Abstract
This article tries to adapt aviation revenue management to the artist booking process for musicians. The targets are the proceedings between the booking agency and talent buyers. Using an adapted version of the EMSR-b (expected marginal seat revenue) method and standard nesting, the author develops a formal way to decide if a booking request should be accepted or not. The article also includes formal argumentation demonstrating why it makes sense for some musicians to play only at one type of venue size, whereas for other acts it is useful to play at venues of different sizes. The article is completed by an economic risk assessment of the different kinds of deals that are common in practice.
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