(This is Part 2 of a four-part series, Careers in Music That Do Not Involve Performing.)
For my day job I work in student activities at a public university in New England. I do a lot of the traditional things associated with this job, like advising student organizations and putting on leadership programs. But for several years, before life got too busy, I was also able to bring in a bit of my music world into my day job by running a program called Music Mentors.
The premise of Music Mentors was very simple. Over the years I had seen some student bands do better than others because they were able to make one-on-one connections with more established professionals and gain from their experience. So the program aimed to help more students establish those connections.
For each session I’d bring in a variety of folks to talk about what they do in the music world. We’d briefly share some background info on the panelists and then we’d ask the students what they were interested in. That way I knew how to moderate the conversation to make sure the students learned about what they wanted to learn about. About ⅔ of the way through, I would end the formal discussion and encourage students to talk one-on-one with the guests.
This program led to the creation of a few bands, but more importantly it led students into internships and jobs in the local scene.
So in the spirit of Music Mentors, I have prepared a four-part series about Careers in Music That Do Not Involve Performing.
- Recording Industry
- Concerts & Venues
- Radio, Art & Music Journalism
- Gear & Lessons
For this post, I spoke with professionals who work in venues and live music production.
CONCERT PROMOTER
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James Anderson
Concert Promoter, One if By Land Productions
Boston, Massachusetts
James Anderson is a Boston-based concert producer who is focused on creating unforgettable moments through arts and music. He loves equally the hustle-bustle of city life and the fresh air of the lakes and mountains. He also loves cooking for family and friends.
SGT: What job(s) do you have (or have you done) in the world of music?
Anderson: Talent-buying (booking dates with artists/performers at a variety of venues and event spaces throughout the USA). This entails being directly connected with the artist teams (agents/managers/etc.) as well as the promoter/client who is purchasing the show.
Concert/event production management. Producing the show includes so many moving parts and coordinating all of these things to make one unforgettable experience is truly something special. I have expertise in event execution, production logistics, technical arrangement, venue management and artist relations. All of these are necessary to putting on a first-class experience.
SGT: How did you get started in this type of work?
Anderson: I’ve always had a love for music, starting with concert snare drum in 5th grade and moving on to playing guitar and drums in rock bands in high school. While in high school, I created a live music series in my hometown where I would book bands (including my own band) at various venues and DIY spaces. We averaged 150-400 people per show, which was quite lot for a small town. I’ve always been interested in the energy that surrounds like-minded people getting together to experience art or music or anything that’s bigger than themselves. I went to college at University of New Hampshire and got involved heavily with Student Activities and ResLife. Particularly, the student organization SCOPE (Student Committee On Popular Entertainment) was a guiding force for me branching through to the live music industry on a professional level.
SGT: What are the important skills for someone interested in your type of work to cultivate?
Anderson: Dedication, motivation, self-starter, networking, people skills, politeness, sternness, passion, pragmatism, vision, love for music/arts/people.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Anderson: I recommend getting involved in any capacity. A lot of times it starts with volunteering, whether that be at a festival or an event that’s going on in your community. Network with people. Ask questions. Find out who the movers and shakers are. Who wears what hats? What roles can you identify? What roles do you like or dislike? What can you see yourself gravitating towards? If you are on a college campus, I specifically recommend getting involved with student organizations. Take every advantage to meet like minded-people you can learn from. And one thing to note, no job is too small or too big, and in the beginning you really have to start at the bottom. We all do. Through your experiences and hard work you can find your path to shine.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Anderson: That it’s always a party and you get to hang out with famous people all the time. Although some of this is true, meaning I am essentially presenting entertainment for people and I really have been fortunate to meet and talk with a lot of amazing talented artists of all scales, but really I’m working and there is always something else to do: emails, phone calls, sometimes difficult conversations, etc. And for me personally, I am a very behind-the-scenes guy. I really like making other people the stars of the show, from the headlining talent to the volunteer cleaning up after the show. There’s something special about seeing all pieces of the puzzle come together.
SGT: What kind of other “non-music-playing” professionals do you regularly work with?
Anderson: Booking agents, artist managers, artist publicists, college/university administrators, nonprofits, brand ambassadors, sponsorship managers, police, fire, EMS, facility managers, and many more.
SGT: Do you have anything else to add?
Anderson: First, thanks for this opportunity. This blog is very cool and I’ve been enjoying reading some of these posts. Impressed with the depth of it all. Secondly, I haven’t personally played guitar in public for so long, but a good friend of mine asked me to play her wedding ceremony this summer on a mountain in Vermont. For this special occasion, I finally bought a new guitar. It’s a Seagull concert hall cutaway acoustic. It has a mahogany body and an Adirondack spruce top. It’s all about the WOOD! It inspired me to practice again and I played instrumental versions of songs by The Beatles.
MARKETING DIRECTOR OF A VENUE
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Andrew Herrick
Director of Sales and Marketing, Casino Ballroom
Hampton Beach, New Hampshire
Andrew Herrick is the Director of Sales and Marketing for the world famous Casino Ballroom, a 2200 capacity concert venue located in Hampton Beach, NH. He has worked in the live entertainment industry for more than 25 years, including as a talent buyers for SFX Entertainment and Clear Channel Inc. and a touring drummer for the band Assembly of Dust. Andrew received both his undergraduate degree and MBA from the University of New Hampshire.
SGT: What job(s) do you have (or have you done) in the world of music?
Herrick: Sales and marketing. I have a number of jobs from helping to determine the local value of the artist (what the consumer will pay and how much we should pay) to developing and executing the advertising plans for upcoming concerts.
SGT: How did you get started in this type of work?
Herrick: I started as a touring musician, learned a lot about the live entertainment industry, and then applied my education to that industry.
SGT: What are the important skills for someone interested in your type of work to cultivate?
Herrick: People skills, understanding the dynamic of other people and cultivating relationships. Growing your network is as important as going to school. In addition, patience. You don’t become the CEO if all you do is complain that you’re not the CEO. Do what you love and the money and prestige will follow, believe that.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Herrick: Unfortunately lots of people want to be involved in this industry, so typically breaking into it means working or interning for less than your value and then over-delivering so people start to notice you.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Herrick: That it is easy and that every show is a sellout.
SGT: What kind of other “non-music-playing” professionals do you regularly work with?
Herrick: Graphic designers, marketing agencies, digital developers, data scientists, food and beverage people.
SGT: Do you have anything else to add?
Herrick: At the mid- to upper-level of this business, it’s just like any other business. If you are studying to be someone who can sell or market widgets, there is no difference outside of the fact you may enjoy this type of widget (a live band) more.
VENUE WORK
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Kate Lilly Kretschmer
Bank of New Hampshire Pavilion
Gilford, New Hampshire
Kate Lilly Kretschmer is an artist and designer based in Gilford, New Hampshire. While attending college in the historic town of Flagstaff, AZ she began to take her art from the paintbrush to the computer. Life has brought her back to New England, where she has a variety of clients including the Bank of New Hampshire Pavilion.
SGT: What job(s) do you have (or have you done) in the world of music?
Kretschmer: I was the assistant to the president of Bank of New Hampshire Pavilion, which included working hand in hand with artists agents, show specifics, riders, design support and booking for local opening acts for each show throughout the season… and, like any job, so much more!
After that position I moved to the Partnership department within the venue, where I worked with venue graphic design concepts, vending and venue signage, VIP events, proposals for future and current sponsors and all sponsor support, development and execution.
I have gone off on my own now and am a successful freelance graphic artist with the venue as one of my wonderful clients. I feel fortunate to still be hands on and working with the venue and to still be a part to the family. Currently we are designing the motif for the upcoming 2019 season, which all imagery throughout the year will be based off of, and creating new and exciting opportunities for sponsorships.
Another large way that I am active in the music world is being married to a talented musician. I help to organize his events, show bookings, and promotion. My life is filled with wonderful music.
SGT: How did you get started in this type of work?
Kretschmer: I went to school for advertising, art and design. I moved to Gilford NH from the Southwest after working for an artist. I was fortunate to find the available position at the music venue in our small town. Just perfect timing! I went for the interview and it felt like I had known everyone for years. It was the right fit. I was able to provide my experience within the art field and administrative support, meanwhile learning a great deal about the ins and outs of the live performance industry… And who doesn’t love music?!
SGT: What are the important skills for someone interested in your type of work to cultivate?
Kretschmer: Organization, thinking outside the box, creativity, open-mindedness, leadership, and being able to work within a large team. Enthusiasm and the willingness to adapt on a regular basis.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Kretschmer: There are so many positions available at a music venue: ushers, security, vending, maintenance, ticketing, programming and so much more. Go to a job fair and apply. No matter the department, you will receive quite the hands-on experience and really learn what goes into put on amazing events.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Kretschmer: Well, when I worked for the venue full-time, I think most people’s misconception is that it’s all fun and glamorous. As cool as working in the industry is, it certainly has its challenges. It is still called work.
SGT: Do you have anything else to add?
Kretschmer: I feel extremely grateful the opportunities I have received in this life. Working for the venue has been one of my greatest learning and growing experiences. My career has been filled with highs and lows, but the highs greatly outweigh the lows.
CONCERT PHOTOGRAPHER
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Micah Gummel
Photographer
New Hampshire
Micah Gummel has been a photographer from age 6, when his dad gave him an old 110 Kodak film camera. Over the years he has found his home in the music world photographing musicians. His work can be seen all over the world, but overall his best work has been paying it forward and teaching aspiring music photographers the ropes that were taught to him many years ago.
SGT: What job(s) do you have (or have you done) in the world of music?
Gummel: I’m a concert photographer. I play the camera!
SGT: How did you get started in this type of work?
Gummel: Ibought a camera and started shooting bands. Along the way I met some great photographers who taught me the ropes.
SGT: What are the important skills for someone interested in your type of work to cultivate?
Gummel: Practice, practice, practice. Most of all, know your gear. Become one with it so that you don’t have to think, you just know. This you will only start to learn after 10K photos. Don’t think having the best gear matters — it’s about having the correct gear and the ability to use it.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Gummel: Start in the local bars that have lighting. Practice, network and practice more.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Gummel: The biggest misconception is that it easy. It’s not.
SGT: What kind of other “non-music-playing” professionals do you regularly work with?
Gummel: Folks from artist and venue management as well as record label and PR folks.
FRONT OF HOUSE COORDINATOR FOR A VENUE
Nick Rossi
Box Office / Front of House Coordinator 3S Artspace
Portsmouth, New Hampshire
Nick Rocci graduated from the University of New Hampshire where he received a bachelor’s degree in Recreation, Management, and Policy: Program and Event Management. Nick has been working in the events/music industry full time for over 2 years now and has been involved in music and events for 6 years. He currently resides in Davis, CA and enjoys going to shows and taking bike rides in his free time.
SGT: What job(s) do you have (or have you done) in the world of music?
Rossi: I have had a few. In college I was the music director and then the general director of the Memorial Union Student Organization (MUSO) and then at 3S Artspace I was an intern then I moved to work in the front of the house and the box office. I also help to run sound for smaller venues and events.
SGT: How did you get started in this type of work?
Rossi: I started to get more seriously involved in music-related work in college. At that time, I attended every Music Mentors – a monthly meeting hosted by the fabulous Nate Hastings that featured different guest speakers from the Seacoast music community— that I could. [Editor’s note: I did not pay him to say that.] I met Jo Lenardi at one such meeting, and speaking with her is what eventually led me to seek involvement with 3S Artspace, which was the beginning of my journey to working there full-time. I have found that many opportunities arise by chatting with folks in the community, showing genuine interest and passion, and putting in the work.
SGT: What are the important skills for someone interested in your type of work to cultivate?
Rossi: I feel you have to be pretty self-motivated in this line of work. In most positions, there aren’t folks telling you what to do, so you have to sort of figure it out on your own. That being said, it is also true that having good interpersonal skills goes a long way in the realm of event planning. In a venue, you work closely with musicians, clients, and attendees/guests, many of which are bound to be people you have not yet met, so it’s important to always be accommodating, kind, and patient.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Rossi: I think the best way to get started is to get involved in whatever portion of the music industry that you’re interested in however you can. Something like giving a venue a call to see if you can job shadow, volunteer, or intern is a great place to start. Venues are likely to appreciate the extra help and it’s a great way to meet people and learn some new skills. Plus, in doing so, you can find out more specifically what type of work you want to do. I originally thought I wanted to work for a big record label, and while I’m not ruling that out at this point, I have found that working with music venues is something that I have a real passion for.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Rossi: It seems that some people don’t realize how much of a real job working in the music industry is. People are often surprised that you can get a decent salary, benefits, and everything else that comes with any other full-time position. Some folks also think the job is easy, all fun and games. It’s fun for sure, but like every job, there are ups and downs. For me, cleaning vomit, while only occasional, was probably my least favorite part of the job.
SGT: What kind of other “non-music-playing” professionals do you regularly work with?
Rossi: I have worked with all kinds of folks! Tour managers, marketing managers, graphic designers, radio employees, nonprofit workers, lighting designers, sound engineers, merchants, photographers. There are a lot moving parts when putting on concerts, and since lots of different skill sets are needed, it’s a heavily collaborative process.
SGT: Do you have anything else to add?
Rossi: I’ve mentioned this already, but I really believe that if you show your passion and put in your best effort, getting into the music industry isn’t as a far reach as it seems.
ADVISOR FOR COLLEGE STUDENT ORGANIZATIONS THAT PUT ON CONCERTS
Nate Hastings
Student Affairs Officer / University of New Hampshire
Durham, New Hampshire
Nate Hastings writes for SweetGuitarTones.com in addition to his day job at the University of New Hampshire. He has done many things in the music world including promo and live photography and band management and booking. He has participated in the RPM Challenge four times. He lives in New Hampshire with his wife, twin sons, and shaggy orange dog.
SGT: What job(s) do you have (or have you done) in the world of music?
Hastings: I am the coordinator of student organizations and leadership, which means that I spend a lot of time assisting student organizations. Many of them put on programs and events. For the last 5+ years I’ve also been the advisor to our major programming organization, the Student Committee on Popular Entertainment (SCOPE). This student-run organization produces concerts for the student body, usually in our hockey arena (capacity: about 5,000 ticket holders for concerts).
SGT: How did you get started in this type of work?
Hastings: I was asked to be the chair of the SCOPE Advisory Board when it was being formed because I had a background in music and events. I gained my experience by being in bands and putting on shows in high school and college. I followed up that experience by managing a band on for a few years and providing grassroots marketing and promotional assistance to venues and independent promoters.
SGT: What are the important skills for someone interested in your type of work to cultivate?
Hastings: Advising a student organization boils down to challenge and support. You need to be able to support the students when they need it and you need to challenge them or confront them when they are diverging from the path they should be on. In order to effectively do this, you need to let the students come up with ideas and help them vet them. Sometimes they don’t make the decisions I’d like them to, but as long as it’s not illegal, immoral, or financially unsound, part of my job is to step back and let them try and make a go of it.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Hastings: Being in student affairs is a whole career path that many don’t even realize exists. Lots of us started out as RAs in residence halls and followed one opportunity into the next.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Hastings: I’ll stick to the SCOPE advising side of my job for this as the misconceptions around student affairs are numerous, but best saved for a different blog. I think people think that I get to meet the performers. I suppose I could as they usually do a meet and greet with the SCOPE members, or at least a group photo, but at that point in the night I like to step back and let the students have their moment.
SGT: What kind of other “non-music-playing” professionals do you regularly work with?
Hastings: When a major concert is being put on at a college or university, there are weeks and weeks of meetings between the facility staff, the police, fire and EMS staff, and the staff that supports the student organizations.
SGT: Do you have anything else to add?
Hastings: While not many institutions still have student groups putting on events of the caliber that SCOPE does, just about all of them have programming boards that put on concerts of some kind. If you’re a college student who is into music, find those groups and join them right away! You’ll get hands-on experience and build connections that you wouldn’t be able to get any other way.
FRONT OF HOUSE ENGINEER
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Davis Thurston
Davis Thurston Productions
New Hampshire
Davis Thurston is a freelance sound engineer who owns and operates a full-service production company in the Seacoast of New Hampshire. Serving all of New England and beyond, his capabilities include live audio reinforcement sound systems, multitrack audio recordings, LED lighting systems and rigging expertise. When not working like a dog he enjoys anything outdoors including hiking, kayaking, and skiing. He also considers himself a movie buff.
SGT: What job(s) do you have (or have you done) in the world of music?
Thurston: I am currently a freelance sound engineer, sound effects designer, recording engineer, lighting designer, rigger and general production manager. I own and run a small full service event production company out of Dover, NH. Everything I do relates to the performance of music, but I no longer take the stage as a musician.
SGT: How did you get started in this type of work?
Thurston: I started out as a stagehand working for Capital Productions, the Music Hall in Portsmouth, and the local IATSE 195, which is a stagehand union out of Lowell, MA. All great places to get your foot in the door and find consistent work as a freelancer.
SGT: What are the important skills for someone interested in your type of work to cultivate?
Thurston: The only skill needed is the desire to learn, and you will learn a ton if you have your eyes open and are receptive to new ways of completing tasks. There are endless outlets for creativity in the entertainment industry without being the performer on stage. It doesn’t hurt to be strong and enjoy manual labor.
SGT: Do you have any suggestions on how someone who is interested in your type of work can get started and gain practical experience?
Thurston: I would look into local theater groups, stagehand companies, and arenas for the best way into the industry. You will find out if you are a good fit for this type of work without wasting money on education or training. Every show is a little different and you may find that you thrive more in the high-stress rock ‘n roll world, or conversely that you prefer the consistent family type energy that tends to come from musical theater productions. The most important thing is to keep an open mind and be willing to learn. Some will be glad to share their insights, and others you will just have to watch to figure out their thought processes.
SGT: What are some of the most common misconceptions about what someone in your line of work does?
Thurston: Most people think I’m a lighting guy when they see me behind a big mixing console, which is funny to me but it shows just how little the public understands about sound and event production. Other than that, I find that a loud band in a small room will make anyone want to blame the sound engineer for it being too loud to enjoy. This misconception about what a sound engineer is doing and responsible for makes it tough sometimes to please everyone. Most musicians are on a constant path of degraded hearing and play louder as they get older because they can’t hear the same way they used to. This is the real reason why some shows just sound bad and harsh and just too loud. There is only so much a sound engineer can fix in the realm of acoustical physics.
SGT: What kind of other “non-music-playing” professionals do you regularly work with?
Thurston: I work with other lighting designers or LD’s often, as well as projection mapping artists (one of the coolest newer methods of lighting a stage and providing visual support). I also work closely with many local sound engineers and often contract them to cover my double bookings.
SGT: Do you have anything else to add?
Davis: The entertainment industry is not for everyone, but it can be very rewarding and has many fringe benefits. Being in charge of your schedule is a very freeing experience, but you have to be good at what you do to stay busy, and most importantly know what you are worth.
Don’t forget to check out the other posts in this series!
Careers in Music That Do Not Involve Performing: