In this part we will focus on those who wish to make music more of a career than a hobby. These are the professional musicians, which is not to say that a hobby musician can't be professional. It simply means that this select group has made music more of a priority and look to gain a large portion of income from the work they help produce. These can be bands playing cover tunes or originals, but we're going to stay focussed on bands performing original material. With that said, let's talk about getting started from the ground up and working your way to the top. As you begin rolling along you will encounter many bumps in the road along your path to success, so watch your step along the way.
Rolling along isn't easy, so you have to get very creative in your approach. Keep in mind, this is not a level playing field and it's crucial to your success how you handle business from this point on. You either do or do not have a product that sells and this is where the music industry differs greatly from any other product on the market you may find for many reasons. Let's say you have a product, a recording of your music, packaged and distributed. Along with that you have a product, your performance in front of a live audience. Not only can they hear it, they can see it, so how well you perform adds to your ability to sell more product. In some cases your recorded product will sell, but your live peformances will not. You're at least gaining some momentum, despite the hard fact that your live performance needs work. You have to sell as much product as possible to succeed in any business and the music industry holds true to that.
After all, that's what business is all about. You have to give buyers something that makes them purchase your product rather than your competition's and to do this takes very creative marketing, as well as good performance. There are so many talented performers out there in the world, as I'm sure you're aware, but that doesn't always guarantee success. Many of them are sitting at home wondering why they aren't out there on the scene while others who may not be as talented are enjoying major success. Why? Perhaps they have the talent to play, but not to perform. Maybe it's their attitude toward others or they just aren't with the right group of players. Whatever the reason, they seem to think that because they have this talent they deserve their time in the spotlight, but talent isn't everything.
That goes back to the creative approach, which means you have to separate yourself from the rest of the pack by not only being a good player and performer, but also a good business partner. Finding the right group of people to share in your success is not easy in this business or any other, so you have to do more in order to achieve your goals. This means getting together with others who share your same ambitions and have the skills to help you get where you wish to be. For those out there who have experienced this or are still enjoying the success this formula has helped create I applaud you. You have accomplished a feat that is certainly not easy to do, so you are hereby commended for making it happen. For those who have not there's still plenty of time. It's all a matter of knowing when to cut your losses. Does this sound familiar with any other jobs you've had in the past?
You have to teach yourself that it's nothing personal, it's just business when you just don't fit or someone doesn't fit with you. Any business is like this and it's these same principals that we must adopt when we get into the music industry. You'll hear every reason to be let go from a band, such as hair color, height, weight and even how you dress. The music business is one of the most discriminating businesses there are, but it's what works. In any case, it is what it is and you can't take it personal. You just have to move on until you find the right group with the same mindset all looking to achieve a common goal, success. Unfortunately, you can't have much success if you can't earn money and that's something very hard to do in this business if you're not careful at how you go about it.
Let's get back to the basics here. We're talking about the point where you have your band together and are ready to gig out. Just like in any other business it's very hard to get your foot in the door, so you have to give them a reason to let you in. A quality demo of what your band is like can be a great start, so spend some time to make sure what you are dishing to potential clubs fits what they're looking for and is as good or better than your average competition is giving them. This is very much a "who you know" business and having friends in the right places will always help. If you don't have any friends in the clubs to help get your band some gigs to start off with you may have to settle for playing a few promotional gigs to gain a fanbase until you reach a point where your band becomes a commodity. By that I mean you are now filling seats wherever you go.
However, you can't make playing for free just for the sake of performing a habit because it will quickly be taken advantage of by the few clubs out there that rely on bands like this. The bottom line is, you should be paid if you perform. It's not so much a matter of money, it's a matter of professional business and music is no different from any other retail market. It's just a different form, so keep that in mind. When you play for free for exposure make sure you're getting exactly what you expect out of it and get everything in writing. Even if it's just a simple e-mail covering the basics of when, where and what is expected from both your band and the club. Regardless what the gig is, it's always best to get it in writing. This reduces the chance of a misunderstanding and helps both the band and the club/promoter hold up their end of the deal.
Another thing bands tend to do is sell themselves short just to play out. This is a crucial mistake because it makes you look desperate to play and gives club owners a larger list of "bargain bands" while preventing other bands from getting paid what they may be worth. You should get paid what you're worth while being reasonable with your expectations. If your band is drawing well consistantly it gives you the advantage when approaching club owners because they know they are likely to have a very good night in sales. For those bands who have worked hard, yet still fail to draw larger numbers after several gigs it's time to take an honest look at cutting your losses. Sorry, but this is a brutally honest business and unless you are honest with yourself your individual success is jeopardized. You have to know when it's time to move on or make the necessary adjustments to improve your band's worth. It can be as simple as changing up your set, tweaking your songs or replacing members of the band. If you want your band, your business, to be successful you have to be willing to make these decisions or you will fail.
Once you begin playing out you need to keep your gig calendar as full as possible because every show means the potential to sell more product and increase your worth on the scene. You don't want to become stagnant in your hometown, either. Use it to build a solid fanbase, then begin to branch out to other clubs within your region until you have expanded your market considerably. To do this a band must be at a level of self-sufficiency, which means they are making enough money to support themselves on the road away from home. This is why you start out working in your home town, then begin playing clubs in other cities nearby where you can split a few motel rooms and return home in a relatively short period. Keep as much money in a band fund to keep things rolling as you can possibly afford and, with the right alignment of the planets, the moon and the stars, you may begin to see your dreams unfold.
Now it's time to separate yourselves from the rest of the pack by providing a show that patrons want to see while expanding to a broader market. You have to develop consistancy with your show while playing on different stages using different sound systems and lighting, unless you bring your own. It takes some time to build up to, but having your own sound, lighting and crew who knows how to get the most out of what you give them can jolt your success rate up tremendously. Granted, it's an extra expense and a very costly one, but once you reach this level you should be able to command a rate of pay that more than compensates for what you spend. You should always keep your sights set on higher levels of performing, which means having the right people to get you there. This means having a manager that can get you to that level, as long as your sales provide for it. The moment you get your first big break when you go out on tour with another national touring act is the moment where your dreams begin to come true. Congratulations! Now wake up and get back to making it all happen.
Call me a bass purist because it's what I've devoted much of my life to. Since the age of nine it's the only instrument that kept my attention and I love nothing more than laying down some thick, hard grooves with the bass guitar. I began touring with bands just before I turned 18 and returned to Jax in 1989 where I became embedded in the local music scene once again. Since then I've gigged in and around Jacksonville working for both cover and original bands, but mostly original work. My bass of choice is Spector NS5XL series basses and they were kind enough to place me on their website. Truly a highlight of my bass playing career. My amp of choice is either Ampeg or Trace Elliot, depending on which rig suits the gig best. In the 80's we opened for The Ramones, Nazareth, Motley Crue and Head East, but I've also played for some country artists, such as Kari Reeves (daughter of country legend, Del Reeves). I've also done several professional recordings for both major and indie labels. Even though it never got me fame and fortune it taught me many valuable lessons about being professional. Something I strive to be every time I play.