Do you have what it takes?: Barry Brandon pt 2.

   In the second part of our interview we continue to discuss Barry Brandon's many roles, especially as a promoter and artist manager and how he is able to use his stellar interpersonal skills  to create opportunities for all the people he works with.

Claudia MB: 

How do you deal with negative emotions while negotiating a deal or working with an artist? What if they lash out at you, if it becomes personal, or if it becomes a heated situation?

Barry Brandon:
"I don’t believe at any point, in public viewings…. that I have ever lashed out at someone in a disrespectful manner. That all happens behind closed doors. Not to say that we are disrespectful behind closed doors, but the communication within our team may get heated within ourselves. But I think its really important for the community, your artists fan base, your clientele depending on what job that you do…. that they never know any of that.  I’ve always said, ‘Perception is Reality’…that’s the bottom line. And if someone perceives something to be true, then it’s true…. So I think if you just acknowledge what anyone is saying at any given time, you respect it and you answer accordingly… you mean it from your heart, the truth will prevail."

CMB:

Sometimes emotions can play a huge part in how you interact with a client or a venue where you are putting on an event. You try to separate that, for example, you can sit down and work with someone that you don’t like [personally] and  create and agreement that works for both of you because you focus on the project or the problem, is that correct?

BB:

"I would say that I do that 85% of the time…. if it’s the right professional thing to do, I will do it. I will also argue that when it comes to 15% of people or places, I simply will not bring money to that person or business… It’s not a matter of making it publicly known why I would even entertain the idea of joining forces with that particular person, because no one needs to know that. Credibility is really important when.... you work for yourself. You are your brand and when you are your name, then you are responsible for your reputation, so credibility ultimately is all that matters."

                 

 

     As Barry Brandon has learned through his experience in the industry dealing with all types of people, It is important that each party is aware of what is expected of them in order to avoid conflict in the future. He has learned that you can work with anyone temporarily as long as your business activities are a good match, even if you personally clash. Ultimately he has learned that when you work for yourself, building and maintaining a good reputation is the best and only way to succeed in any aspect of the industry especially when you are representing an artist or an organization.

"It wasn’t until April of this year that I was introduced to Barry Brandon and the amazing Bedlam Presents crew. Never asking me to compromise personally or musically, they embraced me and quickly stepped forward to form a band. Members include songwriter JL Rodriguez on keys, Bobby Brandon on drums, Andrew Spring on bass and Jose Gabriel on guitar." ~ Jean Kelley  in her interview with Maximillian Corwell of David Magazine

In the Spotlight: Barry Brandon

As a singer, party promoter for Bedlam Presents, founder of the non-profit organization Hold Me in Your Heart and sometimes artist manager, Barry Brandon spends his days making deals. Listed as one of Atlanta’s 50 most influential people of 2010 according to Fenuxe Magazine, he is used to being in the public eye and using his interaction with people and ability to negotiate, to keep his career going.  In this interview, I sit down with Mr. Brandon to pick his brain and learn how he is so good at what he does.

                       

Claudia MB: 

As a party promoter, artist, president of a charitable foundation, and artist manager, I am sure that deal making is part of your everyday existence. Can you tell me about the type of deals that you handle most often in all of those different roles?

Barry Brandon :

 "Actually I view them all the same. The thing is, that I think as a party promoter, you can get the most out of a venue than with those other things [roles]. Usually when you’re touring with a band, it’s a harder thing to book and you don’t usually make as much money. There is a cost for the sound person, for the door person…. production fees, and you don’t make your money from the door until that number is hit. When you are working as a non-profit organization or you’re a company putting on an event, when you approach someone, they are going to have a renter’s fee. When you are a promoter, all of those things go out the door. Because as a promoter, your name is what is bringing the money into the venue, so the venue is relying on your name to bring people through the door that will drink and spend money. Therefore you have a lot more leeway in your negotiation. So I approach everything as a promoter and not as a musician [with the majority verbal agreements and a few written]."

CMB: 

When negotiating. how do you use objective criteria such as: precedent, professional standards, moral standards, reciprocity, or market value to support your requests?

BB:

" I give them product knowledge, what were supplying, what you’re getting in return, and I discuss it simply on a money factor. When booking a band we would never go into conversation about how good they are or what kind of music they played. I don’t discuss their fanbases or how many albums they’ve sold and who knows them, those things- don’t worry about it. If I can get 300 people into your venue and the bar tab is $5000-$6000, what do you care if the band is good or not? [I justify the dollar amount the venue makes] based on a common number within the industry. Promoters make a certain amount or the venues average payout is on a different scale than a promoter….."

CMB: 

How does having a BATNA (best alternative to a negotiated agreement) affect how you view a negotiation, or does it have any bearing at all on your approach? Do you feel that it gives you more leverage during?

BB:

 "I always have a Plan D [besides Plan B, and C], so for me, my vision is that I don’t own a venue and I don’t own a space, but I have a product that can make you $6000 a night. I bring whatever I am bringing to the table, I bring the people, and these people spend money so what I want in return is [a cut of the profits]. If you don’t want to do that, then you don’t deserve to get that  [the people I can bring to the venue]. I addition to knowing that, there is always another option and you are never actually screwed. I think it is a mutually beneficial relationship between the two [the venue and the promoter]… Its not a matter of, If you don’t do what I want then I’m leaving, it’s a matter of communication until the problem at hand is solved and knowing that on both sides, there is always another option."

CMB: 

How do you handle being seen as a less powerful member of a negotiation?

BB:

" The second that you start stressing about how you are going to do thing based on how the other person does business, is when you will never have the upper hand and you will always feel like you have something to lose. You know your product, you know what you have to offer – just do it."

Stay tuned for the next installment of this interview and learn more about upcoming Bedlam events,  Barry Brandon’s  performance of In My Own Words, a one man cabaret show supporting Hold Me in Your Heart . Be on the look out for his upcoming documentary The Tin Man Project showcasing his journey through the last of his 8 open heart surgeries and the inspiration for the Hold Me in Your Heart Foundation.

THE TIN MAN PROJECT

Seven is Quite Enough from David Lewis on Vimeo.

BEDLAM PRESENTS 1 Year Anniversary