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Double Door's Phil Kosch

It's no accident that some clubs seem able to spot talent and become incubators for artists who go on to find a national audience. Bands like Smashing Pumpkins and Liquid Soul or solo artists like Liz Phair. Clubs like Chicago's Double Door.

In our last issue, we talked to a talent manager at another hot club about what it takes to get on the bill. This time, we stepped inside Double Door to ask Phil Kosch, one of two talent managers there, for a little background and some insider advice. How have they managed to keep their edge? What does it take to get on the club's radar screen?

 

 

The Club

Double Door, in Chicago's hip Wicker Park neighborhood, opened its doors for the first time on June 12, 1994. And in the years since that time, the club has been host to a diverse list of musical acts - from local favorites to Macy Gray, The Cranberries, Frank Black, Henry Rollins and yes, The Rolling Stones.

The club has a 473-person capacity and is made up of three distinct and unique areas. The main floor is home to the stage, a dance floor and a full service bar. The lower level has pool tables, video and pinball games and monitors that offer patrons a live view of the stage show. The mezzanine area offers lounge-type seating, wines by the glass and televisions monitors along with an "amazing view of the stage". There's a place for you at Double Door, whether you're heading for the mosh pit or like your live music complete with a comfortable place to sit and beverage service.

A destination for pop culture events, Double Door has served as a backdrop for television shows and films, and has hosted events for MTV, VH-1 and Rolling Stone magazine.

A good citizen of Chicago and a good neighbor in Wicker Park, Double Door strives to have "a positive musical, cultural and economic impact on the city".

Behind the Stage Door

It is an unseasonably balmy November afternoon. While some of us are gazing out the window, enjoying the few days of Indian Summer, Phil Kosch is somewhere in the dark corners of a club on Milwaukee Avenue, working on last-minute changes for Double Door's Friday show - one day away.

First of all, how did you become a talent manager? What skills were required for this job?
I played in bands and went to a lot of clubs when I was younger, so I felt like I had a pretty good grasp on the club scene in Chicago.
I started as an intern, doing promotions for about eight months. Someone left for Europe and they were short-handed, so they asked me if I wanted to book some shows. I did it successfully, I guess, and I've been doing it ever since.

On the club's website, you request that submissions be made via e-mail. Either digital music files, but better yet, links to a website of myspace page. How many do you get every week?
We get about 20 new bands a day. Bands from out of state, bands from Chicago - we get them from everywhere, even out of the country.

Are you and Nate Arling (he's the other talent manager) able to review every one?
I store everything on a computer - organized by style of music or location. I try to listen to them all - at least one song from each band. If I like them, I'll ask them what they're doing in Chicago, if they've toured, if they've played some of the smaller 21-and-over clubs and try to find out if they're ready for a bigger room. If it's a band I really love, I'll just put them in there with a couple of locals.

You've said that for some of the newer talent, you sometimes rely on record labels, booking agents or just a general buzz in Chicago. You've also said that if a band is working hard, you'll know. Is that a function of reading the local press or word of mouth?
I read everything and of course, word of mouth is a big part of it. I like live music. On average, I'll go to three or four clubs a week

Aside from working clubs in the city, how can an out-of-town band putting together a tour, let's say, get your attention?
E-mail. I will visit a band's website or myspace page every time they e-mail me. Sometimes they e-mail just to say, "Hey, we just played the Elbo Room" or "We're still looking for a show" or "We're working really hard". Sooner or later, when the time is right, I'll be able to hook them up.

I like people to stay in touch. Not every day, not every week, but once every couple of weeks is a good thing.

How many bands would you have on the bill on an average night?
Local bands? Probably three to four. If it's a national act, sometimes one or two or three. We've had four to five. There are so many different scenarios. On Monday through Friday, we're open until 2 A.M. On Saturdays, we're open until 3 A.M.

What kinds of antics have kept a band off the bill?
It isn't the bands that haven't played here - it's the bands that have played here. If they're destructive, if they kick holes in the wall, that's the end of it.

Any final advice?
Stay in touch, but don't e-mail every day. Don't be rude and inconsiderate.

 

We'd like to thank Phil Kosch and the team at Double Door for finding the time to talk to us, between dealing with the real-world challenges of club management and staying focused in the midst of workspace rehab projects.

To find out who's playing and what's doing at Double Door, visit www.doubledoor.com