BME Artist Field Guide · Interactive scorecard
Are you ready to pitch venues? Check the statements that are honestly true today. Your score is not a grade—it is a map of what to fix before you ask a buyer to take a chance.
Your live offer.
I can describe the act in one useful sentence. Genre or lane, location, configuration, and the experience a buyer is booking. I know which formats I can reliably deliver. Solo, duo, acoustic, full band, support, headline, specialty program, or private event. I have realistic set lengths for each format. The repertoire and personnel can actually support what I am promising. Media and proof.
I have a current live video that shows the real act. Clear vocal, visible configuration, no long intro, and enough proof to judge the performance. I have current vertical and horizontal photos. High resolution, approved for promotion, with photographer credits recorded. Every public claim in my EPK is specific and supportable. Streaming, awards, support slots, attendance, press, and other proof are accurately worded. Production and event operations.
I can explain what the artist carries and what the buyer provides. Sound, lights, backline, mics, stands, DI, monitors, power, engineer, and stage. I have a current stage plot and input list, or a simple production sheet. It matches the configuration being sold and has a revision date and contact. I know the minimum timing needed for load-in, setup, soundcheck, and changeover. The schedule is based on experience, not hope. Business readiness.
I know my floor, target, and variables before I quote. Personnel, travel, lodging, production, set length, date, market, and opportunity all affect the offer. I can contract and receive payment through the correct business or artist entity. The contracting name, payee, tax information, and authorized signer are aligned. I use written terms for deposits, cancellation, production, promotion, merchandise, and payment. Templates are reviewed and adapted to the actual event. Outreach and communication.
I research fit before I pitch. The venue, room size, genre, ticket model, geography, and calendar make sense for the act. My first email is short and includes one useful link. The buyer can identify the act, fit, proof, ask, and contact without opening five attachments. I can respond to a buyer within one business day. Even if the full answer takes longer, I can acknowledge the request and set an expectation. Reliability and follow-through.
The team keeps one calendar and confirms availability before offers are accepted. Travel, personnel, holds, releases, and personal conflicts are visible to the right people. I can deliver approved promo assets and event information quickly. Bio, photos, logos, links, stage name, billing, and social tags are current and organized. We have a day-of contact and a plan for problems. Weather, delays, equipment failure, illness, payment, and schedule changes have a communication path. Read the result. These ranges are BME’s recommended starting points, not universal industry standards.
15–18 checked: You have a solid foundation. Keep materials current and focus on fit, relationships, and consistent follow-through.10–14 checked: You can begin selective outreach, but fix the unchecked operational items before taking on complicated offers.0–9 checked: Build the foundation first. Pitching harder will not solve missing media, unclear terms, weak production information, or slow communication.Your next move: choose the three unchecked items most likely to slow down a real buyer. Fix those before adding more venues to your list.
This scorecard is general educational information. It does not determine legal compliance, agency status, insurance needs, contract enforceability, tax obligations, or whether an event is safe or financially appropriate.
