Stages That Grow Stars: Turning Your Arkansas Event into a Launchpad for Local Talent — Even on a Budget
Please note the video goes into more detail and has additional context with the slides, this is intended as a supporting document.
Brought to you by the Arkansas Music Office and Monsterboy LIVES
Slide one - Title Slide
This workshop is designed for festival and event organizers looking to adapt as funding shifts and traditional models evolve. We’ll explore how to stretch marketing efforts, deepen local partnerships, and support artists more sustainably.
Musicians are also invited to rethink how they approach compensation and acquiring the content they need to grow.
Slide two - Itinerary
This workshop began as a conversation with the Arkansas Department of Tourism about how I, as a music artist, have learned to work within a wide range of budgets by negotiating creative, flexible forms of compensation. By the end of that discussion, I was asked to turn these ideas into a workshop that could benefit communities across the state.
It’s built from my own experience — first as an organizer, and then as an artist working to grow a brand with limited resources. I offer practical tools, strategies, and real-world examples to help events support local talent while deepening community impact.
While each musician is unique we do share many needs as start up businesses.
My goal is to spark a conversation about how booking in-state, homegrown talent opens up unique compensation models and long-term benefits that differ from working with regional or national acts.
Current Struggles of Events
Needs of Arkansas-based Artists
The 3 C’s of Compensation
Utilizing Your Existing Line Items
Bonus: Untapped Resources
Q&A
Slide 3 - Veronica Wirges
Who Am I?
I play ridiculously big horns in an indie rock project called Monsterboy LIVES — most folks know me as the sassy half of this husband-and-wife duo. But before that (and still today), I’m a homegrown Arkansas artist, determined to build a meaningful creative life without moving my homebase from the state I love.
Fun Fact - I’m a musician on a mission to become Beck’s opening act on a world tour.
Coming from grassroots spaces with champagne-level dreams, I bring a scrappy, bootstraps energy to everything I do.
I’m a creator, a connector, and a bit of a visionary.
My superpower? Spotting untapped potential and underutilized resources.
My gift? An irresistible need to share that vision — and find that high tide that lifts all ships.
I’ve gone from organizing DIY basement shows to performing on rooftops and recording-industry stages — and everywhere in between. Now, through the Arkansas Music Office, I’ve built a platform to amplify local talent and rethink how we support it.
I hope you’ll join me — and help make that change real.
Slide 4 - Currently
Let’s be real: national acts get attention. They sell tickets and grab headlines. That’s why most festivals put them front and center — it feels like the safest way to draw a crowd, especially when budgets are tight and expectations are high.
But when local artists are added as an afterthought — no promo, out of the way stages, zero context — we create a cycle where they’re set up to underperform. And when they don’t draw, it confirms the false belief that local talent isn’t worth investing in.
Meanwhile, money keeps leaving the state, and you miss the chance to build lasting relationships with rising Arkansas talent. By the time those artists “make it,” they’re long gone — and there’s no hometown connection pulling them back.
And here’s the other issue: when audiences only know the headliners, they plan around them. That’s how we end up with massive surges right before headliners go on — food vendors getting long lines while your volunteers and staff get overwhelmed in parking and the gate. Degrading the experience for audiences.
I’m not saying ditch your headliners. They’re great at opening doors. But if we start using local acts to build momentum — not just filler — we build something sustainable. You get community buzz, stronger loyalty, and a lineup that builds energy instead of bottlenecking it.
Slide 5 - Apples and Oranges
Local Talent vs. National Talent
What we bring — and what we need — are completely different.
This isn’t apples to apples. It’s not even apples to oranges.
Honestly? It’s more like a corporation vs. a small business.
National acts bring scale, reach, and name recognition — and yes, that’s valuable.
But local artists bring something just as essential: accessibility, storytelling, and deep roots in the community. They don’t just perform here — they live here, and they spend their dollars right back into the local economy.
When we prioritize one and overlook the other, we miss the chance to build something sustainable.
Because a lineup that blends headliners with regional and local acts doesn’t just fill the bill --
it builds the future.
Because supporting local talent isn’t charity.
It’s economic growth. It’s cultural development. It’s planting seeds where we want things to grow.
Slide 6 - Home-Grown Talent Needs Are Different
Homegrown artists have different needs than national acts — they’re still in the building phase. For many, your event might be the first time they’re playing for an audience outside their hometown. Every gig matters — it helps fund the next recording, the next piece of merch, or even just the gas to get to the next show. They need content too — live photos, video clips, something to post — and your stage can help provide that. Local press isn’t always knocking, so every event is a chance to build credibility and visibility. They’re also using these shows to grow — as performers, as professionals, as brands. I like to say they’re startups, and just like startups, they need investment, exposure, and the chance to show what they can become.
Slide 7 - Rethink Payment
As local artists, we realized that to grow, we had to rethink what “getting paid” really looks like. Sure, we may have fewer mouths to feed and more flexibility than a touring headliner — but we’re also building everything from the ground up. We're paying for our own gear, travel, merch, and marketing — often gig to gig, without a team or label behind us.
That’s why not all gigs are created equal. Some just offer a check. Others might add exposure or a social media post. But the ones that truly support growth offer multiple forms of value: payment, content, new connections, and real community impact.
Now, this model doesn’t work the same for regional and national acts — and that’s okay. Those artists often come with teams that have already baked this kind of value into their fees and branding. They’re showing up with content, publicists, brand recognition — they’re operating as full-scale businesses. Local artists? We’re still in startup mode. We’re looking for gigs that actively build us.
So when you’re booking homegrown talent, think beyond the check — and start thinking like a creative investor.
Slide 8 - Three C's of Compensation
So how do we start thinking like creative investors when we’re working with local talent?
I like to break it down into what I call the 3 C’s of Compensation — Cash, Content, and Connection. These are the pillars of what makes a gig truly valuable for a local artist. And no, it’s not just about writing a check — although, yes please, that helps — it’s about offering a full experience that supports an artist's career from multiple angles.
We’ll dig into each of these one by one, starting with my personal favorite — Cash.
Let’s take a closer look.
Slide 9 - Cash
Let’s start with the first “C”: Cash.
Or as I like to say — if you really love me, you’ll pay me.
Actual money? Always welcome. We have real bills.
But here’s the thing — cash is not just cold, hard green. It can also be money I don't have to spend to travel to this gig.
Sometimes it looks like food and drink vouchers — which are great! Just be thoughtful. It's not 1995, and we do not want 2 Hot and Ready Pizzas.
Best practice is to check in first: Does the artist drink? Any allergies or sensitivities? These little things go a long way.
Lodging is another huge one. Even if we’re just an hour or two away, a hotel or Airbnb means we don’t have to turn into road goblins at 2am, white-knuckling it back home. It gives us space to rest, recharge, and maybe even book another gig the next day.
And then there’s barter and trade. You’ve got a sponsor that is a screen-printing shop? A camera? Design skills? That’s music gold. Artists need promo photos, music videos, merch — and many of us are happy to work out something that makes sense for everyone.
So yes, cash in the traditional sense is great — but cash as care is lovely. It fills real gaps and helps us keep going.
Slide 10 - Content
The second “C” is Content — the kind that works for everyone.
Let’s be real: you’re probably documenting your event. And if you’re not… you really should be. Not just for marketing next year, but because almost every grant wants to see documentation. Content isn’t extra anymore — it’s essential.
Here’s what to aim for:
📸 High-res live photos — faces, instruments, crowd interaction. Stuff you’ll use in promo forever.
🎥 Horizontal full-song videos — perfect for YouTube, EPKs, even grant panels.
📱 Vertical viral clips — Reels, TikToks, stories. That’s where audiences live right now.
Now imagine if you built a Content Vault — a folder of every local musician who’s stepped on your stage. When one of them blows up? You’ve got gold to circle back to, to promote your legacy as a launchpad for artists.
But here’s the extra step that matters: share the love.
Drop the photos and video into a folder and send it to the band. When they post and tag you? That’s free marketing — and way more authentic than an ad. It builds goodwill, helps both of you grow, and makes it more likely they’ll come back when their crowd is bigger and the story’s even sweeter.
Slide 11 - Connection
And finally, the third “C” — Connection.
Because let’s be honest: putting us on a stage with no one there to hear us? That’s not connection — that’s isolation.
We’re hungry to be discovered. We want to build something with you, not just play for an empty field and pack up quietly.
So how do we fix it?
Start with something simple: a Spotify playlist. Include every artist on the bill — national to local. If we’re good enough to book, we’re good enough for two songs. And don’t just pile all the headliners at the top. Mix it like a great mixtape — create a flow that reflects your event. Then share it far and wide. That’s content before the show even happens.
Next, put our names in your marketing.
Please don’t “and more” the local bands. 500 flyers with our name on them can be the difference between someone just hearing us and someone being able to follow us. Visibility matters.
Got media connections? Share them.
Send us to do the interview. Let us represent your event on local radio or blogs. It helps us build press — and takes one more thing off your plate. A weekly spotlight featuring artists from your lineup? Win-win.
And finally, one of the best experiences I’ve ever had at a festival was a simple backstage artist mixer — just a pretty space with food, water, a couple of acoustic guitars and a hand drum. We hung out. We jammed. And those moments? That’s where the real magic happened.
Real connection helps artists grow — and makes them want to come back.
Give us the space, the shoutout, and the playlist. We’ll bring the music, the vibe, and probably a few new fans who can’t believe they just saw us on your stage.
Slide 12 - Go Fish!
For years, booking as a local artist felt like a bit of a puzzle.
There was often this quiet dance around pricing, availability, and expectations — waiting to see who would speak up first, or if we were even on the same page.
And that silence? It can get awkward and exhausting.
So this year, I decided to try something different.
We moved away from the mystery and toward clarity — a more open, collaborative approach.
Instead of leaving things unsaid, we built a system that lays it all out:
What we value, what we need, and how we can make it work together.
Slide 13 - Example: Monsterboy LIVES 360 Compensation Valuation Chart
This is the chart I now send to talent buyers when they ask how to bring Monsterboy LIVES — to their stage.
It’s just our 3 C’s of Compensation, broken down into a personalized cheat sheet.
The first column shows what matters to us (cash, content, connection). The next shows what we estimate it's worth, and finally, some helpful notes on what those items mean in real-world terms.
Here’s why this works for organizers, too:
✅ Clear pricing and options — no more guessing games.
✅ Flexible compensation — you can build a proposal that works with your resources.
✅ Understanding the assets I am looking for — high-res photos, video, and travel expenses.
✅ Shared goals — we’re invested in your event’s success, not just ours.
✅ No sticker shock — this isn’t a showdown. It’s a partnership.
Every band will be different, so bands please take some time and inventory your needs.
Slide 14 - Stretching $300 and Getting a 2K band
Its easier than you think -
Feel free to screenshot this one — it’s a real example of how a $300 booking budget doesn’t have to be a dealbreaker.
Let’s say an artist’s standard rate is $2,000. The buyer only has $300 in cash.
What we usually hear in that case is:
“$300 — take it or leave it.”
But what works so much better is something like this:
“We can do a $500 check, offer lodging for the night with EV charging, provide a meal for the band, share our event content with you, include you in scheduled press interviews, and guarantee your name on the flyer and promo posts.”
Suddenly it sounds like you want us there.
It sounds like you’re invested in helping us show up well, reach new audiences, and have a great experience — not just perform and disappear.
Slide 15 - How to Pull It Off
You Probably Have More Than You Think
It really all depends on your donations, sponsors, and community connections --
but you'd be amazed how many resources are already in reach. Sometimes we just don’t realize we need to ask for them.
Let’s start with that $500 artist payment.
If your event is in Arkansas, there’s a grant that can offset that cost — making a $500 check become just $300 out of your pocket. (We’ll talk more about that soon.)
Lodging and meals?
They can often be donated — or traded for sponsor recognition on your website, stage banner, or flyers. And if you do end up covering the cost, ask about group discounts, especially if you’re providing the same perk to multiple artists.
📸 Content creation is probably already in your budget — but a small shift in planning makes a big difference.
Hire folks who specialize in movement photography and live music. Ideally, have separate people for still photos, short-form vertical videos, and long-form horizontal footage. Be clear about how many deliverables you want per local act. Then drop it in a shared folder and send it to the artists. Done.
🎤 And connections?
You likely already have relationships with press or local media. A couple of emails or calls could line up weekly artist features leading up to your event.
And building a playlist of your full lineup? It can become a tradition your patrons look forward to every year.
It all comes down to being intentional. With just a bit of planning, you can stretch your budget, bring in higher-quality talent, and help build up artists right in your own backyard.
Slide 16 - How Partnerships Benefit Your Event
What Do You Get Out of It? (Besides Great Music 😉)
Honestly? A lot. Like, more than you probably realize.
Every time an artist shares a photo, video, or press appearance from your event, it expands your reach. Suddenly your content isn’t just living inside your network — it’s out there working for you in theirs, too. And when local artists are included and empowered, they post more, tag more, and help your name travel further.
This whole approach works best when you’re open to creative partnerships.
Sometimes that “sorry, this doesn’t fit our model” just needs to become, “Let me see what I can work out.” That mindset lets you bring on small business sponsors early in their journey — and when they grow, their sponsorship potential grows too.
Your documentation budget? You’ll stretch it way further with just a few tweaks. Build a content vault of early-stage artists and you could end up sitting on a gold mine. Just imagine if your festival had clear footage of Lady Gaga or Chapel Roan before they blew up. Those videos go viral again and again.
And that press push? You don’t have to do it all yourself. Send artists out to do interviews, morning shows, and blog features — that gives them a platform and gives you back time. To sleep. Or fight the fires you actually need to fight.
Oh — and don’t forget playlists. When your audience hears the full lineup ahead of time, they show up earlier, stay longer, and explore more. That means happier vendors and more memories made.
The bottom line?
You win. Your audience wins. And Arkansas music wins.
And that’s the kind of win-win-win we want more of.
Slide 17 - The Future We are Building
The Future: Building, Not Just Booking
This isn’t about flipping a switch — it’s about correcting course.
Bit by bit, show by show, partnership by partnership, we’re shifting the trajectory.
When we start investing in and nurturing homegrown talent, we build something that doesn’t rely so heavily on importing name recognition, but creating it.
Some results will be more immediate:
More content. More reach. Longer audience stays.
Better relationships.
Everyone being more invested and tuned in.
But over time?
That’s where it gets exciting.
We stop leaning so hard on national acts to fill the lawn.
Instead, we cultivate artists whom the locals have followed their story, one news clipping at a time. Artists who say,
“This festival gave me my first shot — of course I’ll come home for it.”
And as those artists grow, they pour back into the scene: hiring local, drawing fans from out of state, bringing buzz and commerce into your community.
This is how we create momentum.
This is how we build cultural capital that stays local.
And it starts — with just one shift in mindset.
Slide 18 - Bonus Content to Help
I’m Known for That Sweet Bonus Content 🍬
You didn’t think I’d leave you without some extras, did you?
🎭 What is Arts on Tour?
It’s a grant program through the Arkansas Arts Council that gives you up to 40% rebate on performance fees for Arkansas artists on their roster — up to $2,000 per event.
That means book local, get money back.
💌 Love an Artist? Refer Them!
If you know an Arkansas artist not on the roster, encourage them to apply.
It’s a win-win for you, them, and your future bookings.
💸 Use It to Pay Creatives More, Not Less
Think of this as a bridge between your budget and what artists need to keep making music.
It can turn your $300 into $500 — a big boost for just a little paperwork.
🌎 Regional Bonus!
There’s a regional version of this program through Mid-America Arts Alliance — and yes, you can stack them!
Perfect if you’re eyeing regional talent for headliners or mid-tier slots. Just be sure to read the fine print as it can range from 25-60% rebated.
🎧 I know a question I would get is how do we find talent to book in state. I bring you my Arkansas Music Office Discovery Playlists
This is a free resource to help you find fresh Arkansas artists by genre — perfect for building real-time lineups packed with homegrown talent. Feel free to explore the rest of the page as well, and share so as many artists as possible can find what they need.
As I said before if you love me, you'll pay me.
I’d love for the Arkansas Music Office, Monsterboy LIVES, or both to be part of your next event — reach out and let's make something happen.
Side 19 - Questions Answered
Q: "I haven’t worked with press and media much before — is it easy to make those contacts?"
A: Honestly? Easier than you think. Local media folks are always looking for good stories, especially ones tied to community events and rising talent. Start small: reach out to your town's arts reporter, the morning show producer, or even a local blogger with a quick, friendly intro.
Even better — pitch the idea of them having a weekly featured musician from your upcoming event for the month leading up to the big day. It makes their job easier and builds buzz without you having to do all appearances yourself.
The best part? Once you open that door, it gets easier every year.
Q: "Is the Arts on Tour funding hard to get when I have found an artist on their roster to book?"
A: Not at all! It’s actually one of the most accessible funding programs out there — just make sure your organization qualifies. There is a list, but I know it includes non-profits, schools, museums, city and state groups. Once you book the act and submit a little paperwork, you’re eligible for 40% of the performance fee reimbursed — up to $2,000 per event.
It’s designed to be simple because the goal is to encourage you to book local. Just make sure the artist is on the current roster, keep your receipts and contracts tidy, and file by the deadline. And if you ever get stuck, the folks at the Arkansas Arts Council are super helpful.
It’s basically the easiest “yes” you’ll get all year. Same for the Mid-America Arts Alliance one. Same as the press once you have done it, it will just be easier and easier every year.
Q: "I’m worried about taking on extra work with interviews, playlists, and backstage mixers. How do I manage that?"
A: Totally valid! But think of these as investments, not just extra tasks. Playlists build buzz before things get crazy so its more of something to build during a slower section that can be circulated over and over leading up, interviews spread the word without you doing all the legwork, and backstage mixers can be around a buffet that serves meals to all artists and sponsored by a local instrument company who sets up the jam space and runs it. By organizing the month long spotlights you are off-loading in person interviews during your busiest time. This is reshuffling the deck of existing resources, rethinking delegation, and being able to on load more sponsors and funding sources.
Also remember you can pick and choose what fits your organization and roll out one shift or series of changes per year.
Q: "How do I convince my team or board to shift focus toward nurturing local talent?"
A: Start with the wins! Show them the immediate benefits — stronger community ties, more engaged audiences, and budget-friendly ways to get top-quality acts. This is how you pivot into the community to gather resources, have happier vendors, and deliver a better experience. Frame it as building an asset that grows in value over time, not just spending money. And remind them, supporting local talent isn’t charity — it’s smart economic and cultural investment.
Slide 20 - Lets Stay in Touch
Thank You for Sharing This Space with Me
This isn’t just a workshop — it’s a movement.
A shift in how we value our homegrown artists.
A nudge toward deeper partnerships, smarter strategies, and more meaningful impact.
Whether you're a festival organizer, an artist, or someone dreaming big in a small town — you’re part of what’s next.
By being here, you’ve helped plant the seeds for a stronger, more connected Arkansas music ecosystem. One where talent can grow without leaving home, where stages are stepping stones, and where we celebrate the music and the people making it.
I hope this sparked some ideas, opened a few doors, or maybe even lit a fire.
And hey — if we’re lucky, maybe we’ll build the kind of scene where opening for Beck on a world tour starts right here in our own backyard.
Let’s stay connected. Let’s keep creating.
And let’s keep finding ways to say yes to each other.
🎷 With heart, hustle, and ridiculously big saxophones --
thank you. Here is how to connect with me.
www.monsterboylives.com
www.arkansasmusicoffice.com
[email protected]
[email protected]
501-626-4545
Please note the video goes into more detail and has additional context with the slides, this is intended as a supporting document.
Brought to you by the Arkansas Music Office and Monsterboy LIVES
Slide one - Title Slide
This workshop is designed for festival and event organizers looking to adapt as funding shifts and traditional models evolve. We’ll explore how to stretch marketing efforts, deepen local partnerships, and support artists more sustainably.
Musicians are also invited to rethink how they approach compensation and acquiring the content they need to grow.
Slide two - Itinerary
This workshop began as a conversation with the Arkansas Department of Tourism about how I, as a music artist, have learned to work within a wide range of budgets by negotiating creative, flexible forms of compensation. By the end of that discussion, I was asked to turn these ideas into a workshop that could benefit communities across the state.
It’s built from my own experience — first as an organizer, and then as an artist working to grow a brand with limited resources. I offer practical tools, strategies, and real-world examples to help events support local talent while deepening community impact.
While each musician is unique we do share many needs as start up businesses.
My goal is to spark a conversation about how booking in-state, homegrown talent opens up unique compensation models and long-term benefits that differ from working with regional or national acts.
Current Struggles of Events
Needs of Arkansas-based Artists
The 3 C’s of Compensation
Utilizing Your Existing Line Items
Bonus: Untapped Resources
Q&A
Slide 3 - Veronica Wirges
Who Am I?
I play ridiculously big horns in an indie rock project called Monsterboy LIVES — most folks know me as the sassy half of this husband-and-wife duo. But before that (and still today), I’m a homegrown Arkansas artist, determined to build a meaningful creative life without moving my homebase from the state I love.
Fun Fact - I’m a musician on a mission to become Beck’s opening act on a world tour.
Coming from grassroots spaces with champagne-level dreams, I bring a scrappy, bootstraps energy to everything I do.
I’m a creator, a connector, and a bit of a visionary.
My superpower? Spotting untapped potential and underutilized resources.
My gift? An irresistible need to share that vision — and find that high tide that lifts all ships.
I’ve gone from organizing DIY basement shows to performing on rooftops and recording-industry stages — and everywhere in between. Now, through the Arkansas Music Office, I’ve built a platform to amplify local talent and rethink how we support it.
I hope you’ll join me — and help make that change real.
Slide 4 - Currently
Let’s be real: national acts get attention. They sell tickets and grab headlines. That’s why most festivals put them front and center — it feels like the safest way to draw a crowd, especially when budgets are tight and expectations are high.
But when local artists are added as an afterthought — no promo, out of the way stages, zero context — we create a cycle where they’re set up to underperform. And when they don’t draw, it confirms the false belief that local talent isn’t worth investing in.
Meanwhile, money keeps leaving the state, and you miss the chance to build lasting relationships with rising Arkansas talent. By the time those artists “make it,” they’re long gone — and there’s no hometown connection pulling them back.
And here’s the other issue: when audiences only know the headliners, they plan around them. That’s how we end up with massive surges right before headliners go on — food vendors getting long lines while your volunteers and staff get overwhelmed in parking and the gate. Degrading the experience for audiences.
I’m not saying ditch your headliners. They’re great at opening doors. But if we start using local acts to build momentum — not just filler — we build something sustainable. You get community buzz, stronger loyalty, and a lineup that builds energy instead of bottlenecking it.
Slide 5 - Apples and Oranges
Local Talent vs. National Talent
What we bring — and what we need — are completely different.
This isn’t apples to apples. It’s not even apples to oranges.
Honestly? It’s more like a corporation vs. a small business.
National acts bring scale, reach, and name recognition — and yes, that’s valuable.
But local artists bring something just as essential: accessibility, storytelling, and deep roots in the community. They don’t just perform here — they live here, and they spend their dollars right back into the local economy.
When we prioritize one and overlook the other, we miss the chance to build something sustainable.
Because a lineup that blends headliners with regional and local acts doesn’t just fill the bill --
it builds the future.
Because supporting local talent isn’t charity.
It’s economic growth. It’s cultural development. It’s planting seeds where we want things to grow.
Slide 6 - Home-Grown Talent Needs Are Different
Homegrown artists have different needs than national acts — they’re still in the building phase. For many, your event might be the first time they’re playing for an audience outside their hometown. Every gig matters — it helps fund the next recording, the next piece of merch, or even just the gas to get to the next show. They need content too — live photos, video clips, something to post — and your stage can help provide that. Local press isn’t always knocking, so every event is a chance to build credibility and visibility. They’re also using these shows to grow — as performers, as professionals, as brands. I like to say they’re startups, and just like startups, they need investment, exposure, and the chance to show what they can become.
Slide 7 - Rethink Payment
As local artists, we realized that to grow, we had to rethink what “getting paid” really looks like. Sure, we may have fewer mouths to feed and more flexibility than a touring headliner — but we’re also building everything from the ground up. We're paying for our own gear, travel, merch, and marketing — often gig to gig, without a team or label behind us.
That’s why not all gigs are created equal. Some just offer a check. Others might add exposure or a social media post. But the ones that truly support growth offer multiple forms of value: payment, content, new connections, and real community impact.
Now, this model doesn’t work the same for regional and national acts — and that’s okay. Those artists often come with teams that have already baked this kind of value into their fees and branding. They’re showing up with content, publicists, brand recognition — they’re operating as full-scale businesses. Local artists? We’re still in startup mode. We’re looking for gigs that actively build us.
So when you’re booking homegrown talent, think beyond the check — and start thinking like a creative investor.
Slide 8 - Three C's of Compensation
So how do we start thinking like creative investors when we’re working with local talent?
I like to break it down into what I call the 3 C’s of Compensation — Cash, Content, and Connection. These are the pillars of what makes a gig truly valuable for a local artist. And no, it’s not just about writing a check — although, yes please, that helps — it’s about offering a full experience that supports an artist's career from multiple angles.
We’ll dig into each of these one by one, starting with my personal favorite — Cash.
Let’s take a closer look.
Slide 9 - Cash
Let’s start with the first “C”: Cash.
Or as I like to say — if you really love me, you’ll pay me.
Actual money? Always welcome. We have real bills.
But here’s the thing — cash is not just cold, hard green. It can also be money I don't have to spend to travel to this gig.
Sometimes it looks like food and drink vouchers — which are great! Just be thoughtful. It's not 1995, and we do not want 2 Hot and Ready Pizzas.
Best practice is to check in first: Does the artist drink? Any allergies or sensitivities? These little things go a long way.
Lodging is another huge one. Even if we’re just an hour or two away, a hotel or Airbnb means we don’t have to turn into road goblins at 2am, white-knuckling it back home. It gives us space to rest, recharge, and maybe even book another gig the next day.
And then there’s barter and trade. You’ve got a sponsor that is a screen-printing shop? A camera? Design skills? That’s music gold. Artists need promo photos, music videos, merch — and many of us are happy to work out something that makes sense for everyone.
So yes, cash in the traditional sense is great — but cash as care is lovely. It fills real gaps and helps us keep going.
Slide 10 - Content
The second “C” is Content — the kind that works for everyone.
Let’s be real: you’re probably documenting your event. And if you’re not… you really should be. Not just for marketing next year, but because almost every grant wants to see documentation. Content isn’t extra anymore — it’s essential.
Here’s what to aim for:
📸 High-res live photos — faces, instruments, crowd interaction. Stuff you’ll use in promo forever.
🎥 Horizontal full-song videos — perfect for YouTube, EPKs, even grant panels.
📱 Vertical viral clips — Reels, TikToks, stories. That’s where audiences live right now.
Now imagine if you built a Content Vault — a folder of every local musician who’s stepped on your stage. When one of them blows up? You’ve got gold to circle back to, to promote your legacy as a launchpad for artists.
But here’s the extra step that matters: share the love.
Drop the photos and video into a folder and send it to the band. When they post and tag you? That’s free marketing — and way more authentic than an ad. It builds goodwill, helps both of you grow, and makes it more likely they’ll come back when their crowd is bigger and the story’s even sweeter.
Slide 11 - Connection
And finally, the third “C” — Connection.
Because let’s be honest: putting us on a stage with no one there to hear us? That’s not connection — that’s isolation.
We’re hungry to be discovered. We want to build something with you, not just play for an empty field and pack up quietly.
So how do we fix it?
Start with something simple: a Spotify playlist. Include every artist on the bill — national to local. If we’re good enough to book, we’re good enough for two songs. And don’t just pile all the headliners at the top. Mix it like a great mixtape — create a flow that reflects your event. Then share it far and wide. That’s content before the show even happens.
Next, put our names in your marketing.
Please don’t “and more” the local bands. 500 flyers with our name on them can be the difference between someone just hearing us and someone being able to follow us. Visibility matters.
Got media connections? Share them.
Send us to do the interview. Let us represent your event on local radio or blogs. It helps us build press — and takes one more thing off your plate. A weekly spotlight featuring artists from your lineup? Win-win.
And finally, one of the best experiences I’ve ever had at a festival was a simple backstage artist mixer — just a pretty space with food, water, a couple of acoustic guitars and a hand drum. We hung out. We jammed. And those moments? That’s where the real magic happened.
Real connection helps artists grow — and makes them want to come back.
Give us the space, the shoutout, and the playlist. We’ll bring the music, the vibe, and probably a few new fans who can’t believe they just saw us on your stage.
Slide 12 - Go Fish!
For years, booking as a local artist felt like a bit of a puzzle.
There was often this quiet dance around pricing, availability, and expectations — waiting to see who would speak up first, or if we were even on the same page.
And that silence? It can get awkward and exhausting.
So this year, I decided to try something different.
We moved away from the mystery and toward clarity — a more open, collaborative approach.
Instead of leaving things unsaid, we built a system that lays it all out:
What we value, what we need, and how we can make it work together.
Slide 13 - Example: Monsterboy LIVES 360 Compensation Valuation Chart
This is the chart I now send to talent buyers when they ask how to bring Monsterboy LIVES — to their stage.
It’s just our 3 C’s of Compensation, broken down into a personalized cheat sheet.
The first column shows what matters to us (cash, content, connection). The next shows what we estimate it's worth, and finally, some helpful notes on what those items mean in real-world terms.
Here’s why this works for organizers, too:
✅ Clear pricing and options — no more guessing games.
✅ Flexible compensation — you can build a proposal that works with your resources.
✅ Understanding the assets I am looking for — high-res photos, video, and travel expenses.
✅ Shared goals — we’re invested in your event’s success, not just ours.
✅ No sticker shock — this isn’t a showdown. It’s a partnership.
Every band will be different, so bands please take some time and inventory your needs.
Slide 14 - Stretching $300 and Getting a 2K band
Its easier than you think -
Feel free to screenshot this one — it’s a real example of how a $300 booking budget doesn’t have to be a dealbreaker.
Let’s say an artist’s standard rate is $2,000. The buyer only has $300 in cash.
What we usually hear in that case is:
“$300 — take it or leave it.”
But what works so much better is something like this:
“We can do a $500 check, offer lodging for the night with EV charging, provide a meal for the band, share our event content with you, include you in scheduled press interviews, and guarantee your name on the flyer and promo posts.”
Suddenly it sounds like you want us there.
It sounds like you’re invested in helping us show up well, reach new audiences, and have a great experience — not just perform and disappear.
Slide 15 - How to Pull It Off
You Probably Have More Than You Think
It really all depends on your donations, sponsors, and community connections --
but you'd be amazed how many resources are already in reach. Sometimes we just don’t realize we need to ask for them.
Let’s start with that $500 artist payment.
If your event is in Arkansas, there’s a grant that can offset that cost — making a $500 check become just $300 out of your pocket. (We’ll talk more about that soon.)
Lodging and meals?
They can often be donated — or traded for sponsor recognition on your website, stage banner, or flyers. And if you do end up covering the cost, ask about group discounts, especially if you’re providing the same perk to multiple artists.
📸 Content creation is probably already in your budget — but a small shift in planning makes a big difference.
Hire folks who specialize in movement photography and live music. Ideally, have separate people for still photos, short-form vertical videos, and long-form horizontal footage. Be clear about how many deliverables you want per local act. Then drop it in a shared folder and send it to the artists. Done.
🎤 And connections?
You likely already have relationships with press or local media. A couple of emails or calls could line up weekly artist features leading up to your event.
And building a playlist of your full lineup? It can become a tradition your patrons look forward to every year.
It all comes down to being intentional. With just a bit of planning, you can stretch your budget, bring in higher-quality talent, and help build up artists right in your own backyard.
Slide 16 - How Partnerships Benefit Your Event
What Do You Get Out of It? (Besides Great Music 😉)
Honestly? A lot. Like, more than you probably realize.
Every time an artist shares a photo, video, or press appearance from your event, it expands your reach. Suddenly your content isn’t just living inside your network — it’s out there working for you in theirs, too. And when local artists are included and empowered, they post more, tag more, and help your name travel further.
This whole approach works best when you’re open to creative partnerships.
Sometimes that “sorry, this doesn’t fit our model” just needs to become, “Let me see what I can work out.” That mindset lets you bring on small business sponsors early in their journey — and when they grow, their sponsorship potential grows too.
Your documentation budget? You’ll stretch it way further with just a few tweaks. Build a content vault of early-stage artists and you could end up sitting on a gold mine. Just imagine if your festival had clear footage of Lady Gaga or Chapel Roan before they blew up. Those videos go viral again and again.
And that press push? You don’t have to do it all yourself. Send artists out to do interviews, morning shows, and blog features — that gives them a platform and gives you back time. To sleep. Or fight the fires you actually need to fight.
Oh — and don’t forget playlists. When your audience hears the full lineup ahead of time, they show up earlier, stay longer, and explore more. That means happier vendors and more memories made.
The bottom line?
You win. Your audience wins. And Arkansas music wins.
And that’s the kind of win-win-win we want more of.
Slide 17 - The Future We are Building
The Future: Building, Not Just Booking
This isn’t about flipping a switch — it’s about correcting course.
Bit by bit, show by show, partnership by partnership, we’re shifting the trajectory.
When we start investing in and nurturing homegrown talent, we build something that doesn’t rely so heavily on importing name recognition, but creating it.
Some results will be more immediate:
More content. More reach. Longer audience stays.
Better relationships.
Everyone being more invested and tuned in.
But over time?
That’s where it gets exciting.
We stop leaning so hard on national acts to fill the lawn.
Instead, we cultivate artists whom the locals have followed their story, one news clipping at a time. Artists who say,
“This festival gave me my first shot — of course I’ll come home for it.”
And as those artists grow, they pour back into the scene: hiring local, drawing fans from out of state, bringing buzz and commerce into your community.
This is how we create momentum.
This is how we build cultural capital that stays local.
And it starts — with just one shift in mindset.
Slide 18 - Bonus Content to Help
I’m Known for That Sweet Bonus Content 🍬
You didn’t think I’d leave you without some extras, did you?
🎭 What is Arts on Tour?
It’s a grant program through the Arkansas Arts Council that gives you up to 40% rebate on performance fees for Arkansas artists on their roster — up to $2,000 per event.
That means book local, get money back.
💌 Love an Artist? Refer Them!
If you know an Arkansas artist not on the roster, encourage them to apply.
It’s a win-win for you, them, and your future bookings.
💸 Use It to Pay Creatives More, Not Less
Think of this as a bridge between your budget and what artists need to keep making music.
It can turn your $300 into $500 — a big boost for just a little paperwork.
🌎 Regional Bonus!
There’s a regional version of this program through Mid-America Arts Alliance — and yes, you can stack them!
Perfect if you’re eyeing regional talent for headliners or mid-tier slots. Just be sure to read the fine print as it can range from 25-60% rebated.
🎧 I know a question I would get is how do we find talent to book in state. I bring you my Arkansas Music Office Discovery Playlists
This is a free resource to help you find fresh Arkansas artists by genre — perfect for building real-time lineups packed with homegrown talent. Feel free to explore the rest of the page as well, and share so as many artists as possible can find what they need.
As I said before if you love me, you'll pay me.
I’d love for the Arkansas Music Office, Monsterboy LIVES, or both to be part of your next event — reach out and let's make something happen.
Side 19 - Questions Answered
Q: "I haven’t worked with press and media much before — is it easy to make those contacts?"
A: Honestly? Easier than you think. Local media folks are always looking for good stories, especially ones tied to community events and rising talent. Start small: reach out to your town's arts reporter, the morning show producer, or even a local blogger with a quick, friendly intro.
Even better — pitch the idea of them having a weekly featured musician from your upcoming event for the month leading up to the big day. It makes their job easier and builds buzz without you having to do all appearances yourself.
The best part? Once you open that door, it gets easier every year.
Q: "Is the Arts on Tour funding hard to get when I have found an artist on their roster to book?"
A: Not at all! It’s actually one of the most accessible funding programs out there — just make sure your organization qualifies. There is a list, but I know it includes non-profits, schools, museums, city and state groups. Once you book the act and submit a little paperwork, you’re eligible for 40% of the performance fee reimbursed — up to $2,000 per event.
It’s designed to be simple because the goal is to encourage you to book local. Just make sure the artist is on the current roster, keep your receipts and contracts tidy, and file by the deadline. And if you ever get stuck, the folks at the Arkansas Arts Council are super helpful.
It’s basically the easiest “yes” you’ll get all year. Same for the Mid-America Arts Alliance one. Same as the press once you have done it, it will just be easier and easier every year.
Q: "I’m worried about taking on extra work with interviews, playlists, and backstage mixers. How do I manage that?"
A: Totally valid! But think of these as investments, not just extra tasks. Playlists build buzz before things get crazy so its more of something to build during a slower section that can be circulated over and over leading up, interviews spread the word without you doing all the legwork, and backstage mixers can be around a buffet that serves meals to all artists and sponsored by a local instrument company who sets up the jam space and runs it. By organizing the month long spotlights you are off-loading in person interviews during your busiest time. This is reshuffling the deck of existing resources, rethinking delegation, and being able to on load more sponsors and funding sources.
Also remember you can pick and choose what fits your organization and roll out one shift or series of changes per year.
Q: "How do I convince my team or board to shift focus toward nurturing local talent?"
A: Start with the wins! Show them the immediate benefits — stronger community ties, more engaged audiences, and budget-friendly ways to get top-quality acts. This is how you pivot into the community to gather resources, have happier vendors, and deliver a better experience. Frame it as building an asset that grows in value over time, not just spending money. And remind them, supporting local talent isn’t charity — it’s smart economic and cultural investment.
Slide 20 - Lets Stay in Touch
Thank You for Sharing This Space with Me
This isn’t just a workshop — it’s a movement.
A shift in how we value our homegrown artists.
A nudge toward deeper partnerships, smarter strategies, and more meaningful impact.
Whether you're a festival organizer, an artist, or someone dreaming big in a small town — you’re part of what’s next.
By being here, you’ve helped plant the seeds for a stronger, more connected Arkansas music ecosystem. One where talent can grow without leaving home, where stages are stepping stones, and where we celebrate the music and the people making it.
I hope this sparked some ideas, opened a few doors, or maybe even lit a fire.
And hey — if we’re lucky, maybe we’ll build the kind of scene where opening for Beck on a world tour starts right here in our own backyard.
Let’s stay connected. Let’s keep creating.
And let’s keep finding ways to say yes to each other.
🎷 With heart, hustle, and ridiculously big saxophones --
thank you. Here is how to connect with me.
www.monsterboylives.com
www.arkansasmusicoffice.com
[email protected]
[email protected]
501-626-4545
🎓 About Our Workshops
The workshops below are designed to meet real needs within our creative community. Whenever possible, we amplify educational content already created by other organizations — no need to reinvent the wheel. But when we identify a gap in available knowledge, or when the content needs to be tailored specifically for artists working in Arkansas, we step in to create resources that are practical, local, and relevant.
The workshops below are designed to meet real needs within our creative community. Whenever possible, we amplify educational content already created by other organizations — no need to reinvent the wheel. But when we identify a gap in available knowledge, or when the content needs to be tailored specifically for artists working in Arkansas, we step in to create resources that are practical, local, and relevant.
