For those of You a Getting Gigs and Having a Turnout... Tips?

Started by Threeleggedyoyo, July 31, 2013, 10:56:43 PM

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Threeleggedyoyo

Hey guys.

Been working hard on my set for about a year. I feel like I'm performing pretty well. But I don't know how to get shows, and more importantly, I  don't know how to get people to come out to them.

I had a show a couple weeks ago with three other bands. My opportunity to promote the show was limited, but the turnout was limited, too... whenever I talk to places about performing, they seem pretty open to me playing. But their attention always immediately goes to feeling out how many people I can get in the door.

I'm kind of frustrated, because I'm not a party planner. I'm a musician. If I wanted to go into marketing I'd have gone into marketing.

Anyhow, venting aside, apparently this is my job. Tips? I have a Facebook page, YouTube with videos... other than that I don't know how to get people in the door.  ???

Elantric

#1
People listen with their eyes, Performing tunes that demonstrate your strengths as a player and abilities  can win a crowd over. Remember its showbiz, so marketing is important, but never should take priority over developing your act  to suit your locale or Venue. Research local History, and fashion your live show as " in the long (insert name of your town here) Tradition. Learn some comedy, or drama. Conflict sells - have a fake scripted argument with a bandmate mid song, develop a show. Get a Facebook page, or a newsletter  / email list, or  whatever social media works for your friends, family, potential audience. Look at your local Events Calender, if you think there will be a huge turnout, offer to provide music  - negotiate terms that work. Car Club Shows, Corporate Picnics, Movie Premieres, New Store Grand Openings,   Many times large gatherings  / events need a PA to make announcements - but they hire a band instead - strictly because its a cheap method of getting a PA and background music too.             
Since I live near the ocean,  compared to booking a bar gig with a a new unknown 5 piece originals band,   Often I can make more $$ with just a tip jar performing as a duo with a bass player or percussionist performing classic surf instrumental tunes with a battery amp and a Limbo Pole at my local California pier where lots of tourists  / surfers are -  Tune selection and sound are important, and it helps I know the material. 



There are many avenues available for today's musician to cultivate a revenue stream, and not all of them are live gigs.
I co-wrote many tunes in the early 1980's and lately my co-writer is getting some of these tunes placed in small films.   

gumtown

To get the body count through the door, they have to know about you (or somethings happening).
I get more than enough work just from reputation,

but in the beginning we had to do the hard yards, posters, letter box drops and windscreen wiper flyers, any free and cheeky promos.
You are going to have to put in some marketing and networking.

Also people aren't really satisfied to go out for just good music,
they can listen to the gramaphone for that,
it's got to be the complete show package.
Free "GR-55 FloorBoard" editor software from https://sourceforge.net/projects/grfloorboard/

aliensporebomb

Or you have to have an "angle".  What differentiates you between yourself and other performers of your type?  I've played in every kind of band you can think of but right now I'm probably the only musician playing live ambient music in this town that I know of that's not techno or electronica.  But that also limits where I can play in some respects and it also lets me gig in venues not traditionally open to a musician as well.  Which has its ups and downs.

What do you bring to the table?  Interesting songs?  Interesting wide ranging instrumentation?  Cool light show?
My music projects online at http://www.aliensporebomb.com/

GK Devices:  Roland VG-99, Boss GP-10, Boss SY-1000.

mbenigni

This is one of the things that started to turn me off to the gigging scene when I dropped out of it almost ten years ago - the need (for the local/ semi-professional) to be his own promoter.  Shilling for my own band always felt disingenuous and a conflict of interest to me, but everybody's doing it out of necessity.  Plenty of local musicians post glowing reviews of their albums and performances which to some extent they've written themselves.  With the advent of social networking and self-publishing on the internet, this is pretty rampant.

But the good side of all that is that it's now a lot easier to drive a local audience to your music.  Have a facebook page, friend everyone who has similar interests and/or is part of the local nightlife scene, post frequently regarding your work, coverage of your work, links to e.g. Soundcloud recordings, photos of people having fun at your shows, etc.  Engage with the audience by replying to comments and give them the sense that a) they're an important part of the process (which they are) and b) they're going to have a good time.

The "behind the curtains" manipulative aspect leaves an ever-so-slightly bad taste in my mouth, but it works.  And if your music comes from the right place, it's all for the best in the end.

thebrushwithin

It is very interesting to me that venues everywhere have taken the same approach, for the entertainer to provide the audience, as if all promoters read the same book. How has this happened? Many years ago, I inquired at a local music venue, about performing there, and the very first thing out of the manager's mouth was, "how many people can you guarantee us?". I thought it was a stupid local thing, but now I see it is commonplace. Bass ackwards, if you ask me. It's like hey, we supply the electricity and the drinks, you bring the people, and we'll allow you to play for the door. Oh, by the way, we may double book that night, so you may not play, even if "your people" come. I am fortunate to still perform the old fashioned way. The establishment is good enough to draw people, and my responsibility is to keep them there.

pedwards2932

When I first started out the way the bars made sure you brought a crowd is they would pay you the door.  If they were charging 3 to 5 at the door it took a fair number of people for you to make any money....I can remember nights where I only made enough to stop at Hardee's for a biscuit with the money I made....good thing I was never in it for the money.  The band I play in now only plays events and you get paid no matter what....the event itself is the draw the band is only part of the entertainment.....we just don't do bar gigs anymore (I couldn't stand the smoke anyway)

Elantric

In the "showcase" scene in Hollywood most of the clubs adopted "Pay to Play" since the mid 1980's  - So I played in the Studios, and seldom at a live show.

Since relocating away from LA to a central coastal college town 200 miles north in 1999, I have performed far more live music gigs, and my take home is $75 - $125 per gig in my 4 piece 50/50 original / cover band

Cricket

One thing that has worked for me is to schmooze the bartenders in the clubs you think you want to play.  Go in, have a few beers, watch the bands, chat up the bartenders.  Find out who's who and what's what without letting on you're looking for work.  Get a reputation as a nice guy.

Yes, this can be a multi-week project, and the beers cost money.  Still, it can really pay off, especially once you find out who does the booking.  Once they know you and like you, then let on that you have a band... maybe on a night when the band onstage is er... not exactly rocking. 

It's time consuming and requires an initial investment, but I've gotten many long-term gigs that way, where you get on a rotation and play regularly for years.   

It's sales, not music.  Ya gotta do it.  And I am not a particularly sociable person, at least as far as going to bars and hanging out.  I resent paying $5 for $1 worth of beer too, but it's part of the deal.  Put on a happy face and try it. 

Demos don't get you booked.  Videos don't get you booked.  Websites don't get you booked.

PEOPLE get you booked.


A914Man

From my own experience, getting gigs isn't the hard part, getting re-booked is the hard part.  You have to "bring it" when the time comes.  If you get a chance to play, and don't get a booking out of it, it's typically your presentation.  Playing live music truly about connecting with the audience, and creating moments (that make them want to see you again), more than being technically awesome.  Playing well is a baseline, connecting is the key.  Get "Tom Jackson's Live Music Method - All Roads Lead To The Stage", if you employ Tom's principals of live performing, you'll get re-hired.

Cricket nailed it when he said "PEOPLE get you booked".
After only 37 years, I'm almost as good as I thought I was when I was 21

whippinpost91850

Steve, I'm really looking to your report from the forum. thanks

whippinpost91850

Couldn't have said it better:   Cricket nailed it when he said "PEOPLE get you booked".

Cricket

Btw, what kind of gigs are we talking about here?   Are you doing the solo looping originals thing?  Covers?  A band?  How to make it work depends a lot on what you want to do.

Threeleggedyoyo

Quote from: Cricket on August 01, 2013, 08:52:14 PM
Btw, what kind of gigs are we talking about here?   Are you doing the solo looping originals thing?  Covers?  A band?  How to make it work depends a lot on what you want to do.

Thanks for the thoughts everyone. Keep them coming...

As for the gigs, it's just me doing the solo looping thing. You can check out my YouTube for some recordings... that's exactly what I do live.



I've had a couple live performances recently and they've been well-received enough. The problem is how do I get people to freaking come? I feel like it's so weird that that's what all the venues care about. They all want to know how many people I can get in the door. That seems to be the foremost concern with getting booked. As one poster in another place put it, it's like the parent who hires a clown for their kid's birthday party and then asks him how many kids he can bring...  ??? That's my main issue. I do not know how to build a fan base.  :-\


Cricket

Quote from: Threeleggedyoyo on August 02, 2013, 02:05:38 AM
Thanks for the thoughts everyone. Keep them coming...

As for the gigs, it's just me doing the solo looping thing. You can check out my YouTube for some recordings... that's exactly what I do live.



I've had a couple live performances recently and they've been well-received enough. The problem is how do I get people to freaking come? I feel like it's so weird that that's what all the venues care about. They all want to know how many people I can get in the door. That seems to be the foremost concern with getting booked. As one poster in another place put it, it's like the parent who hires a clown for their kid's birthday party and then asks him how many kids he can bring...  ??? That's my main issue. I do not know how to build a fan base.  :-\

Actually, it isn't.  The days of (some) club owners being interested in music are gone.  They are interested in selling alcohol, and most wouldn't care if you stuck a mic up your *** and farted all night if people would come and buy beer while you did it.

From your first post, I assume you're thinking the typical hour set of originals sharing a bill with other bands in clubs that have original bands?   Don't want to be a downer but that's about the toughest market there is.  Even there, though, there are things you can do.

Elantric mentioned busking.   Definitely worth a shot.   I know from your vids you have a somewhat elaborate setup, but if you can pare it down to essentials and work up a set with battery power, it's a great way to get people to hear you.   And money can be made, sometimes even decent money, if you have a place to do it without attracting the local constabulary.   And you don't have to deal with club owners.  Yay-hooray!

Of course, you can (and should) promote your shows to a busking audience. 

You can also make some money with merch, both at club shows and busking.  People will still buy a cd if they like you.   Put together a cool looking/cool sounding package and sell?

Got a college or two nearby?   Play there, for free or for cheap at first even.  Fraternities/sororities tend to be party oriented, to say the least.   Hook them up and they may well hook you up by coming out to your shows and drinking heavily.  The latter is known to club owners as "pleasure."  A full till at the end of the night will keep you booked solid.   A smaller audience who racks up substantial tabs is better for your continued employ than a large audience of "sippers."  Sure, they'll notice a packed club, but they'll appreciate a packed cash register, yanno?

Consider too, that your main priority, or at least what I think should be your main priority, is to get girls to like your music and dance to it.  Seriously.   A reasonable coterie of dancing girls in a club gets guys to come in and stay.   Girls who dance get hot and thirsty.   Guys buy them beers.   Lather, rinse, repeat.   It's a three-part system that works.  ;D

If you are only playing say an hour's worth of originals, consider covers.  If you can play all night in a place you'll a) make more money and b) get more people to see you... not necessarily all at once.  Bar/restaurants with entertainment are generally much easier rooms to work, as the owners are making money often all day on food as well and don't depend on liquor sales alone from 5-closing.

If you have the wherewithal, buy a round for the largest group of dancing girls.   They will remember it and like you.  And they will probably stay longer &c. &c.

And did I mention dancing girls?

Seriously, I think that's the key demographic for rock and roll.  Get that nailed down.  If you have to pander to one select group of people, that's the one.

One last thing out of the many that could be put here:  one of the best investments I ever made was two inexpensive tin utility lights, like you would use for shop-work or painting, and a couple of red floodlight bulbs.  If you are at a place with no cool lighting, you hide them unobtrusively on the stage somewhere and throw up a wash of red light.  Cheap, easy, and you'll look 10x cooler.  If you look good, people think you sound good.

The worst band I ever played with worked constantly and we made tons of money.  That is a long story in itself, but working has little to do with music (though that is still a possibility.)  It's a lot more about sales, marketing, entertaining... making sure the dancing girls have a good time.   Cater to them and you'll never regret it.

Peace,

C


Elantric

Cricket nailed it!

Quotemaking sure the dancing girls have a good time.

whippinpost91850

Quote from: Cricket on August 02, 2013, 06:41:30 AM
Actually, it isn't.  The days of (some) club owners being interested in music are gone.  They are interested in selling alcohol, and most wouldn't care if you stuck a mic up your *** and farted all night if people would come and buy beer while you did it.

From your first post, I assume you're thinking the typical hour set of originals sharing a bill with other bands in clubs that have original bands?   Don't want to be a downer but that's about the toughest market there is.  Even there, though, there are things you can do.

Elantric mentioned busking.   Definitely worth a shot.   I know from your vids you have a somewhat elaborate setup, but if you can pare it down to essentials and work up a set with battery power, it's a great way to get people to hear you.   And money can be made, sometimes even decent money, if you have a place to do it without attracting the local constabulary.   And you don't have to deal with club owners.  Yay-hooray!

Of course, you can (and should) promote your shows to a busking audience. 

You can also make some money with merch, both at club shows and busking.  People will still buy a cd if they like you.   Put together a cool looking/cool sounding package and sell?

Got a college or two nearby?   Play there, for free or for cheap at first even.  Fraternities/sororities tend to be party oriented, to say the least.   Hook them up and they may well hook you up by coming out to your shows and drinking heavily.  The latter is known to club owners as "pleasure."  A full till at the end of the night will keep you booked solid.   A smaller audience who racks up substantial tabs is better for your continued employ than a large audience of "sippers."  Sure, they'll notice a packed club, but they'll appreciate a packed cash register, yanno?

Consider too, that your main priority, or at least what I think should be your main priority, is to get girls to like your music and dance to it.  Seriously.   A reasonable coterie of dancing girls in a club gets guys to come in and stay.   Girls who dance get hot and thirsty.   Guys buy them beers.   Lather, rinse, repeat.   It's a three-part system that works.  ;D

If you are only playing say an hour's worth of originals, consider covers.  If you can play all night in a place you'll a) make more money and b) get more people to see you... not necessarily all at once.  Bar/restaurants with entertainment are generally much easier rooms to work, as the owners are making money often all day on food as well and don't depend on liquor sales alone from 5-closing.

If you have the wherewithal, buy a round for the largest group of dancing girls.   They will remember it and like you.  And they will probably stay longer &c. &c.

And did I mention dancing girls?

Seriously, I think that's the key demographic for rock and roll.  Get that nailed down.  If you have to pander to one select group of people, that's the one.

One last thing out of the many that could be put here:  one of the best investments I ever made was two inexpensive tin utility lights, like you would use for shop-work or painting, and a couple of red floodlight bulbs.  If you are at a place with no cool lighting, you hide them unobtrusively on the stage somewhere and throw up a wash of red light.  Cheap, easy, and you'll look 10x cooler.  If you look good, people think you sound good.

The worst band I ever played with worked constantly and we made tons of money.  That is a long story in itself, but working has little to do with music (though that is still a possibility.)  It's a lot more about sales, marketing, entertaining... making sure the dancing girls have a good time.   Cater to them and you'll never regret it.

Peace,

C
Cricket, This is probably the most honest and truthful statement, I've ever seen in print, regarding keeping yourself booked. In my nearly 50yrs of playing clubs, nothing has changed. Bravo for putting into words what most musicians don't really want to believe. Paul

IanRamos

ok , the fellas had pretty much answered your question already yoyo , but if you don't mind i think it could be usefull to any other beginner musician starting in that world if i summarize in here some advices fruit of decades of very very painful learning :

1#
99 % of the people don't give a damn about music ... they just don't have the capability to do it ( to quote the subgeniuses ( praise Bob! ) "You know how dumb the average person is? Well, by definition, half of 'em are even dumber than THAT." )
i don't mean it in a bitter way , is just a fact , you can complain about it or learn how use it in you benefit ...

2#
People in general don't wanna listen to good music , they wanna listen to something they already know , if they heard it before in the radio , the tv , the mtv or something like that , they like it . Play THAT kind of music in your gigs and you will have 25% of the work done ...

For what i saw in your Youtube you are a VERY talented fella , but if people don't know you they won't appreciate what you do , you could get gigs , but never get re-booked .

3#
If you wanna get gigs playing you own music , forget about gigging for a while and concentrate in boosting you popularity thought internet , there's many tools for it , grow a fan base , if you can make it that you turn into a Youtube celebrity , you won't have to look for gigs , they will offer them to you ... is really hard to make it , but it can be done .

4#
Consider really honestly why you wanna play music , if we are really honest most of the musicians we got into music ( specially into playing guitar ) for the pussy , is a fact , i'm not shy
to recognize it ...
well if that's the reason why you got into music too , go to your pawn shop and sell all your guitars and fx ...
i don't know ... learn how to dance , buy some turntables and turn into a dj , but get rid of the guitar .
there was a time when girls where crazy about guitarist , and that's why most of us bought our first guitar , we wanted to be rock stars too , be popular , be cool ... but that time is long gone , nowadays girls actually hate musicians and specially guitarist .

5#
If you really just enjoy playing , and you wanna be successful , if you are under 25 start a pop-rock band , write possitive songs , clean lirycs , try to play someting that girls can dance to and smile a lot .
if you are over 25 learn a set list of about 50 songs , the most popular ones , 50% classics and 50% charts , be nice to people , dress clean be always on time to your gigs , learn some jokes to say in between songs , prepare some medleys , so if people start to dance they won't stop in a while , the most important part is to get the people to dance ... and smile a lot .

;)

aliensporebomb

#18
It's not that they hate musicians and guitarists; it's just that back in the day musicians and guitarists were less common and now they are very common.  So unless you have something unique or exceptional to offer you might be ruining their girls night out.  Are you there just showing off your hot licks?  Unless Jennifer Batten is there with her posse the chances of them being into your guitar chops isn't high.  Even if it's guys watching they might not be too into it.

It used to be you had to go to a concert or gig to see electric guitarists playing in concerts and almost never were shown on television.  Times have changed.   You might just be the background noise to their good time or you could help bring it to the next level.

In short, at those kinds of venues you are the entertainer and you're there to entertain. 
My music projects online at http://www.aliensporebomb.com/

GK Devices:  Roland VG-99, Boss GP-10, Boss SY-1000.

Cricket

Quote from: whippinpost91850 on August 02, 2013, 04:48:19 PMCricket, This is probably the most honest and truthful statement, I've ever seen in print, regarding keeping yourself booked. In my nearly 50yrs of playing clubs, nothing has changed. Bravo for putting into words what most musicians don't really want to believe. Paul

Thanks.  I guess I've struck a chord... and that chord is probably a first-position G.  ;D   Eb7#9b13?   Yeeeaah.... you won't be needing that one.

Cricket

Quote from: IvanLozano on August 02, 2013, 06:42:41 PM...learn how to dance

Obviously, among all the people here we could probably write a large book (at least) filled with war stories.   I do want to amplify on the above point, even though I'm sure it was intended as a joke.

Personally, I think all musicians playing rock and roll need to know how to dance.  Really.   You don't have to be awesome.  You DO have to know how to go out on the floor with a group of the aforementioned dancing girls to a fast song and be confident that you are not looking a fool and are dancing with at least a basic grace and coolness.

If you don't know how, learn.   Have a wife, girlfriend, or girl-friend, preferably one who will be brutal in her assessment, teach you.  It's simple:  get together, put on some tunes, and dance with her.   Adult beverages optional.  It's easy, free, fun, plenty of girls will be happy to do it.  It won't take long before you can find, at least, a basic style that will suit you and you can know that you are not doing the step I call "white guy running in place."

If you need added incentive, there are plenty of "fringe benefits" to this exercise.  ;)

But my musical point is, it will completely change the way you relate to music and rhythm, and will give you a much more solid grasp of what makes a song danceable.   If you don't know how to dance you are only guessing.  Why will people dance to many Stones songs but few Beatles songs?   Learn to dance and find out.

I was late to this party.  I learned to dance (aside from the occasional slow dance) in my 30s, mainly because my wife loves to dance.  So I said fine... and took the above approach on the theory that practice helps, so if I felt like I knew how, I wouldn't feel like I was learning in public on the floor.   So fine... hooray for love and marriage and all that.

What was completely unexpected was how my relationship to music and rhythm changed, in ways I can't even get into here.  Suffice it to say that it was one of the most musically significant things I ever learned.   So much so that I am now convinced it is an essential part of music education that has somehow fallen by the wayside, and needs to be brought back.  I can't recommend it enough.






whippinpost91850


Toby Krebs

Mics. up the a##. Farting into them(Keith Relf of the Yardbirds did that more than once)-dancing girls etc...this is great stuff. Laughing my a## off! I am a literate (can read and write it) musician with over 40 years of professional paid experience.I am also a pretty good singer and long ago one of my teachers told me I had better sing some tunes and entertain or forget about doing anything with the guitar. People want to be sung to. That's what they identify with and relate too. You have to be a song and dance man these days( and a DJ and a booking agent too). The audience does not care about the guitar or your guitar playing. They want to forget about their problems for a while. Find a partner and do a duo thing. A solo guitarist will only go over if you are a good singer with a very wide ranging book of material. Otherwise you are a one off novelty and won't get asked back. Looping is cool and I personally enjoy it but if I tried to do any sort of original looped material in front of a general audience they would run me up out of the place quick.Market and sell your original stuff on the internet. Play your versions of covers live at gigs for some income. I grew up in a different time when you had to have some actual skills and be in the local musicians union to work steadily. Those days are long over. The old model is gone. Guitar Hero-I-Tunes etc...has changed all that. I am glad I came up when I did. I have made a decent living playing jazz and done a lot of lucrative commercial and original recording while staying busy in cover bands. I also have a book of cover material of over 500 tunes and that does not include all the jazz material. At some point you have to decide if you are a commercial musician or an artist. I needed to eat so I tried to do both and it worked out okay for me.Smile and have a good time and learn how to be fun to watch not just listen to. Dance and entertain and draw people into your performance.Go see the Blue Man Group. Those guys know what the hell they are doing! Good Luck To You!

whippinpost91850


thebrushwithin

Amen, Toby. Sing to the women, and you'll never go wrong!