In some of my other pro tips I’ve mentioned the importance of playing often. However, I need to add a disclaimer: it isn’t just about the quantity of shows played, it’s also about the quality. While in theory, it sounds good to perform as much as possible because you can gain more exposure, the results can be quite different. There is such a thing as playing too often, especially in the same market. Here are some of the biggest reasons why you should limit the number of shows you play:
It Hurts Your Draw Even your most die-hard fans won’t want to see you every week or two. Playing too many shows close together will limit your ability to draw. This in turn hurts your relationship with the venue. In fact, some promoters actually make you sign an agreement that prevents you from booking in the vicinity for 2-4 weeks around a show. Unless you are invited to play a residency, try not to play the same town more than once a month.
It Diminishes Your Value We tend to think of things that are rare, collectable, or limited as more valuable. The same is true with your show. Not only will your supporters consider it a special opportunity to support you (especially when they’re only being invited a few times a year instead of a few times per month), you’re more likely to get a higher turn out as a result.
It Doesn’t Increase Your Fanbase (that much) If you are playing with unknown acts that don’t draw well, you’re going to only end up playing to the other bands. These days, most venues(always exceptions) don’t have a steady built-in crowd that you can perform for. Music venues rely heavily on the bands to make the show a success. That extra time you spend booking your local shows could be spent finding better acts to play with instead.
It’ll Cost You Other Shows Playing too many shows in your region will crowd your calendar and might cause you to lose opportunities opening for larger acts or special events that you could be invited to. If you stay in good standing with promoters you can work with them to be more strategic about the calendar.
It Wears Your Band Out Too many shows can also stress the band out: your gear, your vehicles, interpersonal relationships, etc. You don’t want to burn yourselves out playing small shows every weekend when, if spaced out properly, those shows could be doubled in size.
It Takes You Away From Building Your Potential Career Shows take up a lot of time. You have to book the gig, haul gear, setup, play, tear down, etc. That’s extra time that could be spent on writing music, working on your music career’s long term strategy, booking a tour (different than regional gigs), networking, or even visiting someone else’s show to get some inspiration for your work.
Instead of trying to fill the calendar, use your efforts to fill up the venue. Think about your long term goals. Add some variety to the calendar with the types of venues, locations of shows, the kinds of events you could be playing. If your goal is to play 100 shows this year, 90 of them should be out of town.
Try this: imagine that your band can only play four local shows this year. Where would you want those to be? Which acts do you want to play with? If you value your time and believe that each show needs to be a part of an integral part of a long-term goal, you’ll be more careful about the kinds of shows you book or accept. Being strategic about your shows will get you closer to your goals than conquering one dive or bar patron at a time.
“His palms are sweaty, knees weak, arms are heavy, There’s vomit on his sweater already, mom’s spaghetti, He’s nervous, but on the surface he looks calm and ready”
I have a musician friend (yes I have like 4 of those) who confessed to me that she feels like she’s gonna throw up everytime she goes on stage. So I did some homework and wrote this to help her and anyone else suffering from performance anxiety.
Your palms start sweating, your muscles tense up, your heart beats so loud you think that the whole audience can hear it. Stage fright, a.k.a. “performance anxiety” is common and affects many musicians from beginners to professionals. If you’re one of the millions who suffer from stage fright know that you’re not alone. That it’s not your fault, and that there are activities and exercises you can do to help overcome the anxiety.
What is Stage Fright? First, let’s understand why we feel stage fright. It’s a natural reaction due to the body’s fight or flight response, a biological survival adaptation that kicks in when we feel threatened. We naturally want the approval of others and when we’re front and center, under a spotlight, we can experience the threat of not gaining that approval. Even after performing hundreds of times and getting nothing but praise many people still experience stage fright. I found some examples: Barbra Streisand is known to use a teleprompter during live performances due to anxiety. Adele has spoken openly about her fear of audiences, and John Lennon would get physically ill prior to performing as a symptom of stage fright.
But fear not, there are measures we can take to lessen the severity of our stage fright symptoms on gig day and between performances. I found 10 activities and exercises that you can rely on to perform without fear.
1. Prepare We all know the importance of practice prior to a big show but if you suffer from stage fright it might be helpful to take it one step further. While practicing your piece, envision exactly what you’ll think about while performing. Visualize upcoming difficult parts while you play and immerse yourself in the rhythm. Don’t allow yourself to go into auto-pilot practice mode. Instead, fully engage with the music. Instead of practicing by yourself at home, ask close friends and family that you feel comfortable playing in front of to serve as your audience. The bottom line is that you should know your music like the back of your hand. Memorization can be a huge stressor on performers, so do yourself a favor and eliminate it from the get go!
2. Skip the Coffee You may think it’ll help you be more alert, but caffeine and sugar can actually agitate the symptoms of stage fright. It’s best to avoid sugary foods or caffeinated beverages the day of your performance. Be aware if you’re sipping something to sooth a tired or sore throat, it should be caffeine free! Believe me, the natural pre-show adrenaline boost will be more than enough to keep you alert and energized. If you’re feeling overly energized or anxious try eating a banana. Its natural beta-blockers may help regulate your energy levels.
3. Accept the Fear A lot of times when people experience stage fright they tend to blame themselves thinking that there is something bad about feeling nervous. Accepting that what you’re feeling is a natural biological response can be incredibly freeing and will allow you to work past your stage fright.
4. Don’t Focus on Yourself Try not to think about the way you look, sound, or feel. Instead, think about how cool it is that you have an opportunity to bring enjoyment and fun to others!
5. Be Confident Don’t fixate on what could go wrong, but rather imagine all your preparation, skills, and musical talent aligning perfectly. Remember that your audience is there to support and encourage you. Avoid any and all feelings of self-doubt.
6. Listen to Music Sports psychologists have long encouraged athletes to listen to music prior to big competitions. Some of the same benefits can cross over to musicians as well. For one, we can choose songs to put us into the right mood. If you need a boost, pick a song that fires you up. If you need to relax, listen to your favorite chill-out song.
7. Relax and Focus We all have our own way of entering ‘the zone.’ Practice your relaxation technique ahead of time, so that it’s ready to go when you need it. One suggestion is to find a quiet spot to sit. Slowly take 10 full breaths, in and out, through your nose. Count each breath as you go.
8. Stretch Stretching will help loosen tense muscles and allow you to focus on something other than your jitters right before the show. Take it easy, concentrate on your movements, and shake it out when you’re done. Imagine all the negative energy leaving your body. If you’re feeling extra jittery, do a few exercises (like push-ups or jumping jacks) to release some adrenaline.
9. Use the Facilities It may sound silly, but DON’T FORGET TO USE THE BATHROOM. Believe us, we speak from experience when we say there’s nothing worse for stage fright than having to “go” when you step on stage.
10. Enjoy Every Moment Smile as you walk on stage and look at the crowd. Imagine all the people who have supported you out there cheering you on. Perform like you know you can and graciously accept applause at the end. Not only will you SLAY your performance, but you’ll overcome your stage fright too!
I hope these tips have been helpful for you and that you will be motivated to perform through your stage fright. I’m rooting for you, and I know you’ve got this!
The band is melting faces, the music sounds better than ever and the energy in the show is electric. You’ve got that amazing moment where you are like “this can’t be real; this is way too much fun and it sounds too good to be true!”. The song ends and the fans are screaming, clapping, and going crazy! Life is sooooo good! And just then, you realize, I got to say something to these people. You start to panic, you swallow deeply, oh crap, what do I say? The silence is now deafening and you let out a uhhh…. Uhhh… you start to sweat and turn red, you’ve got nothing. You yell “How yall doing tonight”.. but it’s during the day. You realize, oh my gosh, my talent is not enough to be an entertainer.
As a guy who was extremely shy growing up (yes, true statement), I am no stranger to the emotional nightmare of being put into a situation where all eyes and ears seemed to be focused on everything you say or do. If you are the guy or gal who is the “frontman” of a band, you’ll quickly realize that your vocal talent is maybe 50% of what makes a great entertainer and that public speaking and playing music are two completely different things.
In this article, we’re going to discuss some things to consider to prevent those moments of anxiety, hopelessness, and fear in speaking to the audience.
The term most used for this type of dialog to the audience is called “banter” and pending your bands “brand”, it can be everything from the use of comedy to engaging in storytelling.
First and foremost, if you want to be good at anything, it requires practice and dedication. There is NO moment where “it will be good when I get in front of an audience”. Public speaking requires lots of practice and execution before you become comfortable. Until you are able to get a PhD in BS, don’t expect your improv skills to get you by all the time.
Solution:Consider scripting banter and practicing it.
Like Politicians, comedians, or even TV show hosts, they are not shooting from the hip, they have scripts or have memorized dialog. This is crucial to deliver a message that resonates with pin point precision to an audience.
When I took a speech class in college, the instructor alerted me to listen to the “umm’s”. Interestingly enough, you would be surprised if you record yourself in dialog because “umm’s” happens constantly. I remember “shooting from the hip” with a speech presentation on a guitar. I knew I was going to slay it because, hey, I know guitar…right? Well, I did indeed get a standing ovation for my performance (likely because I actually played guitar more than speaking), however, I apparently said “umm” about 25 times and I never realized how much I say “umm” if I have to think. It’s something we all do and something I work hard not to do these days. Could you imagine if I was writing this article “shooting from the hip” or “improvised”, it would be like “you should… umm… umm… try and memorize what ummm you are gonna say”.
As a public speaker now, I still look back at my idiotic thoughts that magically things would just “come to me”. Point is, practice makes perfect and with experience, you’ll be able to read the crowd and nail the banter! But before then, consider scripting some things and doing lots of practice!
So, what does a scripted banter look like? What is some stuff I can talk about?
The examples below are just that. Examples. One thing for sure, they are intended to be delivered larger than life. Not just spoken. When reading these, awaken your inner rockstar and imagine being in front of a screaming audience.
The area / city / venue
Example: ALABAMA! We’ve heard about the wild and crazy folks in (insert city) and at this venue (insert venue). It’s such a pleasure to be here to play some music for you. We’re going to have a great time tonight!
translation:
You made it personal to the area
You made the venue happy
You told them they are going to have a good time (yes, it’s ok to tell people what is about to happen)
The song / story telling
Example: Thank you very much!! This next song is one of our personal favorites we all grew up listening to. This song inspired guitar players to think outside the box and taught singers how to be front man, formed by two brothers with the last name “van halen”, sing this next song with us, JUMP!
translation:
You let folks know you appreciate their energy
You told a story about it being personal to you
You set it up so folks were ready for the keyword “van halen”
You told the crown to sing along to create more energy
The band / members
Example: Thank you very much! We are “Band Name”, we’ve been doing this since “Year” and so happy to be here. We’ve traveled the nation but you guys are the best! I’d like to take this time to introduce the band. On drums, the baddest in the south, all the way from Atlanta Georgia, John Doe! (let them clap.. then go to the next)
translation:
You let folks know you appreciate their energy
You made it personal for the audience
You gave some background on the band
You encouraged your bandmates by giving them some extra love and dialog
You gave opportunity for others in the same location to cheer (use bigger cities for more response unless it’s a local gig)
The venue / staff / promotor / other bands
Example: Thank you so much, you folks are incredible! Before we go to the next song, let’s give it up to (insert band name), they were amazing! We would like to also thank (insert venue, promoter, staff) for such an amazing time.
Translation:
You let folks know you appreciate their energy
You promoted another band (built community)
You made it personal for the venue, promoter, and staff
You let the audience know you are having an amazing time
Your social links / how to connect
Example: Thank you so much! We would love to connect with you! Pull out your phones and please like us at XYZ on facebook and instrgram or you can check out our website for our dates at XYZ. We appreciate your support in our musical journey!
translation:
You let folks know you appreciate their energy
You let them know you want to hear from them
You gave them instructions to connect (you would be surprised how many will do it on the spot)
You let them know their support directly supports your journey
Merch / Album
Example: This next song “ummm” is off our 2nd album titled “Public Speaking Nightmare” and is available on iTunes, Spotify, and all streaming services or you can pick up a copy at our merch booth right after the show where we would love to meet you and hang out.
translation:
You let folks know you have multiple albums
You let them know the song title and the album title
You let them know how to find it
You encouraged them to purchase on the spot
You encouraged them to come meet you (i.e. make a fan for life)
Those are just a handful of ideas you can consider but know that it takes work. You may want to tell a joke if the audience is in the mood or you might want to let them on a special secret about an upcoming song or something that makes the audience feel special.
You’ll want to remain calm and confident in your execution which comes from practice.. yes, practice this stuff in the car or in the shower.
Don’t be afraid to learn from others as well. Go out and see some shows and learn what works well and what doesn’t work so well. If you’ve read any of my articles, I’m a fan of visiting the venue or location you are going to play to get a feel for the audience and environment. KNOW YOUR AUDIENCE! I’ve seen bands completely bomb because they thought the “comedy routine” works every time… not. When you find the magic thing that works, keep doing it. This is a long journey and it only gets better with practice and experience (surviving mistake)
The last bit of wisdom I’ll share is that when you are on stage, people perceive you differently. The person they may know to be shy is not the same person on stage. The person on stage is expected to be different. As an entertainer, it’s part of the job to be bigger than life and to exaggerate movement and action. Much like a wrestler doesn’t walk around town puffed up 24 hours a day, they play a role (yes, spolier, wrestling is an act of entertainment). If you are standing there expecting to look cool just because you have lights on you, think again. This is the entertainment business and people hear with their eyes. Don’t be afraid of the mirror, taking video of yourself, and rehearsing this stuff so it’s natural. In other words, practice like you play and you’ll be ready to slay the next crowd.
I hope some of these ideas can be put in use. As always, I’m open for comments, ideas, and your own war stories. Rock on.
We’ve all been there. You are trying to find new band members. You put out flyers, ads, or even post on social media. Then, whenever someone shows interest in your band (they call you or audition), they do not have the same drive and ambition that you have. This situation actually occurs for most bands throughout the music business. Unfortunately, most bands do not know how to solve this problem in order to find the right members. Remember this general rule: If you are in the company of band members who are truly success minded, there are no boundaries to what you can accomplish. If you have a band full of unmotivated band members, the chances of succeeding in the music business are close to zero. Here are some tips for finding committed musicians.
Tip 1: In order to build success for your band, you will need to consistently put out a great deal of effort (this applies even once you’ve begun to “make it”). If your band only contains a couple of people who do all of the work, the amount of work will simply be too much to handle on your own. As a result, the band will likely not achieve significant success. Once you start to notice that the other musicians in your band are not putting out much effort to help the band, bring this up with them. Tell them that they have only one chance to change their ways. If you then notice that they have not made any efforts to turn things around, cut them from the band. These people will only drag your band down.
Tip 2: It is very common for potential band members to talk about becoming successful, but not actually follow up on what they say. Every musician wants to become highly successful in music, but very few musicians will truly put out the effort in order to achieve success. You will run into these kinds of people all the time. People like this will want to join your band, but won’t be able to help your band in the long run (they will only slow down your progress). Keep away from these types of musicians at all costs.
Tip 3: Some musicians make for excellent band members from a purely musical standpoint. However, it is a very common situation that talented musicians actually prevent their band from making progress in music. This is because talented musicians (like any musician) can still be the “wrong” people for your band. If you want to achieve great success with your band, you will need to focus on the wider scope of where the band is going. This means, if someone is the wrong person for your band, you need to let them go (even if they can play great).
Tip 4: Finding the right band members may sometimes seem like an impossible task. However, remember that the most dedicated musicians are also looking for you at the same time that you are looking for them. These people are also going through the same difficulties as you, and share the same desire to play in a successful band as you do.
Tip 5: There are many bands that have already achieved high success in music who are unsatisfied with some of their current band members. It is a mistake to assume that because a band is already successful, they are not actively looking to find the right musicians. It is possible that people from these bands could join with your band instead or even that you could replace a member in their band.
Think about all that you will be able to do once you have found the right musicians for your band. This means being surrounded by musicians who not only talk big but do big. These are people who are highly motivated, and work hard on a continual basis to make progress in their music. Once you have these people on your side, you will become a totally unstoppable force.
Maybe the article should be called “10 Questions and considerations to finding the magical number, or more specifically, value worth playing” but please read on.
This is a controversial article to write and I expect people to totally disagree, which is cool. If you have other ideas, please share, this is all about community. I write these articles to evoke thought so I hope the time I spend on stuff like this is helpful.
I’ve been fortunate enough to travel the country and meet a lot of stellar musicians, bands, managers, and folks in the industry. Inevitably, if you are talking shop with these folks, pay sometimes becomes a conversation piece and for the average cover band, the subject of pay can seem taboo as to not show your cards.
However, I’ve found in my dealings with seasoned bands that understand how networking works, this subject leads to great dialog, teaming, and unity when you share info to help others. It also leads to gigs!
Spoiler alert though, most agree that the common bar gig musician is not getting rich and barely making above minimum wage when you dissect the numbers. Matter of fact, time after time, the average pay per musician is the exact same rate for the typical bar gig across the nation, regardless how great you are.
So, this article is not about “your worth” or anything which might get you on the defensive, rather, it’s about factors that you may consider in your negotiations to 1. Get the gig and 2. Establish a rate and value which is feasible for everyone (venue, people, band..etc).
The good news: Venues are opening their doors again with open arms for artists and bands to play. People are hungry for live entertainment. The environment is still not where it was pre COVID but the fact there are some places to play is a positive.
So back to the question, how much do we charge?
Unfortunately, I’d love to just give you a number but the answer is based on many many factors. Like investments, your evaluation is critical and sometimes it’s about the long-term gains versus the short term quick gains.
So, let’s arm you with some considerations which might help answer your own questions based on your own requirements. This is just a sample list of considerations and questions. You can get as deep as you like in analysis.
Facts: The venue (bar, clubs)
Venues operate to make money, it’s a business and it’s expensive to run. Rarely there will be a venue that says “hey, let’s build a venue so bands can experience great shows and get paid regardless if we make any money” Rather, it’s “let’s be strategic in how we can afford entertainment to increase sales and enhance our business and margins”. Going further, some venues right at this moment are saying “I don’t think we can afford bands because we’re losing money with some of them” (I’m sure you’ve seen the decline across the nation).
Knowing this should immediately trigger the strategic side of you. Let’s do some analyzing!
Do I want to play this venue?
Ok, I was tempted to do an entire flow chart for this article but let’s stick to 10 questions to help generate some decision factors.
Does the venue provide production (sound, lights, backline)? If so, easy gig. However, it is a quality production system? Did you know a bad sound system can be a liability? Regardless of pay, the production could ultimately be a liability that pays negative dividends thanks to social media and live videos. Also, considering production rental costs are high, you may want to factor this as an additional value on top of your pay given an average small PA and lights rental is $500 or more.
What type of built-in crowd does the venue have? This is a critical piece to help get you in the ball park of expectations for budget. However, this requires you visit the venue. Hint: Showing your support for the venue before approaching them is a big deal (trust me). By looking at their pay model (door, cover charge..etc). you can quickly access a working range of budget. As an example, if there is a $5 cover charge and average of 100 people. It’s easy to see there is $500 in reserve. Some venues will do a percentage of that, others will do 100%. $5 a person in attendance is a good number to start at in your calculations, even if there is no cover charge. Don’t shoot the messenger, I’m sure you are worth more but the economy doesn’t work that way. You can put in other factors such as additional funding as a restaurant..etc but I’m keeping it simple.
How many people will we bring to the show? In addition to the built-in crowd, how many fans are you bringing. Consider the calculations as we did earlier in your negotiations but be honest, otherwise, the venue could lose money and then your band is no longer an asset or future gigs may be impacted.
Is it local? What are my operational costs? Local gigs usually provide more fans and much less operational costs. Unless your band is regionally known, expect a reduction in attendance outside a 50 miles radius. With added travel costs, the location of the venue becomes a large factor. You can certainly try and add on the travel expense to your price, however, it’s not a competitive edge if people don’t really know your band and the venue is not reaching out to you. Be smart on this one and look at the long term options of maybe playing the venue to establish the presence for future growth.
Is it a smoke filled venue? Some bands / vocalists don’t want to play that environment and some fans or patrons may not visit. Consider it as a factor.
At this point, you should quickly be able to establish if you want to play the venue. NOTE: This does not necessarily mean the venue wants you to play there. Now, let’s look a little deeper into ourselves and the band.
Why do we play music? I’m pretty sure if you are reading this article, it wasn’t because you planned to make money when you started. You felt something you’ve never felt before. You probably wanted to be famous and expected money would flow. You may have wanted to get that girl or guy because musicians seem cool. Truth is, you probably play because it’s a passion and the most fun thing you can do with your clothes on (or off for that matter). This is a factor to consider at all times. I’ve seen many bands forgo opportunity because of false values they place on themselves… even to the point that they are forgotten because they hardly play anywhere. Don’t play for free.. but don’t miss an opportunity.
What is the band minimum? Only you and your teammates can answer this question. What will get you out of bed or away from watching TV or surfing the web to go out and play? At no point would I suggest “free” unless it’s an asset to your music journey (which there are those times) but it’s your standard you set for yourself and band. Consider your operational costs, what does it cost to get to the venue (gas, food..etc).. make it a factor.
Are we willing to invest? If you are an original band, expect every show to be an investment towards future dividends. If you are a cover band, you may not see things the same way as you may look at playing as a “job”. Regardless how you look at it, you are investing your time, energy, and talent for a reason. Make sure your investment pays dividends whether than is money or just the best time of your life. If it’s not fun, don’t do it. Consider your investment and its dividend as a factor.
Does your band play songs people want to hear? Did you know that most people don’t care if you play the B side to some obscure song which has the most advanced bass and drum lick on earth? Did you know Wagon Wheel will generally ALWAYS work? I’m being silly but your song choices directly effect your profit center as well. Consider this as a factor. Maybe the better question is “Are you playing for yourself or others?”
Does your band provide production? Many clubs do not have proper production. If your production is top tier and ran properly, it can be a factor in your negotiations… but this is generally when you’ve established a show that people come and see.
If you wanted to really get fancy, you could almost assign some values to a calculation based on your own numbers. However, this is looking a value / investment versus just money in hand. It’s a bigger look at the business versus just cash in hand. I hope you can understand the difference, just like investing.
Example Band 1:
Does the venue provide production (sound, lights, backline)? Yes (+$500)
What type of built-in crowd does the venue have? Yes 80 people (+$400)
How many people will we bring to the show? 20 people (+$100)
Is it local? What are my operational costs? Yes (- $50)
Is it a smoke filled venue? No ($0)
$950 in value to band
I hope this article could spawn some different views to paint a picture of value and how you may approach what to charge. Rock on!
