course! But if the dates are still free when the festival nears, check in with the organizers again. 

    As you can see, there’s a lot that goes into playing your first music festival. 

    From researching the options, to considering which are right for you, to making a winning pitch. It can be a lot of work. 

    But when you’re finally playing in front of that enthusiastic festival crowd, the work will have all been worth it. 

    You won’t leave the event thinking about all the steps it took to get there. 

    You’ll be fixated on what’s most important: the audience, your music, and the magic that happens when the two meet. 

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    Chris Robley

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  • RepeatMD lands capital to grow its aesthetics and wellness booking business | TechCrunch

    RepeatMD lands capital to grow its aesthetics and wellness booking business | TechCrunch

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    Traditionally, the aesthetics and wellness industry — med spas, dermatologists, plastic surgeons, weight loss clinics, OBGYNS and so on — have leaned on in-person consultations and ad hoc marketing campaigns to drive business. But the pandemic changed the equation. Now, there’s an expectation that these businesses have a presence on major digital channels.

    Not every practice has the skills and expertise to build out such presences, however — which is where companies like RepeatMD come in. Founded in 2021, RepeatMD provides turnkey software solutions to operators in the aesthetics and wellness sector.

    “RepeatMD’s buyers are small- and medium-sized businesses who want to generate a new revenue stream for their practice,” Phil Sitter, ReadMD’s founder and CEO, told TechCrunch in an email interview. “Our platform allows practitioners to sell their treatments around the clock and enhances the patient buying experience through a mobile app.”

    Sitter, a repeat entrepreneur, bootstrapped RepeatMD profitably until late 2022, when the startup closed its seed round. He funded Repeat in part with the proceeds from VIPinsiders, a Houston-based food and beverage loyalty and rewards program (Sitter originates from Houston), and a restaurant Sitter owns, the Houston-based brunch and lunch restaurant EggHaus Gourmet.

    As Sitter alluded to, RepeatMD builds apps for aesthetics and wellness businesses — apps that let customers sign up and pay for monthly memberships to practices and recurring treatments. Through an integration with Affirm, customers can pay for services in monthly installments if they so choose.

    Like many loyalty programs, RepeatMD’s apps also “nudge” customers by sending them notifications with discount offers. Sitter describes these as “Starbucks Rewards-style” experiences.

    RepeatMD

    Image Credits: RepeatMD

    “The aim is to be the Shopify of the medical industry, helping medical practices sell more of their elective based procedures,” Sitter said. “We’re investing in algorithmic solutions to streamline the practice onboarding process and enhance the patient buying experience, making it easier for patients to discover treatments that fit their goals.”

    It appears to be a winning strategy for RepeatMD. The company claims to now service over 3,500 practices and 700,000 users, and RepeatMD’s software-as-a-service revenue increased 130% over the past year, according to Sitter.

    That’s piqued investors’ interest. Today, RepeatMD announced that it’s raised $40 million in a funding round led by Centana Growth Partners and Full In partners with participation from Proof and Mercury Fund, along with a $10 million loan from Silicon Valley Bank. (Sitter says the loan was obtained on “favorable terms.”)

    The new capital, which brings RepeatMD’s total raised to $56 million, will be used to grow the startup’s network of partners, build out RepeatMD’s platform and expand the company’s team of around 130 employees to more than 150 by the end of the year, Sitter says.

    “RepeatMD has seen massive acceleration of its product during the last 12-months as practices are looking for new ways to generate revenue,” he added. “We bring in new revenue for practices and the rewards program solves patient retention.”

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    Kyle Wiggers

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