by Brad Weaber

• Does your destination lend itself to a particular type of entertainment? Does a California audience; resort connote beach party, beach Olympics... or Beach Boys?
• Are you meeting in a location (Las Vegas, New York, Nashville) where you'll have to compete with local entertainment? Try turning it around: Maybe you can induce a top performer to do a set – or even just a few numbers – for a bargain price.
• Consider whether your actual location (ballroom, exhibit hall) is conducive to all types of entertainment? Acoustics is not the main selling point of most exhibit halls.
• Seek entertainment options that are appropriately "cross-generational" for your audience. A rap group may be too young for a baby boomer audience; Mel Torme may be too old.

1. Have you negotiated the best deal on the artist's fee and the agent's commission?
2. Can you piggyback with another group interested in the same artist to reduce costs?
3. Have all costs, including logistical and technical "riders" been detailed in the proposal?
4. Have you attempted to trim labor/lighting costs by using all or part of your planned meeting setup?
5. Have you attempted to negotiate a photo shoot with VIPs as part of the package? It won't reduce costs, but it will add value.

After you've whittled down your options comes the hardest decision: finding right talent agent. Unless you are related to the entertainer or have a personal relationship with the manager, you will usually find yourself working with an agent. Agents work on a percentage, generally 10 to 40 percent but often as high as 60 percent! It is not uncommon to find two different agents quoting widely different prices for the same act. Be aware that some agents will attempt to convince you to book a specific entertainer because the agent has additional incentives. It is important to shop around until you find an agent you are comfortable with. Don't be afraid to ask what his commission is. Also, ask if the agent will accompany the performer: A good agent will streamline on-site logistics.

Next, secure the date. Sound simple? You don't have a booking until the agent makes an offer to the manager and it is accepted. (Remember: You are competing with other offers.) Also, many entertainers will want a stipulation in the contract that allows them to cancel if an opportunity at another location (television, concert tour, etc.) presents itself. If the entertainer insists on this clause, be certain to consider the ramifications before signing on the dotted line. And, of course, read the fine print. There will be lots of it. It is imperative that all costs be broken down in the proposal before you sign a contract. The breakdown should include:

• artist's fee;
• agent's fee;
• sound/light equipment;
• labor/stagehands;
• technical requirements; and
• logistical "riders."

The "rider" is the document that can send costs "over the top." It outlines all of the specific logistical requirements of the entertainer including transportation, hotel accommodations, rehearsal requests, dressing room requirements, F&B, etc. Often, the rider is not presented to the planner until after the contract has been signed. Insist, at all costs (no pun intended) on seeing it before. Many of the items in the contract rider for a stadium concert of 30,000 do not apply to a ballroom performance for 1,000. We've all heard of entertainers requesting fine champagne, whole cashews (not halved) and green M&M's. No doubt about it: Bringing name entertainers to your meeting is, literally, a production. But if the money is spent wisely, their "draw" potential can be worth it.

First published in: Convene Magazine, July 1995