Seth Fein answers the tough questions about both of his businesses: Pygmalion Music Festival and The Nicodemus Agency…
Tell us about the Pygmalion Music Festival:
In 2005, after having started to book a few more bands on national tours, I decided to create Pygmalion Music Festival. The idea was simply to have a great boutique indie rock music festival that took the best of the national scene and the best of our local scene, and married them for one long weekend of great shows at a low price. It’s worked very well.
What details make Pygmalion special for you, for the bands and for the fans?
For me, it’s about being an asset to my community. Naturally, it feels good to help contribute to my annual earnings in a small way by presenting music anytime, but there is something a little more dynamic about the festival; it adds to the cultural makeup of the greater Champaign-Urbana community, and that is something that I am really proud of, being born and raised here. I love partnering with Krannert Center at the university here. Their facility is literally one of the finest in the world, and I am blown away by their support each year more and more.
I think the bands appreciate the low-key and relaxed nature about the festival. Everyone shares a green room. Everyone is encouraged to attend the other shows, and do because most every venue is within walking distance.
And I think the same is true for the fans. Every show is viewable from up close. No show has more than 1000 people in attendance, and most are even smaller. That makes the already low cost of the festival price even more valuable, at least in my estimation.
What type of artists do well there?
I think the artists that are really well put together live. Because the playing field is smaller, most artists performing tend to get a good deal of scrutiny, and when a band really knows how to bring it, people start talking and talking fast. That’s how it went down for The 1900s the first year of the festival. Next thing you know, they are signed and booked by Ground Control Touring. Granted, Pygmalion didn’t cause that, but there is a certain element of promotional luxury a band gets when they perform at the music festival because it’s a really small-scale festival with a very large promotional reach.
If selected, what can an artist expect?
A lot of promotion and a good crowd. All shows are good shows at Pygmalion, even if there isn’t a packed house for the openers .The people in attendance are music fans, through and through. And that counts the most.
What are some tips for bands who looking to maximize their gigs at summer festivals? What can you tell them about merch sales, networking, etc
Summer festivals are a hard nut to crack, but once you do, things can really explode from there. If selected and invited to perform on any of these, definitely make sure that you are thinking promotionally. One of the best thing a band can do is just get out in the crowd and talk to the festival attendees. Don’t try to connect with everyone; just talk to some folks and let them know about your band. No need to force music on them with an iPod or anything extreme. If you’ve got download cards, offer them up. If they decline, be real cool about it. Remember: your band is just one of literally millions all looking for the same thing. So, play it cool.
More about Seth the agent…
What are some mistakes that bands make when doing their own booking?
Biggest mistake: never EVER ask for a guarantee or discuss compensation before any interest has been shown on the venue or promoter’s part [unless they've asked]. It’s just amateur.
What can artists do to capture the interest of an agent?
The only thing that artists can really do to capture an agent’s attention is to write great songs, and get noticed by a good label, or the blogs or Pitchfork, quite honestly. Very rarely do agents take on bands without some sort of solid infrastructure like radio, publicity, label, [distribution], etc, etc; so the very best thing a band can do is turn heads locally and start booking their own tours to bring that to as many people as possible.
What do you as an agency do for your artists when they’re on tour? How do press-acquisition efforts pay off?
I try to run my agency as a really trusting friendship. I don’t sign contracts with artists, and I base my business off of a simple idea: I can book your tours if you can work hard. Most of my artists have stayed on my roster, and I think it’s because we have a mutually beneficial relationship.
