It is best practices to pick and choose the gigs you take and we encourage that. One of the many criteria would be location, travel, setup, amenities and of course, pay. Recently, I was told about a series of paying gigs at a corporate restaurant. They were looking to have some live entertainment and willing to risk it with unknown (to them) talent.
I put the word out by phone calls, text and social media which was met with a smattering of response. I found this to be very disheartening as the general consensus in the scene of my hometown (Sacramento, CA) is that there is not enough support for local talent and certainly not enough paying gigs.
I played the first in the series of shows and as performers didn't follow up, I keep getting the open spots. Don't get me wrong, I love money. But, I hate to see good opportunity for the entire scene slip away.
So, please don't complain about the lack of a scene if you don't want to work for it.
Thursday, October 20, 2011
Sunday, August 14, 2011
How much is too much? Overbooking
This is another older topic that somehow dropped off the blog, but is also good to revisit. Many artists don't seem to know the appropriate amount of times to be playing live to maximize their impact on an area. New bands and artists feel they need to get out as much as possible. And, it's not just new artists now, everyone around seems to be playing far too often in too small an area, even if there is nothing in it for them financially or otherwise, but for "exposure"
Well, I'm here to tell you, exposure is over rated.
Here's how to maximize your performances.
You'll need to take into account how big your area is. We are based in Sacramento, California with almost half a million people in the city and surrounding areas. How many of those people are into the type of music that you perform? More importantly, how many will come out? Take note when an artist or group similar to yours is playing the area in which you live. See how big a venue they perform in. This can be done on any scale. For example, the last AC/DC tour did not hit Sacramento but in Oakland instead? Why? To maximize the impact. Continuing with our example. Are there any local bands who sound stylistically similar? How big a venue do they play and how many people come out?
The simple fact of the matter is LESS IS MORE. Assuming you are great performers, singers and songwriters already the next part is getting in front of audiences and having them fall in love with you.
AC/DC only comes around once every few years. Because if they were here every weekend, we would eventually get tired of seeing them and the audience would drop. That can and WILL happen to you if you play too often.
The ABSENCE between performances only serves to build anticipation for the next time. The frequency we have found to be most effective is:
Once every 6-8 weeks within 50 miles.
So, if you play a specific venue this week, schedule the next appearance for 6-8 weeks later in that area. It doesn't have to be the same venue. But nothing within 50 square miles for another 6-8 weeks.
I know what you're wondering. How am I/ we supposed to build our following? The easy answer is play outside that area. Go beyond the 50 miles. Before you do, remember it is probably easier in your home town as you can start with friends and family and build from there. On a side note, many venues have restrictions similar to this in their performance agreements. Be sure to check while booking what the policy is on booking the area and time surrounding your appearance there.
If you can build an audience in your own home town first, you can start to "show swap" with artists from other regions. You let them play for your fans and they do the same.
All the while you can continue to do things to reach out and get more people interested with all the social media sites, emails, phone calls, letters...
As always, we welcome any and all feedback
Well, I'm here to tell you, exposure is over rated.
Here's how to maximize your performances.
You'll need to take into account how big your area is. We are based in Sacramento, California with almost half a million people in the city and surrounding areas. How many of those people are into the type of music that you perform? More importantly, how many will come out? Take note when an artist or group similar to yours is playing the area in which you live. See how big a venue they perform in. This can be done on any scale. For example, the last AC/DC tour did not hit Sacramento but in Oakland instead? Why? To maximize the impact. Continuing with our example. Are there any local bands who sound stylistically similar? How big a venue do they play and how many people come out?
The simple fact of the matter is LESS IS MORE. Assuming you are great performers, singers and songwriters already the next part is getting in front of audiences and having them fall in love with you.
AC/DC only comes around once every few years. Because if they were here every weekend, we would eventually get tired of seeing them and the audience would drop. That can and WILL happen to you if you play too often.
The ABSENCE between performances only serves to build anticipation for the next time. The frequency we have found to be most effective is:
Once every 6-8 weeks within 50 miles.
So, if you play a specific venue this week, schedule the next appearance for 6-8 weeks later in that area. It doesn't have to be the same venue. But nothing within 50 square miles for another 6-8 weeks.
I know what you're wondering. How am I/ we supposed to build our following? The easy answer is play outside that area. Go beyond the 50 miles. Before you do, remember it is probably easier in your home town as you can start with friends and family and build from there. On a side note, many venues have restrictions similar to this in their performance agreements. Be sure to check while booking what the policy is on booking the area and time surrounding your appearance there.
If you can build an audience in your own home town first, you can start to "show swap" with artists from other regions. You let them play for your fans and they do the same.
All the while you can continue to do things to reach out and get more people interested with all the social media sites, emails, phone calls, letters...
As always, we welcome any and all feedback
Tuesday, June 21, 2011
Being seen on the scene
This title was the first blog I ever posted but somehow it is now gone. I will do my best to remember everything.
If you want to get further ahead in your own music scene locally, nationally or internationally you have to do one thing for sure. Be seen on the scene. Look at big stars like KISS or Ozzy. You always see them making news somehow. Just because you are starting out doesn't mean you can't do it at your level. You have to get out there if anyone is to know who you are:
Go to shows:
Yes, I know gas is expensive and shows are sometimes too. Start with places that you want to play and with artists that you want to play with. Go to these shows, make friends with the door person, the bartender, sound person, the artists on the bill and most importantly, the fans. Bring some fliers with you. Even if you don't have a show to promote, bring a flier with a website address that someone can check out your music, pics and what you're all about. After a short while of doing this over and over at the same places, you may not have to pay to get in. Especially, if you've worked this into a booking for yourself.
Find the taste makers:
In every scene there are people that hold more sway to: Public opinion, show bookings, press and the like. It is politics, but that doesn't have to be a bad thing. Learn your scene. Become professionally associated with the bookers, writers, bloggers and photographers of your scene.
Be professional:
You won't like everything you see or hear and you don't have to. It is best not to criticize another artist as you might be talking to the booker who really likes them, their sister or perhaps one the artist themselves without realizing. If someone does ask you an opinion on music, be constructive and positive. Again, no point in being negative at all.
Network:
Networking is not being online blasting out messages every 5 minutes. No, that will get you less fans and people wanting to work with you as they tend to ignore after some time. True networking is in the follow up. If you meet someone, send them a quick thank you within 24 hours. Follow up one week later. If you don't get a response, try one more week later and if it still doesn't work make an effort to see them in person again. Face to face is usually better than not.
Be professional:
Yes, I said that once earlier but this is where many, many traps lay. Everyone gets frustrated and being an artist seems to make one more sensitive. Do NOT be negative in your public persona. No one needs to know that you and your guitar player haven't talked in a few days or that you're not happy with the last demo or performance. Find positive things to say about your art. Better yet, inquire what the other party has going in their life and be genuinely interested. There is a saying you get one chance for a first impression. Use it wisely.
As always, we welcome your feedback
If you want to get further ahead in your own music scene locally, nationally or internationally you have to do one thing for sure. Be seen on the scene. Look at big stars like KISS or Ozzy. You always see them making news somehow. Just because you are starting out doesn't mean you can't do it at your level. You have to get out there if anyone is to know who you are:
Go to shows:
Yes, I know gas is expensive and shows are sometimes too. Start with places that you want to play and with artists that you want to play with. Go to these shows, make friends with the door person, the bartender, sound person, the artists on the bill and most importantly, the fans. Bring some fliers with you. Even if you don't have a show to promote, bring a flier with a website address that someone can check out your music, pics and what you're all about. After a short while of doing this over and over at the same places, you may not have to pay to get in. Especially, if you've worked this into a booking for yourself.
Find the taste makers:
In every scene there are people that hold more sway to: Public opinion, show bookings, press and the like. It is politics, but that doesn't have to be a bad thing. Learn your scene. Become professionally associated with the bookers, writers, bloggers and photographers of your scene.
Be professional:
You won't like everything you see or hear and you don't have to. It is best not to criticize another artist as you might be talking to the booker who really likes them, their sister or perhaps one the artist themselves without realizing. If someone does ask you an opinion on music, be constructive and positive. Again, no point in being negative at all.
Network:
Networking is not being online blasting out messages every 5 minutes. No, that will get you less fans and people wanting to work with you as they tend to ignore after some time. True networking is in the follow up. If you meet someone, send them a quick thank you within 24 hours. Follow up one week later. If you don't get a response, try one more week later and if it still doesn't work make an effort to see them in person again. Face to face is usually better than not.
Be professional:
Yes, I said that once earlier but this is where many, many traps lay. Everyone gets frustrated and being an artist seems to make one more sensitive. Do NOT be negative in your public persona. No one needs to know that you and your guitar player haven't talked in a few days or that you're not happy with the last demo or performance. Find positive things to say about your art. Better yet, inquire what the other party has going in their life and be genuinely interested. There is a saying you get one chance for a first impression. Use it wisely.
As always, we welcome your feedback
Friday, April 29, 2011
How to get bookings
Recently, we were asked a question on our facebook page -"
You're right. In the "old days" venues or booking agents would call the artists or vice-versa. Email came along and changed the game. Now, you could track the correspondence with written proof and a delivery time stamp.
Online sites like myspace and now facebook ingrained themselves in a way that many people correspond using them. If you are using facebook to book shows, you should only look back a few months in time to the demise of myspace.
Email is still the choice for premier venues, booking agents and people doing serious business. In many states, the law may not cover social media messages as legitimate and binding contracts. We feel it is okay to advance a show in any way you like: phone call, email or messages on a social media site. When it comes to business, however, such as the actual agreement we feel email is the way to go.
Now to the question about why someone may not get back to you. In most cases you can get the response you want by providing the right information to the right people.
Choose the right venue: If you go online and see a venue that books mostly teenage hard-core bands and you are an adult singer/songwriter type. This may not be the right venue for you. Skip it and look for the right place.
Start small: If you or your group are just starting out, it's best to set your goals high for the long term and set smaller goals to get there. Instead of the 800 person venue, see if you can pack a coffee shop first. Once you can get people to come out, build until you reach another level. It looks awesome when people are wall to wall and not so much when they are not.
Always be honest and professional: There's no need to say you'll draw 200 people and 2 show up. It makes you look like a fibber or haven't done the work. Probably both are true. Being professional means being courteous. Say "please" and "thank you". This, will get you a long ways in the entertainment business.
These are the primary reasons you won't get a response. There is always "you (or your songs) are not good enough". As we said in a previous post called No Disclaimers,
you shouldn't have excuses. If the vocalist is sick the day of recording, don't record. Make sure you have everything PERFECT as it can be.
Have something to sell. Make your shows special events.
If you follow all these and still can't get people to return calls or emails, write to us. We'll see if we can give you some specific pointers.
As always, we welcome your ideas and feedback
You're right. In the "old days" venues or booking agents would call the artists or vice-versa. Email came along and changed the game. Now, you could track the correspondence with written proof and a delivery time stamp.
Online sites like myspace and now facebook ingrained themselves in a way that many people correspond using them. If you are using facebook to book shows, you should only look back a few months in time to the demise of myspace.
Email is still the choice for premier venues, booking agents and people doing serious business. In many states, the law may not cover social media messages as legitimate and binding contracts. We feel it is okay to advance a show in any way you like: phone call, email or messages on a social media site. When it comes to business, however, such as the actual agreement we feel email is the way to go.
Now to the question about why someone may not get back to you. In most cases you can get the response you want by providing the right information to the right people.
Choose the right venue: If you go online and see a venue that books mostly teenage hard-core bands and you are an adult singer/songwriter type. This may not be the right venue for you. Skip it and look for the right place.
Start small: If you or your group are just starting out, it's best to set your goals high for the long term and set smaller goals to get there. Instead of the 800 person venue, see if you can pack a coffee shop first. Once you can get people to come out, build until you reach another level. It looks awesome when people are wall to wall and not so much when they are not.
Always be honest and professional: There's no need to say you'll draw 200 people and 2 show up. It makes you look like a fibber or haven't done the work. Probably both are true. Being professional means being courteous. Say "please" and "thank you". This, will get you a long ways in the entertainment business.
These are the primary reasons you won't get a response. There is always "you (or your songs) are not good enough". As we said in a previous post called No Disclaimers,
you shouldn't have excuses. If the vocalist is sick the day of recording, don't record. Make sure you have everything PERFECT as it can be.
Have something to sell. Make your shows special events.
If you follow all these and still can't get people to return calls or emails, write to us. We'll see if we can give you some specific pointers.
As always, we welcome your ideas and feedback
Monday, March 28, 2011
Quantity and Quality
Being able to stay active in your local music scene requires quantity and quality. Clubs, venues and their respective agents are only going to invite you to perform if you can bring people out. They are only going to bring you back if you can keep it consistent. It often seems as if the 'business' of music overlooks the one thing most artists are striving for. Quality.
When looking at models for doing things, we suggest looking at other areas not in your field. Songwriting and performing can be looked at as athletic activity. Both require some 'natural' inclination and ability. To become truly outstanding, both require many years of development to be at the very top of the field.
So, how does one balance the two? The very same ways that we already spoke about. Take the time to put together what you consider quality material. Need half an hour to play a first show? Write an hour and a half. Then pick the very best. If there is a way to video your practice, do so. Check out how the songs sound and compare them to your role models. If you love AC/DC, compare it to them. Metallica, Slayer, Jackson 5 or what have you. Also practice how you will interact on stage. Watch the video together and give constructive criticism.
Have merchandise ready for your first show. If you want to have lights or scrims or props, try to have them going as well. The old adage "You don't get a second chance to make a first impression" is never more true.
Your budget may keep you from doing the last few things but we suggest not being in a rush to do anything when it comes to your band. Imagine coming out of the gate with all guns blazing. Excellent merch, a killer stage show and great songs. These are the things that will get you coming back if you don't have an audience yet. These are the things that will build your future audience.
When looking at models for doing things, we suggest looking at other areas not in your field. Songwriting and performing can be looked at as athletic activity. Both require some 'natural' inclination and ability. To become truly outstanding, both require many years of development to be at the very top of the field.
So, how does one balance the two? The very same ways that we already spoke about. Take the time to put together what you consider quality material. Need half an hour to play a first show? Write an hour and a half. Then pick the very best. If there is a way to video your practice, do so. Check out how the songs sound and compare them to your role models. If you love AC/DC, compare it to them. Metallica, Slayer, Jackson 5 or what have you. Also practice how you will interact on stage. Watch the video together and give constructive criticism.
Have merchandise ready for your first show. If you want to have lights or scrims or props, try to have them going as well. The old adage "You don't get a second chance to make a first impression" is never more true.
Your budget may keep you from doing the last few things but we suggest not being in a rush to do anything when it comes to your band. Imagine coming out of the gate with all guns blazing. Excellent merch, a killer stage show and great songs. These are the things that will get you coming back if you don't have an audience yet. These are the things that will build your future audience.
Saturday, February 19, 2011
Local music award shows and Battle of the bands are dumb!
Hopefully, this title got you to look. We don't really think the idea of either is dumb but as is the case in a lot of this life, people act dumb in regard to these ideas. At every battle of the bands, we have been a part of there is always some negative talk from other musicians. Either about the other performers or how the contest was decided. Musicians are a sensitive and jealous bunch. It is difficult to find any player or even close scene supporter who isn't totally jaded and opinionated about music. Musicians are constantly complaining about famous artists and stars who are not talented or used something other than talent to get where they are in the public eye and even to peers in their own music community. This also applies to local music award shows and battle of the bands and therein the dumb part. Live music scenes around the world are competing for the disposable dollar of consumers against movies, restaurants, malls, video games and the internet. Now, one can watch a video, stream or flat out take music and other medias at no cost to them. The best way to support a music scene has always been, from the inside out. Musicians supporting other musicians. Followings happen in only one way. Someone, tells someone else. The general public usually sees a band on friends tip. That tip, initially is a musician asking friends to come see them perform and hopefully, word spreads. It makes sense then that musicians would tout the talents of their peers. Go see other artists perform and get friends and fans to become their friends and fans. Our opinion is that ANY support of local and underground music, should be supported not thwarted. And, like your momma said: You don't have anything good to say, don't say anything at all. As always, we welcome your feedback on this or any topic
No disclaimers!
Imagine going to a steak house. You order the food the way you like and you are ready to enjoy the experience. When the waiter comes back, he says "The peas are mooshed, the potatoes taste like wood and the steak is way over cooked. Enjoy!"
How excited do you think you'll be to dig into this meal? Probably not at all, but disclaimers seem to be the norm in the music business rather than the exception. I cant begin to count how many times someone has handed me a demo only to disclaim that - The drums weren't tuned right, the guitar amp was messed up or the singer had a cold. Or Ive got a demo that just wasn't ready. The meter was off the mix was not good or the songs had not been fleshed out all the way.
What I would really like to hear is - "Take this demo, its going to rock your frickin world", or "This is the best thing ever". Am I going to be skeptical? Perhaps, but chances are that I will take a listen.
Recently a band asked me to listen to a demo and give them an honest critique. The short version of my answer was, to start over. Primarily the drums were having a meter issue and this was a metal band. One thing about metal, you want it to be precise. After some debate the band took my advice and re-tracked the drums. They are much happier with the overall product, now.
Music is your creation and you want to make it the absolute best it can be. That means no shortcuts. If you put out inferior product and no one buys it, you will make excuses forever. Take the time to do it right and it will pay off. Worst case scenario if no one buys it you still have work to be proud of, with no disclaimers.
As always, we welcome your feedback on this or any topic
Influence and role models
Merriam Webster says that influence is the power or capacity of causing an effect in indirect or intangible ways.
My influences as a musician are as far flung as they could possibly be. Id like to think I love all genres of music. I believe there is good and bad music in all types. You can be your own judge on good vs bad.
Early on, I loved the look and sound of KISS and strived to learn all their songs and get down some stage presence from seeing them on TV. Very soon after, I came under the influence of Black Sabbath, of which I still cant escape from. Their ability to make all things heavy and ominious still chills me.
I think its very important to have influences in your music that shine through. All music is the combination of your influence and role models.
A role model is a person whose behavior in a particular role is imitated by others
My friend, Terry wrote something on his myspace page where he said some nice things about me being an influence on him. At the time, I thanked him in a blog, which I promptly posted. Since then Ive done a lot of thinking on the subject of influence and being a role model in music and in life.
My father passed away when I was very young and I spent a good deal of time like many young men rebelling against authority, convinced that I knew everything. During my teen years, with my mother raising her family alone I didnt have many male role models.
I was interested in being in a band and although I had one with my friends, I joined a summer school music education program called Stairway To Stardom, produced by Skips Music in Sacramento, California where you are matched up with a band and an adult music professional as your coach. My two coaches, Larry Schiavone and Larry Gosch were huge influences on how to conduct band practices to be efficient, how to work songs within the parameters of players and their ability.
I was also hugely influenced by Steve Wall, Michael Rowe and Michael Gregory, three monster guitarist/songwriters from Sacramento who I loved to watch play and be inspired to be great. I also learned some huge lessons by talking to singer/songwriter Brent Bourgeois. Although my exposure to these people was limited to picking their brain or the occasional guitar lesson Id like to think I learned a lot about conducting myself as a man as well.
Three years later, I became the first Stairway To Stardom student to become a coach. Over the years I tried to be an influence musically, drawing from my own and a role model to the younger musicians. The last year I coached in 2005 I came into contact with four young musicians who, despite their ages, would introduce me into a whole new world of influencing and role modeling. The aforementioned Terry, Stephen, Thomas and Dalton. At the end of the program, Stephen, Thomas and Dalton approached me about continuing to work with them to become a band called STD.
I see in them the curiosity and desire to learn about music, the music business and life that I had at their age and still have at mine. I think this is what makes the group so good.
I feel it is our responsibility to share with other musicians and non musicians the sum of our influence when we play and perform. It is also our duty to be good role models as musicians and humans to continue the tradition for generations to come.
As always, we welcome your ideas and feedback
Spontenaity, within parameters
Spontaneity - implies lack of prompting and connotes naturalness. Spontaneity within parameters is often called improv, or improvising. Merriam Webster describes improvising as to make or fabricate out of what is conveniently on hand.
Here are some tips for spontaneity with parameters for melody ideas.
If you have a program such as Garageband, Cakewalk, Reason or any other loop based program, set up a some chords or riff that you have in mind to work with. If you don't use a computer/software to write then get a friend or your group to play the riff or chord changes.
Get a different instrument to use for your improv. This idea will work best if its a totally different instrument than the one you use primarily. I can play bass, drums, keyboards and sing but guitar was my first and still greatest love to play. Grab a microphone and scat sing guitar solos instead of playing them. Now, if you have one of the programs listed earlier you can record this. Now you have a challenge of playing on (guitar for example) what you sang. Conversely, when searching for a melody idea on vocals I will play guitar over the section throwing down solos and having fun but it also shows me what notes are available to pick from working within the parameters given (the riff or chords). Once I have that, Ill settle down and play fewer notes since most vocal melodies are not as many as a solo.
In future installments we will discuss getting ideas down quickly or how not to miss the greatest riff or song of your life.
Playing Covers
There seems to be a growing trend of young musicians, interested in pursuing their own music that are excluding the learning and performing of cover songs.
According to the Wikipedia entry, a cover song is a new rendition (performance or recording) of a previously recorded, commercially released song. Most musicians learn existing material to help them get a better understanding of their instrument and for the enjoyment that learning brings them.
When I was growing up in my local (Sacramento, CA) scene you really couldnt get on the "good" gigs unless you played covers and played your original songs intermittently. The goal of course, is to keep people on the floor moving around, dancing, watching and what have you. That way they get thirsty and drink more booze, which makes more money for the club and gets you more bookings.
For the new scene bands, we still think this is a really good idea especially at the beginning of your career and heres why. As mentioned, the covers will get people up close, dancing or what not. Then you can sprinkle your originals into the set and see if the people stay through them. Its a good indicator of if the song is decent.
It also enables you as a band to really take your time and craft your songs to the best that they can be. You wont have to worry about filling up your set with songs that arent ready or re work those songs, as much any way.
Before anyone boo boos the idea of playing a cover understand we are not advocating everyone turn into an ALL cover band, but that bands might consider incorporating covers into their set. At least one or two. Please keep in mind that The Beatles are the most successful band of all time, selling between 600 million and one billion records, also played more covers that any other group. So, if its not beneath The Beatles, its not beneath you.
For anyone still not convinced, or just for fun, here are some famous covers
Piece Of My Heart originally recorded by by Erma Franklin - Covered (and made famous by) Janis Joplin and Big Brother and the Holding Company Also covered by Sammy Hagar and many others
These Boots Are Made For Walkin first recorded by Nancy Sinatra. Has been covered by Jessica Simpson and by Megadeth and more
Megadeth also covered I Aint Superstitious, a song by bluesman Willie Dixon and first recorded with Howlin' Wolf in 1961 and has been covered by numerous artists.
Metallica released Garage Days Re-Revisited, a full album of covers in 1987 and then Garage Inc. released in 1998
Black Sabbath started out in 1968, playing by Jimi Hendrix, Blue Cheer, and Cream, as well as lengthy improvised blues jams. Here is a You Tube video of the band playing the classic Blue Suede Shoes.
Slayer released an album of punk covers, called Undisputed Attitude in 1996
As always, we welcome your ideas and feedback
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