Of all the different music intermediaries that we can think of in general terms, probably the one that has the most demanding task of all, or at least the one who has to deal with higher degrees of pressure and stress is definitely the Concert Promoter. We all love to attend exciting live events and concerts in particular; however, of all the times we go to one of this, probably in very few of these we pay attention to the fact that the concert we just attended was made a reality by someone somewhere who took care of all the details. This person is commonly known, at least in the world of music business scholars, as the Concert Promoter.
The promoter is the one person in charge of putting together all the different parts to make a live event a reality: from hiring the talent, to booking the venue, producing and distributing the tickets, setting the stage, sound and other facilities, hiring the personnel of security, stage crew, merchandize selling and cleaning of facilities, etc. In one side he has to pay the artist/s for the performance, the venue for the rental and the other persons for their service… and basically he have to make things (and numbers!) work. All for an ultimate income equivalent generally to the 20% of the concert’s net profit. Successful concerts can get the Promoter a lot of money; however, the risk is always present for there to be a different scenario, and loosing money is not unusual.
Even when the concert turns out to be a success, the percentage of the revenue that the Concert Promoter’s get is probably disproportional to the amount of effort, time, risk and energy that he/she had to invest in the realization of the event, especially compared to that of the talent’s Booking Agent, who generally gets a 10% of the gross revenue and saves all the juggling.