Busy Time of Year for Folk Agents


Tanglefoot (2008)

The first couple of months of any year are busy for the agency because once the calendar tips over into a new year, far sighted folk club organisers and venue bookers start to open their diaries for the following year and therefore those of us who search for gigs for our artists have to be aware that unless we get busy, we’re likely to miss the boat. It’s especially important if the artists we’re working for are travelling into the UK from abroad. What’s really important to them is that they get a tour which makes geographical and logistical sense without nights off in parts of the country where they have to spend on a hotel/motel or B&B.


RPR (Canada)

In some cases, artists have ‘safe houses’ scattered around the UK, i.e. family or friends they can stay with for a few days when they have ‘down time’ and I try to take that into account when planning tours. Of course, when in Yorkshire, my artists usually stay with me. They have all become personal friends. I once worked out that Tanglefoot, over the course of several tours, had actually spent 13 months based in our house. Good job they are nice folks and good houseguests (though let’s not talk about the amount of hair in the shower plughole). I’m looking forward to hosting RPR in May/June of 2016 – that’s Tanglefoot’s two Ritchie brothers, Steve and Rob, with bassist Al Parrish, and percussionist Beaker Granger – the only one who hasn’t got prior history with Tanglefoot.

Cloudstreet Three B

Cloudstreet (Australia)


Eileen McGann

Right now I’m working on 2017 tours for Cloudstreet (over from Australia from late April through to the end of June) and Eileen McGann (touring from Canada in September). Plus I’m doing Dan McKinnon’s annual tour from Canada, so I’m still adding occasional 2016 dates for Dan whilst working mainly on 2017. Neither Cloudstreet nor Eileen tour every year, so their tours are always more self-contained.


Dan McKinnon (Canada)

The diary gets complicated, so I keep a grid of who’s touring when, which is on the website for organisers to check and also as a tool for me to use. It always helps to plan ahead.


Keith Donnelly

Planning tours for UK artists is very different from planning tours for artists coming in from abroad. When music is the day job artists tend to want a different pattern of gigging from those who fit in music around their day job. And, of course, UK artists do have a home to go to when they’re not out at a venue performing. Some artists are very specific in their requirements and vary from: not more than two gigs in a row to go anywhere, do anything. Some artists are happy to take one-off gigs, others want gigs that are a distance from home to be part of a mini-tour. Some artists are self-employed or have day jobs (hey, making a living from folk music is not easy!) and for them I have to know how far they are prepared to travel on a work-night and when they can take time off from the day job.


Vin Garbutt

A couple of my artists are hugely popular with festivals, but clubs tend to book before festivals, so I have to take that into account when accepting weekend gigs in festival season.

I also have to be really careful not to take gigs with overlapping audiences too close together. This is especially important for artists like Vin Garbutt who tend to have areas of the country where there are clusters of venues who want him back year after year. I have to spread out his gigs, especially in his home area (the North East) and in the West Midlands. And, of course, sod’s law says that two great gigs will be offered in adjacent towns in the same month, and we can only take one of them.

If you are a club or venue booker you are likely to get a small flurry of emails from me at this time of year as I start to put in lynchpin dates for tours in 2017 while still filling in dates for 2016. Bear with me, please, and if I email you for something specific (i.e. to fill in a date between two others) please get back to me quickly, even if the answer is no. No is the second best answer to yes because it frees me up to search out something else on that date instead.

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UK Certificates of Sponsorship: Fast-Track Processing Charge

As you already know if you follow this blog, I process Tier 5 UK Certificates of Sponsorship (the equivalent of electronic work permits) for performers coming to sing, play dance or act in the UK from outside the EU. (I can also process certificates for sportspeople, too.)

There’s a charge for this, of course, because I not only have to pay a fee to the government for a) each certificate and b) my licence to issue certificates, but I also have to take on legal responsibility for the artists I sponsor and therefore I have to do a lot of checking (of artists and venues) and a considerable amount of very careful form-filling.

In the past few months a small number of regular promoters who employ me to process certificates for artists have been leaving it until the last minute… and I do mean the last minute… and expecting that I will be able to perform a minor miracle. This has necessitated losing sleep, losing my weekends and – most important – losing family time.

I’m not saying that I will be refusing to do last minute certificates, however, to encourage people to send forms and payment to me in a timely manner I will be charging a premium rate for fast-tracking any certificates required within 7 days

If you’ve left it until the last minute expect to pay an additional £100 for a group application and £50 for a soloist’s application.

Since the rules changed in 2008 I have done almost 800 Certificates of Sponsorship for performers, and very few leave it until the last minute, however it has become a problem specific to just a few.

Sometimes it goes like this:
<Phone Rings, Sunday evening at 6.00>

PHONE: Hello do you do certificates of sponsorship for Mexicans?

ME: I do certificates of sponsorship for any performers from outside the EU, so yes, that includes Mexicans.

PHONE: How long does it take?

ME: Well, I ask that you get all the paperwork to me about four weeks before you need the certificate, but I can do them more quickly in an emergency. When do you need them for?


ME: You mean your performers are already in transit?

PHONE: Errr, they’re in the holding pen at Heathrow and about to be sent back to Mexico if I can’t get certificates for them within the hour.

This is not a made-up story. It really happened. Names have been withheld to protect the… errr… organisationally challenged. And yes, I did manage to issue the certificates in time, though not quite within the hour, but the Immigration people kindly gave an extension once they knew it was in hand. However it meant I had to ignore visiting family and work on Sunday evening.

I’ve also had to do certificates for Americans who were in transit and arriving the following morning and for Africans whose visa applications were due right NOW! or they stood a good chance of not getting them back in time.

Though some of these late applications were genuine mistakes (The Mexicans hadn’t checked and didn’t even know they needed certificates of sponsorship!) many of the delays are due to people not wanting to pay until the very last minute, i.e. until they perceive that they really REALLY have to. So from October 2015, these are the prices. They will only rise when the government puts its prices up.

CoS Fees 2015

Good reasons for getting your Certificate of Sponsorship in a timely manner

  1. Your peace of mind.
  2. My stress levels.
  3. On occasions the Government web site has been malfunctioning and it has not been possible to issue certificates. If this happens over a weekend of a bank holiday there could be a delay of 3 – 4 days.
  4. Other performers may be in the queue before you and need their certificates equally urgently. I’m only one person. There’s a limit to how fast I can type.
  5. When I check your application I may need clarification of some information or more details.
  6. When I attend conferences I am unavailable for between three days and a week. Usually I am not checking email  while I’m away because – hey – I’m busy with other things. Besides if I’m not in the office I don’t have access to make the applications.
  7. The office is always closed for a full week in September, so if you hit this week I won’t be able to help you.

So thank you to all those people who send their applications to me four weeks before they need their certificates. Score bonus points if you’ve followed my guidelines, typed rather than handwritten your forms, sent me clear copies of the documents I require and filled in every box, remembering to include your post or zipcode with your home address. Add extra bonus points if all the information you’ve typed on the application form is correct.

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Notes to Artists

To all artists: With sometimes ten or more artists a week knocking on my door, you can bet that I only take on the best… and then only VERY rarely. I won’t say my books are closed (I’ve tried saying it and I still can’t resist the occasional great artist that comes along), however if you’re an artist, especially a new one, please don’t call me until you’ve read my article on Why You Don’t Need an Agent.

If you’ve got more gigs on the books than you can handle and you’re never at home when the phone rings because you’re out gigging, then… sure, call me. If you’ve never toured the UK before or are only just starting out in your career and have no British profile, I’m not likely to take you on. It’s very hard work breaking a new act into the British folk scene and I don’t have time for it right now even if you’re very, very special.

To artists from outside the EU: Yes you do need a Certificate of Sponsorship to come into the UK to perform if you are travelling from outside the EU. Artists from countries that do not require their citizens to have a visa for tourism to the UK can come into the UK to perform for less than three months with only a Certificate of Sponsorship. No further pre-processing is required. But artists from countries whose citizens require a visa for travelling to the UK as a tourist, will need to convert their Certificate of Sponsorship to a full work visa. This is also the case for artists from any country intending to stay in the UK to perform for longer than three months. This conversion process is called ‘Entry Clearance’ and takes approximately four weeks to complete after you’ve got your Certificate of Sponsorship.

If you are from outside the EU and you get your own UK tour together, and you need someone to process your Certificate of Sponsorship, then please feel free to get in touch.

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All About Being a Folk Music Booking Agent in the UK

Jacey at Winnipeg Folk Festival

Jacey – Winnipeg Folk Festival

Before opening the music agency I  toured as one third of vocal trio Artisan from 1985 to 2005 plus the 2010 and 2015 reunion tours; also as one fifth of the Brian Bedford Band through to the summer of 2006. I’ve played thousands of gigs and hundreds of festivals across the UK, Germany, Belgium, the USA, Canada, Australia and even (once) Hong Kong, so I reckon I know the business from both sides.

After the farewell Artisan gig in 2005 I counted the stamps in my passport and realised I’d notched up thirty one North American tours in a decade and decided I must be bonkers! I now sit at home and drive a desk for a living – sending out other performers to do the hard work. Instead of thirty thousand miles a year the Bedford motor now does less than three. Probably just as well since it’s not getting any younger! I can absolutely confirm that folk agents don’t drive around in sleek BMWs – well – this one doesn’t anyway.

I know a thing or two about clubs, festivals and venues. I even ran my own, putting on concerts at Birdsedge Village Hall for thirty years and booking the acts for Birdsedge Village Festival for ten as well as running the occasional bigger gig at the Paramount Cinema in Penistone, Nr Sheffield.

Band on stage

Tanglefoot at Penistone Paramount

I’ve got some fantastic artists on my books from all over the world.
Vin Garbutt, Zulu Tradition, Ritchie Parrish Ritchie, Cloudstreet, Union Jill, Dan McKinnon, Tania Opland and Mike Freeman, Eileen McGann, Artisan, The Salts, Lee Collinson and Al Parrish, and I’m currently talking to another well established artist, but I can’t tell you who that is yet, or I would have to shoot you.

It’s my job as an agent, to match-make artists and events. I’m not looking for ‘gigs at any price’. Making the right connections helps both artists and bookers to get the best deal and build up ongoing relationships. A lot of the people I deal with are friends, or become friends in the course of our business relationship.

Obviously if I never call or email a venue I’m not doing my job properly, so if you’re a booker in the UK, expect to hear from me at least once or twice a year, possibly with a few emails in between. If you want to be added to my mailing list please email me. My email is above in the header. Ditto if you want to be removed from it. I’d appreciate it mightily if you could let me know of any email address changes, of if you hand over the job of booking-contact to someone else.

To all bookers and festival organisers: When I call you or email I want you to know that I will always take no for an answer. In fact, next to yes, no is the second best answer because it enables me to move on and call the next venue or festival. Those maybes and call-me-back-in-a-month answers are killers… unless of course, you really mean it. Unfortunately some bookers are dear sweet people who don’t like to disappoint and who don’t know how to say no. I hope no one ever feels they can’t say no to me. Of course I like it best when you say yes, but to go round full circle… I really am not looking for gigs at any price. It’s got to be the right gig at the right price so that everybody wins.

That’s what my job is about, creating a win-win situation for the venue, the artist and, oh, yes, for me too.

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The Salts and Lee Collinson

I don’t take on new artists very often (hardly ever, in fact) so it’s a measure of how impressive they are that I’ve taken on shantypunk band, The Salts. Check them out at http://www.jacey-bedford.com/salts.html

The Salts

The Salts

And I’ve also added Lee Collinson (solo) to the roster. Lee is front-man of The Salts and enjoyed much success on the folk scene before family life and his day job caused a hiatus. He’s back now and better than ever.

Lee Collinson

Lee Collinson

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Jacey’s Music Business Help Files

It’s not because I know it all – (blimey, I wish I did!) – it’s because I didn’t know anywhere near as much as I do now when I started in this business and I figure if people understand a bit about how things work we’ll all be much better off. So here’s a series of FAQs

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Here’s a list of all my current artists. You can find a run-down (words, music, video) at my web page.

Vin Garbutt (UK)

Zulu Tradition (South Africa)

Ritchie Parrish Ritchie (Canada)

Cloudstreet (Australia)

Dan McKinnon (Canada)

Union Jill (UK)

Eileen McGann (Canada)

Tania Opland and Mike Freeman (USA/UK)

Al Parrish (Canada)

And Artisan is currently on tour for the second reunion tour which lasts from April to early October 2015. After that there are no further plans, but never say never again.



Posted in Artisan, Music business, My Music Agency

London Philharmonic Skiffle Orchestra join the agency

I’m delighted to announce that the London Philharmonic Skiffle Orchestra is joining the agency roster. They aren’t skiffle and they’re not an orchestra, but they are philharmonic (look it up) and they are from London, so two out of four is not bad. They are also as funny as all get-out, perfect for village hall gigs, theatres and festivals.

Unique. Musical madness and mayhem. Foot-tapping, high energy acoustic music, with hilarious songs, comic props and cosmic costume changes!

The London Philharmonic Skiffle Orchestra

The London Philharmonic Skiffle Orchestra

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How to Win Friends and Influence People

I know that agents are not well liked in some circles, but why would someone who wants a favour start an email like this?

I’ll start out by stating that I hate agents. So out-of-place in the folk world. Taking a cut for what artists can do for themselves. I take great delight in remembering that I once got Cyril Tawney’s agent sacked by him for trying to charge too much.

Do I know you/? I used to present [radio shows redacted] back in the 80s and early 90s?

Now that is out of the way, would you please convey to… He then goes on to ask me to get one of my acts to appear on his radio show and to perform as a mystery guest at a charity event for no pay and no publicity and then he finishes with:

If I don’t hear via you I will just approach them personally as we all live near [town redacted]

I won’t embarrass the man by saying who he is, though perhaps I should. I will however, say that there is no substitute for common courtesy. And THIS is no substitute for common courtesy.

My response:

Well, [name], what a charmer you are!
‘I hate agents’ is a great opening to an agent you want a favour from.
What were you thinking?
Have you taken a course in how to win friends and influence people?
And boasting about getting Cyril Tawney’s agent sacked? Well, whatever floats your (chicken on a) raft.

I’ll follow on by saying that I’m not so keen (hate would be way too strong a word) on people who categorically state that they hate agents without actually knowing much about what we do for our money. If an artist could do the bookings for themselves, that’s what they would be doing. Many do. I did our own when Artisan was a full time entity for 20 years. (How do you think I learned the business?)

Some can’t.

Either because they don’t have the contacts, or they are pathalogically afraid of rejection and of making cold calls and therefore find hundreds of excuses not to, or they are based outside of the country and don’t know where to start, or they are just too disorganised to look after the paperwork, or they prefer to play the spots off their instrument all day and think the mundane stuff is beneath them, or they are just too damn busy doing gigs to be at home to pick up the phone, or they think that having an agent will give them a step up the ladder.

I remind you that no one forces an artist to seek out an agent. Just FYI I do advise artists that if they CAN do it for themselves then that’s their best option. See my article on why you don’t need an agent on my help-pages.

Having said all that, I’m forwarding this (complete) to [artist]. [Artist] can decide whther to take you up on your kind offer of working for no pay and not even any advance publicity since [artist] would be appearing without the benefit of anyone knowing they were there.

I look forward to his reply. Though I probably shouldn’t hold my breath.

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Selling Folk

Reblogged from Folk21
Originally posted on September 4, 2014

“Performers should do more promotion,” I hear venue and club bookers cry.
“Venues should do better promotion,” I hear performers grumble.

Some artists think it’s enough to have a Facebook page. (It isn’t.)
Some clubs think it’s enough to put a quarterly advert in their local folk magazine. (It isn’t.)

So whose responsibility is it to sell Folk to the potential audience?

All the artists on my agency have mailing lists, web sites, social media. My agency still supplies print posters and flyers in unlimited quantities (printing paid for by the artists), though it’s surprising how many clubs take the few samples we send them, but completely ignore the bit on the contract which asks them how many more posters and flyers they would like us to send. We get all the radio opportunities that we can to support gigs and tours. (Though folk radio is being squeezed out, which is a whole other issue.) An artist can and should do all of that. It costs almost nothing except effort. Even print costs have come down significantly thanks to online print outfits like print24.com.

Some artists even pay for a publicist – which is not cheap – to get press coverage, especially if there’s a new CD on the horizon. And some will advertise national tours in fRoots, R2 (Rock ‘n Reel). Living Tradition and the like, though, again, not cheap. (And those who are going to pay for such things must inevitably increase what they charge venues because money doesn’t make itself. Most folkies I know are not independently wealthy.)

It’s a performer’s job to raise their own profile. To build a reputation and create a buzz that will attract an audience. Sometimes it’s longevity and the dripping-tap method, sometimes it’s having a promotional machine that catapults them into folk awards territory. With the reduction of folk radio opportunities and the reluctance of festivals to book artists they see as ‘folk club performers’ it becomes increasingly difficult and sucks up a lot of an artist’s time and energy when not actually on the road performing. But it’s all part of the job. Harvey Andrews wrote a song about how ‘We’re all little businesses, now’ and how right he is. It’s not enough to be a great musician or singer. Artists need a plethora of support skills, too. (See my biog, above.) Or they need a manager (which sparks off a completely different discussion about the commercialisation of folk), or a dedicated mum, or a spouse.

It’s not, however, the artist’s job to do the local promotion. How can they when maybe they live a few hundred miles away? They don’t know the local newspapers, they don’t have contacts with the local radio. They probably don’t even know the advertising deadline dates for the local folk magazines. That aspect should be done by the club or venue. Yes artists should react quickly to requests for interviews and CDs, they should provide press releases and good quality photos for the club to send out to the local press (easy enough to do by adding a promotion page to their website). But the local promotion and advertising is the job of the people on the ground. They should take whatever publicity the artist provides and spread it around in the places THEY KNOW will be most effective. How many clubs have a mailing list? (Email or paper.) Those that do generally attract bigger audiences than those that don’t. How many clubs ask for sufficient posters and then go to the trouble to get them put up in libraries, information points and even supermarket notice boards? (I sold 8 tickets straight off Tesco’s notice board in Penistone the last time I had Vin Garbutt playing at Birdsedge. Not to be sniffed at.) There are many things a club or venue can do, from having their own brochure (as posh or as plain as you like) spreading posters and flyers, talking up the upcoming acts to audiences (enthusiasm goes a long way), advertising in local folk magazines, making good cointacts with local newspapers (to run no-cost articles) and local radio stations (not just the folk programme), having their own website (not just a Facebook page though that helps, too), maybe even a twitter feed, and, PLEASE, a dedicated mailing list. Use any and all methods. Leave no stone unturned.

It’s not Us and Them. The whole thing should be a symbiotic relationship. Artist and venue working together for mutual benefit.

Jacey Bedford

Jacey Bedford

Jacey Bedford

Jacey Bedford has worn almost all the hats on the folk song scene that it’s possible to wear – not sequentially or she’d be nearly a hundred! She’s been a performer (twenty years as one-third of Artisan plus reunion tours); a festival booker for eleven years; a concert club organiser for thirty years and a folk booking agent for sixteen years and counting. During that time she’s also had to learn to be an office manager, a database developer, a website writer, a negotiator, a publicist, a radio plugger, a designer for posters and CD covers, a transport and logistics manager, and a Tier 5 (entertainment) immigration sponsor (which requires a government licence, so it must be almost a proper job!) In addition to all that she began the Britfolk artists’ networking group, was a folk development worker for Yorkshire Folk Arts and is now one of the volunteers working on the Folk21 national committee. In her spare time she writes science fiction and fantasy and has a new novel, ‘Empire of Dust’, coming out from DAW in November (already available to pre-order on Amazon – and yes, that’s a plug.)

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