While it is technically illegal, it is no secret that payola is still a major currency in the record industry. It isn’t as blatant as it was in the 50’s and 60’s, where it wasn’t uncommon to see briefcases full of cash exchange hands between label and radio executives. However, it now appears in the form of free concert tickets and backstage passes, commercial ads, and even “consulting fees” within the streaming services.
The most prevalent form of “pay to play” in most local music scenes around the US is the “performance fee”, where up-and-coming artists have to literally pay to perform in various venues. While most working musicians and singers count on touring and live performances to make their living, there are aspiring artists and fame junkies being exploited by people looking to make a quick buck.
This is most commonly found in the form of mandatory ticket sales, where the artist has to guarantee a certain number of tickets sold. This isn’t so much of an issue for the artist who has a genuine following of fans who enjoy their music.
Yet, this also opens the door for B-Rad from da “Bu to share the same stage, whose “fans” include their sister-in-law’s baby cousin and a few friends there to support the person, not their talent (or lack thereof).
Thirty people got suckered into supporting a kid with a half-octave vocal range and a garbage “mixtape“, while everyone else at the event has to suffer through a performance that sounds like a goat’s mating call.
You also have events disguised as “artist showcases”, where the attendees buy tickets to see the “best up-and-coming talent” and the “talent” pays an “entry fee” to perform in front of “record execs”.
These types of events exploit aspiring artists and their desire for musical success, and make it harder for authentic musicians and entertainers to survive. Not only this, but it also floods the market with lackluster talent, many of whom wouldn’t know a B-flat if it smacked them in the teeth.
Legitimate showcases are more like critiquing sessions, where the judges are actual working industry professionals who give the artists constructive criticism that can assist their growth. These events are usually sponsored and do not require a performance fee, or a minimal one if they do. I’ve also done showcases where the artists performing get in free while the venue is compensated by the revenue from the door and/or the bar.
What I can’t support is an event charging artists $50+ (or even upwards of thousands) just for the opportunity to perform in the off-chance that an “A&R exec” or famous recording artist is in the building. This is a lazy way to get people into a venue, “talent” on the stage, liquor out of the inventory, and cash in hand. “Artists” come out-of-pocket to perform for their relatives and random strangers, while profits from the door go directly into the pockets of the “promoter” whose job of promoting the event was really done by the “artists” looking for support.
I’m an up-and-coming artist. How do I avoid this?
It’s simple: perfect and protect your craft. Don’t try to cut corners looking for handouts, especially if you aren’t performance-ready, and don’t come out-of-pocket to perform at an event that won’t further your career or share in the proceeds.
It’s one thing if it’s a contest, where you could possibly win the pot at the end of the night, or if you get some sort of monetary or barter-type compensation. It’s even okay if you have to take a loss as a favor to a connection that can get you a paying gig in the future.
But if you are paying to perform in front of a “panel of industry executives”, there is 0.000000001% chance that you will be signed because of it. In addition, if your only fans are of blood relation, you need to take a step back and reassess some things. Too many people out here have Lexus marketing skills promoting Daewoo music.
Work on your craft(s).
Network and collaborate with other up-and-comers. Practice performing live at karaoke bars and open mic nights. Master your instrument and maybe even start making YouTube videos.
Educate yourself on the ins and outs of the business.
Study the careers of those you admire and apply some of their principles to your journey. Accept constructive criticism from trusted peers and mentors, and tighten up your weak areas.
If you have a few minutes, check out this video series on this very topic from this cat DJ Ambush. He’s blunt, and some portions I can’t completely stand behind, but more people need to hear what he’s saying loud and clear: “showcases” are hustling you, and not everybody is meant to be on the stage.
There is no shortcut to success in any industry, especially the music business, and there’s no one clear-cut road to get there. I’ve said it before, and I’ll reiterate it here: Beyoncé was at it for 10 years before Destiny’s Child dropped their first single, and Katy Perry lost 3 record deals before “I Kissed A Girl”.
The entertainers with lasting careers did the hard work consistently for YEARS to achieve their success. If you really want it, you have to do the same.
