SXSWORLD

Booking Agents Take On Artist record industry on its head, releasing the stranglehold on press, radio and video access that used to be domi- nated by major labels and politics. The newly leveled playing field has also meant a change in an age-old equa- tion, one in which booking agents, who used to be one of the last pieces in the industry puzzle, have taken on a primary role in artist development. According to a recent article, the O ver the past few years, much has been written about how the Internet has turned the Development Role in the Digital Era by Barbara Mitchell Dave Matthews Band is the new model for the music biz: the artist's primary income derives its might from live shows and related merchan- dising opportunities. "It used to be that you had no hope of getting a booking agent without a bunch of other things going on—a record deal or something," says Nabil Ayers, U.S. label manager for 4AD, co-owner of Seattle indie record stores Sonic Boom and primary force in indie label The Control Group. "And now sometimes the booking agent is the first person who comes to the table. "Bands are able to do without all the label backing that used to be the only way to get there, and now agents realize that we can have a band that's actually viable and makes money on tour, but everything is happening faster, so agents have to be more agile and think about signing bands before they know they're definitely gonna take off, " he continues. "They just sign bands they think are good and (trust) that something will happen." Tom Windish, whose Windish Agency represents artists like the xx, agrees. "We may be the first person on board to shape their career, to help them find a manager or a label," he explains. "I used to look at Soundscan, but that means nothing to me now … I just go for things that are great music." Michelle Cable, owner of Panache Booking, got into the business The xx played to a capacity crowd on the outside stage at the Mohawk during SXSW 2010. asked about that role in marketing plans, he's immediate in his reaction. "That's a big one because it's not just those shows; it's everything around them," he says, going on to point out that opportunities to do NPR, KCRW, and KEXP on-airs, not to mention the chance for features in key alternative weeklies, not only raises profiles but helps sell records and tickets, and ultimately helps shape careers. Cable, for her part, feels a curator's responsibility. "When you go to a show, the reasons that show is happening there by creating a fanzine and then being asked to promote shows and ultimately book tours. She has seen her role go from advocate to de facto manager in some cases, and she and her staff frequently fill in promotional duties. "I think a lot of the bands we work with have developed a trust with us, so they ask us for our opinion on what's the next step," she says. "I feel like we fulfill the role just because of the trust that's grown between the agent and the artist." This trust seems to have grown between the label and the booking agent as well. While Cable points to the branding opportunities that key labels have, as well as the chance to meet an entirely different audi- ence, Ayers nods to the amplified role touring has taken on. When 50 SXSW ORLD / F EBRUAR Y 2011 and on that date, and the reason those bands are playing on the bill and it is that cover charge are ultimately based on what the booking agent decides," she says. "We have a lot of control over how an artist is perceived, so it's really important to make sure you're putting them into the right situations, so it ultimately becomes a sold out show and successful tour." As the industry continues to find its sea legs in the digital era, touring seems to be the surefire way to make or break bands. Witness Clap Your Hands Say Yeah, whose second album and lackluster live shows drew a collective yawn after an initial Internet buzz, versus the underground success of the xx, whose increasingly sold-out shows were a collective success based on word-of-mouth reputation and solid booking choices that capitalized on key market inroads. Booking agents may not be the saviors of the music industry, but they are playing an increasingly important role in artist development. And in a world of one-hit internet wonders and short attention spans, they are the people aspiring artists want on their side. n Stay tuned to sxsw.com/music for artist and showcase information, as well as panel and speaker schedules. JONATHAN MEHRING

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