King

When a concert or dance is announced, the line-up of performers is the first thing that catches the eye of the potential partygoer. Then they check out just how much getting their dose of rhythm will cost.

Naturally, that price has moved upwards over the years; the first 'Four Sound Clash' that Sting promoter Isaiah Laing held in 1984 carried a $10 price tag. These days an all-inclusive session (and there are many) can cost up to $4,000, whereas the popular retro music parties normally cost just under $1,000.

A full house does not necessarily mean a full pocket for the event's promoter, whose ticket revenue is often supplemented by drinks sales, depending on the arrangements that he or she has put in place. Worrell King, who stages the annual Western Consciousness in Westmoreland, said there are two approaches to setting the entry fee to a music event.

From a personal perspective, he said, "I look at the poor people and make my ticket quite affordable for them. I look at the economic cost of the show on poor people." So, he would estimate that if the ticket costs $1,000 (which was the entry fee to the last Western Consciousness) someone could afford to come and still have some money left over to have a drink.

Production costs

From the business perspective, however, King said, "The way tickets should be priced, you have to take in production costs - how much does it cost to put on this event and how many people do I project to attract. You do your calculations and say how much should I charge each person to at least come through economically."

However, King said, "I don't know if this can be done in Jamaica. The packages we are putting on are so expensive and they are not pulling in people," adding that he is not sure how promoters pricing tickets, from a strictly business perspective, manage.

In addition to paying an artiste (for example) $1 million from a total production package of $1.5 million, and asking what the entry fee will be, the promoter has to also ask, "how can I pay myself?"

Sponsorship, therefore, comes into play and King said, "That is why it is so important that an event is sponsored, and sponsored in a big way. Without the sponsorship you are looking at a loss before you even start."

He received less than $1 million in sponsorship for Western Consciousness 2008, which cost $8 million to put on.

Gate receipts

King said the promoter should not rely on gate receipts to pay performers. "The artiste should not be the victim of the promoter. By right, the promoter has decided to take this risk. It is his responsibility. By whatever means he is going to get the cash, he should get his cash. The artiste should not come to the event depending on gate, receipts."

Similarly, "if the promoter makes $1 billion at the gate, it is his" and the artiste should not be coming back for more money than was agreed.

Still, economic circumstances impact on the ideal situation and, often, King said, "We have to go through, hoping the artistes will use their discretion" and those whom he has worked with over the years have, generally, allowed him room to negotiate.