Entries Tagged 'Big Time Entertainment' ↓

To achieve the greatest possible connection between bands and their fans, it is also BigTime’s job to encourage each artist to interact with their fans on a personal level. While they may not end up becoming “best friends” with each of their fans, they MUST give each of their fans the chance to get to know them, as an artist-who they are and what their songs are about.In contrast to the “traditional” all-ages concert producer, Big Time Entertainment does not consider it appropriate to act as a music critic. According to BigTime Entertainment’s philosophy, everyone is entitled to his or her own opinion because “beauty is in the eye of the beholder.” Since two people can hear the same song and exhibit exactly opposite reactions to it, BigTime only means for determining the legitimacy of a band’s music is to use fan response as our primary indicator. If people like it, then it’s valuable; there’s no fairer way to critique an art form.
Unlike the traditional all-ages concert producer, BigTime Entertainment also understands that it’s role is not that of a Concert Promoter-since its shows rarely feature touring acts. Whether a bands fan base is 30 people or 300 people, the band members themselves are in a better position than anyone to promote to those people. Any attempt by BigTime Entertainment to take on this role would be both an overwhelming failure. Thankfully, the money we save can be passed on to the hardest working bands-which promote for their band far better than anyone else could.

Click here to find out more about Big Time Entertainment on www.352media.org

Since BigTime Entertainment’s inception in 2004, many markets all over the U.S. have been introduced to a far more effective and sustainable way of producing local, all-ages shows. Big Time Entertainment events have helped numerous all-ages venues to not only survive but also thrive. In addition, literally thousands of bands have connected to new fans as well as deepened their connection to existing fans. This comes as a direct result of the strategies offered by BigTime Entertainment’s web-delivered resources (i.e. Artist Resources & Taking Control of Your Music Career) and the opportunity offered by our shows.
For BigTime Entertainment to accomplish its mission of connecting bands to their fans, BigTime must ensure that all-ages venues both survive and succeed. If they don’t, both the bands and their fans will suffer. To accomplish this, BigTime utilizes time proven systems for everything-from sending out venue deposits before each show to providing the venue with Feedback Forms to fill out after each show.

Click here to find out more about Big Time Entertainment on www.352media.org

Today, almost every local all-ages show is produced in the following manner. A small(often one-man) production company will make arrangements to rent one of the all-ages music/art spaces described above—a new club that just opened downtown. Next, the concert producer will find several “cutting edge” local and regional acts, he or she believes to be so talented that booking them will ensure that the show becomes fantastic success. These acts are tired of playing small, smoky bars that are half full of middle-aged people and are anxious to play somewhere new–so they excitedly agree.
Now, since the concert PRODUCER mistakenly believes he or she is a “concert PROMOTER”, promotion efforts will ensue. What he or she doesn’t realize is that true Concert Promoters work only with well-known touring acts who have a large national(or at least regional)fan base but are unable to promote for themselves because they won’t be in town until the day of the show.
So, almost literally no one who sees the flier or ad will even remember them a day later–let alone, come out and pay to see the show. Because of this, these “promotion” efforts will yield little to no results–neither in terms of show attendance nor name recognition for the bands. In addition, the concert producer will not be able to pay the bands as well as anticipated, because he or she has wasted considerable funds on ineffective promotion techniques.
On the day of the show, both the concert producer and his or her “cutting-edge” bands will arrive at the venue. Everyone will set up for the show. In spite of the fact that they prefer to play second, the most popular band on the bill (which is not necessarily the most musically talented but is always the hardest working) will be forced to play the last timeslot of the night, because they are “headlining” the show. Thanks to this well-intentioned concept (which only actually makes sense for national or regional tours), the hardest working band will be penalized–in essence–by not getting any choice of when they take the stage.
The rest of the bands will draw a combined total of 15 people to come see the show, for a total show attendance of 100 (=85+15) people. Depending on the price of admission and the size of the club, the concert producer may or may not have enough cash left to pay the rent he or she owes the venue. If rent is covered, then the bands will probably split the rest of the money.
The bands may split the rest evenly, which seems unfair to the band that brought out 85 people, but this will make the other bands very happy. The band that brought out 85% of the crowd is probably not happy about being paid the same amount as the other bands–and understandably so.
At the end of this show, the hard working band (which is the only one of the bands that has the drive needed to achieve widespread success) is left wondering if the show was even worth playing, and the other unmotivated bands are anxious for another chance to get paid for playing an event that requires little to no effort on their part.
As the dust settles, the concert producer realizes that low attendance and unnecessary “promotion” costs have left him or her very low on cash. He or she then informs the owner of the venue not to expect any more shows for a while, because it will take quite some time to save up the needed funds to produce his or her next event. Sadly, most of the production companies who rent this venue soon find themselves in a similar circumstance, so the club will likely not survive long enough to celebrate even a one-year anniversary.

Click here to find out more about Big Time Entertainment on www.352media.org

Often at the local level, artists become discouraged, because they leave stacks of fliers all over town and then three people show up to watch them play. This is both unfortunate and unnecessary.
Big Time Entertainment is dedicated to ensuring that no band is forced to endure this disheartening experience. With the right strategies and the right opportunity, bands can make every show a success, and they can make every show a fantastic opportunity for CONNECTION! Everyone at Big Time Entertainment loves helping them do this…it’s their mission.

Click here to find out more about Big Time Entertainment on www.352media.org

BigTime Entertainment’s mission is to connect bands to their Fans. BigTime Entertainment not only does this by putting bands on stage in front of their current fans and soon-to-be fans but also by encouraging the bands to initiate one-on-one contact with their fans. This is where the real connection is made-especially while growing a local or regional following. In addition, BigTime Entertainment does its best to equip bands with effective strategies to help them make the most of every opportunity for real connection.
“Our first show was at ‘Name-Brand Exchange’ at Southern Val Vista,” recounts Jim Adkins (lead vocals & guitar) of Interscope Records’ JIMMY EAT WORLD. “It was kinda like a buffalo exchange-a clothing store thing…they were having a party”. “It was pretty much like an upscale thrift store for high school girls,” adds Zach Lind (drums).
“It wasn’t our first real show, but it was our first public performance as JIMMY EAT WORLD,” continues Adkins. “The first real show we played was like an all-local gig with like 6 bands at some [all ages] punk rock kinda art-space that only was open for about 8 months. There was whole slew of those in [our home market].” *
Sadly, Jimmy Eat World’s experience at the outset of their music career is pretty typical. Many bands struggle to get into legitimate music venues. Also it’s an unfortunate reality that many all-ages venues struggle to maintain consistent revenues and eventually are forced out of business. In fact, in a handful of major U.S. markets, there are currently no established small or mid-sized, all-ages venues whatsoever. This means that local and even many national touring acts have very little choice of where to perform in these areas.
As was the case with Jimmy Eat World, many bands struggle when starting out. Although many experience difficulty booking shows that will contribute to the growth of their career, most struggle even finding chances to play real shows–somewhere other than birthday parties, school sponsored events, and small bars (21+ only).
Even when bands do book real shows, they often don’t get the results they want from the shows because of a simple lack of information. They’ve all been in the audience for amazing shows, but very few of them understand what it takes to re-create that experience for their fans when they take the stage. Most assume that the key to a successful show is giving an amazing performance–and that is important. However, what they don’t know starting out is that great shows are really made before the band takes the stage–through one on one interaction with fans and truly effective promotion efforts. Thankfully, Big Time Entertainment can help.
Big Time Entertainment believes that, although the above issues are undeniable actualities of today’s music industry, BigTime Entertainment shows are affecting change for the better. Already, since BigTime Entertainment’s inception in 2004, over 5,000 bands (roughly 18,000 band members) have been given the opportunity to play fun and beneficial shows at great all-ages venues in their home market–thanks to , Big Time Entertainment booking.
BigTime Entertainment is constantly empowering its artists to create valuable, effective, and fulfilling live performances by providing both the opportunities and the strategies necessary to succeed. By doing this, BigTime Entertainment continues to fulfill its mission of connecting bands to their fans.
It is also worth noting that in the last year alone, Big Time Entertainment has worked with over 30 all-ages venues throughout the United States. In a handful of cases, venues have even credited BigTime Entertainment booking for keeping them in business during difficult times. Ultimately though, Big Time Entertainment shows not only help venues to survive, but also to thrive–which contributes greatly to the viability of local music in each market. In addition, there are varieties of people (sound/lighting technicians, security staff, venue management, etc.) that play a vital role in making shows happen, and by partnering with all-ages venues, BigTime Entertainment is able to benefit these individuals as well.

Click here to find out more about Big Time Entertainment on www.352media.org