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Author Topic:

The Bristol music scene is monopolised by too few

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« on: March 14, 2012, 10:03:59 »

In a city as creative as Bristol, why is it such a challenge as a promoter. Things need to change this situation is a load of fucking bollox
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« Reply #1 on: March 14, 2012, 10:14:15 »

put on a warehouse party instead.
all clubs in Bristol are poo for one reason or another.
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« Reply #2 on: March 14, 2012, 10:27:33 »

Come on then, name names.
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« Reply #3 on: March 14, 2012, 10:29:39 »

Come on then, name names.

I'm not naming any names  Smiley just venting frustration at the way things are here. In any market or economy, monopolies do one thing and that is hold back creativity and innovation. I think it's a big problem in Bristol
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« Reply #4 on: March 14, 2012, 10:30:31 »

Elaborate please.
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« Reply #5 on: March 14, 2012, 10:32:07 »

all clubs in Bristol are poo

Oh FFS  Roll Eyes generalisation much? What would you prefer exactly? Go to most other towns in the UK and be met with identikit meat-market clubs playing atrocious music as a mere backdrop to drink promotions and pulling, with only a smattering of the sort of interesting little (and big) venues Bristol has. No city is perfect and all clubs have issues from time to time, but "all Bristol clubs are poo"? On yer bike mate.
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« Reply #6 on: March 14, 2012, 10:36:05 »

In a city as creative as Bristol, why is it such a challenge as a promoter. Things need to change this situation is a load of fucking bollox

While I agree that there are a few promoters that have most of the big nights, those promoters started just as small as well and have worked hard to make the successes that they have made. There will always be more promoters that fail than succeed, this will be to do with many things, such as
1) Not enough audience for your choice of music,
2) Too many other nights doing something very similar,
3) Not very good at promo,
4) Not very good at creating a good atmosphere,
5) It's a shit night... etc. etc.
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« Reply #7 on: March 14, 2012, 10:37:16 »

put on a warehouse party instead.
all clubs in Bristol are poo for one reason or another.

yea that really is a stupid comment. I'm still surprised by the variety of music is this city and always finding little gems and forgetting about old ones to then come back to them.

I can only assume that comment was made by the fact you can't drown in K and bring your dog to clubs in town  Bad Teeth
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« Reply #8 on: March 14, 2012, 10:41:09 »

Come on then, name names.

I'm not naming any names  Smiley just venting frustration at the way things are here. In any market or economy, monopolies do one thing and that is hold back creativity and innovation. I think it's a big problem in Bristol

Do something different then. There was an opening party on Saturday at The Looking Glass. This as the old Rummer pub that has just been done up with the help of a load people putting time in for free to create a positive space to be used for creative projects and events.

If life gives you lemons, put it in a G&T and have a fucking party.
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« Reply #9 on: March 14, 2012, 10:43:06 »

If only Clockwork was still standing, eh?  Roll Eyes
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« Reply #10 on: March 14, 2012, 10:45:14 »

If only Clockwork was still standing, eh?  Roll Eyes

Come on man, don't dredge up the past. Hijack knows it fucked up on that one, and we all cry ourselves to sleep at night knowing that it was Hijack that ruined Christmas for everyone.
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« Reply #11 on: March 14, 2012, 10:49:19 »

i remember that post about mkf being paid in punch by clockwork
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« Reply #12 on: March 14, 2012, 10:50:45 »

Names of GTFO
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« Reply #13 on: March 14, 2012, 10:56:34 »

Names of GTFO

Appropriately George Osborne's initials.
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« Reply #14 on: March 14, 2012, 11:01:53 »

In a city as creative as Bristol, why is it such a challenge as a promoter. Things need to change this situation is a load of fucking bollox


Just because you put on a night it doesn't mean people will come. Bristol is not that big a place, there are only so many punters to go round.

People will trust certain promoters because they have built a reputation over a number of years. All the 'big' promoters started small and steadily built up.

I'm afraid you just sound bitter.
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« Reply #15 on: March 14, 2012, 11:03:58 »

What do you expect to achieve by vaguely moaning about your beef in the public domain? You will only make your situation worse.

Stop being a baby, and find a more proactive way to improve your night/promo. This type of thing never has and never will have anything other than a negative effect.
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« Reply #16 on: March 14, 2012, 11:06:58 »

What do you expect to achieve by vaguely moaning about your beef in the public domain? You will only make your situation worse.

Stop being a baby, and find a more proactive way to improve your night/promo. This type of thing never has and never will have anything other than a negative effect.

 Script Script Script

And Hijack really doesn't need any more negativity.
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« Reply #17 on: March 14, 2012, 11:08:48 »

I blame promoters and their mates....
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« Reply #18 on: March 14, 2012, 11:10:24 »

What do you expect to achieve by vaguely moaning about your beef in the public domain? You will only make your situation worse.

Stop being a baby, and find a more proactive way to improve your night/promo. This type of thing never has and never will have anything other than a negative effect.


Don't listen to him, get it all off your chest, it'll do you good.

 Two Thumbs
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« Reply #19 on: March 14, 2012, 11:11:18 »

If only Clockwork was still standing, eh?  Roll Eyes

Come on man, don't dredge up the past. Hijack knows it fucked up on that one, and we all cry ourselves to sleep at night knowing that it was Hijack that ruined Christmas for everyone.

Causing Clockwork to close was Hijack's darkest hour.
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« Reply #20 on: March 14, 2012, 11:13:25 »

I blame promoters and their mates....

http://www.hijackbristol.co.uk/board/the-forum/promoters-and-their-mates!!!!/


I was just looking for that as you posted.
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« Reply #21 on: March 14, 2012, 11:20:20 »

I have a feeling I know who you could be referring to.
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« Reply #22 on: March 14, 2012, 11:20:45 »

yay a thread about music in Bristol !
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« Reply #23 on: March 14, 2012, 11:21:38 »

I have a feeling I know the first names of who you could be referring to.

Standard.
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« Reply #24 on: March 14, 2012, 11:26:27 »

What do you expect to achieve by vaguely moaning about your beef in the public domain? You will only make your situation worse.

Stop being a baby, and find a more proactive way to improve your night/promo. This type of thing never has and never will have anything other than a negative effect.


Don't listen to him, get it all off your chest, it'll do you good.

 Two Thumbs
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« Reply #25 on: March 14, 2012, 11:26:32 »

I have a feeling I know the first names of who you could be referring to.

Standard.

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« Reply #26 on: March 14, 2012, 11:31:37 »

I have a feeling I know the first names of who you could be referring to.

Standard.

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« Reply #27 on: March 14, 2012, 11:40:51 »

You're doing it wrong! (and if you're not doing it. stfu and do it!)

edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff
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« Reply #28 on: March 14, 2012, 11:41:28 »

Very good able, your kung fu is strong
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« Reply #29 on: March 14, 2012, 11:42:35 »

Very good able, your kung fu is strong

Thanks Matt. Very kind.
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« Reply #30 on: March 14, 2012, 11:52:43 »

In a city as creative as Bristol, why is it such a challenge as a promoter. Things need to change this situation is a load of fucking bollox


Just because you put on a night it doesn't mean people will come. Bristol is not that big a place, there are only so many punters to go round.

People will trust certain promoters because they have built a reputation over a number of years. All the 'big' promoters started small and steadily built up.

I'm afraid you just sound bitter.

I'd also add that there are still plenty of smaller nights, well away from the larger and more established events, that do pretty well for themselves. Doesn't sound like a monopoly to me.

Of course, if you're trying to book the same acts as the larger promotions, then you're going to have problems in terms of competing with established names. A lot of the larger nights are successful for the very reason that they weren't copying an already established event or booking the same artists as everyone else. They worked hard at building their own name / brand / scene.

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« Reply #31 on: March 14, 2012, 12:00:22 »

Bristol needs a good 200 - 500 cap club.

Script Script Closer to 200.
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« Reply #32 on: March 14, 2012, 12:16:22 »

Very good able, your kung fu is strong

Thanks Matt. Very kind.

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« Reply #33 on: March 14, 2012, 12:20:52 »

Simply wait a few years and then you wont care  Two Thumbs
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« Reply #34 on: March 14, 2012, 12:24:59 »

Simply wait a few years and then you wont care  Two Thumbs

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« Reply #35 on: March 14, 2012, 12:25:23 »

Is it, loads of shit musicians being put on stage by shit promoters of shit nights that do shit.

OR

Bristol is a student town and the boys want the girls in short skirts and the girls don't want to go to some speed-folk night at Mothers Ruin.

Discuss.
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« Reply #36 on: March 14, 2012, 12:29:07 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.



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« Reply #37 on: March 14, 2012, 12:58:29 »

Monopoly on what ? DJ's ? surely the DJ picks where they want to play and 9/10 that will be at an established night that sells out in a good club.
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« Reply #38 on: March 14, 2012, 13:02:38 »

In a city as creative as Bristol, why is it such a challenge as a promoter. Things need to change this situation is a load of fucking bollox


Just because you put on a night it doesn't mean people will come. Bristol is not that big a place, there are only so many punters to go round.

People will trust certain promoters because they have built a reputation over a number of years. All the 'big' promoters started small and steadily built up.

I'm afraid you just sound bitter.

I'd also add that there are still plenty of smaller nights, well away from the larger and more established events, that do pretty well for themselves. Doesn't sound like a monopoly to me.

Of course, if you're trying to book the same acts as the larger promotions, then you're going to have problems in terms of competing with established names. A lot of the larger nights are successful for the very reason that they weren't copying an already established event or booking the same artists as everyone else. They worked hard at building their own name / brand / scene.



 Script

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« Reply #39 on: March 14, 2012, 13:37:18 »

It's not a case of needing to build up events etc.. Last year I was running innovation in Bristol and rammed Lakota out to a degree not achieved by many promoters in its history. Aside from that, I've either ran events solely or as part of the team at venues across mthe country in addition to production for numerous festivals, I consider myself as someone who is more than competent as a promoter or event Organiser.

The problem is that when you try to do large events in Bristol you are massively restricted to what you can do, despite how much money you have, credentials as a promoter or whatever.

This isn't true regarding all styles of music, but certainly within the arenas I with to promote. For years I have tried work behind the scenes to gain the right opportunities to stage the events I want to put on, but what it all boils down to is pretty much all of the top artists are locked down by too few promoters and the best venues are monopolised, meaning people like me who want to put amazing events on and have the investment and expertise to make them successfu are at a massive disadvantage  because we can never get the venues or the artists.

Yes I may make myself look like whatever, but to be honest I'm way past that. Bristols dance music scene is monopolised and controlled by very few. Monopolies are not good for markets.

And yes, innovate, create and do something massively different.. Certainly what I have planned for 2013... But it would be great if we could have a more even playing field in Bristol, t
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« Reply #40 on: March 14, 2012, 13:40:33 »

TBF, I'm kinda inclined to agree with Lee, there is a monopoly on nights / clubs / artists etc in Bristol, and the hands change every few years... but the only reason its there is because these promoters do their job the best, and dedicate themselves to it full time... if smaller nights build up a rep, with emerging artists/sounds, and then move onto larger raves, I'm sure they'll knock the top boys off their perch eventually (or more likely, join forces)
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« Reply #41 on: March 14, 2012, 13:41:06 »

And yes, innovate, create and do something massively different

It's just people playing music, so unless you're into Punksi-esque tarkastep or fartcore, what really can be done that's so innovative or massively different?
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« Reply #42 on: March 14, 2012, 13:44:48 »

TBF, I'm kinda inclined to agree with Lee, there is a monopoly on nights / clubs / artists etc in Bristol, and the hands change every few years... but the only reason its there is because these promoters do their job the best, and dedicate themselves to it full time... if smaller nights build up a rep, with emerging artists/sounds, and then move onto larger raves, I'm sure they'll knock the top boys off their perch eventually (or more likely, join forces)

This. You can't be annoyed at other people if your night falls flat on it's face.

Promoting is a fucking hard job! Fair play to the big boys that have made it work - I know for a fact it hasn't been peaches and cream for them since day one.

The risks involved are massive when running nights that size (trust me!). Best of luck to you mate!  Two Thumbs
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« Reply #43 on: March 14, 2012, 13:52:27 »

do something massively different

Doing something massively different like, oh, I don't know, maybe asking a dj if they want a gig before putting the name on a flyer, then maybe not acting like a little bitch when they point out that you haven't even bought them a drink let alone paid them. Something like that yeah?

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« Reply #44 on: March 14, 2012, 13:54:06 »

Simply wait a few years and then you wont care  Two Thumbs

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« Reply #45 on: March 14, 2012, 14:07:37 »

Come on then, name names.

There is that one name that always comes up in these threads!  heīs got Monopoly over Bristol music scene?
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« Reply #46 on: March 14, 2012, 14:09:50 »

It's one of those Merchant Venturer fellas, isn't it?

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« Reply #47 on: March 14, 2012, 14:09:56 »

^ $crampy?
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« Reply #48 on: March 14, 2012, 14:10:51 »

Scrampy is a Merchant Venturer?

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That explains a lot.
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« Reply #49 on: March 14, 2012, 14:14:43 »

Scrampy is a Merchant Venturer?

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That explains a lot.

No the other promoter guy who always gets blamed for all kind of stuff? whats his name? He post over here or at least he used to!
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« Reply #50 on: March 14, 2012, 14:17:04 »

Is it that guy Bill Posters?  Lots of signs that say No Bill Posters, which IMO is a very personal vendetta
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« Reply #51 on: March 14, 2012, 14:19:42 »

Danny Feedback? He's lording it up in Thailand at the moment. He wants to be careful or he'll lose his stranglehold on the Bristol scene.
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« Reply #52 on: March 14, 2012, 14:23:20 »

Danny Feedback? He's lording it up in Thailand at the moment. He wants to be careful or he'll lose his stranglehold on the Bristol scene.

Thats him Two Thumbs
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« Reply #53 on: March 14, 2012, 14:39:12 »

I don't think it's Danny Feedback he's on about.
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« Reply #54 on: March 14, 2012, 14:40:00 »

I don't think it's Danny Feedback he's on about.

Me neither.
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« Reply #55 on: March 14, 2012, 18:02:17 »

Elaborate please.

Bad idea, trust me. Don't listen to him OP!

Bristol's small enough as it is without needlessly making enemies of the big boys/pissing them off, especially if you're a DJ  Two Thumbs
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« Reply #56 on: March 14, 2012, 18:08:59 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.





I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.
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« Reply #57 on: March 14, 2012, 18:38:24 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.


I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.

Loads of people seem to be agreeing with this...whats wrong with T2 and B45, other than just being letters and numbers...
im sure there's more other good little places although they aren't coming to me at the mo.

They've put loads of effort into T2 recently and really improved it, and i hear there's more changes to come that sound pretty awesome. I know a lot of nights seem to struggle to get the numbers in at b45 but i don't know why, i think its a nice club, but nights there rarely have a good atmosphere...
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« Reply #58 on: March 14, 2012, 18:52:20 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.


I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.

Loads of people seem to be agreeing with this...whats wrong with T2 and B45, other than just being letters and numbers...
im sure there's more other good little places although they aren't coming to me at the mo.

They've put loads of effort into T2 recently and really improved it, and i hear there's more changes to come that sound pretty awesome. I know a lot of nights seem to struggle to get the numbers in at b45 but i don't know why, i think its a nice club, but nights there rarely have a good atmosphere...

T2 is fine and Marco and Jamie have improved it loads, but personally I still find the layout a bit unruly. Just a personal thing.

B45 is fine if you just use the one room, but the second room is dreadful.

Both are hard to get sounding good, though.

I also still think there's room for a 250-300 single room venue, Plastic People style, with an awesome soundsystem.
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June 8 - private party
June 22 - Giraffe Boogie @ Start The Bus, Bristol
June 28 - Bump Rollerdisco, Weston Super Mare
June 29 - Big Chill Bristol
July 18 - Soundwave afterparty @ Barbarella's, Tisno, Croatia
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« Reply #59 on: March 14, 2012, 19:19:47 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.


I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.

Loads of people seem to be agreeing with this...whats wrong with T2 and B45, other than just being letters and numbers...
im sure there's more other good little places although they aren't coming to me at the mo.

They've put loads of effort into T2 recently and really improved it, and i hear there's more changes to come that sound pretty awesome. I know a lot of nights seem to struggle to get the numbers in at b45 but i don't know why, i think its a nice club, but nights there rarely have a good atmosphere...
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« Reply #60 on: March 14, 2012, 21:00:58 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.


I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.

Loads of people seem to be agreeing with this...whats wrong with T2 and B45, other than just being letters and numbers...
im sure there's more other good little places although they aren't coming to me at the mo.

They've put loads of effort into T2 recently and really improved it, and i hear there's more changes to come that sound pretty awesome. I know a lot of nights seem to struggle to get the numbers in at b45 but i don't know why, i think its a nice club, but nights there rarely have a good atmosphere...
Plastic People
What a club that place is/was.

I remember going there for a dubstep night years and years ago and it was fucking mint.

That's a bit shite now since the redo as well...
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« Reply #61 on: March 14, 2012, 21:06:34 »

Names of GTFO
Appropriately George Osborne's initials.

+1
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« Reply #62 on: March 14, 2012, 23:20:47 »

damn all these promoters and their incessant promoting that spoils my own incessant promoting
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« Reply #63 on: March 15, 2012, 17:12:16 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.


I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.

Loads of people seem to be agreeing with this...whats wrong with T2 and B45, other than just being letters and numbers...
im sure there's more other good little places although they aren't coming to me at the mo.

They've put loads of effort into T2 recently and really improved it, and i hear there's more changes to come that sound pretty awesome. I know a lot of nights seem to struggle to get the numbers in at b45 but i don't know why, i think its a nice club, but nights there rarely have a good atmosphere...

T2 is fine and Marco and Jamie have improved it loads, but personally I still find the layout a bit unruly. Just a personal thing.

B45 is fine if you just use the one room, but the second room is dreadful.

Both are hard to get sounding good, though.

I also still think there's room for a 250-300 single room venue, Plastic People style, with an awesome soundsystem.

No one is mentioning The Croft, not too bad a venue with a 225 capacity
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« Reply #64 on: March 15, 2012, 17:15:44 »

damn all these promoters and their incessant promoting that spoils my own incessant promoting
Laughing

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« Reply #65 on: March 15, 2012, 19:41:50 »



edit/ serious note though. Bristol needs a good 200 - 500 cap club. the closure of level, tube & native massively closed this hole. however, there loads of great new nights coming through. some examples, shapes & piff

This.

My main beef is with the lack of venues of medium size where you can put on decent nights that you can build on. I also just love raving in smaller clubs a lot of the time atmosphere wise. Native, Level and Tube were and remain my favourite Bristol clubs.

Also clubs that appeal to a wider demographic and a lot of the clubs are absolute shit holes as well which isn't nice.


I'd agree with this. I'd say a lack of good quality small to mid sized club venues with great soundsystems is more of a problem than promotional cartels or whatever the original poster was moaning about.

Loads of people seem to be agreeing with this...whats wrong with T2 and B45, other than just being letters and numbers...
im sure there's more other good little places although they aren't coming to me at the mo.

They've put loads of effort into T2 recently and really improved it, and i hear there's more changes to come that sound pretty awesome. I know a lot of nights seem to struggle to get the numbers in at b45 but i don't know why, i think its a nice club, but nights there rarely have a good atmosphere...

T2 is fine and Marco and Jamie have improved it loads, but personally I still find the layout a bit unruly. Just a personal thing.

B45 is fine if you just use the one room, but the second room is dreadful.

Both are hard to get sounding good, though.

I also still think there's room for a 250-300 single room venue, Plastic People style, with an awesome soundsystem.

No one is mentioning The Croft, not too bad a venue with a 225 capacity

But split into three quite small rooms
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« Reply #66 on: March 16, 2012, 12:43:26 »

If only Clockwork was still standing, eh?  Roll Eyes

Come on man, don't dredge up the past. Hijack knows it fucked up on that one, and we all cry ourselves to sleep at night knowing that it was Hijack that ruined Christmas for everyone.

How did Hijack close clockwork? I don't remember that thread.
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« Reply #67 on: March 16, 2012, 12:44:26 »

How convenient.
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« Reply #68 on: March 16, 2012, 12:45:05 »

If only Clockwork was still standing, eh?  Roll Eyes

Come on man, don't dredge up the past. Hijack knows it fucked up on that one, and we all cry ourselves to sleep at night knowing that it was Hijack that ruined Christmas for everyone.

How did Hijack close clockwork? I don't remember that thread.

http://www.hijackbristol.co.uk/board/the-forum/clockwork-getting-flatened/
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« Reply #69 on: March 16, 2012, 13:02:06 »

If only Clockwork was still standing, eh?  Roll Eyes

Come on man, don't dredge up the past. Hijack knows it fucked up on that one, and we all cry ourselves to sleep at night knowing that it was Hijack that ruined Christmas for everyone.

How did Hijack close clockwork? I don't remember that thread.

http://www.hijackbristol.co.uk/board/the-forum/clockwork-getting-flatened/

Oh that thread. I thought it was actually Hijacked fault it closed. Silly me for taking Hijack serious for a second.

-1 internet point for me.
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« Reply #70 on: March 16, 2012, 13:10:38 »

So the established nights dominate, strangling creativity and stopping the small guy from flourishing? Sound familiar? It's got the makings of another Tesco / Costa thread. And we all know the correct course of action here don't we? Protest! Honk if you agree! Flex your bongos! 90% of Bristolians don't want STB! Failing that, Facebook petition, standard.
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« Reply #71 on: March 16, 2012, 13:25:00 »

Bristol needs a good 200 - 500 cap club.

Script Script Closer to 200.

 Script
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« Reply #72 on: March 18, 2012, 21:42:54 »

Yeah, Shit The Bed is such a shit party, everyone I've ever spoken to about it hates it and doesn't understand why it's so massively popular all across the country, even with the militant way they deal with promotion and press.

Those guys work so hard to stifle the scene and Bristol creativity it's a miracle it's still going. Maybe they have sold soul their souls to the big bad dance music devil in the sky?

Good comparison with Tescos / Costa : whenever I think of Shit The Bed I just see a Tesco's logo anyway. Someone told me the other day that on of the promoters was getting a Costa Coffee logo tattooed on his arse as a sign of solidarity over business practices re: Gloucester Road and Clifton stores and all that.

Definitely needs a Bristol / Hijack Fatwa etc.
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« Reply #73 on: March 19, 2012, 01:04:31 »

Names of GTFO

Appropriately George Osborne's initials.

I googled George Osborne's full name desperately wanting that to be true. Bastard.
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« Reply #74 on: March 19, 2012, 01:28:01 »

If you're going to book the same artists as every single other large night then maybe you need to think about a different angle on the night??

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« Reply #75 on: March 19, 2012, 08:27:42 »

Yeah, Shit The Bed is such a shit party, everyone I've ever spoken to about it hates it and doesn't understand why it's so massively popular all across the country, even with the militant way they deal with promotion and press.

Those guys work so hard to stifle the scene and Bristol creativity it's a miracle it's still going. Maybe they have sold soul their souls to the big bad dance music devil in the sky?

Good comparison with Tescos / Costa : whenever I think of Shit The Bed I just see a Tesco's logo anyway. Someone told me the other day that on of the promoters was getting a Costa Coffee logo tattooed on his arse as a sign of solidarity over business practices re: Gloucester Road and Clifton stores and all that.

Definitely needs a Bristol / Hijack Fatwa etc.

What a load of nonsense.
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« Reply #76 on: March 19, 2012, 08:28:26 »

If you're going to book the same artists as every single other large night then maybe you need to think about a different angle on the night??



Real talk. Try and be original........ it's not that hard if you put your mind to it  Smiley
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« Reply #77 on: March 19, 2012, 08:58:50 »

Yeah, Shit The Bed is such a shit party, everyone I've ever spoken to about it hates it and doesn't understand why it's so massively popular all across the country, even with the militant way they deal with promotion and press.

Those guys work so hard to stifle the scene and Bristol creativity it's a miracle it's still going. Maybe they have sold soul their souls to the big bad dance music devil in the sky?

Good comparison with Tescos / Costa : whenever I think of Shit The Bed I just see a Tesco's logo anyway. Someone told me the other day that on of the promoters was getting a Costa Coffee logo tattooed on his arse as a sign of solidarity over business practices re: Gloucester Road and Clifton stores and all that.

Definitely needs a Bristol / Hijack Fatwa etc.

What a load of nonsense.

Well yes, I think that's rather the point.
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« Reply #78 on: March 19, 2012, 09:16:55 »

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« Reply #79 on: March 19, 2012, 18:47:38 »

Yeah, Shit The Bed is such a shit party, everyone I've ever spoken to about it hates it and doesn't understand why it's so massively popular all across the country, even with the militant way they deal with promotion and press.

Those guys work so hard to stifle the scene and Bristol creativity it's a miracle it's still going. Maybe they have sold soul their souls to the big bad dance music devil in the sky?

Good comparison with Tescos / Costa : whenever I think of Shit The Bed I just see a Tesco's logo anyway. Someone told me the other day that on of the promoters was getting a Costa Coffee logo tattooed on his arse as a sign of solidarity over business practices re: Gloucester Road and Clifton stores and all that.

Definitely needs a Bristol / Hijack Fatwa etc.

What a load of nonsense.

Well yes, I think that's rather the point.

Yeah I assumed this was sarcasm either that or completely mental.
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« Reply #80 on: March 19, 2012, 18:57:23 »

dojo  Pimp

 
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« Reply #81 on: March 20, 2012, 10:35:04 »

Yeah, Shit The Bed is such a shit party, everyone I've ever spoken to about it hates it and doesn't understand why it's so massively popular all across the country, even with the militant way they deal with promotion and press.

Those guys work so hard to stifle the scene and Bristol creativity it's a miracle it's still going. Maybe they have sold soul their souls to the big bad dance music devil in the sky?

Good comparison with Tescos / Costa : whenever I think of Shit The Bed I just see a Tesco's logo anyway. Someone told me the other day that on of the promoters was getting a Costa Coffee logo tattooed on his arse as a sign of solidarity over business practices re: Gloucester Road and Clifton stores and all that.

Definitely needs a Bristol / Hijack Fatwa etc.

What a load of nonsense.

Well yes, I think that's rather the point.

Yeah I assumed this was sarcasm either that or completely mental.

With Pete its normally a heady cocktail of both.  Wink
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« Reply #82 on: March 20, 2012, 11:29:09 »

To be honest, being a full-time promoter is very hard work and requires a certain type of person - someone with good business sense, who knows how to pick the right bookings, create a good party atmosphere and, most importantly, work their proverbial knackers off to get people through the door. I know I couldn't do it, and I have a lot of admiration for those that do and make it a success. Whether you like the music played at Shit The Bed, Just Jack, Futureboogie, Crazylegs etc nights, those events are well regarded all over the UK, and in some cases internationally. That can only be a good thing for the Bristol scene at large.

We could all pick tiny things we don't like about certain nights, but these are really minor points. The events themselves are well run, have line-ups that attract the key demographics (i.e students, young people generally, party heads etc) and are always rammo. That's not a bad thing.

There are also quite a few exciting smaller events around catering for different crowds/different underground tastes - look at Dirtytalk, say, or Tape Echo/Peng Sound, or the dub soundsystem things at Trinity whose name escapes me.

The scene in Bristol is arguably stronger than it's ever been. Quit whining. If you think there's a gap in the market or there's an audience for a certain style of night or music that's not being adequately catered for, do it yourself - start small and go from there.

It's all good  Two Thumbs
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June 8 - private party
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« Reply #83 on: March 20, 2012, 12:15:19 »

I must say I think the success of the big nights, In:Motion and Motion in general has made things tougher for smaller promoters at other venues simply because such a huge percentage of people who go out clubbing end up at Motion. Obviously this is due to good work from the people behind the club and the events and you canít bitch about people doing a good job. Iíve got nothing but respect for the people who have made them a success, even if the line ups donít always do it for me. Itís always been hard work to make a night work and it does seem to have got even harder. Personally, since taking a break from Mongrel to work on some other things, Iíve discovered Iíve suddenly got enough money for things like holidays!
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« Reply #84 on: March 20, 2012, 12:59:04 »

I must say I think the success of the big nights, In:Motion and Motion in general has made things tougher for smaller promoters at other venues simply because such a huge percentage of people who go out clubbing end up at Motion. Obviously this is due to good work from the people behind the club and the events and you canít bitch about people doing a good job. Iíve got nothing but respect for the people who have made them a success, even if the line ups donít always do it for me. Itís always been hard work to make a night work and it does seem to have got even harder. Personally, since taking a break from Mongrel to work on some other things, Iíve discovered Iíve suddenly got enough money for things like holidays!

Aint that the truth. It actually scares me how much money I spent on promotion for years. We never made huge profits or losses, but if you add it all up it would be a loss overall I guess.

Was fun while it lasted. Now I'd much rather play music and make music. My bank balance is certainly healthier (marginally!)
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« Reply #85 on: March 20, 2012, 13:36:50 »

I must say I think the success of the big nights, In:Motion and Motion in general has made things tougher for smaller promoters at other venues simply because such a huge percentage of people who go out clubbing end up at Motion. Obviously this is due to good work from the people behind the club and the events and you canít bitch about people doing a good job. Iíve got nothing but respect for the people who have made them a success, even if the line ups donít always do it for me. Itís always been hard work to make a night work and it does seem to have got even harder. Personally, since taking a break from Mongrel to work on some other things, Iíve discovered Iíve suddenly got enough money for things like holidays!

Aint that the truth. It actually scares me how much money I spent on promotion for years. We never made huge profits or losses, but if you add it all up it would be a loss overall I guess.

Was fun while it lasted. Now I'd much rather play music and make music. My bank balance is certainly healthier (marginally!)

Fun but sometimes started to seem like a lot of hard work for the reward. I was doing alright but only takes a couple of disasters (Swan getting closed down a week before NYE!) or a randomly badly attended event and it really hurts. All very well to do it for the love but it's hard to stay positive when you lose a grand in a go. ...

I'm sure I'll do another night at some point but I must say its been nice to work on something which actually makes some pennies for a change and do without the stress for a while.
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« Reply #86 on: March 20, 2012, 13:50:04 »

We're giving it a crack... Brand new night in Bristol - MUMSTHEWORD 13.4.12 Basement 45 https://www.facebook.com/events/334165509952213/

▀▀▀▀▀▀ MUMS THE WORD - THE LAUNCH PARTY ▀▀▀▀▀▀▀▀

MUMS-THE-WORD is kicking off with a HUGE night. Providing you with some of the finest DnB and Dubstep spread across two rooms. With sound from the Honeybee Sound system.

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀

!!THE LINE UP!!

Room One:

STATE OF MIND (SOM Music/ CIA/ BSE RECORDINGS/ Subtitles)
http://www.myspace.com/stateofmindnz
http://www.facebook.com/stateofmindnz

TECHNICOLOUR (Spearhead/SGN:LTD/Technique Recs)
http://www.myspace.com/technicolourism
http://soundcloud.com/technicolour

MOB TACTICS (Traffic/ Tactical Recs)
http://soundcloud.com/mob-tactics

Jacky P (Foundation)
http://soundcloud.com/jackyp

CRL
http://soundcloud.com/djcrl

Noise Complaint
http://soundcloud.com/noise-complaint-1

Hosted by MC's Andlar and Remidy

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀

Room Two:

PULSAR (Gutterfunk/The Deep End/ Fent Plates)

www.myspace.com/pulsardubstep
www.facebook.com/pulsarmusic

MasterStatus
http://soundcloud.com/masterstatus

D-Lux
http://soundcloud.com/d-lux-uk

Major Zero
http://www.mixcloud.com/MajorZero/

Muttley
http://soundcloud.com/muttleyuk

Nakes
http://soundcloud.com/lordnelsgwarn

Akilles
http://www.facebook.com/pages/AKILLES/55824340355

Ramos
http://soundcloud.com/dj-ramos

Hosted by MC Jman + Gravity



▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀

10PM-4AM

£6 early bird tickets / £8 advance / MOTD

Tickets available from Bristol Ticket Shop

http://www.bristolticketshop.co.uk/

OR

Phone Jon: 07553 373830
Ben: 07514 562864

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
THE ARTISTS

STATE OF MIND
Hailing from Auckland, New Zealand, State of Mind are the duo of Stu Maxwell and Patrick Hawkins. Beginning their careers in 2004 SOM have become notoriously prolific producers with releases on a broad spectrum of labels throughout the dnb scene. Material can be found on the shelves via Total Science's CIA Recordings, Teebee's Subtitles Records, Friction's Shogun Audio, Futureboundís Viper label, Doc Scottís 31 Records, Concord Dawnís Uprising imprint, Bad Company, BSE & Obsessions, and more. They released their first full CD ĎTake Controlí on Uprising Records in 2006, an album that garnered them the publicly voted award of ĎBreakthrough Artists of the yearí on the B-Net radio network in NZ, and a nomination for a prestigious NZ Music Award. In March 2009 they released their second LP, 'Faster than Light' on their own label SOM Music. To date SOM Music has released artists such as Black Sun Empire, Axiom, Chris Su, Mindscape, Dose and more. Their third album called Nil By Ear was globally released in April 2011, peaking at number 5 in the NZ Charts. This momentum has continued throughout 2011 with a series of cutting edge 12's and remixes on the likes of SOM, EMI, Project 51, Subsonik Recordings, Eat Brain, BSE and more. State Of Mind are also the former hosts of the hugely popular international ĎNext LevelĒ 95BFM drum n bass show. The show has now been relaunched in monthly podcast format due to popular demand.

TECHNICOLOUR
Technicolour and his usual partner in crime Komatic are one of the most exciting new duos operating at the musical end of the drum & bass spectrum. Rogers announced his arrival in d&b with a debut 12" on Ennex Records in 2007, and has subsequently seen music released on Technique Recordings, Worldwide Audio and Critical Music. Powell has built up a formidable reputation within the scene through his hugely successful Bassdrive radio show, and releases on Spearhead Digital, Frequency Factory and Digiphunk.
Hooking up through an affiliation with the Drum & Bass Arena message board, their first tracks together, 'Preacher' and 'Innervision' were immediately snapped up by Worldwide Audio, who duly released them in April of 2009. With wide-ranging DJ support from the likes of Fabio & Grooverider, High Contrast, Logistics and Blame, and more music forthcoming on Technique Recordings and Bassdrive Digital, it's clear this duo are becoming very hot property indeed.

PULSAR
Exeter local has smashed up the dubstep scene lately with some big releases such as 'Bumberclart' with Dj First Aid released on Dj Die's Gutterfunk label. Also featuring on the Ministry of Sound's Dubstep compilation. Watch out for Pulsar he's making moves this year!

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀

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« Reply #87 on: March 20, 2012, 14:32:59 »

I must say I think the success of the big nights, In:Motion and Motion in general has made things tougher for smaller promoters at other venues simply because such a huge percentage of people who go out clubbing end up at Motion. Obviously this is due to good work from the people behind the club and the events and you canít bitch about people doing a good job. Iíve got nothing but respect for the people who have made them a success, even if the line ups donít always do it for me. Itís always been hard work to make a night work and it does seem to have got even harder. Personally, since taking a break from Mongrel to work on some other things, Iíve discovered Iíve suddenly got enough money for things like holidays!

Things were still tough way before Motion came along. Before Motion it was academy, before Academy it was Lakota etc...

Essentially unless people are die-hard fans of a genre / dj / act etc.. they are much more likely to spend the extra few quid to go to a big event, with a bigger line up, better system and more girls / boys to look at and dance with. You can blame other promoters but the fact is that smaller nights have less appeal to a mass audience than big blockbusters 



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« Reply #88 on: March 20, 2012, 14:51:51 »

I must say I think the success of the big nights, In:Motion and Motion in general has made things tougher for smaller promoters at other venues simply because such a huge percentage of people who go out clubbing end up at Motion. Obviously this is due to good work from the people behind the club and the events and you canít bitch about people doing a good job. Iíve got nothing but respect for the people who have made them a success, even if the line ups donít always do it for me. Itís always been hard work to make a night work and it does seem to have got even harder. Personally, since taking a break from Mongrel to work on some other things, Iíve discovered Iíve suddenly got enough money for things like holidays!

Aint that the truth. It actually scares me how much money I spent on promotion for years. We never made huge profits or losses, but if you add it all up it would be a loss overall I guess.

Was fun while it lasted. Now I'd much rather play music and make music. My bank balance is certainly healthier (marginally!)

I could have taken my family to Jamaica for a fortnight on what i lost in one year promoting reggae
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« Reply #89 on: March 20, 2012, 15:12:18 »

Things were still tough way before Motion came along. Before Motion it was academy, before Academy it was Lakota etc...

Essentially unless people are die-hard fans of a genre / dj / act etc.. they are much more likely to spend the extra few quid to go to a big event, with a bigger line up, better system and more girls / boys to look at and dance with. You can blame other promoters but the fact is that smaller nights have less appeal to a mass audience than big blockbusters

Like I say, I'm not blaming any other promoters, nor am I saying its any mystery why people go to bigger, more mainstream events, just putting in me 2ps worth as a strugglin (possibly ex) promoter.

I could have taken my family to Jamaica for a fortnight on what i lost in one year promoting reggae

...and its at that point you star questioning just how much you wanna carry on 'for the love of it''
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« Reply #90 on: March 20, 2012, 15:13:51 »

Things were still tough way before Motion came along. Before Motion it was academy, before Academy it was Lakota etc...

Essentially unless people are die-hard fans of a genre / dj / act etc.. they are much more likely to spend the extra few quid to go to a big event, with a bigger line up, better system and more girls / boys to look at and dance with. You can blame other promoters but the fact is that smaller nights have less appeal to a mass audience than big blockbusters

Like I say, I'm not blaming any other promoters, nor am I saying its any mystery why people go to bigger, more mainstream events, just putting in me 2ps worth as a strugglin (possibly ex) promoter.

I could have taken my family to Jamaica for a fortnight on what i lost in one year promoting reggae

...and its at that point you star questioning just how much you wanna carry on 'for the love of it''

I know dude it was more directed at the OP

I dont want to think how much I lost doing Signal.
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« Reply #91 on: March 20, 2012, 19:36:46 »

Yeah, Shit The Bed is such a shit party, everyone I've ever spoken to about it hates it and doesn't understand why it's so massively popular all across the country, even with the militant way they deal with promotion and press.

Those guys work so hard to stifle the scene and Bristol creativity it's a miracle it's still going. Maybe they have sold soul their souls to the big bad dance music devil in the sky?

Good comparison with Tescos / Costa : whenever I think of Shit The Bed I just see a Tesco's logo anyway. Someone told me the other day that on of the promoters was getting a Costa Coffee logo tattooed on his arse as a sign of solidarity over business practices re: Gloucester Road and Clifton stores and all that.

Definitely needs a Bristol / Hijack Fatwa etc.

What a load of nonsense.

Well yes, I think that's rather the point.

Yeah I assumed this was sarcasm either that or completely mental.

With Pete its normally a heady cocktail of both.  Wink

ha ha..... yea i hadn't picked up on the sarcasm initially  Smiley
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« Reply #92 on: March 21, 2012, 10:41:00 »

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« Reply #93 on: March 21, 2012, 10:46:56 »

Pedanticside...only one person or institution can have a monopoly..the clue is in the first part of the word  mono
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« Reply #94 on: March 21, 2012, 11:00:42 »

Pedanticside...only one person or institution can have a monopoly..the clue is in the first part of the word  mono

 Love
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« Reply #95 on: March 21, 2012, 11:11:30 »

i don't see anybody in a position they haven't worked hard to reach
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« Reply #96 on: March 21, 2012, 11:24:16 »

http://www.hijackbristol.co.uk/board/the-forum/unity-vi-the-free-party-lakota-sat-24th-march/

This seems to indicate that there are around 20 different nights at least, and I'm sure that doesn't cover all those promoting in Bristol. It would appear that Bristol has quite a lot of different people putting on nights.
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« Reply #97 on: March 21, 2012, 12:11:36 »

Pedanticside...only one person or institution can have a monopoly..the clue is in the first part of the word  mono

I was gonna say the same thing but decided to bite my tongue.  Wink
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« Reply #98 on: March 21, 2012, 14:07:42 »

Pedanticside...only one person or institution can have a monopoly..the clue is in the first part of the word  mono

I was gonna say the same thing but decided to bite my tongue.  Wink

Ditto. I thought I did enough damage with my first post.....
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« Reply #99 on: April 22, 2012, 15:41:15 »

Hadn't actually been on to check back at this..  Sorry for the delayed response.. I guess this thread is pretty controversial etc and to be honest I know most people on here will slate me for actually posting it, but hey this is a pretty valid topic for discussion. I've been promoting events for long time now, and am pretty disillusioned with the whole affair these days.. Nothing to do with money, you run a business to succeed it doesn't matter what business it is. The Bristol dance music scene is amazing, renound across the country and admired by many.

For me personally, one of the most amazing things you can do is make people happy. Putting events on of any kind, but especially raves always gives me a real buzz - most promoters I know share similar thoughts.. Hat's off to the people in Bristol that have built some fantastic events and brands.. including bedlam, stb, run, drive-by, jjack and so on... Deservedly known for some great events. I'm sorry if I have offended, this isn't meant to be an attack. I just personally find it incredibly frustrating as someone with the resources and know how to put on some really amazing shows, I'm constantly held back by exclusivity of artists and venues. Anyways fuck it, someone said earlier.. the only way to do it is come up with something totally unique and not rely on getting the best venues or the best artists cus you aint never gonna get them!!
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« Reply #100 on: April 22, 2012, 15:45:19 »

And yes, innovate, create and do something massively different

It's just people playing music, so unless you're into Punksi-esque tarkastep or fartcore, what really can be done that's so innovative or massively different?

Very good point and something that I shall put a lot of thought into
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« Reply #101 on: April 22, 2012, 15:59:54 »

doesn't have to be different necessarily, better quality, think of 20 improvements you could make to your night (if you want)
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« Reply #102 on: April 26, 2012, 19:31:15 »



when i first came here there was definitely a lot more mid-size raves with good line ups happening, nowadays it seems it's either massive things at motion with terrible music or wanky cool kid things at tiny places with what sounds like a domestic hi-fi linkup. obviously there are exceptions and i do rate what a lot of promoters are doing, even if it's not really my thing.

however i think the real problem is that there is literally no where with proper systems anymore. i literally haven't heard a proper rig in like 2 years. that makes me sad.

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« Reply #103 on: April 26, 2012, 19:35:39 »



when i first came here there was definitely a lot more mid-size raves with good line ups happening, nowadays it seems it's either massive things at motion with terrible music or wanky cool kid things at tiny places with what sounds like a domestic hi-fi linkup. obviously there are exceptions and i do rate what a lot of promoters are doing, even if it's not really my thing.

however i think the real problem is that there is literally no where with proper systems anymore. i literally haven't heard a proper rig in like 2 years. that makes me sad.



This will change in the next couple of months. Some exciting things going on in Bristol atm, which should see some more small > mid size dances going on  Two Thumbs
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« Reply #104 on: April 26, 2012, 20:13:30 »



when i first came here there was definitely a lot more mid-size raves with good line ups happening, nowadays it seems it's either massive things at motion with terrible music or wanky cool kid things at tiny places with what sounds like a domestic hi-fi linkup. obviously there are exceptions and i do rate what a lot of promoters are doing, even if it's not really my thing.

however i think the real problem is that there is literally no where with proper systems anymore. i literally haven't heard a proper rig in like 2 years. that makes me sad.




This will change in the next couple of months. Some exciting things going on in Bristol atm, which should see some more small > mid size dances going on  Two Thumbs


ima hold you to that  Smiley
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« Reply #105 on: April 26, 2012, 21:03:44 »

It's the same in most cities of this size. Manchester seems to have some great stuff going on, but mainly hiphop...but im sure it has its similar problems. When there's money to be made, people protect their interests. Not good for the scene of course, cos it stifles new talent. Doesn't seem as much going on here as I expected, but I'm new here and don't really know the good things that are going on. Will say I went to 51.27 the other week for pedestrian and I felt OLD (Im 27). Really didn't enjoy it and the sound was wank imo, but I expected it to be pretty shit.

Nottingham is the same, in fact its probably worse. Run by 1 or two people with 1 night club that has anything good on. The promoters deliberately sabotage other nights going on, even when not in direct competition with them and the only way most nights survive is by getting into bed with them. It's pathetic.

There are exceptions...Wigflex for example is absolutely fucking sick and has always done whatever the fuck they like and been way ahead of anyone else. Its quite funny because usually you'll see a wigflex line up with some semi-obscure but amazing names, then 2 months later when they blow up you'll see the same line up for dollop.
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« Reply #106 on: April 27, 2012, 12:03:08 »

There's a distinct lack of small to medium sized clubs willing to allow small fry like us to put on nights over the weekend. I understand the need for profits but there also needs to be the understanding that there are people out there that are willing to put in the work to make nights work given half the chance.
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« Reply #107 on: April 27, 2012, 12:38:21 »

There's a distinct lack of small to medium sized clubs willing to allow small fry like us to put on nights over the weekend. I understand the need for profits but there also needs to be the understanding that there are people out there that are willing to put in the work to make nights work given half the chance.

trouble is when i worked at a small club sometimes we'd give small/first time promoters a chance and i remember times when only around 5 people turned up (including the promoter and dj's) and i'd think "aren't their mates even gonna come" cringeworthy stuff would feel really bad for them. But i think what would help is if clubs gave a kind of "to do list" fact sheet for first time promoters who think "i'll just put a event on facebook and everyone will come" to show them what to do.
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« Reply #108 on: April 27, 2012, 12:42:50 »

There's a distinct lack of small to medium sized clubs willing to allow small fry like us to put on nights over the weekend. I understand the need for profits but there also needs to be the understanding that there are people out there that are willing to put in the work to make nights work given half the chance.

trouble is when i worked at a small club sometimes we'd give small/first time promoters a chance and i remember times when only around 5 people turned up (including the promoter and dj's) and i'd think "aren't their mates even gonna come" cringeworthy stuff would feel really bad for them. But i think what would help is if clubs gave a kind of "to do list" fact sheet for first time promoters who think "i'll just put a event on facebook and everyone will come" to show them what to do.

Haha, yeah. Been there done that, cringed with the best of them.
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« Reply #109 on: April 27, 2012, 12:44:03 »

Bristol is one of the best cities for electronic music in the world, stop moaning.
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« Reply #110 on: April 27, 2012, 13:09:46 »

Bristol is one of the best cities for electronic music in the world, stop moaning.

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« Reply #111 on: April 27, 2012, 13:57:29 »

    Bristol is one of the best cities for electronic music in the world, stop moaning.

    Just to be clear to everyone, I'm specifically talking about large scale events large with budget in excess of £10-15k.

    The 'bass music/electronic dance' industry, as industries go is A fairly niche from revenue and workforce figure perspective.. Therefore there is much less focus from a regulatory and competition standpoint to ensure the market and industry grows. What is it that encourages markets and economies to grow?Huh?

    The key ingredients are:
    • FREE TRADE
    • OPEN MARKETS
    • EQUAL OPPORTUNITIES
    • UNBIASED AND FAIR DECISIONS WITH REGARDS TO PROCUREMENT AND CONTRACTS
    • COMPETITION RULES - I.E PROCESSES AND RULES PUT IN PLACE TO ENSURE NO SMALL GROUP OR INDIVIDUALS WIELD UNFAIR DOMINANCE
    • FAIR PRICING
    • EQUAL AND UN PREJUDICED ACCESS TO SUPPLIERS AND CONTRACTORS

    Primarily in larger industries, the competition commission - a governmental organisation serves a purpose to ensure that there are strict rules to govern all of the above. This isn't beaurocracy gone mad, to anyone that understand basic economics, they will know and back me up that in market to encourage growth the above criteria are essential. What are the negative impacts for lack of competition??

    • Increased Scope for Mergers
      In a monopoly, due to the dictates of a single entity, scope for vertical and/or horizontal mergers increase. The mergers take on coercive form to effectively blot out competitors and carry on supply chain management.

    Erm yep - that's definitely happening big time

    • Lack of Innovation
      On account of dominant market control, monopolies display a tendency to lose efficiency over a period of time. Innovation takes a back seat.

    People have already mentioned in this thread their feelings on this

    • Lack of Competition
      When the market is designed to serve a monopoly, the lack of business competition or the absence of viable goods and products shrinks the scope for 'perfect competition'.

    Very few opportunities for competitive promoters

    • Predatory Pricing
      This feature of monopoly benefits the consumers. These are short term market gains when prices drop to meet scarce demand for the product. The suppliers and direct consumers benefit from the monopolizing company's attempt to increase sale for business marketing. This kind of pricing also helps the government to step in and address any unregulated monopoly. If the predatory pricing is not managed efficiently, the monopoly environment could be split.

    You see large events that even if you were able to book the artists, you could never compete by putting similar lineups together, priced out of the market which feeds directly into....

    • Price Control
      In a monopoly, on account of a single market entity controlling supply and demand, degree of price and supply control exerted by the enterprise or the individual is greater. The absence of competition spares the monopolizing company from price pressure. Nevertheless, to evade the entry from new market participants, the company needs to regulate the set product or service price within the paradigms of the Monopoly Theorem. Monopoly has scope for entrepreneurship to make available limited goods and/or services at a higher price. The price and production decisions of such firms target profit maximizing via predetermined quantity choice. This helps to cut even on the marginal and revenue outcomes.
    • Legal Sanctions
      Competition laws restrict a monopoly with regards to the extent of dominant position held and exhibit of illegal and abusive behavior.

    How much dominance is acceptable?Huh?

    @ Baggy & Ian,  I know Carly a little and met you Ian a couple of times, both really nice people so don't want to fall out over this thread  Two Thumbs.

    Please see where I am coming from here, you guys are on the other side of the fence to me and many other promoters so to speak, if you want to book certain artists or venues, I know that you probably won't struggle as much as your average promoter due primarily to people you are friends with and the length of time you've been promoting. [/list]
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    « Reply #112 on: April 27, 2012, 14:01:06 »

    Bristol is one of the best cities for electronic music in the world, stop moaning.

     Script Script

    As a punter, yep. 
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    « Reply #113 on: April 27, 2012, 14:10:36 »

      Bristol is one of the best cities for electronic music in the world, stop moaning.

      Just to be clear to everyone, I'm specifically talking about large scale events large with budget in excess of £10-15k.

      The 'bass music/electronic dance' industry, as industries go is A fairly niche from revenue and workforce figure perspective.. Therefore there is much less focus from a regulatory and competition standpoint to ensure the market and industry grows. What is it that encourages markets and economies to grow?Huh?

      The key ingredients are:
      • FREE TRADE
      • OPEN MARKETS
      • EQUAL OPPORTUNITIES
      • UNBIASED AND FAIR DECISIONS WITH REGARDS TO PROCUREMENT AND CONTRACTS
      • COMPETITION RULES - I.E PROCESSES AND RULES PUT IN PLACE TO ENSURE NO SMALL GROUP OR INDIVIDUALS WIELD UNFAIR DOMINANCE
      • FAIR PRICING
      • EQUAL AND UN PREJUDICED ACCESS TO SUPPLIERS AND CONTRACTORS

      Primarily in larger industries, the competition commission - a governmental organisation serves a purpose to ensure that there are strict rules to govern all of the above. This isn't beaurocracy gone mad, to anyone that understand basic economics, they will know and back me up that in market to encourage growth the above criteria are essential. What are the negative impacts for lack of competition??

      • Increased Scope for Mergers
        In a monopoly, due to the dictates of a single entity, scope for vertical and/or horizontal mergers increase. The mergers take on coercive form to effectively blot out competitors and carry on supply chain management.

      Erm yep - that's definitely happening big time

      • Lack of Innovation
        On account of dominant market control, monopolies display a tendency to lose efficiency over a period of time. Innovation takes a back seat.

      People have already mentioned in this thread their feelings on this

      • Lack of Competition
        When the market is designed to serve a monopoly, the lack of business competition or the absence of viable goods and products shrinks the scope for 'perfect competition'.

      Very few opportunities for competitive promoters

      • Predatory Pricing
        This feature of monopoly benefits the consumers. These are short term market gains when prices drop to meet scarce demand for the product. The suppliers and direct consumers benefit from the monopolizing company's attempt to increase sale for business marketing. This kind of pricing also helps the government to step in and address any unregulated monopoly. If the predatory pricing is not managed efficiently, the monopoly environment could be split.

      You see large events that even if you were able to book the artists, you could never compete by putting similar lineups together, priced out of the market which feeds directly into....

      • Price Control
        In a monopoly, on account of a single market entity controlling supply and demand, degree of price and supply control exerted by the enterprise or the individual is greater. The absence of competition spares the monopolizing company from price pressure. Nevertheless, to evade the entry from new market participants, the company needs to regulate the set product or service price within the paradigms of the Monopoly Theorem. Monopoly has scope for entrepreneurship to make available limited goods and/or services at a higher price. The price and production decisions of such firms target profit maximizing via predetermined quantity choice. This helps to cut even on the marginal and revenue outcomes.
      • Legal Sanctions
        Competition laws restrict a monopoly with regards to the extent of dominant position held and exhibit of illegal and abusive behavior.

      How much dominance is acceptable?Huh?

      @ Baggy & Ian,  I know Carly a little and met you Ian a couple of times, both really nice people so don't want to fall out over this thread  Two Thumbs.

      Please see where I am coming from here, you guys are on the other side of the fence to me and many other promoters so to speak, if you want to book certain artists or venues, I know that you probably won't struggle as much as your average promoter due primarily to people you are friends with and the length of time you've been promoting. [/list]

      Wasn't having a pop at you mate. Just amazes me the amount of people who moan that Bristol "doesn't have enough X Y Z" when it comes to nights. As a punter it is as close to a musical paradise as it comes if you like electronic music.

      The main thing that limits promotions with a 10-15K budget is venue really. It would appear that you have three choices in lakota, motion, academy.

      However if you look at it from a different perspective and try something new then you might start carving yourself a popular niche, but you need to be creative. Look at what alfresco disco, the see no evil parties and the brisfest underground carpark night have achieved. Try and draw inspiration from them and come up with some fresh ideas. Maybe put £5K into creating a venue and paying for costs involved and £10K into the line up. If you do that then the DJ's you seek to book maybe more keen on playing said event rather than just playing another hour set at lakota, motion etc.....  At the end of the day it is the artist and their agents who decide where they play not some secret illumanti of promoters. I personally would much rather spend £15 on a night in a sick location with 1 massive dj and a few smaller ones than go to another night where all the effort has simply gone into the line up. But hey thats me and I am getting old


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      « Reply #114 on: April 27, 2012, 14:21:51 »

      Look at what alfresco disco, the see no evil parties and the brisfest underground carpark night have achieved.

      That's something I've wondered about, exactly how they accomplished this. I'll put a fiver on nepotism. Any other bets?
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      « Reply #115 on: April 27, 2012, 14:23:12 »

      Don't get me wrong, I'm sure they work extremely hard too, but you don't just get venues like that.
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      « Reply #116 on: April 27, 2012, 14:24:32 »

      i would think the brisfest underground carpark is owned by @bristol and was obtained through the medium of cash
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      « Reply #117 on: April 27, 2012, 14:25:36 »

      I personally would much rather spend £15 on a night in a sick location with 1 massive dj and a few smaller ones than go to another night where all the effort has simply gone into the line up.

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      This is why Alfresco Disco on NYE was immense.
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      « Reply #118 on: April 27, 2012, 14:27:54 »

      Quote
      I personally would much rather spend £15 on a night in a sick location with 1 massive dj and a few smaller ones than go to another night where all the effort has simply gone into the line up. But hey thats me and I am getting old

      Like you, I think I'm getting old.. Went to Alfresco Disco on NY.. One of the best parties I've been to in Bristol.. I guess my argument is fairly futile and not really going to succeed in much more than gaining a reputation as a bit of a moaner, but I guess that comes with old age too! I'm just sooo frustrated with it all, the only way forward as a promoter I think is with innovative ideas like you've mentioned.. With regards to the agents/artists, yes completely left them out of this and actually they are just as much if not more to blame than anyone else. This industry is too heavily focused on money right now, not about why we all got into it in the first place - because we love dance music and some of the best moments in one's life is often enjoying music and a gig.

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      « Reply #119 on: April 27, 2012, 14:51:56 »

      i would think the brisfest underground carpark is owned by @bristol and was obtained through the medium of cash

      Of that I'm in no doubt, but you need someone to rubber stamp it all, licenses, permits, h&s inspections, add to all that the fact that in general the council isn't normally that compliant when it comes to clubbing and it certainly looks from the outside that someone must have a parent on the council or something. How else do you get Castle Park?
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      « Reply #120 on: April 27, 2012, 15:21:26 »

        Bristol is one of the best cities for electronic music in the world, stop moaning.

        Just to be clear to everyone, I'm specifically talking about large scale events large with budget in excess of £10-15k.

        The 'bass music/electronic dance' industry, as industries go is A fairly niche from revenue and workforce figure perspective.. Therefore there is much less focus from a regulatory and competition standpoint to ensure the market and industry grows. What is it that encourages markets and economies to grow?Huh?

        The key ingredients are:
        • FREE TRADE
        • OPEN MARKETS


        Surely you don't think either of those exist in promoting?[/list]
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        « Reply #121 on: April 27, 2012, 16:02:26 »


        How else do you get Castle Park?

        Practise!  Bad Teeth
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        « Reply #122 on: April 27, 2012, 16:35:32 »

        Brrrmp-bmp-tsss

         Cheesy
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        « Reply #123 on: April 27, 2012, 17:36:27 »

        tl;dr
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        « Reply #124 on: April 28, 2012, 09:40:11 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.
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        « Reply #125 on: April 28, 2012, 13:40:35 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.

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        « Reply #126 on: April 28, 2012, 14:49:33 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.

        Man feels strongly that the Bristol music scene would be a much stronger and vibrant scene / market - If there more equal opportunities for promoters and event organisers
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        « Reply #127 on: April 28, 2012, 14:58:30 »

        If promoting a night was easy, everyone would do it. Oh, wait....
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        « Reply #128 on: April 28, 2012, 15:33:35 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.

        Man feels strongly that the Bristol music scene would be a much stronger and vibrant scene / market - If there more equal opportunities for promoters and event organisers

        Has it ever been any different though? I remember people saying the same about drive-by when I first moved here.

        People will always prefer to work with people they know and look after their mates when they can. I understand it's a bit shit for you and It might not be ideal for Bristol but it is pretty typical human behavior IMHO.
        And look at it the other way: my mate, who promotes in a different city, started pushing dubstep back in late 06 when virtually no one had heard of it. He lost shot loads of cash pushing a sound he loved that no one had ever heard of. Years later when the music blows up and he finds himself selling out his bigger shows and finally making a bit of cash, can you blame him for trying to keep skream and co as exclusives(especially when he was still losing cash on smaller artists)? and can you blame the artists and agent for wanting to work with guys who they know are good and who've supported them for time? Or giving him a reasonable price after the years of support?

        Well either way like it or not I doubt it will change anytime soon.
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        « Reply #129 on: April 28, 2012, 16:49:44 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.

        Man feels strongly that the Bristol music scene would be a much stronger and vibrant scene / market - If there more equal opportunities for promoters and event organisers

        I'm playing devil's advocate to an extent here but you said you ran successful nights at Lakota previously, why can't you put anything on there now?
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        « Reply #130 on: April 28, 2012, 17:53:47 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.

        Man feels strongly that the Bristol music scene would be a much stronger and vibrant scene / market - If there more equal opportunities for promoters and event organisers

        I'm playing devil's advocate to an extent here but you said you ran successful nights at Lakota previously, why can't you put anything on there now?

        Thats cool, bit tricky for me to answer as I don't really want to go into details about individual agreements and relationships that I have or have had with venues etc.. But I will say as much as I can!..

        I did have a number of dates booked in at the venue up until about two months ago - After a number of weeks of prep for the events, it soon become very apparent that I was unable to make the events commercially viable utilising the artists that were available to me that fit within the music model - I assume the exact same situation would have happened should I have been doing a show at Motion or Academy.

        If you are working with a large venue, obviously bar certain types of events, you really need to have some decent headliners to attract punters. Despite there being a very long list of possibilities in terms of headline acts, I found nearly all of them to be working exclusive with other promoters. I had the dates, the money, some really cool ideas and big investment lined up for things like video mapping and artistic performers, but it was too much of a risk for me. There were other elements that also focused my thought processes to come to a decision to pull the events, I'm not going to blame it all on artist availability - But it certainly was a huge contributing factor.

        I hope you people reading this can see that I haven't started this thread lightly, I know this isn't going to make my life any easier as a promoter! But I honestly am only doing this due to many years of the same problems despite embarking on many different strategies to overcome these challenges.

        The only way forward I can see is to put events on that are not geared towards the headline artists that are booked.. Something of a challenge!
        Go big or go home is my philosophy when putting on large events, I wouldn't have been able to put on a big enough shows with the artists that were available also taking into consideration that I have a lot of respect for Lakota and the people that run it, I wanted to put in a very solid few shows.. Something I just couldn't feel confident in doing due to the problems with booking decent artists. This isn't the only reason I decided to pull the dates, but definitely a huge contributing factor that I was unable to source a sufficient number headline heavy hitters due to pretty much all being exclusive with other promoters in the city.. Smiley
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        « Reply #131 on: April 28, 2012, 18:17:44 »

        tl;dr

        Man wants to promote night of similar type/scale to STB.

        Man is annoyed that Motion won't give him a date to do so/agents prefer their artists to play for promoters they have an established working relationship with.

        Man feels strongly that the Bristol music scene would be a much stronger and vibrant scene / market - If there more equal opportunities for promoters and event organisers

        Has it ever been any different though? I remember people saying the same about drive-by when I first moved here.

        People will always prefer to work with people they know and look after their mates when they can. I understand it's a bit shit for you and It might not be ideal for Bristol but it is pretty typical human behavior IMHO.
        And look at it the other way: my mate, who promotes in a different city, started pushing dubstep back in late 06 when virtually no one had heard of it. He lost shot loads of cash pushing a sound he loved that no one had ever heard of. Years later when the music blows up and he finds himself selling out his bigger shows and finally making a bit of cash, can you blame him for trying to keep skream and co as exclusives(especially when he was still losing cash on smaller artists)? and can you blame the artists and agent for wanting to work with guys who they know are good and who've supported them for time? Or giving him a reasonable price after the years of support?

        Well either way like it or not I doubt it will change anytime soon.

        It absolutely is human behaviour, which is why I'm trying not to go into specifics and keep this thread more high level - As this is what people do, protect their assets. Fair enough. but to what extent is fair?...

        You're right again, this aint gonna change any time soon.. But it's interesting hearing peoples views nevertheless. I keep thinking of an analogy with Tesco on Glos road and the local minnow traders trying to compete..

        It's not gonna change soon, I pretty much accepted that now! I love promoting events, coming up with concepts, pulling resources together, the adrenaline and excitement on the build up to the event and most of all seeing people have moments that they remember as some of the best! That's what promoting for me is about.. So I'll be back, doing what I love very soon! :-) Hopefully I can achieve in making my events a little different and build a different model from there..



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        « Reply #132 on: April 28, 2012, 21:35:12 »

        Equal opps is being thrown about but I'd like to see the same equality considered for artists as well.

        I got more respect for promoters who work from the ground up, supporting upcoming talent. This is how you establish relationships, trust and respect. An artist/DJ will always remember the person who had a little faith in them to start with and treated them fairly. If some big shot comes onto the scene after the artist/DJ have become established, why wouldn't they charge their highest rate? Why should they offer exclusivity? If even the money is not getting the artists in, you really need to sell your ideas to them and make them feel like they are taking part in something unique that is beneficial to them or something their fans will enjoy.

        Surely as a promoter you have to occasionally take a risk. Why not take a risk on an artist?

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        « Reply #133 on: April 29, 2012, 07:46:44 »

        i'd say for a promoter it's a question of the names they book drawing people in... if they don't recognise the name they may not come, unless it's a smaller cheaper night.
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        « Reply #134 on: April 29, 2012, 12:12:43 »

        There used to be a school of agents/promoters who would go round to other agents and dangle them out of windows to persuade them that atristes shoud be booked or not or for how much....if you want to be a big shot and you are just small change then this is one avenue open to you if you have no patience..
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        « Reply #135 on: April 29, 2012, 20:53:22 »

        There are exceptions...Wigflex for example is absolutely fucking sick and has always done whatever the fuck they like and been way ahead of anyone else. Its quite funny because usually you'll see a wigflex line up with some semi-obscure but amazing names, then 2 months later when they blow up you'll see the same line up for dollop.

        lol yeah
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        « Reply #136 on: April 30, 2012, 01:27:33 »

        One thing a lot of this thread is missing the point that if that if you put on a consistently good party people will go to it.

        It doesn't really matter who you book, most DJs are fucking shit anyway.

        If you have a great party which is mental and exciting every time and you care for the people who pay to come and try and do something good then it will work.
        Booking a massive line up doesn't matter, a good party is a good party.


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        « Reply #137 on: April 30, 2012, 13:11:58 »

        i would think the brisfest underground carpark is owned by @bristol and was obtained through the medium of cash

        Of that I'm in no doubt, but you need someone to rubber stamp it all, licenses, permits, h&s inspections, add to all that the fact that in general the council isn't normally that compliant when it comes to clubbing and it certainly looks from the outside that someone must have a parent on the council or something. How else do you get Castle Park?

        just to stick up for Alfresco for a second, I know that they spent literally months on this, doing all of the abovementioned; filling out risk assessment forms and licenses and all that shit.  They were also somewhat abetted by the 'royal wedding street party' occasion which suddenly opened a lot of doors for people who wanted to put on public parties.  it turns out that alfresco just happened to be the crew that were quick enough to spot an opportunity, and hardworking enough to follow it through. 

        alfresco have a huge amount of goodwill in bristol because they've put the work in for years. 
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        « Reply #138 on: April 30, 2012, 13:24:22 »

        Hey, there's no need to stick up for anyone, no one's having a go at anyone, like I said it's a lot of hard work that goes into stuff like this, even with all of that taken into account you still need an 'in' otherwise everyone would be doing it, no?

        If they've done all of this without any contacts at the council then big ups all round, they should show promoters in other cities how to play the game to get things done.
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        « Reply #139 on: April 30, 2012, 13:45:43 »

        Booking a massive line up doesn't matter, a good party is a good party.

        /end thread/

        ps. if you ever leave here to go someplace else in the UK that's not one of the major cities, you realise just how amazing the Bristol club scene is. Of course punters (and promoters) can get complacent anywhere because of an abundance of good nights, but in Bristol I think it works in the reverse - promoters work their tits off here to bring something special to the table...
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        « Reply #140 on: April 30, 2012, 13:51:20 »

        Our thing in Exeter actually got bigger after we sacked off booking guests, we now sell out our 250 capacity venue by 11pm every night we do, twice a month. Obviously you can't compare the nights being discussed in this thread and our little night, but we realised a few years ago that for punters a decent fk1 rig, popular residents and a bit of effort on the decor trumps djs that only the promoters have heard of every time.
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        « Reply #141 on: April 30, 2012, 15:45:54 »

        If you have a great party which is mental and exciting every time and you care for the people who pay to come and try and do something good then it will work.

        You have just described Byte. Oh how I miss it  Sad
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        « Reply #142 on: April 30, 2012, 18:17:13 »

        a decent fk1 rig, popular residents and a bit of effort on the decor trumps djs that only the promoters have heard of every time.


        THIS

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        « Reply #143 on: April 30, 2012, 20:04:07 »

        If you have a great party which is mental and exciting every time and you care for the people who pay to come and try and do something good then it will work.

        You have just described Byte. Oh how I miss it  Sad

        If you have a strong brand...most people want a night to remember from the moment they rock up, to the moment they leave...  Good vibes, appreciate the money being spent and standing out...
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        « Reply #144 on: April 30, 2012, 20:38:13 »

        One thing a lot of this thread is missing the point that if that if you put on a consistently good party people will go to it.

        It doesn't really matter who you book, most DJs are fucking shit anyway.

        If you have a great party which is mental and exciting every time and you care for the people who pay to come and try and do something good then it will work.
        Booking a massive line up doesn't matter, a good party is a good party.




        Sounds like OP is looking to throw a party that's huge from the off though.  You aren't going to get 1000+ people to your brand new night without some big names on the bill really.
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        « Reply #145 on: April 30, 2012, 21:14:01 »

        you could engage the services of ladies wrestling in mud, that always draws a crowd
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        « Reply #146 on: April 30, 2012, 23:32:27 »

        One thing a lot of this thread is missing the point that if that if you put on a consistently good party people will go to it.

        It doesn't really matter who you book, most DJs are fucking shit anyway.

        If you have a great party which is mental and exciting every time and you care for the people who pay to come and try and do something good then it will work.
        Booking a massive line up doesn't matter, a good party is a good party.




        Sounds like OP is looking to throw a party that's huge from the off though.  You aren't going to get 1000+ people to your brand new night without some big names on the bill really.

        If you want to put on a 1000+ capacity night for you first event you're going about it all wrong though.
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