“In the Entertainment Industry, the people are represented by two separate, yet equally important groups. The promoters who put on the parties, and the patrons who rip into them about every single detail. These are their stories.”
As the weather warms up, and the season in Ibiza has now come to a close, with ADE in full swing and winter ready to infringe on the rest of the world, it’s now time for international acts and artists to start coming back to Australia. You’ll notice that not only is everyone more social, but as any avid music lover can tell you, their hard earned dollars start to dissipate and feed the lives and loves of the entertainment world and venues around the country.
It’s like nothing happens while it’s cold and then your mind gets blown when clubs and promoters start dropping line ups and artists names for the months to come. I was probably the worst at keeping secrets about who we had booked to tour over my years in club land. You shift into fan-girl mode, get all excited but in actuality by the time the event rolls around and the DJ or said act perform; any number of things could have happened behind closed doors. What the promoter experiences versus what the patron sees are two very different things.
There have been loads of events I’ve been pumped for at the time of booking, but by the time the gig rolled around I was so over worked, over stressed and pissed off/ jaded I never went to the event I had so much to do with planning. It’s not all rides in limousines, groupies and blow jobs (well not anymore). The industry and climate have changed substantially in Australia. Our nightlife and economy can no longer sustain the trading hours to then generate the revenue for everyone to get a cut of the pie.
International DJ’s who would once make 50K plus for a 2 hour set (unless playing a festival event) need to realise that if they want to come for a second summer and trip down under, they need to re-think their fees and may need to down grade from Business Class or look at having a hire car collect them rather than specify on their rider “they must only be collected in a S Class Mercedes”.. True story I’ve had that.
I could write a book about all the crazy shit I’ve seen (oh wait, I am- it’s called “Beyond the Mirror Ball”) behind the scenes. Like the magicians code, we’re either made not to tell anyone OR we don’t want to talk about it because we don’t want to involve everyone in the touch and go that was the inner working of event planning. It’s a need to know basis, and often that DJ you bought tickets to see months ago, almost didn’t happen tonight because they missed their alarm, the driver didn’t wait, they missed their flight- then had to get another flight- we reshuffled the DJ set times and then finally got it over the line.
If you find venues are reluctant to give you set times when an international act headlines, it’s because they’re likely playing interstate beforehand and IF something does happen we don’t want to end up with egg on our face and pissy patrons. Look at poor Adelaide, who a few years ago missed out on Derrick Carter. He was stranded in Brisbane, unavailable to fly out due to bad weather and due to other tour commitments was unable to perform.
Did you know that…
- Deposits for acts and artists have to be paid up front (usually 50%).
- That the venue has to pay for dinner, drinks, transport, hotel rooms and also other associated expenses for the artists – usually on top of the performance fee.
- Sometimes artists will request riders (demands lists) of stuff half the time they don’t even need/ want or require but their often out-of-touch agents have put together for them. Trying to find swan down slippers or purple velour robes is expensive, excessive and challenging but often not necessary.
- Some artists request equipment that’s not the stock standard as part of their performance requirements – most of the time, again, it’s not necessary- if it is and they don’t get it, they can be real divas about it.
- Getting in turntables past the current era was always a pain in the arse.
- Usually the amount is all out of pocket of the venue or promoter pre- event, as they usually don’t have access to funds generated from ticket sales until the end of the event.
- You’ll understand then that your promoter friend might get pissed and tell you where to go, when you miraculously message them like a long lost old friend when a gig comes around asking for free tickets and entry. We’re not stingy by any means, but at least offer to pay for a ticket first or ask if there is any industry or discounted tickets available. You’ll be less likely to be shunned.
- Depending on how the ticketing is set up, some promoters may have access to funds pre-event once they’ve cleared escrow (this is when the funds have been received from you and your bank and the fees have been taken from the processing/ ticketing company).
So what happens when an event gets cancelled? DJ’s or artists pull out, or an event doesn’t go ahead? While you might take to social media, be pissed off that you’ve missed out on enjoying a night out/ day out with friends. Spare a thought for those that went to the trouble to organise it and read on. The stress levels escalate and the grey hairs appear. It’s not fun. Here’s some general information on what might occur, but bear in mind it may differ from promoter, venue or ticketing vendor.
How much time does it take for refunds to ticket holders to occur?
This depends massively on their bank. Moneys generally leave the account the same (or the next day) at the end of business. The company who facilitated the ticketing will keep the booking fee so the promoter will have to pay for that (dependent on the terms and conditions). It can take anywhere from 1 business day to 10 days to hit your account and card. Again, this depends on your bank or financial institution too. Calling or continually emailing demanding your money will not speed this process up.
What happens if the promoters have already drawn from the funds held in escrow?
Essentially accessing/ spending your money before the event (which is often likely to pay for any other related expenses or to recoup their out of pocket expenses and for cash flow for other expenses)
There are generally a couple of things that can happen:
- The promoter transfers the money directly to the ticket holder. They have your details and then they process.
- Whoever the company was that you purchased through, the promoter returns the money to them and then they’ll do a reversal and put the money back in your account or on your card.What if the promoters have already spent the money and say they can’t process a refund?Not only is this a dog move which will get them loads of harsh and threatening emails, texts and phone calls, their reputation will turn to mud and people will generally be pissed off (as I’m sure we’ve all seen). Legally though, they’ll be in trouble too.
By law, they have to return the funds to you. If they can’t, then the ombudsman will come down hard on them. If the company has been set up as a PTY LTD, it will then have to go into insolvency and the creditors will have to sell their assets to get the money to process the refunds. The directors of the company will need to declare bankruptcy, which will forbid them from starting another company moving forward. If they’re not a proper PTY LTY, then the debt is on them personally. They may need to sell their personal assets (homes, car, house hold items) to raise these funds or take out a loan to pay back everyone.
Ticketing money from a promoter’s perspective should never be spent on things that aren’t refundable for this purpose alone.
Surely though, the smart thing to do would be to take out an insurance policy right? Unfortunately common sense isn’t as common as we all know, and when hard-pressed promoters or venues are strapped for cash… it slips to the wayside.
If the promoter has a shitty reputation, poor track record, event is deemed risky or it’s a large-scale event, the ticketing company can elect not to give them the money until the end of the event . – Often a wise move, or some companies may just elect to say no as the risk (and headache) are too much to want to be involved in.
For the most part, the promoters and venues in the industry I have met and worked with, have the best intentions and they make things happen. Often if an event can be rescheduled then it is. I feel for people that lose money on booking accommodation and flights when they go interstate to see acts and artists. Unfortunately, expenses like that aren’t recoup-able and you are screwed on that front. It’s all part of the risk too.
I’ve liaised with promoters that have knowingly ripped people and venues off. Taken the booking deposits and spent them. The venues and patrons lose out here, as well as then tarnishing the names of the artists and performers too (even when they had no knowledge of this either). These people in no other sense of a word, are scum and they get their comeuppance…
So what do I suggest?
Purchase at your own risk. Know that when things are in the hands of others and the more high profile the act or the artist, know that you’ve a 50/50 chance knowing that it might never happen. That the ticketing company aren’t the people you’ve beef with to recoup your money and funds, that while your plans might have been ruined, the people behind the scenes picking up the pieces are dealing with a much bigger issue and mess to clean up – being a self-absorbed dick and rude will not get you your money back any sooner…