The Sweat and Tears of a gigging musician

[Franco]

Being a gigging guitarist for the best part of 19 years i know all about the pain and joy of playing live, to a degree of course! That US tour still evades me and the day job remains.

Over the years things have changed. I hate sounding negative but for the worse in my experience.
The days of getting gigs by strolling into a bar armed with a cassette demo and enthusiasm seem to have gone. Paid gigs are also becomming difficult to get irrespective of the size of crowd you can pull in.
Most venues want bands to sell tickets in return for pay but unfortunately door admission turns away the passer-by customers that used to watch bands out of curiosity. Some venues even want you to pay to play which i find the ultimate insult.
Even after all that you can end up playing to an apathetic audience.

So where did it all go wrong? Maybe this is just at lower level.
The smoking ban has certainly had a negative effect on bars, beer prices are not exactly encouraging either. Or is guitar music just not that popular anymore?

I would like to hear other gigging musicians opinions on the changes to the music scene (or Circuits) that have occured over the years, whether you no longer play live or are still active.
Everything from paid gigs to the more recent 'pay to play' phenomena, how the smoking ban has effected the venues, the demise or rise of live guitar music, do people have difficulty selling their music in this world of free downloading? Is all the profit now in gigs/tours?
Be interesting to hear peoples thoughts on all this!

[Offshore Angler]

Same here in the States. One of the biggest problems small bands are facing is that with the economy the way it is, some of the former touring bands are doing local clubs.

Another thing that killed live music here was that there were WAY TO MANY geezer blues bands who just stood there like zombies doing sub-par pentatonic based music too loud. They didn't have a stage show and played tired music. Thus, they didn't hold crowds.

I am getting old enough I'm not relevant in a band that plays for young people, which makes things a bit tougher. I decided to build a band doing something nobody else was doing. That makes us unique and we've got a good following. I still rely on studio heavily too. Having a set of country chops helps a player too. It requires a higher talent level and the pool of players is smaller, so you get more work.

The main thing nowadays that I, and my fellow workign musicians find is that you need to be a lot more versatile and do a lot more things than just play out to make a buck. In short, you need to work harder. Keep the band a focus, but branch out into doing commercials and soundtracks. There's a boatload of that type of music to be done here. And what makes it really cool, is you can often do it at home by simply emailing the ProTools files around. That has been a really great transformation. Now, instead of sitting there under the gun because the studio time costs were rising, you can be at home with a beer and the dog watching the game while you work. Sure, you still have production deadlines, but by not having to get everyone together your schedule is greatly more flexible.

And - best of all, you are no longer beholden to a music company and YOU own the music!

I got some great advice from Dick Dale once. He said to get a great band, get a good live show and then go to clubs and offer to play for free one time. You should be able to sell some CD's and merchandise to make a few bucks anyway. Once you show them what you can do, they'll bring you back.

For your live band, the word of the day is "promotion". Keep the name out there. One thing I did was to get little 3"x3" stickers made. They are dirt cheap. I give them to band and my friends with instructions to attach one in every live music club they go. Put one in front of the urinal where everyone will see it. Put one on the front door. After a couple months when you go to a club that's been tagged, they will ALWAYS say "Yeah, I've heard of you guys". That puts you in a much better position to get the gig.

Another thing is charity gigs. These people are always clamoring to get acts for free. Well, who wants to play for free, right? But let me give you an example. We did a gig for a charity and it was being advertised on local radio. Guess what? Whenever they did a radio ad the band's name was mentioned. That was worth a lot of money.

It's about "branding" the band. You need a quick, easy to read name, and an instantly recognized logo. Don't be afriad to hire a professional graphic artist to do the logo. The money spent will pay you back. They will know things like how to make a logo that looks dynamic on a computer screen yet still jumps out a small print black and white ad in the local entertainment paper.

Hire a good photographer for the band's pin shot. Avoid the dreaded "brick wall" photo. If you were a club owner or promoter, whihc would get your interest better - a static brick wall shot or a live performance shot with fists pumping in the audience?

Once you get your foot in the door, don't be like everyone else and lie and say you'll pack the joint. You probably won't. Instead, act extremely professional. Say something like we pride ourselves on showing up ontime, having a minimal setup time, take short breaks at the proper time and we'll play at the appropriate volume for your customers.

Now, here's a big secret. If there is a row of clubs, scout it out and figure out when most bands at the other clubs are taking their breaks. Plan your sets around that and be doing your best stuff then. You'll often pick up stragglers from the other clubs that way. This is extremely effective at outdoor venues.

Setlists - besides looking at tempos, look at keys. You want to change them up as much as possible to keep things from getting monotonous. No matter how well you nail it, the third song in a row in A will sound tired to the audience.

And finally, once you have that gig, USE DYNAMICS when you play. That's is the single, number one, most violated rule in the biz. Judicial application of dynamics can turn a so-so song into a barburner.

[adaptable]

Paid gigs? I think it depends on your geography and the type of music you are willing to play. I could go to Vegas and play in cover bands for $100/gig or more every night of the week, if I really wanted to. In LA or San Fran, if you play original music, you better have a draw of paying (and drinking) fans or else you won't really get paid or perhaps even break even. Original music is for recording & playing a few showcases....good luck getting paid for it in this economic climate....even with a big following.

What I have found, is that acoustic gigs in non-traditional venues like cafes and outdoor street fairs with a duo or trio offer the most opportunity for me to make money making music & offer a lot of creative freedom (50% covers of music I enjoy playing). We play for tips, free food/coffee, and CD sales. I usually make $100 for two 45 min. sets...sometimes more, sometimes less. I play the "multi-instrumentalist" behind a singer/songwriter switching from acoustic guitar to mandolin and even some electric guitar. Some friends of mine do the same playing jazz the same way. Once it gets too loud for the venue, you're chances of getting called back are slim. We can probably book two shows a weekend during the summer months if we really hustle.

The other avenue for making money playing locally is being part of an "event" band. During the summer wedding season playing covers, you could make a few hundred bucks per gig.

A buddy of mine is in a band called "Totally 80s" that does everything from Devo to Bon Jovi with costume changes from string ties & devo hats to wigs and spandex....light show & a full crew. He makes about a $1000/gig (singer/guitarist/co-front person), and is booked into next year almost every weekend. His band gets a deposit in case there are cancellations. It's quite a show. They occasionally play at casinos and other events throughout Southern California. I've heard similar stories about Kiss, Johnny Cash, Elvis, and other assorted cover groups...

[Franco]

Thanks for the replies guys, thats some really interesting stuff.
The UK does have a large amount of tribute bands at the moment, it seems the best banker as far as getting paid goes.
I stood in for a guitarist in a Sex Pistols tribute for a while, apart from having to purchase a Les Paul it was a lot of fun and i got paid for it.
The other successful acts are duos. A lot of pubs/venues now cannot afford the full entertainment licence but they are allowed by law to have duos on. The usual one is a guy on guitar with a singer playing along to backing tracks.
Two guys, a PA and some lighting.. easily mobile with one vehicle, they get paid between £200 - £500 a night depending on how popular they are.

The 'Working Mens Clubs' were once a huge network for cover bands to play and bands got paid some serious money. But these clubs seem to be dieing out like the generation that frequented them, the smoking ban does seem to have heavily hit these places too.

Good point on the DIY side of recording, not being governed by the clock does help creativity and gives you more breathing space if you want to change something after a couple of days sleeping on it.

[Blacksheep]

Supply definitely outstrips demand nowadays here in my part of the UK. The pubs that do put on bands are often inundated with demos.
One of the best music pubs round my way has bands Fri/Sat/Sun and Monday bank holidays. They pretty much book in February for the rest of the year and fill their diary immediately. The only chance you have of getting a date after that is with a cancellation.

I play in a 3-piece outfit and we do about 50 gigs a year. Any more is problematic because we all have jobs/families. So we are probably targeting about 15-25 venues. But gigs are definitely becoming harder to get. One pub which used to give us five a year has stopped having bands because of local council's crackdown on noise.

Other venues are feeling the pinch because of the recession. For at least one pub we have cut the amount we charge in order to get a block booking. Others have stopped doing music twice a week and have gone to once.

But I agree with Offshore Angler about the importance of promo. My wife, who is a former PR chief, works incredibly hard for us with banners, stickers, giveaway T-shirts, newsletters etc.
It may be a pain after you've sweated for a couple of hours, but taking email details of people who come up with a compliment afterwards pays dividends.
We send them details of upcoming gigs and if they turn up we then give them a free-T shirt and a CD of our own songs.
They soon begin to think of themselves as our friends rather than just punters and are far more likely to come to future gigs. It really pays off if we play a new venue and a few people turn up wearing band T-shirts. For a start the owners can't say you didn't pull in any punters.

I realise all this takes up precious time and eats into your profits if you are giving away freebies. But I really believe it benefits the band in the long run.


There is some potential good news in the UK too. A House of Commons committee recently urged the government to ease the licensing laws so as not to penalise bands ... so the reign of the duo could be coming to an end.

[Offshore Angler]

It never gets easier. What follows is actual correspondence from the bride-to-be for a wedding gig we just did. I need to have a serious talk with my agent!

> Hope all is well. As July 4th is getting closer, I wanted to confirm
> that you will be playing at my wedding. The ceremony is at 12 noon, so
> if you wanted to start around 1ish, that would be great. The wedding
> theme is "A touch of camo" so dress appropriately. Being a picnic, it
> will be causal, nothing formal. For the music, we'd like to keep it
> mostly country, 2 -3 polkas, some wedding songs, etc.
>
> The picnic will be outside on our property. We're renting a big tent
> which is where we'll set up the band. Or, I may borrow my brothers
> smaller tent and set you up under the big tree. Let me know if there
is
> anything specific that you will need for setup.
>
> We are located

(edited)

.You'll see a taupe and green pole barn and a green ranch house.
> We are also right across from Huckleberry Swamp.
>
---------------------------------------------------------

Hi Mike -
Sounds good. I am going to borrow my brothers 10 x 20 tent for the band.
This way, if it is hot and sunny, you'll be out of the direct sun. Also,
the reception is at the house, outside by the pole barn, which is off
the main road about 100 ft. You'll be able to drive to the tent and
unload. There is power in the pole barn which you can tap into. Worst
case, if the power goes out, we'll set up the generator and party! I'll
take a picture and send to you so you can see what you are getting into.
We're also having a 20x40 tent with tables and chairs setup. Weather
permitting, the ceremony will be in the woods, in the field, which is
about 500 feet into the woods. You'll be able to setup without
distracting anything.

[adaptable]

Originally Posted by Offshore Angler

It never gets easier. What follows is actual correspondence from the bride-to-be for a wedding gig we just did. I need to have a serious talk with my agent!

Yep...been there, done that and worse. Clubs with a "pole" right in the middle of the stage or outdoor venues with no electricity that you don't find out about until the day of the show.....or the worse...no grounded outlets.

[barellano]

And finally, once you have that gig, USE DYNAMICS when you play. That's is the single, number one, most violated rule in the biz. Judicial application of dynamics can turn a so-so song into a barburner.

Truer words have never been spoken. This is my absolute biggest pet peeve about many live bands, and musicians in general. Keen attention to dynamics can really make or break you.

[fatstratdeluxed]

Definitely the type of music you play at a certain venue will affect how the audience responds to you. Different genres and setlists for different venues, that's what I've learned with my gigging. One bar could be a completely drunk country lovin' crowd (especially here in AL ), and THOSE crowds are especially easy to get going. One crowd could be a chill blues foot tappin' style. Another could be classic rock or another could be a Michael Jackson type of place who knows it's all about researching before your gig! Also if you plan on playing originals, throw them in strategically. Play 2 or 3 covers then throw in an original in between.

I'm sure you guys think I'm young but I've experienced much and have learned and know a good bit as well, especially in my short life so far. I hope that advice helps a bit.

OH YEAH!! Dynamics are a huuuge MUST! Being into your music and passionate about what you're playing definitely attracts people to you. I know many times I've watched a band play, yet they were mediocre, but they were fun to watch! Be dynamic, have build-ups, and just plain rock it with whatever your playing!

[Offshore Angler]

(double post)

[Offshore Angler]

Originally Posted by fatstratdeluxed

I'm sure you guys think I'm young but I've experienced much and have learned and know a good bit as well, especially in my short life so far. I hope that advice helps a bit.

Yeah, I usually take all my on-the-road advice from 20 year olds. I've been gigging since 15 years before you were born. Why don't you come join us on tour with the band and show us what we're doing wrong.

[TSims1]

I've played out full-time professionally for the last 15yrs. I had a band that was together 10+ years, and were able to play every night of the week if we wanted. Of course, where I'm from we'd built a good regional fanbase over time, and made enough money to pay the bills. Then, I moved to Atlanta and left my band behind. ATL? Whole different ballgame. The thing I've discovered down here is that the money is in acoustic gigs. In fact, that is primarily all I do now. Bars/clubs/restaurants don't want to shell out the money for a band to come in that may or may not please the crowd. They are much more comfortable paying a coupla hundred bucks for a one-man acoustic act to come in, set-up, and play songs everyone knows[and some they may not, including originals]. Not to mention, people down here are very generous about tipping, and I usually sell a least a couple of CD's per night. So, I guess my point is that you have to be versatile. Am I cranking up and rocking out with a band? No. But, my acoustic chops AND singing have improved tremendously as a result, and I'm making more money per gig than I did playing with a band[by the way, those acoustic chops DO translate to the electric, and now when I sit down with my Strat my fingers are in awesome shape]. You just have to be able to figure out what is going on in your specific marketplace, and adapt accordingly. All of that being said, I sure do miss being able to plug in, turn up, and rock out with some other guys........

[Ray-Boy]

I've never worked as a guitarist but I made my living as a drummer for years. I took up guitar just because I wanted to and have only (so far, at least) played for myself and my wife.

BUT versatility is mos def the key to keeping some kind of cash flow. I see pretty darn good players working bar mitzvahs and weddings and birthday parties and anywhere they can make a buck. I've played county fairs and any number of proms and this thing they used to do in the Southeast called 'sock hops' twenty-five years ago, I've played enough high school gyms to hold everybody in China, it goes on and on. When I was 18, I was in a soul review that played only in the Southeast. Fourteen black people and my skinny white hindquarters. And if I had an open night and the worst, s**t-kicking, bunch of hillbilly twangers who ever bought a cheap Stetson needed a drummer for a gig at a National Guard Armory, I was there. Vast numbers of white-boy Rock 'N Roll. The last gig I had before I burned completely out on drums was in Myrtle Beach, South Carolina, in the late '70s. The club held 300 folks and was sold out every night and there was no food, no dancing, nothing to drink except one brand of draft beer. People sat there and watched and listened. It was 7 shows a week, 5 hours each, for 6 months with only Sundays off. WE DIDN'T EVEN GET HOURLY BREAKS, somebody would take an extended solo while the rest of us literally ran to the Men's room and drained the lizard. THAT will leave your ass toasty.

BUT I earned a nice amount of buckage for it.

I guess, if you want to cover your expenses and possibly even clear a couple of bones, you have to be popular enough to choose well-paid gigs or take whatever comes your way. And every gig, no matter how grinding, is worth a little something to a player if he's (or she's) open to it. It's finger exercise if nothing else.

[fenderkev]

Over here thing have got progressively worst as the years go by. When I started out in the mid 70's, it was all live bands, no drum machines or backing tapes back then. But as the pub and club scene started to dwindle, owners wanted to pay less cash so bands got smaller and with the introduction of quality gear like the the Alesis SR16 drum machine, the drummer was usually the first to go. I started in a 5 piece band, after a few years 4, then 2, and the past few years I play as a solo act with backing tracks and live guitar. I usually do about 75 gigs per year. People do still like to see a proper instrument being played, but there are plenty of karaoke jokers round these parts who either pretend to play a keyboard, or often as not, just stand out front with a microphone. The smoking ban certainly hasn't helped, nor the for mentioned "real", karaoke bars. The price of alchohol and the credit crunch are major factors too. I'm almost 53 and have had many good years at it, and hope to get a few more before I put the plec away for good. I just hope that things do pick up, and the younger musicians of today have somewhere to play in 10 years from now.

[Franco]

Well, since my first post some things have got better for my band, at least.
We got on a label/roster with a promoter, he specializes in female fronted bands (the more raucous type).
So, we are travelling around the country more now, but things are pretty much the same wherever you go.

Keep them posts coming guys!

[jguitarnash]

i don't gig but I have heard from many other musicians here in Nashville that the whole playing for free/close to free thing is killing a lot of the bands that want to be paid, because the bars just book the free bands instead of having to pay one.

[Ladynational]

Are you serious? Or am I just another dumb blonde? Thats great! Power supplies anyone. I am amazed she didnt include you in with the dj booth too.

[Franco]

Originally Posted by Ladynational

Are you serious? Or am I just another dumb blonde? Thats great! Power supplies anyone. I am amazed she didnt include you in with the dj booth too.

Eh?

[tonyw]

In Aussie they are now so i am told asking us to provide our own security for the venue. I have been on the road since 66 and never heard of such rubbish its just going to be impossible if this is correct. If i were to do a free show i take cd's to sell but i dont do freebees unless it for a good reason like free beer lol. I remeber when disco came along and killed the live venues and we all had Keep Music Live stickers on our cars. Theres always something to get in the way of a good time....

[Bangbang]

I am just a beginner and don't do any public playing but here in Metro Detroit Mich the dinking and driving laws have got so tight that you are crazy if you go to a bar. First time you get busted it will cost you your license,$6000,community service, and a few other hoops the court puts you through. You don't even have to be drunk. Two beers in one hour and you are goin to jail.

[tonyw]

I can beat the booze bus i get my tea totaller wife to drive me home

In reality i play and stay sober.

[ZL1LoVeR]

Originally Posted by Offshore Angler

Yeah, I usually take all my on-the-road advice from 20 year olds. I've been gigging since 15 years before you were born. Why don't you come join us on tour with the band and show us what we're doing wrong.

Now, now, Offshore... play nice

It doesn't hurt to hear new voices and opinions... especially since the market forces are changing and maybe the old school methods don't work no more... I think fatstratdeluxed means well by sharing his view... no need to shut his voice down

===========

And from someone who is highly unlikely to be gigging but more likely to be in your audience: Have any of you tried playing in College and University venues??

You should tap into it if you haven't already... There are many events that go on college campuses and many students develop loyalties to the bands that play at their campus... Also look for Musician Frats or Sororities, they usually host the wildest gigs!!

[Franco]

Originally Posted by ZL1LoVeR

Have any of you tried playing in College and University venues??

That scene seems to be dying off a bit in the UK. I watched loads of bands at University gigs in the late 80s, but it always seemed a difficult circuit to get on. You had to be 'hip' and know the right people.
I dont remember seeing a Uni gig advertised for a long time now, im going to investigate this..

[Offshore Angler]

(double post)

[Offshore Angler]

Originally Posted by ZL1LoVeR

[b][i]
And from someone who is highly unlikely to be gigging but more likely to be in your audience: Have any of you tried playing in College and University venues??

You should tap into it if you haven't already... There are many events that go on college campuses and many students develop loyalties to the bands that play at their campus... Also look for Musician Frats or Sororities, they usually host the wildest gigs!!

A few have contacted the agency but are not willing to pay the money we get, and whenever you play through a college instead of a regularly promoted gig you have security and operational concerns. Plus, college audiences almost universally suck, and you sell very little merchandise.