What promoter’s want …

I gig a bit and I always try to be “professional” as well as funny – I research where I’m going, when I’m meant to be there, how long will the car journey take (and add a bit!), where to park, etc.

I also book acts for my club night and a few other gigs. And, I’ve found that there’s several acts who don’t do these things – not many but too many when you consider they are “pro comedians”. They don’t respond in a timely fashion to emails and texts, they arrive late for the gig, some don’t even know how much they’re being paid. So, when I book an act, what do I hope for?

Prompt and professional communications.
It’s often necessary to book a night by a certain date,  or to receive bio, photos, etc., for publicity. So, if you can’t reply now because of <insert reason>  then just tell me that, giving a date when you’ll get back to me. If you don’t respond I may well move on to use someone else.

Easily available information.
Ideally  your own website – with :
Bio – not your life history, just a career summary with some highlights. This eases the process of writing publicity material, press releases, etc.
Quotes – nothing better on a poster than a good, sexy quote. Preferably from a media or industry source, the more identifiable and well known the better.
Photos – I need to design posters. I can always use a head and shoulders shot. I need to use images in publicity posts on social media – I can use all sorts of shots in those. And please make sure that some of your photos are taken against a plain background – a background that contrasts with your appearance, hair, etc. That helps enormously with image manipulation.
Videos – if I don’t know you, a well recorded video (with quality sound!) recording of your full set might persuade me to book you. Hint : don’t make this generally available on the web. Keep it private, send me the link, but don’t put it where my audience can see it, else they’ll have seen most of your act before you turn up.
Having offered you the gig, what I then need is 45  second to 90 second ‘clips’ to use in Twitter and Facebook publicity posts. A taster, a ‘titillator’ to persuade a potential but wavering audience member to buy a ticket to see you. To me, these are the most useful videos and so few acts have them.

Contact details.
I usually ask for them. I fully intend to, but may forget. And, then, you’re a little bit late and my heart is racing, it’d be so much easier if I could call you and find out how far away you are.
Here’s a wild idea – volunteer your details, give the promoter your mobile number before you’re asked. Brownie points accrued straight away!

I’ll update and tidy this post over time as more thoughts pop into my head about what promoters want from an act.
Of course, we also want you to be funny !

Comedy is a great way to …

… make people laugh.

I’ve seen a good number of Edinburgh Previews this year.

They were in various stages of ‘Ed Ready-ness’, which is to be expected.

However, one thing missing from several shows was – laughter!
These were shows from pro comedians with solid and successful club sets.
They had a theme to hold the show together. The shows were complete inasmuch as they were appropriately long with a beginning, middle and end. In all but one case there wasn’t much resort to notes or prompts. They made interesting points using interesting words – like an informal lecture.JN
There just wasn’t much in them to make anyone laugh. On one occasion this resulted in a basic but accurate heckle – “you’re not funny!”. Other times, the audience just left grumbling quietly.

The same at a club gig a while back :
The headliner closed the night with material that they were passionate about – but it just wasn’t funny. The set plummeted downhill. They then further destroyed the atmosphere by blaming the audience for being mainly middle aged and middle class! I later heard the comedian say “I know I’m funny, because I gig with <famous name here> and they like what I do”.

Afterwards, I wished I’d said “You’re looking in the wrong direction for your approval”. But I didn’t – I was overawed by their TV and Radio writing credits, the critically acclaimed arts and comedy shows they’ve scripted and performed in.

Use comedy for other ends if you’re driven to do that. Write a show or set to educate as well as amuse. But always put the audience first.
Make them laugh and they’ll listen to you.
But you have to make them laugh.

It’s the feelin …

To paraphrase Maya Angelou “They won’t remember what you say, they won’t remember what you do – but they will remember how you make them feel”.

I believe that this is some of the best guidance that a comedian could ever ask for. Combined with liberal application of Millican’s Law, they should get you successfully through most of the  angst filled, self directed inquests that we all conduct on a frequent basis.

They also explain what we sometimes know to be true but struggle to understand – why some comedians with weaker, less well written sets than ours get the bigger applause, the place in the competition final and the paid spot next month.

As clever as your words are, as perfectly as your set is structured, if the audience don’t ‘get’ you then you’ve fallen short. You. Because they’ve felt something negative between you and them; awkwardness at your dark material, dissociation from your cultural references – “that Oyster Card routine usually works” – or confusion at the inconsistent character you present on stage.

So, ask yourself – how do you make the audience feel?

Putting the pun in punishment