Here is our process, and why you are paying over $100 for a service that you’ve probably never heard of.
HOW TO BOOK A TOUR: STEP ONE
Spend three to six months scraping the internet for venue emails, Facebook pages, and phone numbers to build a list of contacts. (Or just join DIYT.)
HOW TO BOOK A TOUR: STEP TWO
Research graphic design layout for music industry effectiveness including content linking and presentation, and build a professional artist one sheet to represent your act.
For $100/month we will cover all your booking AND manage your social media. You can sign up for our Artist Development Package at this price now.
HOW TO BOOK A TOUR: STEP THREE
Upload the one sheet in most easily accessible format to a hosting service under a filename and directory that cleary exhibits its contents. This is important for booker access since email attachments are outdated, and often blocked for potential virus content.
HOW TO BOOK A TOUR: STEP FOUR
Pull out the map, and foolishly plot out the cities you want to perform in. This step is crucial to the success of steps twelve & thirteen.
HOW TO BOOK A TOUR: STEP FIVE
Map out the entire route and calculate an estimate of fuel costs according to average loaded vehicle mpg, length of route, and average cost per gallon of gasoline.
HOW TO BOOK A TOUR: STEP SIX
Research how to use smart subject lines, format email content to maximize responses. Then craft an engagement-focused email template to send to potential bookers.
HOW TO BOOK A TOUR: STEP SEVEN
Research how to best avoid email spam folders so your emails don’t automatically go into booker spam folders and never be seen. Send a First email to every contact in your list from separate messages to ensure contact privacy. Be sure to change the content that is specific to that booker (geographical area, date, etc.) of each email before you send it.
HOW TO BOOK A TOUR: STEP EIGHT
Wait patiently for responses. When responding, know your worth and communicate effectively with booking to get the best chance of landing a gig.
HOW TO BOOK A TOUR: STEP NINE
Book the best deals possible. Be sure not to overestimate how much you can drive between gigs. Do not ever book a dangerously long drive. Please be safe.
HOW TO BOOK A TOUR: STEP TEN
Send follow-up emails as reminders with at least one week apart from each. Be sure to keep track of who has responded and who has not.
HOW TO BOOK A TOUR: STEP ELEVEN
Keep careful notes of requests from bookers. Be sure to call when you say you will call and send materials when you say you will send them.
HOW TO BOOK A TOUR: STEP TWELVE
After a month, check on all your confirmed gigs. Look back and laugh at how naive you were when you thought your original route was going to happen.
HOW TO BOOK A TOUR: STEP THIRTEEN
Reroute your tour according to confirmed gigs. Pull out your hair when you realize you have essentially lost control of your route and the original booking process. It is an important step in booking a successful tour.
HOW TO BOOK A TOUR: STEP FOURTEEN
Take the time, stick to a schedule, and repeat the last few steps until either you have all gigs on tour confirmed, or you get back from tour. Use open mics or busk to fill open dates when you’re on the road.
HOW TO BOOK A TOUR: STEP FIFTEEN
Either a month or two from departure date, start Facebook messaging and calling the contacts on your list. If you haven’t heard back from interested bookers in a while call them too. Most won’t answer or be available. Schedule a time to call back. Call back until you get ahold of them. When you get ahold of them they will probably ask you to send information. Even if you’ve already sent information, send it again. And yes: begin the entire emailing and strict follow-up/note-taking process all over again with that contact.
If you have someone to reliably handle all this then you will have the best tour possible as a new/amateur act. If you don’t then we will. And manage your social media. Just click here to get started and purchase the Artist Development Package.
Interested in booking a tour yourself? Check out this article on one artist’s approach from the ASCAP website.