Networking
There are really only two ways to submit your music. The hardest way is a cold submission, where no one from your band knows anyone at the place where you're submitting. The best way is by using a warm handoff, where someone who knows the receiver submits your music for you. Always think of it from their point of view. Rather than having to listen to your album among a huge stack of other submissions (which are probably lame,) they'd rather have someone that they trust tell them who is good and start there.
This idea is the basis for promoters. Getting a promoter is basically a way to pay for a warm handoff. Not all of these promoters are worth the money, however, and you probably have more connections and free options than you think. If you think about it, there are possibilities that might be sitting under your nose. Below are some ideas. As always, if you can think of others, tell us about it so that we can add more to this section.
Other Bands
Other bands are almost always your best contacts. Once you get started and get to meet other bands in the community, you really should keep track of all of them.
First of all, opening for a band that you know can get you to be known by venues that you haven't played at before. If you're good, they may have you back as a headliner. Generally, venues are satisfied when the bands can save the booker time by giving them an entire evening of entertainment, so having a "friend band" get you in to a place as an opener is usually a win situation for everyone.
In general, it's a good idea to form a cartel of bands that you know that can help fill in for gigs that you have to cancel, and to help book for each other. The downside with playing with a band that you know is that you don't get your music in front of new audiences. But the upside can make up for it, simplifying a lot of issues.
Using other bands for booking and getting into new venues is just a start, though. You can use your band contacts to get into many other types of opportunities. For example, we tried unsuccessfully in the past to get into the International Pop Overthrow, which is a music festival that comes to Chicago (and other cities around the world.) We found out that one of our friend-bands was in the festival and asked if she'd help us out. She introduced us directly to the guy who ran the festival. We got to hand our kit directly to him, shake his hand, and talk with him for a while. One week later, we were playing the festival, one that you usually have to submit material to months in advance, filling in for a band that couldn't make it. At the beginning of the set, he introduced us somewhat uncertainly as he really hadn't heard our material, remarking out loud that not many pop bands have horns. At the end of the set, he praised our performance, and later invited us to his other festivals, including one overseas. We became a lock for the festival the next year, and we also got on the compilation CD for the festival.
Sound Guys
If your sound guy turns out to like your music, don't forget to use them as a contact. They often are affiliated with more than one venue. For example, we made contact with a sound guy who helped us record our live album. He had good things to say about our music, and we loved working with him. After talking to him for a while, it turned out that he does sound for City of Chicago events and festivals. It turned out that he could get our music directly in to the hands of the people who make decisions about music for many events and give us a good recommendation. It's very difficult to get contacts to the decision makers like that, but a sound guy sometimes has a more direct access to those influential people.
Bookers
Bookers that work for bars and venues are sometimes affiliated with just one venue, but they often eventually move on to other places. Once you have contacted them, keep in touch. They may be able to help you get shows in the future. Certainly, you need a good relationship with them while you're working with them at a venue. Always think of the future.