Being a concert promoter is not something you get a degree in, said Rick Johnson, owner and sole employee of Mega Concert Attractions. A lot of would-be promoters do, however, get their first taste of the business booking fraternity parties or planning charity concerts while in school.
“That’s a good way to get started,” he said.
Johnson promoted his first show in 1977 in Alexandria, La. It was a multitalent bill that included Kris Kristofferson and Rita Coolidge.
While he has spent much of his career promoting concerts, a large part of what he does now is “provide talent and production to talent buyers and event planners.” Planners working with such groups as churches, the military and festivals such as Riverbend contract with Mega Concert Attractions to find talent for their event.
“I do a lot of military bases around the globe and a lot of special events,” he said.
He also promotes things like Motopsycho Mania and Cirque Des Amis.
Q: Why did you get into this?
A: I just was always fascinated by the music business. I played in a band when I was younger, but I was more interested in getting into the business part of it.
Q: How did you get into it?
A: By hanging around different promoters. Everything I’ve learned has been by trial and error.
Q: When did you add the attractions part of your business to Mega Concerts?
A: Around 2005. I realized it was something out there I could do.
Q: What is the reality of what you do versus what people think it is you do?
A: I think most people think I just rent a venue and throw a concert in there. They have no idea what all goes into a show. From negotiating with the talent to submitting offers and then putting everything into place like the crew, the advertising, the marketing and then running the day-of-show production, it is a lot more than what most people would dream it is.
Q: How as the industry changed?
A: The economy right now has changed the industry big time. This summer was the worst in ages as far as ticket sales. People are really picking and choosing, and there is so much out there to go and do.
Q: I hear this all the time, so we’ll ask, why doesn’t Chattanooga get more and better shows?
A: The shows are so expensive. The cost of talent is so exorbitant, it’s just cost-prohibitive. We couldn’t bring The Eagles here, for example. [McKenzie] Arena is too small, so you’d have to put them in [Finley] Stadium at full capacity.
Promoters look at potential audience, and we have a 300,000 people potential and a building that will hold around 7,000. The Eagles’ minimum is either $600,000 or $800,000, I can’t remember. They get that plus percentages. You just can’t make any money.