Every summer, I get questions about how concerts are booked and how the relationships between band, manager, agent, and promoter work together. Many of the questions are based on an incorrect public perception that bands “just decide” to put on a show or “just decide” to go out on tour, or that the band hires a promoter.
I’m not sure where they got those assumptions, but the public literally has the process backwards. Maybe the plot of the old Mickey Rooney / Judy Garland “Let’s put on a show!” movies still lingers on in the media. The fact that artists are contractually prohibited from discussing deals doesn’t help, so when an artist talks about the latest tour, it can sometimes seem like all the planning comes from the artist.
For those who may have missed it on MusicBizAdvice.com, once again, here’s how concerts are booked:
This post covers the traditional, local promotion method of booking shows. Unless the artist is an established star artist with a 360 deal on a major label or is the opening act for a major artist's tour, the artist is most likely to book shows by multiple promoters over the course of a tour. (Top concert artists' tours are usually handled by one promoter for the entire tour.) [Specifically, top concert artists' tours are usually handled by one promoter for the entire tour, with various services contracted out to local promoters. Added for clarification by Randi Reed 9/16/15.]
Artist = band or performer. That may seem obvious, but I include it to prevent people and search engines from inquiring about paintings.
Manager = oversees all aspects of an artist’s career. The manager works with the artist to develop a long-term career plan and oversees all aspects of the artist’s business life. In the context of booking live performances, the manager helps the artist decide which employment offers are most helpful to the long-term career plan. The agent, not the manager, does the actual booking.
The manager has many roles in the day-to-day operations of the band’s career. A few examples include communications with the label, assisting the artist with hiring additional musicians, hiring crew members, and tasks that help the artist manage his personal life as well.
Agent (also known as Talent Agent) = Think “employment agent”. The agent seeks employment opportunities for the artist in the form of offers from promoters, presents the offers to artist’s manager, and then negotiates the contracts for the offers the artist accepts. The agent sees that all contractual obligations for the show are met by the promoter, and if something goes wrong with a booking, the agent works to resolve it on behalf of the artist. In many states in the U.S., a licensed talent agent is the only person who can legally negotiate an employment contract for an artist. Talent agencies are also governed by some of the same laws as employment agencies for other professions.
Concert Promoter (also known as Talent Buyer, aka show Producer, aka Presenter) = the artist’s employer for live performances. Specifically, the artist is an independent contractor hired by the promoter.
The title “concert promoter” is a bit of a misnomer, because the promoter’s job is everything relating to the entire show, from hiring the artist to advertising and promotion. Venue rental, permits, staging, local personnel, security…if it’s needed to make a show happen, the promoter is responsible for doing it. That’s why some show contracts refer to the promoter as “Producer”. (In some cases where the artist travels with their own staging or production, the promoter reimburses the artist’s costs. But not always.) Other show contracts refer to the promoter as “Purchaser” because the promoter is purchasing a service from the artist, but in context of live entertainment, they all mean the same thing.
The relationship between Agent, Manager, and Concert Promoter, and how they work together in a traditional booking arrangement:
1. The artist’s agent obtains offers for show bookings from promoters. For artists with an established reputation, promoters usually reach out to the agent with offers that include breakdowns of ticket prices proposed by the promoter, the expected gross, and expected expenses.
2. The agent presents the offers to the artist’s manager, who helps the artist choose the offers that stand the best chance of helping the artist’s career.
3. The agent then negotiates the contract for the accepted offer, issues the contracts, and obtains a non-refundable deposit from the promoter. The dollar amount of the deposit depends on talent agency policy and the promoter’s stature and reputation in the industry, ranging from 10% to 50% of the artist’s guaranteed fee.
4. The promoter does his part, the artist shows up and performs the show, and everyone gets paid.
You’ll notice I haven’t mentioned specific types of deals, or "standard" or “typical” percentages of splits, or “typical” artist guarantees. That’s because despite what you may have been told by an insistent promoter, there’s no “standard” type of deal or “standard” split between artist and promoter. I say this as someone who has worked on both sides of the contract, who has seen offers come in and go out for many types of artists, from local club band to international superstar, for every major city in the U.S. and abroad. There are many different types of deals and splits. Here’s why:
Ticket prices and artist guarantees are based on whatever the market will bear at a given time.
The conditions of the concert marketplace vary from year to year, as well as by artist (and that artist’s accompanying demographics and box office history), place (and that city’s accompanying demographics), and by what time of year the show will happen.
Other major factors include the type of show (Is it a one-off show or part of a tour? Is the show at the beginning of a tour? Or is it part of a string of added dates to a sold-out tour? Is the tour a reunion tour? Is the show at a special venue? What's the venue capacity?), where the artist is in the arc of their career and what’s expected to happen during the period the show or tour takes place, the number of artists of a particular genre who are on tour at that time, how many other artists with similar ticket prices to the artist's are out on the road at the same time, and how many artists with big ticket prices will be going on sale or will be out on the road at that time.
I haven’t even mentioned the overall economic conditions of wherever the concert or tour will take place: do people have money to spend, and if so, are they likely to spend that money on entertainment? Are gas prices expected to be unusually high or low? That affects the costs of touring. All these things are major considerations.
Given all those variables, you can see how types of deals and their accompanying ticket prices and splits can vary tremendously. Now throw in relationships and any favors one party may happen to owe another—remember, the music business is a people business based on relationships, favors, and timing. Suddenly, what might seem “standard” to one may be very low or very high to someone else.
At this point, you may be wondering, "What about agent-less booking apps indie musicians use to book shows?"
In that case, the artist is acting as their own agent, so everything the agent would do becomes the artist's responsibility.
In some ways, agent-less booking apps make it easier for artists who don't have access to a good talent agent. It's hard to get a good agent, and to get a good one, more often than not the artist must be signed to a label.
However...After a certain point, using an app instead of a good licensed talent agent can be detrimental to the artist, because apps tend to devalue the artist in the live music marketplace. A good agent constantly reassesses his clients' value in the live music marketplace and knows how and when to negotiate better offers to advance the artist's career.
Most importantly, if something goes wrong with a show, the agent is the artist's most important ally. In the legal agreement between an artist and a licensed talent agent, the agent agrees to represent the artist in matters relating to any employment he or she has procured for that artist. Not only that, in many states a licensed talent agent is legally bound to represent the artist when something goes wrong with a booking they procured.
Promoters know this and tend to treat artists with good licensed talent agents more professionally. Without a good agent, the artist is vulnerable.
My advice for artists? Use an agent-less booking app only as long as you have to. Meanwhile, never trust a promoter to do all the advertising for your shows. In live entertainment, the artist's only leverage is the number of people who actually buy tickets and concessions, so work your butt off to promote and advertise your band and your shows in order to consistently increase the size of the audience for every show. Then use the leverage of your ever-increasing draw to get a good licensed talent agent.
Randi Reed,
Founder, MusicBizAdvice.com
©2015 Randi Reed and MusicBizAdvice.com. All rights reserved.
Showing posts with label Live music industry. Show all posts
Showing posts with label Live music industry. Show all posts
Tuesday, July 07, 2015
Monday, November 17, 2014
Music Industry Resume Blunder (And What to Include Instead)
Music business resumes can be daunting to put together, especially if you're new to the music industry and are assembling one to try to get an internship or entry-level job behind the scenes.
If you want a behind the scenes job in the music industry, or any creative industry for that matter, you must remember one very important thing:
You must actually want to work behind the scenes. (You'd be amazed at how many people forget that part.)
Your resume must demonstrate that. Here's why:
If you want to promote your own music career, working for another musician probably isn't going to get you there. You'll be too busy trying to move your own career ahead to do a great job on the tasks that can move your boss's career ahead, and vice-versa.
If you want to be famous, you more than likely won't cut it at all.
That would be kind of like working for the royal family and thinking that by doing so, you could become a king or queen yourself. Ain't gonna happen, my friend. Not in today's music industry, and especially not on someone else's dime.
As the saying goes, "it ain't about you."
I'm writing about this because more and more, when I review internship applications I see resumes highlighting the person's musical abilities rather than skills they can bring to the tasks at hand. I also meet and get emails from people who think they want to work behind the scenes and ask for advice how to get in, but after a question or two it's clear they really just want to be famous themselves.
That's not what an employer wants.
Approaching a job with that mindset also isn't healthy for you. Your employer is not going to hear you sing.
If, on the other hand, you're the kind of person who really likes to know--and can handle the realities of--what goes on behind proverbial circus tent, you might have a shot.
You must also enjoy dealing with all that goes into pulling the rabbit out of the hat to make the magic happen*. In a pinch, you might even have to help do some of the hoisting or make a run for carrots when that bunny doesn't want to budge (though if you're good at your job, you already have those carrots in your back pocket just in case).
I love all that stuff. The first time I was backstage at a big show, I found all that frenetic activity far more fascinating than anything my own band was doing. I quit my band the next week and never looked back.
More importantly, until years later when I actually had to do a bio, I didn't include my musical experience in my resume. Instead, I highlighted the fact that I'd managed our band.
Consider that your test if you want to work behind the scenes: do you freak out at the thought of not including your musical experience in your resume? Are you OK with it if the subject never comes up?
Think about it very carefully before you apply for a job behind the scenes in the entertainment industry.
There was a time when an aspiring musician could use a behind-the-scenes job as an entry to his or her own career. With the shrinking of the music industry, those days are over.
No more reality show contestant wannabes working behind the scenes, please. Just people who can deal with reality!**
*No bunnies were harmed in the writing of this post, or at any time during my career. (It's a metaphor, people.) Although there was a guy who ate live crickets onstage...
**No, I'm not hiring. I'm speaking in general terms.
If you want a behind the scenes job in the music industry, or any creative industry for that matter, you must remember one very important thing:
You must actually want to work behind the scenes. (You'd be amazed at how many people forget that part.)
Your resume must demonstrate that. Here's why:
If you want to promote your own music career, working for another musician probably isn't going to get you there. You'll be too busy trying to move your own career ahead to do a great job on the tasks that can move your boss's career ahead, and vice-versa.
If you want to be famous, you more than likely won't cut it at all.
That would be kind of like working for the royal family and thinking that by doing so, you could become a king or queen yourself. Ain't gonna happen, my friend. Not in today's music industry, and especially not on someone else's dime.
As the saying goes, "it ain't about you."
I'm writing about this because more and more, when I review internship applications I see resumes highlighting the person's musical abilities rather than skills they can bring to the tasks at hand. I also meet and get emails from people who think they want to work behind the scenes and ask for advice how to get in, but after a question or two it's clear they really just want to be famous themselves.
That's not what an employer wants.
Approaching a job with that mindset also isn't healthy for you. Your employer is not going to hear you sing.
If, on the other hand, you're the kind of person who really likes to know--and can handle the realities of--what goes on behind proverbial circus tent, you might have a shot.
You must also enjoy dealing with all that goes into pulling the rabbit out of the hat to make the magic happen*. In a pinch, you might even have to help do some of the hoisting or make a run for carrots when that bunny doesn't want to budge (though if you're good at your job, you already have those carrots in your back pocket just in case).
I love all that stuff. The first time I was backstage at a big show, I found all that frenetic activity far more fascinating than anything my own band was doing. I quit my band the next week and never looked back.
More importantly, until years later when I actually had to do a bio, I didn't include my musical experience in my resume. Instead, I highlighted the fact that I'd managed our band.
Consider that your test if you want to work behind the scenes: do you freak out at the thought of not including your musical experience in your resume? Are you OK with it if the subject never comes up?
Think about it very carefully before you apply for a job behind the scenes in the entertainment industry.
There was a time when an aspiring musician could use a behind-the-scenes job as an entry to his or her own career. With the shrinking of the music industry, those days are over.
No more reality show contestant wannabes working behind the scenes, please. Just people who can deal with reality!**
*No bunnies were harmed in the writing of this post, or at any time during my career. (It's a metaphor, people.) Although there was a guy who ate live crickets onstage...
**No, I'm not hiring. I'm speaking in general terms.
Tuesday, July 01, 2014
The Current State of the Music Biz (Especially the Live Touring Industry)
In case you missed it, music business analyst / writer Bob Lefsetz sent out and posted this to his website:
http://lefsetz.com/wordpress/index.php/archives/2014/07/01/tiers/
I'm posting it here because if you're embarking on a music industry career, you need to see it. And it's far more comprehensive than I currently have the time to write. Bob's done it for you.
It's going to piss some people off, but his analysis is accurate. There are a couple of artists I might add to the mix, but that's quibbling.
I don't always agree with Bob Lefsetz, but this post is dead on. Even when we don't agree, I love that he tells it like it is and doesn't sugarcoat.
Artists tend to like to have a soft place to fall, so many of them have difficulty hearing the truth. Or sometimes they'll listen, but they want the information you're giving them to be heavily sugarcoated.
This is a tough business. Sugarcoating will kill you.
An eternal optimist myself, as a young artist I had to learn this early on, the hard way. I saw many people fall because people were afraid to tell them the truth.
Sugarcoating leads to things like pushing away people who care about you in favor of leeches who cajole you into investing in their projects and drain your money--or perhaps encourage you to donate to their favorite cult--while telling you everything's OK. They get away with this by seeming to protect you by only telling you exactly what you want to hear. (If you're an addict, they'll even keep you high while doing so.)
The person who can listen to information with no sugarcoating always has the upper hand, because they're hard to manipulate.
If you're the type of person who needs to have everything sugarcoated to get through life, start with your business stuff. Force yourself to read the realities of your business so you know what's going on.
You stand a much better chance of winning when you know what you're up against.
I want you to win. Bob Lefsetz wants you to win.
Start now, by learning about your business.
RR
Follow me on Twitter @MusicBizAdvice.
More Music Biz Advice: http://www.musicbizadvice.com
http://lefsetz.com/wordpress/index.php/archives/2014/07/01/tiers/
I'm posting it here because if you're embarking on a music industry career, you need to see it. And it's far more comprehensive than I currently have the time to write. Bob's done it for you.
It's going to piss some people off, but his analysis is accurate. There are a couple of artists I might add to the mix, but that's quibbling.
I don't always agree with Bob Lefsetz, but this post is dead on. Even when we don't agree, I love that he tells it like it is and doesn't sugarcoat.
Artists tend to like to have a soft place to fall, so many of them have difficulty hearing the truth. Or sometimes they'll listen, but they want the information you're giving them to be heavily sugarcoated.
This is a tough business. Sugarcoating will kill you.
An eternal optimist myself, as a young artist I had to learn this early on, the hard way. I saw many people fall because people were afraid to tell them the truth.
Sugarcoating leads to things like pushing away people who care about you in favor of leeches who cajole you into investing in their projects and drain your money--or perhaps encourage you to donate to their favorite cult--while telling you everything's OK. They get away with this by seeming to protect you by only telling you exactly what you want to hear. (If you're an addict, they'll even keep you high while doing so.)
The person who can listen to information with no sugarcoating always has the upper hand, because they're hard to manipulate.
If you're the type of person who needs to have everything sugarcoated to get through life, start with your business stuff. Force yourself to read the realities of your business so you know what's going on.
You stand a much better chance of winning when you know what you're up against.
I want you to win. Bob Lefsetz wants you to win.
Start now, by learning about your business.
RR
Follow me on Twitter @MusicBizAdvice.
More Music Biz Advice: http://www.musicbizadvice.com
Thursday, March 20, 2014
Randi Reed Bio
Randi Reed
Founder/ Editor in Chief, MusicBizAdvice.com
Music Business Consultant, Internet Publisher, Writer, Speaker
Randi Reed is a music business consultant who specializes in live music industry troubleshooting. But that’s only half the story. “Trouble shooing would be a better description. My job is to find the problem, resolve it, and teach clients how to avoid more problems in the future. I want musicians to win.”
Randi Reed also has a flair for making lemonade out of lemons. Case in point: in early 1997, in the midst of a platinum level career in booking, artist management, and concert promotion, she was sidelined by the autoimmune disease CFIDS. Battling vertigo, dizziness, and cognitive issues, but still undaunted, Reed started an online resource for unsigned and independent musicians--while confined to bed. "I'm really stubborn," says Reed. "I just refused to allow the disease to keep telling me no." A few name and format changes later as she recovered, that online resource evolved into MusicBizAdvice.com, an online magazine in web publication since 2003.
Born in the Midwest and transplanted to California's Coachella Valley in her early teens, Randi Reed began her music career at 16 as a singer and songwriter in a local band. “My singing career was short-lived, but it definitely affected the way I work with musicians,“ says Reed. “I was passionate about music, but I had constant throat problems and didn’t love singing enough to be miserable. By then I was co-managing our band and enjoyed the behind-the-scenes aspects, so I decided to go into management. My parents probably thought I’d be a novelist, or maybe write for Rolling Stone." (Reed is a former college journalism award winner.)
Advised early on by a prominent talent manager to learn as much about as many different facets of the music industry as possible, Reed set about learning the business “from all sides of the contract—everything from working at a music store, to working for a symphony during the day while working with local metal bands at night, to writing another artist’s fan club materials.” Meanwhile, she immersed herself in the local music scenes in Southern California and Arizona.
Her national-level break came in the form of an internship with illustrious concert promoter Danny Zelisko. It would prove pivotal in every sense of the word: half a decade and a move to Los Angeles later, in an odd twist of fate Reed would work for a Pollstar Concert Industry Award winning talent agency--for an agent responsible for the booking territory covering Zelisko’s venues. “Both sides of the contract, totally unplanned," says Reed, who had originally applied for another position within the agency. “I couldn’t have asked for better experience in major concerts.” Meanwhile, she continued to work on a variety of music industry projects, including a stint assisting a Billboard Top 10 pop metal artist she declines to name. “That it was brief was a blessing,“ says Reed. “Had the Internet and social media culture existed as we know it today, I would have known they'd been through six management companies in three years, and who knows how many agents. No one was talking because of confidentiality agreements, so I only had half the story going in. Let's just say it was a great learning experience!"
Fast forward to 2014, and management performance audits and music industry background checks are some of the services Reed offers in her role as a music business consultant. But whether checking out that new manager a band is thinking of hiring, or helping indie musicians sort out issues that can arise from trying to road manage themselves on tour, or showing artists ways of improving their live performances, or even advising a non-profit about planning a benefit concert, one constant remains: for Randi Reed, it’s all about live music.
But does she miss singing? "Absolutely not! But I'm grateful it taught me what it takes to go onstage, and what it feels like when the show's going really well, or how part of you just wants to die when your voice gives out in front of a crowd. That's why I'm so passionate about helping musicians succeed."
Founder/ Editor in Chief, MusicBizAdvice.com
Music Business Consultant, Internet Publisher, Writer, Speaker
Randi Reed is a music business consultant who specializes in live music industry troubleshooting. But that’s only half the story. “Trouble shooing would be a better description. My job is to find the problem, resolve it, and teach clients how to avoid more problems in the future. I want musicians to win.”
Randi Reed also has a flair for making lemonade out of lemons. Case in point: in early 1997, in the midst of a platinum level career in booking, artist management, and concert promotion, she was sidelined by the autoimmune disease CFIDS. Battling vertigo, dizziness, and cognitive issues, but still undaunted, Reed started an online resource for unsigned and independent musicians--while confined to bed. "I'm really stubborn," says Reed. "I just refused to allow the disease to keep telling me no." A few name and format changes later as she recovered, that online resource evolved into MusicBizAdvice.com, an online magazine in web publication since 2003.
Born in the Midwest and transplanted to California's Coachella Valley in her early teens, Randi Reed began her music career at 16 as a singer and songwriter in a local band. “My singing career was short-lived, but it definitely affected the way I work with musicians,“ says Reed. “I was passionate about music, but I had constant throat problems and didn’t love singing enough to be miserable. By then I was co-managing our band and enjoyed the behind-the-scenes aspects, so I decided to go into management. My parents probably thought I’d be a novelist, or maybe write for Rolling Stone." (Reed is a former college journalism award winner.)
Advised early on by a prominent talent manager to learn as much about as many different facets of the music industry as possible, Reed set about learning the business “from all sides of the contract—everything from working at a music store, to working for a symphony during the day while working with local metal bands at night, to writing another artist’s fan club materials.” Meanwhile, she immersed herself in the local music scenes in Southern California and Arizona.
Her national-level break came in the form of an internship with illustrious concert promoter Danny Zelisko. It would prove pivotal in every sense of the word: half a decade and a move to Los Angeles later, in an odd twist of fate Reed would work for a Pollstar Concert Industry Award winning talent agency--for an agent responsible for the booking territory covering Zelisko’s venues. “Both sides of the contract, totally unplanned," says Reed, who had originally applied for another position within the agency. “I couldn’t have asked for better experience in major concerts.” Meanwhile, she continued to work on a variety of music industry projects, including a stint assisting a Billboard Top 10 pop metal artist she declines to name. “That it was brief was a blessing,“ says Reed. “Had the Internet and social media culture existed as we know it today, I would have known they'd been through six management companies in three years, and who knows how many agents. No one was talking because of confidentiality agreements, so I only had half the story going in. Let's just say it was a great learning experience!"
Fast forward to 2014, and management performance audits and music industry background checks are some of the services Reed offers in her role as a music business consultant. But whether checking out that new manager a band is thinking of hiring, or helping indie musicians sort out issues that can arise from trying to road manage themselves on tour, or showing artists ways of improving their live performances, or even advising a non-profit about planning a benefit concert, one constant remains: for Randi Reed, it’s all about live music.
But does she miss singing? "Absolutely not! But I'm grateful it taught me what it takes to go onstage, and what it feels like when the show's going really well, or how part of you just wants to die when your voice gives out in front of a crowd. That's why I'm so passionate about helping musicians succeed."
###
Artists Worked With:
Concerts produced by companies Randi Reed has worked with are mentioned in several books about rock and roll, including The Dirt by Mötley Crüe, Walk This Way: The Authorized Biography of Aerosmith, Planet Rock by Lonn Friend, and The Heroin Diaries by Nikki Sixx.
Clients of firms Randi Reed has worked with, concerts produced by firms she's worked with, and artists she's worked with in a variety of capacities include:
Clients of firms Randi Reed has worked with, concerts produced by firms she's worked with, and artists she's worked with in a variety of capacities include:
38 Special
Aerosmith
After 7
Air Supply
Al B. Sure
Alan Thicke
Alice Cooper
Alice in Chains
Allman Brothers Band
Anne Murray
Another Bad Creation
Anthrax
Arcade
Arsenio Hall
Bad Religion
Barbara Streisand
Barry Manilow
Beach Boys
Bell Biv De Voe
Ben FoldsBen Harper
Big Daddy Kane
Blind Melon
Bob Saget
Bob Seger
Bobby Brown
Bobby Collins
Bobby’s World
Bobcat Goldthwait
Bon Jovi
Boyz II Men
Brandy
Brett Butler
Brian Setzer Orchestra
Bruce Springsteen
Bryan Adams
Buffalo Tom
Bugs Bunny on Broadway
Butthole Surfers
Candlebox
Carrot Top
Catherine Wheel
CCR
Celine Dion
Charlatans U.K.
Cheap Trick
Cher
Cheryl Crow
Chris Rock
Cinderella
Circle Jerks
Clawhammer
Collective Soul
Coolio
Corrosion of Conformity
Creedence Clearwater Revisited
Crowbar
Cry of Love
Dana Carvey
Dance Hall Crashers
Dave Collier
David Lee Roth
David Spade
Dean Martin
Dennis Miller
Diana Ross
Dinosaur Jr
Dokken
Dolly Parton
Don Rickles
Dr. Dre
Echobelly
Ed O’Neill
Eddie Money
Edwin McCain
Elayne Boosler
Ellen Cleghorne
Ellen DeGeneres
EMF
Erasure
Everly Brothers
Extreme
Failure
Faith Evans
Faith No More
Fight (Rob Halford)
Flaming Lips
Flotsam and Jetsam
Foghat
Four Tops
Frank Sinatra
Frankie Valli & The Four Seasons
Freddie Jackson
Fuzzy
G. Love & Special Sauce
Gallon Drunk
Gary Moore
Gene Kelly
George Benson
George Carlin
George Wallace
Giant Sand
Gigolo Aunts
Gin Blossoms
Gipsy Kings
Glenn Frey
Gods Child
Goo Goo Dolls
Grateful Dead
Gregg Allman Band
Hammer
Hazel
Heart
Heavy D. & The Boyz
Helium
Helmet
Horace Brown
H.O.R.D.E.
H.O.R.D.E. Festival
House of Love
Howie Mandel
Imperial Drag
INXS
Iron Maiden
Isley Brothers
Jamie Walters
Jars of Clay
Jay Leno
Jean-Luc Ponty
Jewel
Jill Sobule
Jodeci
Joe Walsh
John Pinette
Juliana Hatfield
Julio Iglesias
Kate Clinton
Keith Sweat
Kenny Rogers
Kings X
KISS
KORN
Kris Kristofferson
Laundromat
Lemonheads
Lillith Fair
Liz Phair
Liza Minelli
LL Cool J
Lollapalooza
London Suede
Lorrie Morgan
Louie Anderson
Loverboy
Luke Torres
Madonna
Magic of MGM The Lion Roars
Manhattan Transfer
Manic Street Preachers
Marry Me Jane
Marsha Warfield
Mary J Blige
Meatloaf
Megadeth
Method Man
Michael Bolton
Michael Crawford
Michael Feinstein
Michael Nitro Band
Michael Richards
Michel’le
Monster Magnet
Moody Blues
Morrissey
Mötley Crüe
Mudhoney
Neds Atomic Dustbin
Nelson
New Edition
Nirvana
Notorious B.I.G.
O.M.D.
OzzFest
Page/Plant
Pantera
Patti Lupone
Paul Revere & The Raiders
Pavement
Pearl Jam
Pennywise
Peter and the Wolf
Pink Floyd
Possum Dixon
Primus
Proclaimers
Prong
Pulp
Raffi
Ray-J
Red Hot Chili Peppers
Redd Kross
Rickie Lee Jones
Rita Coolidge
Rita Rudner
Rob Halford
Rob Schneider
Robert Plant
Ronnie Milsap
Rush
Screaming Trees
Sex Pistols
Shari Lewis & Lambchop
Sheryl Crow
Shirley MacLaine
Silverchair
Sinbad
Six Finger Satellite
Slaughter
Slayer
Smooth
Snoop Dogg
Social Distortion
Sonia Dada
Sonic Youth
Soundgarden
Southside Johnny
Sponge
Stanley Clarke
Sting
Stone Roses
Strutter
Suddenly Tammy!
Sugar Ray
Superchunk
Superdrag
Susan Anton
Sven Gali
Swervedriver
SWV
Take 6
Tammy Wynette
Teddy Pendergrass
Testament
The Badlees
The Boredoms
The Cramps
The Exploited
The Mommies
The Muffs
The Rat Pack
The Who’s Tommy
Third Eye Blind
Three Dog Night
Tina Turner
Toadies
Todd Rundgren
Tom Poston
Tommy Tune
Tony Danza
Turtle Island String Quartet
Unwritten Law
Usher
Velocity Girl
Vent
Versus
Vince Neil
Warner Bros. Family Entertainment on Ice
Warren Zevon
Waterdog
Wayne Kramer
Willie Nelson
Winger
Wu Tang Clan
Yoko Ono
Aerosmith
After 7
Air Supply
Al B. Sure
Alan Thicke
Alice Cooper
Alice in Chains
Allman Brothers Band
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