Spotlight on Pay to Play – in Denver

Photo: David Flomberg of Reptiles and Samurai | By French Davis and David Flomberg, Yellowscene | Sadly, it’s evident that the people responsible for distributing content have long forgotten that fact. From the streaming model — e.g. Spotify, Apple Music, etc. — that cratered the financial value of recording artists’ music to the SAG/AFTRA strike now stretching into its second month, it’s apparent that the list of entities who want a piece of the value of art created by other people has grown exponentially greater than what the movie houses and record labels of yesteryear chiseled out.

And while SAG/AFTRA has some measure of leverage in this battle, for musicians it’s a David and Goliath story where Goliath wins, whether it’s in the local scene or when it’s on a national stage. In this case, it’s the “Pay-to-Play” model, where musicians literally pay a promoter or the venue to perform on the stage. And while it’s not a new concept by any measure, it is creeping into new areas of Colorado’s music and arts scene.

On The Big Stages
When The Weeknd performed for the Super Bowl halftime performance in 2021, he didn’t make a dime.

In fact, he spent more than $7 million on the production, according to Billboard magazine (“Super Bowl Halftime Shows Cost Millions. Who’s Paying?” Billboard.com, Feb. 5, 2021) — the most expensive “pay-to-play” event a musician will ever encounter.

While the NFL covers most of the production costs of the annual event, the value to the artist is access to the largest captive audience in the world — Super Bowl LVII was viewed by 115.1 million people. After their Super Bowl performances in previous years, “Shakira‘s Spotify tracks increased by 230% compared to the previous week, and Jennifer Lopez’s music went up by 335%,” Billboard reported. Rihanna’s digital album sales skyrocketed 301% after her halftime performance in this year’s Super Bowl, according to Forbes.

In Los Angeles, iconic venue Whiskey a Go Go has long been a “pay-to-play” venue. Audiences often include record label executives and talent scouts. For bands looking to get signed, the cost to play there is viewed as a necessary marketing spend. Given the history of musical acts that launched careers there — ranging from Otis Redding to Guns N’ Roses — it’s a reasonable investment.

But in Colorado, that practice has never taken hold — certainly not at the myriad small-to-midsized venues dotting the Front Range. Occasionally, major touring acts allow local acts to “sign on” to their tour as an opener at a large venue for a fee — but again, that’s for access to a major act’s sizable audience and it can be worth the cost for that kind of quantifiable exposure. However, that’s the exception. Not the rule.

According to the U.S. Bureau of Labor Statistics, the average hourly pay for a professional musician is $36.01. That’s for the performance — not rehearsal/practice time, composition, arranging, or any of the other effort that goes into the job. . . .
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Pay to Play on the Local Stages
Bridging The Music Promotions LLC, founded locally by Jonah Lipsky, now headquartered in New York, doesn’t operate according to the Centennial State’s established norms. The consensus among both proponents and detractors of BTM call it the same thing: “Pay-to-play.”

BTM books an artist for a specific event where BTM has secured a venue. That artist is responsible for selling an agreed-upon number of tickets for that event. BTM gets 100% of that revenue. For the next cohort of tickets sold above that number, the artist keeps 100%. For every ticket after that, there’s a split between the artist and BTM. If the artist doesn’t meet the number of ticket sales agreed upon in the first cohort, they are still responsible to cover the difference to BTM.

On June 21, BTM emailed me unsolicited (I founded and manage an Oingo Boingo tribute band called Reptiles and Samurai) to see about performing their “miniFEST”:

“Hi Reptiles and Samurai… I just wanted to see if you’re possibly available to perform on September 23rd at Denver miniFEST at Herman’s Hideaway? I have a really good lineup for this show already, but I am looking to fill a few more slots. If you are available please let me know and we can discuss. Also please note, we offer all performers a free HD video of the event, you will play in front of a new audience and we also pay very fairly based on your attendance. In general it’s such a good event for networking, expanding and growing your fanbase. Feel free to email me here or we can jump on a call.”

The timing was serendipitous. I had literally just spoken with local musician and Colorado Musicians Union co-founder Sarah Mount (profiled in YS: “Spotlight on Sarah Mount,” June 12, 2021) a week before about BTM’s business model because of a Facebook post she published decrying this model. Her post on the topic — where multiple local musicians weighed in referring to BTM as a “scam” — was responded to with a cease-and-desist letter from BTM’s attorney, Mateo Perez, Esq. We’ll revisit that in a moment.

I scheduled a call via that email and ended up on the phone with Lipsky.
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If you don’t read the rest of this very informative article, you’re shooting yourself in the… foot:
https://yellowscene.com/2023/08/24/spotlight-on-pay-to-play/

Authors: French Davis and Dave Flomberg

Meet Dave Flomberg | Writer, musician, creative director (aka French Davis). There is so much to say about Dave aka French that we think you should read these articles:
https://yellowscene.com/2020/02/29/french-davis-a-master-of-many/
https://shoutoutcolorado.com/meet-dave-flomberg-writer-musician-creative-director

Learn more about the Colorado Musicians Union at http://www.comusiciansunion.com.

[Our thanks to David Barber, http://www.possibilitypromotion.com and http://www.rockoncolorado.com for sending this article!]

Photo: Dave Flomberg | https://www.facebook.com/ReptilesAndSamuraiDenver/