Moderator: Ed Micone, Paradigm
Bernie Dillon, Seminole Hard Rock Hotel & Casino
Steve Gietka, Trump International Resorts
Steve Lengel, San Manuel Indian Bingo Casino
Candace Mandracia, Live Nation
Huston Powell, C3 Presents
Michael Scafuto, M & M Group
David Swift, Pala Casino Resort & Spa

Bernie Dillon, David Swift, Huston Powell, Candace Mandracia, Ed Micone, Steve Lengel, Steve Gietka and Michael Scafuto

The casino panel keeps appearing at the Concert Industry Consortium, each time with a different personality. About five years ago, the panel had an overflow crowd - indicating casinos were a new territory, especially for country artists. Then there were contentious panels, where audience members (read: agents) disagreed that casinos couldn't afford regular prices.

Last year's panel focused more or less on how non-tribal casinos can compete with the big boys in the market.

This year? Most minutes were spent discussing which acts will play casinos versus those that won't. At stake is the next generation of gamblers. Although some casinos still focus on a "specific clientele" - meaning the 45-and-above crowd - more see the benefits of acts as unique as T-Pain, which bring in the future customers. As Michael Scafuto pointed out, it's a model Bill Graham used when he brought in low-profit shows to the Cow Palace, and a model he himself used as a club owner. Young audiences become new customers.

But, as Candace Mandracia and Steve Gietka pointed out, diversity doesn't mean Fall Out Boy should play casinos. There's a time to re-fresh the casino patrons, but buyers have to be careful, and so do the artists. Acts need to establish them-selves through traditional lines then gradually add casinos to their diets.

Ed Micone

"If Aaron Lewis and his band aren't playing casinos, the manager is getting barraged," Shomes said.

If a casino doesn't see the value, Shomes sells it as a way to bring in the high-rolling parents. The parents get a comped meal; the siblings get a show and a meet & greet.

But most casino buyers are getting hip to younger acts. As a panel member said, "The days of the stigma are gone."

And then there's animosity between casinos. An overzealous, inexperienced buyer will overpay for an act just to get it, which compels agents to quote that price to other casinos. Meanwhile, casino buyers have a hard time explaining the difference between theirs and the casinos' budgets.

"Agents will ask us for things they'd never ask AEG and Live Nation, like hotel rooms," David Swift said. "We have a four-star hotel with rooms going at $450. Other places will get hotel, limo in the contract.

Steve Gietka

Throughout the discussion, Ed Micone - not only moderator but also the lone agent on the panel - asked a series of questions, pre-approved by the panel. One might have been a setup.

"Are prices fair?" Micone asked. "Are agents and managers looking for a payday, or do they see casinos as beneficial to their artists?"

"Are prices fair?" Swift responded. "No. Next question."

After the laughter died down, Huston said there are bands that are priced fairly, and they are his "core group of bands" he relies upon for casino talent. Swift said he's saying no to sales pitches more often because the guarantees are getting out of hand.

"For the record? Paradigm prices?" Micone said.

"All fair."

He added that what "chaps my hide" is when an act goes from a $75,000 to $90,000 guarantee without a rise in popularity. So he'll call the manager and ask why. "They say, 'Well, the band wants to work less. I say, 'Correct.'"