This month, Wavelength presents our new D.I.Y. series, a semi-regular series where we provide the ins and outs of the many issues and concerns which the do-it-yourself musician, concert promoter or record label will have to deal with when trying to succeed at their trade. In the first of two parts, Ryan McLaren offers some advice to aspiring concert promoters by giving a step by step checklist to follow when trying to plan and book a show.

So you went to a show recently at Cinecycle, or maybe the Ford Plant, or the Masonic Lodge in Mississauga, and afterwards thought, it would be cool to put on a show, but just didn't know how or where to start. Well, I've wondered the same thing. I recently sat down with local concert promoters Dan Burke and Eric Warner and they filled me in on the process.

Step 1: The Bands
This is normally your first step. Is there a specific band you want to bring in from out of town, or a local band you want to shine the spotlight on? Make the phone calls and book a date. Do these bands have agents? If so, then most of your work will be through them. Check websites or album liner notes for contact info.

You want to figure out when the bands are available so you can book a venue. Most venues book shows pretty far in advance, so the more time you give yourself the better. Give yourself about 5 to 14 weeks. If you work on a shorter timeline, you'll just make it harder on yourself.

Step 2: The Venue
You have to find a place to put on your show. Call around and ask about capacities. You don't want to book a low draw band into the Kool Haus. This is where the most strategy comes in. You have to consider how many people your bands are going to draw to find a venue that's going to fit. It's better to book a smaller venue and pack it full then book a big venue and have it half empty. And remember that if you tell a venue the show is going to draw 300 people, they'll be pissed if all they get is 150. Bars make their money on alcohol sales. If people don't drink, the venue doesn't make any money. You have to match the expected crowd with the venue capacity. If you draw 150 people at the Opera House, that's bad. If you draw 150 people at the Rivoli, that's good.

Step 3: The Money
Bars get their money from alcohol sales (unless it's an all-ages event, more on that later). Some bands will take a percentage of the door, other band will want a guarantee. Some will want both. Touring bands will want their gas money covered at the bare minimum, so they want a promise that they'll get that. If you make a guarantee and no one shows up, that money will have to come out of your pocket. This is something you'll have to work out with them. You might have to pay for a sound guy too, ask the venue. Most venues have their own sound guy, unless it's an unconventional space like a church or hall. If you don't think a band is going to have a big draw, do a door deal. Door deals are normally either 80/20 or 85/15. That's 80-85 percent for the band, 20-15 percent for you. Here's more strategy. If it's a low draw band, don't expect people to pay $10 to get in. However, if it's a band that's never been to this city and there is a demand, you might get away with a higher ticket price. And remember that despite what goes into your pocket from the door, you've got to pay the band if there's a guarantee, plus any DJs you have between sets, and that sound guy. Important tip: have all the money you need to pay for everything before you even put on the show. Don't expect the door to cover it, because if no one shows up, you still need to pay. This can be an unstable job. Sometimes you make money, and sometimes you lose money. Be prepared.

Next month: Part two. Even after the show is booked, there are still many things to do.

by Ryan McLaren