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under different guises is becoming fashionable again. I have a feeling that this sort of thing is going to be extremely (ie even more) popular in a couple of years, as live music is where 'entrepeneurs' think the money is being made.
It will be deemed acceptable because people who desperately want to play will be convinced it is some sort of privilege to even have your music listened to. (I'm not even sure if promoters who use sonicbids really even do that.)
Apparently, according to Truck Fest who use the service (a festival that I thought prided itself on something a little less mainstream) the fee of $10(?!) costs around the same as making a CD, popping it in a jiffy bag, and sending it to the promoter. So the exchange rate is much better than we all thought then.
Although the £7 Truck reckons it costs to send in a demo is vaguely laughable, there's still a cost to it. And there are benefits for Truck in using SonicBids (besides making about £3 if bands sign up via them).
A bit of a crock though - they could have quite easily achieved the same thing by having bands fill in an online form on their own website.
I mean acceptable/popular/used etc.
or just paying for the privilege of being registered with them.
I had a quick look and it seems you get an electronic press kits - I guess the question's whether that's something worth spending $6 a month on.
and it's widely used over there. It's like any band expense - you've got to weigh up the benefits over the cost. In the States those benefits are considerable for a lot of bands and you can cover your costs. The same can't be said of the UK though.
There are 14 gigs for the UK on there at the moment, some of which are decent festivals (I'm horrified to discover Great Escape want $30+ for the privilege). I don't think there are enough to make it worthwhile to join on a purely financial basis.
I've got a horrible feeling it's going to grow over here though.
I think that was the point I originally intended to make. The good festivals (eg Great Escape) are luring lots of impressionable bands with an almost empty promise of getting to plat these festivals. The truth is, any band that Great Escape want, will not have to pay anything, and will in fact get expenses and a fee. There is n o way of guaranteeing that even if you do get put on, you won't get the slot at 2:30 in the afternoon in the dodgy Karaoke bar at the end of the pier.
The result will be lots of people stepping in to create similar organisations that act as 'buffers', between act and promoter. They aren't necessary, but who is to stop them?
Other events such as surface unsigned already exploit impressionable acts in a similar way, where they do have to pay to play, and bring in enough audience members, and get text votes at the end of the evening to get through to the next round of the competition.
The promise of 'success' will tempt ever more acts to part with cash. None of these acts will get what they are looking for though.
yep, that is what I was thinking...
that is all