Steve Derpack is an experienced promoter and talent buyer, and has worked with countless Edmonton venues as well as with his own company JCL Productions and the co-created Foundation Concerts. On top of being a promoter, Steve is also a musician, having experience as a drummer in mollys reach, as well as This Civil Twilight. Needless to say, I’m stoked that Steve has graciously allowed me to interview him!

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Steve, thanks a lot for the interview, I’m positive the readers of Chorus will appreciate your experience. You’ve had the opportunity to work with a number of music venues in your history as a promoter, from classic spaces like the Rev and Powerplant, to more recent venues such as The Haven Social Club. What are your thoughts on the current state of Edmonton’s venues?

Current state? Well, I think that things in the bar business and music industry in general ebb and flow, and everything goes through cycles. Edmonton is lucky to have a solid music scene, and a city where patrons appreciate the arts and go out to see bands/artists play. The venues all work really hard to make it possible for musicians and fans to have a place to play. It takes a lot of effort and money to make that happen though. Most of the people running the live music venues have had vast experience in music in one form or another.

Through your work with JCL productions and Foundation Concerts, you’ve been able to book and promote some very notable bands across Western Canada, from The Spill Canvas, Metric, and Broken Social Scene, to Edmonton’s own Ten Second Epic and Corb Lund. Many bands aspire to hit the road and tour as much as possible, but what words of caution (if any) would you have for bands looking get their first tour under their belt?

Don’t book a tour until/unless you have a plan. Don’t expect to get paid much your first time(s) out. Don’t be unrealistic about your goals and your expectations. Don’t feel a sense of entitlement, and expect the people booking you to be as passionate about your art as you are. Remember, they’re running a business. Do have some business acumen and savvy, and know how to market, advertise, promote, and engage your friends in those markets. Get to know other bands. Don’t go out on the road unless you have cds and merch (clothing) to sell. Make sure you book yourself in the appropriate venue. Listen to what your peers have to say from those cities, and start small and work your way up. Get people you trust to put in a good word for you if you’re cold calling, and know they have a solid rep. Don’t focus on the rider and accoms, because nobody is obligated to book you in to a room, ever. Find floors to sleep on, save up money from your day jobs, and ask yourself why you’re going out in the first place. There’s no point in going out on the road in Canada until you have a reason, or unless you’re hardy enough to live within your means and nomadically.

Considering that you’ve worked as a promoter for as long as you have, it’s clear that you have a love for what you do. While this is true, I’m sure you’ve had to turn down your fair share of show offers. Can you give us a little insight into what you consider when it comes to booking a particular artist or group?

Will you bring people out? Great. No? What’s the point then? Does your music blow me away and your songs get stuck in my head? Awesome, that means it’ll do the same for other people too, and just needs a starting point. Have my peers and colleagues been raving about you to me and to others? Good, that’s a great sign. Are you respectful and intelligent, and have a plan, and understand that you’re competing with a gazillion other acts out there wanting the exact same things you want? Yes? Perfect, then tell/show me why I should book you vs the other people who want that spot on the show. Have you done your homework, and does your media player work/do you have a high res pic/ show stats for success in various ways/markets / and have you determined this is the place you should be playing? That’s a good start too.

I’ve done this long enough to recognize subtle and not so subtle signs that a band is trying the hard sell by name dropping, or telling me they’re going to “pack my bar”. If that’s the case, you’ll have no problems playing for the door, because logic says you’ll make more money. Things I consider include realistic expectations, proof of work ethic, understanding of business, commitment and focus to both the creative process and networking, and the drive to make you compete to be that much better than the other guys and girls out there.

With the enormous boom in social media networking, anyone can now reach a large number of people almost instantly. Do you feel this helps you as a promoter?

Social media networking has become both an extreme blessing and curse at the same time. For the exact reason that you mentioned in your question. ANYONE can reach ANYONE else, instantly, without much difficulty, at any time. It’s overwhelming sometimes. Does it help me as a promoter? Yes, in the sense that I don’t have to sift through piles of demo cds, and go out to shows night after night, like I used to way back when, and I can get a sense of what someone sounds like/looks like/and background info with the click of a button. (Unless the internet is down of course, which is scary in itself when you think about how much we rely on the thing in everyday life now).

But, no, on the other hand, because you get inundated with so many requests and invites and honestly, artists that may not be so good, and it’s hard to sift through it all. Anyone who plays an instrument with home recording tools, and a basic level of computer knowledge, can access everyone else. It’s not a bad thing, but wreaks havoc on my time management process which is lacking at times as it is At the end of the day, it’s the new model, and it is helpful, as a promoter and a musician. But you better be able to provide the goods at the show, both with performance and with getting at least some people out to the show, or else said promoter won’t be so willing to take a chance on you the next time. If a band makes my jaw drop, or a songwriter, then I at least get the sense that it will only be a matter of time before the masses catch on.

Having said that, a common complaint amongst the Edmonton music community is the lack of attendance at local shows. Many attribute this to an over reliance on online promotion, and a failure to promote through more traditional means, such as postering, handbilling, and face to face conversation. Do you feel this holds any merit?

Lack of attendance isn’t due to lack of traditional promoting means. That’s a cop out. Sometimes postering and handbilling isn’t enough, and online promotion is effective if done right, and way less expensive.

Lack of attendance can mean any number of things; lots of shows the same night in other venues around town, other competing non music events, lots of shows around the same time period, lack of funds to attend too much, artists coming through town too often, promoters not doing their full job to get the word out (it happens), artists not doing their full job to get the word out (it happens), bad weather…and the list goes on. Edmonton has an insane number of things for our community to attend on any given night, throughout the year. The community supports live music, trust me. Ask our media about that, and they’ll tell you the same thing. In fact, there could be an argument made at times that there is an oversaturation of shows.

From a promoter’s perspective, how much responsibility rests on a band’s shoulders in regards to promoting a show that they are playing?

Tons. Why wouldn’t a band want a venue or bar to be as full? It’s a shared incentive and responsibility though. Bars aren’t entitled to have good bands play their establishment and pack the room. Bands aren’t entitled to have good venues to play in, without having done their due diligence to promote to the best of their ability. There are no shortcuts. It’s supposed to be a team effort. Yeah, it’s hard to get people out. Make your band stand out. Yeah, it’s hard to fill your venue each and every night. So treat people well, be honourable, and work hard to double up all the promo efforts, and provide a good environment for artists and patrons alike. Don’t employ bouncers who don’t know how to treat people with respect. Don’t have shady business practises. Then everyone wants to build it together and keep it going.

Going back to the band responsibility though: Do you have a myspace page? Is it up to date? Do you have friends on it? Do you have music on it? (and don’t tell me it’s old and not to listen to it -take it off then and put something solid up, and then call me.) Do you have a Facebook page? Do you have everything I want and need to know available easily, and are you giving your fans easy access and incentive to come see you play? You are competing with tons of other acts for people’s dollars, and you better be ready to wow them. If not, go back to the garage and get better. And don’t tell me you went to school to learn music and therefore are worth so many dollars. The proof in whether or not anyone cares is bums in the seats. Sorry if that sounds harsh, but in my world, scales don’t matter. A good song that people can sing along to (and possibly dance to) is what matters.

In your experience, do you feel Edmonton’s geographic location in relation to larger music centers like Toronto poses a challenge to Edmonton artists looking to “break through?”

No. If your music is good enough, people seek it out. Why would you want to be in Toronto where a thousand other bands are competing for shows and attention from agents? Tupelo Honey – booked by The Agency Group. Social Code – booked by SL Feldman and Associates. The Get Down – booked by Feldman. Corb Lund – booked by Paquin Entertainment. Shout Out Out Out – booked by The Agency. Cadence Weapon – booked by Billions Corporation. Festivals like SXSW, NXNE, WCMAs, Folk Alliance, CMJ, and so on…all are great showcase opportunities. You don’t need to relocate there. If you can’t develop an audience in Edmonton, don’t assume it’ll be any different in any other city in Canada. Comments like “they just don’t get us here” are ridiculous. Don’t make excuses; get better at what you do, and you’ll turn heads everywhere you go.

What do you feel is the most rewarding part about putting on a successful show?

Not losing money. Helping build an artist’s career. Taking risks and having the rewards pay off and getting a return on your investment. Being part of something that everybody involved benefits from. Seeing a sold out house and knowing you contributed to that and made it special for the people who spent their dollars on you and it.

In your history as a promoter/talent buyer, you’ve been able to work with a vast variety of musicians. As a promoter, do you feel it’s important to diversify yourself and book artists from many different genres?

Absolutely. I have a punk/hardcore show coming up in August, just promoted a metal show a few weeks ago, have booked singer songwriter tours throughout Western Canada, built singer songwriter circles in the round, booked jazz shows, country, hard rock, folk, etc. The more you have interest and experience with many types of music, the more you appreciate each for what is. It also opens doors and opportunities and you don’t limit yourself to what you can do. Music is art, and creative, and to pigeonhole yourself to one genre is a disservice to yourself and narrow minded. Every artist has a niche and a place, including tribute bands, cover bands, festival performers, spoken word, and so on. Shane Koyczan, a Canadian slam poet was introduced to me through my good friend Dan Mangan, a Vancouver musican, and his work brings me to tears. It’s great to be exposed to so many great things and people and makes this all worthwhile.

That’s about all the questions I have for today. I appreciate you taking the time to share your knowledge and experience (and not hold anything back!), and on behalf of the readers of Chorus, thank you for your contribution to the Canadian music scene. If there was one final word of wisdom you could share with bands looking to work with you what would it be?

Don’t ask if I’m interested in managing your act please, though I’m flattered. I’m not a booking agent, but I can direct you to many good ones throughout the country, when you’re ready. Work hard and don’t expect things to come easy. Nothing worthwhile does. (Sorry, that was three)

Thanks Steve, best of luck in future shows!

Thanks for the questions, and good luck with Chorus!