I first
met Jeramie Kling years ago while putting together the very first music
festival I ever attempted. We will say I learned many lessons from that first
experience, but I also made what was to become one of my best and dearest
friends. Since then we have shared a stage many, many times, toured the east
coast together, negotiated terms of many deals, as well as produced a ton of
music together between our respective studios, here in/on opposite sides of,
Florida.
Jeramie
is a National/International touring musician best known for his drumming work
with The Absence on Metal Blade Records, but he also plays on tours for many
other large and well-known acts, occasionally handling studio duties for them
to fulfill deals with their respective labels as well. Jeramie is a heavily
sponsored artist, was for quite a while the face of D-Drum, is known to travel
and book/manage tours for well-known acts, and owns his very own media studio
where he records others and his own studio projects. Many an agreement comes to
my dear friend Jeramie, and often we discuss the terms of these deals together.
When the opportunity to ask a few questions about how he tends to handle
certain circumstances in an industry as, ahem, murky, as the entertainment
industry arose, I grabbed it.
Here are a few things
that any independent artist can understand. I will spare you a rapid Q&A
session and rather explain the questions I asked and the general philosophy
presented to handling certain situations as given by a professional with years
of direct experience juggling insanity in a topsy-turvy industry where not
everyone has your best interest at heart. Dig? Let’s go…
Firstly, given the
state of our industry and how stiff negotiations can be over pay I asked
Jeramie if he finds that more often than not he finds himself pointing to
“standard” rates for other acts that are on the same “level, or “status” within
the industry or if he finds he simply bases his stance on the actual costs of
doing business, travel, time of performers, etc. I think this to be important
information for an independent that wants to know the best way to go about
being paid and negotiating their point. Jeramie says that “The latter always…
There is no way to put a "standard" stamp on it. There are too many
variables that have to do with our current economy.” So while you may know that there are certain acts that make
a certain amount, perhaps you should try basing your negotiations on what it
will cost you to perform unless you can equally “guarantee” a certain draw for
that promoter or venue.
When it comes to
things like “working toward mutual benefit” during the negotiation and being
willing to make certain concessions, Jeramie cautions that it really depends on
whom you are dealing with so this is really “on an instance-by-instance basis
only.” “Sometimes you can bargain more than others. I always try to negotiate a
better deal for my side of course.” Taking this into consideration with a bit
of my own advice I would say that he hit the nail on the head regarding your
stance sometimes being determined by with whom you are dealing. In other words,
always come to the table willing to play ball, but don’t be afraid to make your
concerns and interests clear and to bargain hard for what you came for.
Lastly I thought it
may be important to cover how to deal with professionals in the industry who
you absolutely know are trying to pull dirty tricks during the negotiation, especially
for a deal you really need. Remember folks, they say “it’s a small world” but
in the world of entertainment, it gets even smaller. So I asked Jeramie how he
handles situations like this and he says he finds the best way to deal with
this type of thing is to call them on their crap. Point out that you know what
they are up to and that it isn’t going to work. The most important part of the
advice comes next, and that is to be amicable about it and work through it as
quickly as possible so they know you mean business and are not at all
unreasonable. I think this is excellent advice. It is important to continue to
work through issues and simply be willing to move past them to ensure a good
deal on both sides.
I’d like to thank my
good friend Jeramie Kling for taking the time to offer some insight into daily
negotiations for all independents that search out this information eagerly.
