Have you ever noticed how some concerts are just that, a “concert,” and some are an all-out party where you feel you are as much a part as the guys on stage? You may have walked away from some concerts wishing you would have just listened to their CD at home and saved a few bucks. The CD was actually better. So how can you create that amazing concert every time you play, and begin to build an army of followers?

Obviously you don’t want an army of mindless, robot zombies for an audience. But what about an ever growing number of active fans who can’t stop talking about you? How can you walk off stage having added a room full of raving fans to your mailing list, and increased the number of people spreading the word about who you are?

What is it that makes the difference between “just an average show” and a concert experience your audience can’t stop raving about? The key word in that last sentence is “experience.” Not “experience” as in skill or knowledge, but “experience” as in surrounding your audience with sights and sounds that amplify and intensify your music and message. Unforgettable concerts immerse you in a concert experience where you cannot help but be filled with the energy of the music.

“So how can I do that?”

Seeing your band from the perspective of the audience can help you create an amazing concert experience. You can be the best dressed, have awesome visuals, even the best sound, but if the audience’s only response to your show is a hand clap, how many of your shows do you think they will attend? Will they even remember who you are? What will they say to their friends about the show? “It was okay,” or “They were all right; I kind of liked the music?” But how do you get your audience to say, “It was the best concert ever!!”

Years ago, Van Halen made me feel like I was standing right beside him, indulging in his every wild gesture, moved to tears from the excitement and letting go with abandonment at the same time. He was playing to me. The crowd went wild when he stepped off the stage to look me in the face as he played a few lines. I was every person in that audience. The whole band’s energy was contagious. Others also had their two seconds of fame when they were handed the microphone to sing a few lines. Everyone was stoked. There was nothing else going on in the world at that moment but the life in that room. The entire stadium was hanging by a thread for three hours straight. To say it was an incredible night would be a major understatement. Let’s talk about how you can create that same type of unforgettable concert…

Mind control made easy

Of course I’m not actually talking about “mind control.” But just like Van Halen in the story above, you want to create and maintain a level of influence and connection with your audience that they will never forget.

Don’t let the stage separate you from your audience! Being above the ocean of people allows you to better capture your crowd. All eyes are on you, watching your every move. Your rapport with your audience will get you anything you want. Your connection with your fans should start long before the concert. Join the crowd before the show, talk to your fans, sign autographs, and even stay after the concert to continue the party and connect with your fans even more. This may seem like common sense to you, but are you really doing it? It’s one thing for a band to be there before and after their time on stage to watch the other bands and perhaps talk to a few people, but it’s much more powerful when a band makes it a point to make friends with everyone they can in the audience.

One thing to realize is that your fans are your family. Talk to your fans; tell them what you expect them to do at your shows. Ask and they will follow. Lead and they will imitate. Just like an ocean wave, the energy you put out there will ripple across the audience and back to you.

The Red Hot Chili Peppers has the knack of getting the whole crowd to jump up and down. How? By jumping themselves. Have you ever been in a concert where the lead singer moshes across the audience and back? He joined in, became one of them, and the crowd went nuts. Do you want your audience to sing along, wave their hands, jump, yell, dance and scream? Whether through your words or through your actions, ask and it’s yours. For that moment in time, your band is the center of their world.

Janis Joplin described her concerts as making love to twenty-five thousand people. She said it’s like the incredible connection usually only felt by falling in love the first time, yet multiplied by the entire audience. Can you capture that same passion for your audience? Show them you actually care about them more than the money they put in your pocket. Give them more than they expect and get more in return. If big-name bands can do it, so can you. Watch them, learn from them.

Getting your audience involved is a matter of action, a lot of playful action. From connecting with your audience before and after your concerts, to surrounding them with things that amplify and reinforce your band’s energy, to asking your fans to get involved exactly the way you want them to, truly connect with your audience and you will grow an army of loyal fans.

But it doesn’t stop there

If you can move the emotions of the audience with participation, what do you think would turn them from fans into fanatics? Think about how to appeal to all of their senses. Surround them with every part of your unique self. What imagery could you put with your music? What lighting, clothing, sounds, and more will pull them into knowing and being a part of who you are? Everything about the show should scream your message and the response you expect from your audience. The show is more about the full concert experience than the music. Take some time to talk with your band about different ways you can truly connect with your audience. Then write those things down and start doing them! Lead your army where you want it to go and they will follow.

Find the mentors and coaches you need, those that can help you create amazing and unforgettable concerts. You don’t have to walk the road to success alone. Get this free twelve day mini-course on how to turn your rock band into a success. In addition, test yourself in this free rock band success test. If nothing else, I hope you have taken this article to heart.

About the Author: On the ridged and often dangerous path to “making it” in the music industry, Draven Grey has been described as a friend, guide, and schoolmaster. Draven is a professional musician, producer, artist development specialist for Rockstar Mindset, and rock band success coach with Tom Hess and Alex Staropoli. To find out more, visit Rockstar Mindset.

Last summer the phone rang, the caller ID showed the name ABC News Chicago. I picked up the phone and a man introduced himself and asked me if our band would be interested in being included in a documentary on “Whats Keeping Rock And Roll Music Alive…” My heart was pounding, of course I said YES. He went on to explain they were looking for a local band, with memembers that still had day jobs, that still load and unload all their own gear, that does their own set up.

“Thats US!” I replied.

He then had a gentleman from ABC News in New York City call and interview me over the phone. Luckily we had a gig coming up in three days so things started to get set in place. A local producer called me to arrange a meeting place at the Mendota Fest gig we’d be playing. They wanted to be there in time to catch us unloading and setting up.

The producer brought along a sound engineer and camera man along with her. They actually arrived at the Mendota Fest just before we did. They were polite and made us feel at ease. The camera man followed us around and we actually felt like STARS. We had been instructed to bring pictures of all five of us from when we were growing up. They took our photos and attached them to a back drop with the idea of having music playing in the background while capturing out childhoods.

They followed us around as we set up all the equipment. They also attached a wireless microphone to myself and to our drummer.

The producer interviewed me and asked many questions, from “What I think is keeping Rock and Roll Music alive?” to “Why we go through all this when the pay never is equal to the amount of work and energy one puts into a gig?”

I teasingly excused myself to go to “my dressing room” (a porta-potty). The camera man loved the angle so I had to yell out to them when I was coming out of my dressing room so they could film that to. Once the setting up was complete, we gave the producer a copy of our set list and she asked if we could do certain songs in a certain order. That was no problem as we had plenty of time to change things around. They wanted to highlight on the version of Rocking in The Free Worldthat we do. It just seemed so fitting at the time.

So we started to play. As I was playing my bass, I turned to look at my husband who is our lead singer and rhythm guitar player and noticed the camera man was right next to him on stage filming his close up. When we began our second song I was tapping my feet while playing and I noticed the camera was filming my feet. They certainly did not miss a trick.

It was a wonderful time and a wonderful expierence. They were with us for over five hours. The week that this all took place, ABC was airing a lot of specials on Elvis. They wanted this documentary to be aired in conjunction with those. They told us they felt it was turning out great. The tape would be turned over the ABC in New York and would be aired on The Good Morning America Show, but they could not tell us when it would be aired. They said that the bad news was if “Breaking News” happened when it was scheduled to be shown, it could get bumped.

So everyday we all turned on the TV looking and hoping , and it never seemed to air. Then, on August 14th, 2002, my phone rang again and it was my mother, who lives in Ohio.. She was screaming with joy, telling me to hurry up and turn on ABC’s World News Tonight with Peter Jennings. They had a special called “Celebrating Elvis” and had oneminute of our documentary included with it. The editor of the Rolling Stones Magazine was interviewed in that segment, saying “Nowadays all it takes is some good rock and roll music” Then came our minute of fame! We made the World News Tonight. And even though it only aired ONE Minute , it was the most exciting minute our band has ever had.

They may still possibly air the documentary in its entirety one day. But even if they never do, it has made all this hard work and dedication to our band well worth it.

Rock ON

Peace

We have all listened to songs that have levels to their parts, like “Song 2″ by Blur, and “Remedy” by the Black Crows. What I mean – and I am really simplifying this – is that the verse of a song may be lower than the chorus. Imagine this scenario: you’re in a bar where the club band is playing. They’re playing at one volume level; the verse is not soft and the chorus is not loud; the singer is in the background, and in this particular song s/he should be in the foreground. It’s all noise.

“Song 2″ is a great little song in the sense that the verse is at a fairly decent volume. As soon as the bass kicks in, which is in the chorus, the song takes off. Once the verse returns, the bass drops out and the song resumes its previous volume. The dynamics take the song back and forth with the different volumes.

“Remedy” uses the same idea, but with a switch: they play the song verse fairly loud; when it comes to the chorus the volume drops considerably. The dynamics really set a mood for the song and the crowd.

Another band that does very well with dynamics is the Dave Matthew’s Band. I am not going to ANALYZE their songs, but I encourage you to listen to a few.

Playing dynamically will also help your singer tremendously. S/he will not have to scream a whole song or set, so you may sound like the wedding band you are and not the local hardcore group. Being mindful of the levels you play during certain parts of a song will allow your singer to achieve a wider range. This has done wonders with my band, thanks to song dynamics.

It is a natural tendency for people to get excited when they play out. They play loud, and also fast. It is great to have energy as a band but you should sit down and discuss dynamics with your band mates. For example, the bass and drums should complement, not over power, each other. The guitars should be at a level that is not deafening, and the vocals should be coherent and not drowning in the music. Seriously listen to songs and how a particular band approaches a song.

I know this sounds simple but pay attention to the songs you are covering or the originals you are writing, because the dynamics will set the mood and the direction in which you want to go.

Here’s a side note on playing at lower levels and dynamically. I find that if my attack is lighter and less aggressive, I strike the strings with more precision and control. The harder I play, while fighting to be heard in a band, the sloppier I become. I have found that by playing at lower levels and more dynamically I have gained more control and precision of my attack.

In conclusion, keep your ears perked and poised for action; be professional in the sense that you can play a song tastefully. By following a dynamic you will become a better player. Remember, the band that is the loudest doesn’t always have the talent. It is the band that plays the song with dynamics that keeps the gig.

As people call, have a list of questions available.

“Have you ever sung/drummed/played with a band before?”
“What type of music do you like?”
“Have you ever been a part of a working band before?”
“Do you realize that you won’t make a lot of money doing this type of work?”
“Can you practice every week”?
“Can you help set up/break down at gigs?”
“Do you have reliable transportation?”
“Do you have a day job?”
“Does your Significant Other support you and your music?”
“What is your range?”

And other questions.

Then, if they sound like they have potential, (which a phone interview can give you a good idea of), invite them to see you play at an upcoming gig. When I offered these invitations and the potential new players accepted them, this showed me they were serious and wanted to make an extra effort.

If they don’t watch you play, or you don’t have any gigs coming up right away, have a four or five song “homework” list for them. This is what we did when we were looking for a drummer. I had a list of songs they were expected to know and play when they showed up to audition. Here are the songs:

Black Magic Woman/Oye Como Va
Wonderful Tonight
Radar Love
Sunshine Of Your Love

All these songs have different styles, tempos and use different techniques. We needed someone who could play them well. This is what you need to do for a lead singer or a guitarist. Give them a week or so to learn the songs and then have them perform for you. It is best if you can schedule more than one prospect, one after the other. That way, every prospect stays fresh in your mind.

Give them one hour to set up and play the “Homework” with you and the rest of the band. That should give you a few minutes for them to pack out and get ready for the next one. Take notes on all of them. It is easy to forget who did what or didn’t.

Also, take note on the appearance of their gear. Is it maintained well and in good working condition? Are they driving a car/truck/van that is not on its last legs? We hired someone years ago who showed up in a station wagon that looked like it had one more day to live. After we hired this guy, his car died and we had to give him rides to gigs and to practice. I’ll never do that again.

I wish you luck in finding that perfect new addition to your band. If you have any other questions, please drop me a line.

But a weekend or two a month, I play bass in a blues/rock cover band. We’re the “house band” for Jammer’s Bluenote Ballroom in Bemidji, Minnesota. We’d love to open for your blues band! Call Dawn Eve at 218-751-1565 if you want to play the blues in the pine woods!

I heard there was an “open stage” for this band, so I showed up and jammed with them…and I’ve been their bass player ever since. We’re Drew’s Cruisers: guitar, bass, drums, and a keys/tenor sax fellow. The other three have played together for a while so they are all tight with each other; it’s an easy job for me to fit in with them because they all know what they’re doing already. No egos, no hassles, just folks who like to make music.

This has been my peak experience as a bass player . . . classically trained as a flute player, but wanting to get away from the sheet music and just play, knowing the music and knowing what to do with it while listening to your bandmates to know what to do next. That’s exactly what I do in this band.

We play a variety of songs from Grateful Dead and Van Morrison to Willie Nelson and Johnny Cash, plus some interesting original songs and instrumentals from the guitar player. He always introduces them as “a song of our own device…” reflecting that, even though the framework is his idea, the song becomes whatever the rest of us bring to it.

I’m having a huge amount of fun playing this music . . . but growing up as a non-smoking, non-drinking, classical musician, I’m playing music I never much listened to, in a setting I never would have frequented!

We have had a lot of interesting experiences in the few months I’ve played with them: the drunken bridegroom wanting to jam with us and nearly falling onto the keyboard onstage; the folks who didn’t like what we were playing and came up and screamed obscenities at us; playing at a music festival on an outdoor stage; opening for a band that never showed and for which we continued playing — for 6 hours total. But the best gig experience so far was the most recent one, where the appreciative audience bought the musicians a beverage!

That night it was a different gig; it was open stage hosted by the drummer, who this time played acoustic guitar instead of drums. The guitar player was off to his 10th high school reunion in town and hoped to bring some classmates back to the bar. Apparently they weren’t interested.

So it was the drummer on guitar and me on bass. What a different experience with just me being the rhythm section. I found I had to adjust my bass lines to be appropriate. Then another fellow well known to the drummer stepped up and wailed nicely on electric guitar with us for a while.

Then a fellow in town visiting his brother (a bar regular) admitted that he was a drummer, and sat in on the minimal drum set. Suddenly we were a band!

After a while the guitar player showed up and we did some of the songs we usually do.

The dynamics were so interesting and different with literally “a different drummer,” yet with our drummer still playing our songs on a different instrument. I’ve played with these guys long enough now that I feel that special, extra sense of how they play and how we play together. It’s so magical and wonderful and hard to put into words, but something marvelous happens when we all get together and play.

The bass gods smiled on me abundantly when they got me lined up with these guys. I feel so at home on that stage. The time just flew by; I had no idea it was as late as it was.

And I made $24 from the musician’s tip bucket! What a generous, appreciative (yet always small) crowd!

Slowly the word is getting out that there’s an old lady playing bass at the bar. After one gig, a young woman came up to me and said, “I was in your daughter’s class, do you remember me?” I did, after she told me her name! I explained that playing the bass was my “empty nest project.” Now I have to wonder what she’s telling her friends and her mom… “did you hear what Gwyneth’s mom is doing?”

Next gig is for a biker rally, the last A.B.A.T.E. get-together for the year, next month. The drummer promises me that the bikers will remember me for a LONG time. I’m afraid my secret is getting out!

1.) Club address, phone, contact person.

2.) Dates and times band is to perform.

Include set and break lengths. For instance:

“Payday Daddy agrees to play” Friday and Saturday night, Feb 2nd – 3rd, 2002, from 9:00 – 1:30 am… 2 -70 minute sets,, with a 20 minute break in between, followed by a 1 hour and 45 minute set.(A lot of bands do not follow our set lengths, more common are 4 – 45 minute sets with 15 minute breaks in between.) Also note who will provide music will the band is on break.

3.) “Acts of God” clause.

This protects you, and the club if there is a bad storm, flood, fire, or an illness, or something beyond anyone’s control. Neither party will be held in forfeit of the contract if anything bad should happen.

4.) Price.

Make sure to write out the agreed amount as follows. The agreed rate of pay is to be $800.00, Eight Hundred Dollars. This way there is no misunderstanding.

5.) Cancellation clause.

This should read as follows: In the event that “Cancellation of this Contact” is determined, there should be at least a 6-8 week to grace period. This way, the club can’t cancel you a week before your gig because the club owners niece’s cousin’s son that has a band wants to play there next weekend. This also gives you (Hopefully) enough time to re-book that date. And it protects the club from bands that cancel a day before the gig because they got a better offer somewhere else. (By the way, this is a BAD NO-NO, and if you are a band that does this, STOP. Word will get out and no one will hire you.)

6.) Any “Bennies” for the band.

This can include, food, drinks, rooms etc.

7.) Signatures of both yourself or the band’s manager, and the club contact person both printed and signed.

Use carbon paper, or the kind where it will make a duplicate without carbon. You get a copy, and so does the club.

Actually, this article relates to The Little Black Book article that I wrote. This situation deals with how to deal with people on the telephone and make the auditioning experience for you next band worth your time.

So as you are searching for a new band, you should be able to:

• Get what you want out of any conversation.
• Paint an accurate picture of your soon to be band mates.
• Make a not-of-interest phone call into a brief call.
• Network with people of interest.
• Create your Little Black Book (see my other article).

Well as you might be thinking where do you get all these names and phone numbers? Easy, everyone and everything around you that pertains to music. The music shop, the local record store, the papers, word of mouth, and any other connections you can come up with.

Let us say that we have collected phone numbers and put them into a book, Access or Excel database file, or whatever (the databases are great because you can filter phone numbers immediately to see if you called before). You have a writing instrument in hand and you’re ready to dial the number…NOT YET!

Make a list of what you are looking for! Seriously think of what you want and what you want to avoid. Create a checklist. For example:

• Type of music?
• How many people in the band?
• How many times a week?
• What time(s) do they practice?
• How much experience?
• What are long term goals?
• How often do they want to play out?
• Is it just a jam band?
• Is it covers, originals, both?
• How far away are rehearsals and gigs?
• Where do they practice (garage, studio, etc)?
• Do they drink/smoke/do drugs (either normally or recreational use)?
• How long they have been together as a band? How long have they been playing out?
• Are there individuals in the band that have played together before?
• What are the ages of the band members?
• What is the band mix, female, male?
• Who and how many people sing?
• What are everyone’s musical influences… not their likes; their influences…who would they sound like when they play?
• What type of equipment (if you are an equipment buff)?
• Who owns, and if they even have a P.A. system? (this one causes many problems in bands who are looking to get one, but nobody wants to dish out the cash)
• Sound guy?
• Ask names of people in the band and where they are from… nothing worse than hooking up to find that you’ve played with the drummer before and you really didn’t like him.
• Are they set in their ways and won’t change tunes?
• Do they make money at gigs?
• Who is the bandleader?
• Does everyone contribute equally, or is it leader directed?

You should put these questions in an order of importance to you, from most important to least. By doing this you can seriously cut a phone call short if it doesn’t meet your expectations. You will also be able to get a feel for the maturity level and the seriousness of the band. Keep detailed records of the people you spoke with, and create a little black book.

The above questions and statements will spare you embarrassing moments and save you heaps of time. I know that we are all guilty of it, when making a phone call you are so excited that you forget to ask half of the questions you wanted too, and before you know it you are driving 45 minutes to a gig that you are not quite sure you want.

Remember, a phone call is akin to a verbal resume, so be honest. Don’t inflate your talent because you will have to produce when called upon. Also, you are interviewing them, not the other way around, even if they did place the ad for auditions. You want to see if the job is for you, and you won’t know if you don’t ask. One thing that is common, more often than not, is that people tend to inflate themselves and they are the ones desperate to get people in to play. Lastly, if you don’t like what you hear, immediately say, “I do not think I am right for this situation. Thank you for your time.”

By being open minded, modest and considerate, you will find it much easier to meet people and connect with individual personalities. The best part about being prepared with the above list is that you do not have to be a phone person to accomplish this task, just determined.

So you have got yourself a great group put together. Everyone knows the songs inside and out. You have acquired all the equipment you need to gig. The van is tuned and ready for action. Your bass is polished and the new strings shine. You found some great looking stage clothes. 2 brand new rolls of ducktape are on standby.

What’s wrong with this picture? The phone is not ringing. Why?

The “Life Blood” of a band, any band, is advertising!! I’m sure you have heard the saying “Any press, even bad press, is good.” Why? If you can get people to hear about you, say your name, talk about you over coffee, without hurting anyone or committing a crime, this is “good”.

The times, they are a – changing

Tougher D.W.I. laws, boomers getting older, gas prices way to high, the tragic events of September 11th, 2001, whatever the reason, people are not going out to listen to bands like they did 10 years ago. Everybody you know, and their cousin, has a band. The number of clubs supporting live music are dwindling. Karioke A.K.A. Crapioke, and D.J.’s are hiring on at much lower prices and bumping us out on the streets. How can you compete?

Advertise!

When Payday Daddy gigs, every gig, we are constantly selling ourselves. Not only through the music we play, and the stage show we do, but we always push our name. On every table, in every club, for every gig, is our full schedule. This shows where we will be for the next year. The phone number of every club is listed on the bottom of the page. This way, if someone wants to come out and see you again, but they are not sure where that club is, they can call for directions. Chances are, if they had to take the time to look it up, or call information, they wouldn’t do it. Also, on the schedule, our webpage address. The website has the full schedule, always updated, easily accessible. Also included is our email address and home phone number. This allows your adoring fans to get in touch with you in whatever way is easiest for them. You must be willing to be available.

The mailing list

This is a very expensive, time consuming endeavor, but it will pay off. Doing a mailing list involves work, a lot of work, for someone. Along with your schedule, you will want to include your “Mailing list sign-up form”. And you will need to remind the people, many times, that it’s there and what it will do for them. First off, it will allow them to be “First in line” on any changes in your calendar. It will make them one of the “Elite few”, and they will like that idea. So, what you need to do is make you up some forms, 6 to a page works great, and what it consists of is their name, address, and zip code. Very easy stuff. Once you have their valuable information, you need to get a good program such as ” My Mailing List”, and enter the info there. Every 2 months or so, you will send a postcard to the mailing list folks. This is a card stock paper, that is available a places like “Kinko’s” or “Minuteman”. I take in my master copy, and have them print it up and cut it for a very good price. The work and cost comes in the stamps @ .20 each, address labels, and your return address stamp. We deduct $20.00 from every gig to help support the mailing list. This way, no one person is out of pocket more than the others. Make sure you don’t forget to change the address on the cards that come back to you, or delete them out completely if they have moved to the ends of the earth.

Posters

Posters should be put up a couple of weeks (ideally) before you play that club. That gives ample time for people to see you, and your name. Put them up yourself, if you can. That way, you know it will get done. Sometimes, you will have to rely on the club to do it for you. If this is the case, call them and follow it up. Chances are, if you don’t, those really cool posters will sit on the contacts desk, and sit, and sit. If you can afford it, go all out on your poster. After all, it represents you, and you want to make a good impression, right? Nothing looks worse than a badly photocopied picture. Include the dates and start times on your posters, and hang up a couple extras if you can. Some will be damaged, torn down, ripped, or even stolen.

Newspapers

Introduce yourself, in person, along with your schedule, photo, and a bio to the “Entertainment Section” person as soon as you can. Be polite and professional. This person can be your best friend in the advertising game. Ask them to please run your photo along with a write-up on where you will be playing. If they do it for you, call them and thank them. A little appreciation can go a long way. Don’t expect them to run your photo more than a few times a year, if you are lucky. This is why you are doing all this other stuff. Contact them the week before your gigs, to remind them of where you are going to be, club’s address and phone number, and if there will be a cover, and how much.

I hope this has inspired you to really go out and push for your group. If the people don’t know where you are, they won’t come, and you won’t be hired back. Don’t count on the clubs to do it for you, they won’t. That’s why it’s so important to do it yourself. Good luck!!

After reading and hearing about bass players concerned with finding a drummer, guitarist, horn player, or anything else for their ultimate band, I thought I would share one of my record keeping skills: keeping notes, names and phone numbers of band members.

Some years back, I began keeping records of people with whom I played and met. I have always tried to keep situations amicable, and to never burn a bridge. I would also read and call on ads for musicians in local papers. By doing this, I created a black book of players. These players are at my fingertips, and I am able to call different people for different situations. For example, for covers I would call a great rock drummer who was a strong player and had a full sound. For originals or recordings, I would call a drummer who was lighter and had more of a funk groove. The same would apply for singers, guitarists, and others.

The practice of keeping names has paid off. Remember, you may have a list of names but not everybody is playing all of the time. So when I make phone calls, it’s likely that some players are in-between bands or looking. The most valuable thing about this black book is that you keep in touch with people and create a bond, or a trust. It may take some time but it will pay off. Who knows: without expecting it, the next person you call may be looking for a bass player, or may know someone who is looking! This has happened to me and I give credit to networking for it. As I get older, I know what I am looking for in players, and not everybody fits that mold. This network of players allows me to pick and choose for projects and introduce players to other players.

Here is a quick story. I kept in touch with a drummer for about a year before I actually played with him. I met him through an ad he had placed, and though we were just too busy to get together, we kept in touch. It was worth it, because when the time came for us to get together, we were comfortable playing together, and there was little to no tension when we met. It was as if we were old friends.

The little black book almost makes you a booking agent by pulling people together, introducing others, etc. There have been instances where I have introduced people to each other and they have started their own bands. Though you may feel like you’re competing with this type of networking, you shouldn’t. We all have the same goal: to find people who share the same values, and have the same love for music that we do.

So, if you are in a situation or a band that isn’t coming together, just leave on friendly terms and look elsewhere. Keep everyone’s name, number, instrument, and style on file, even the people you don’t like. Who knows? The band you walked from may get rid of the person you didn’t care for. It happens, and it happens more often than you think. The network you create is a wonderful way to meet and play with people. You will meet people of all levels of musicianship, and people in different careers. This network of people will be your connection to the world of music, so don’t burn your bridges or lose numbers.

In forming the band we looked at what music would be appealing to people of all ages and music interests. We also took into consideration what would be fun for us. For six years I was the music director for a local Dulcimer Folk Music Society. Playing all that wonderful folk music started to bring back the memories of my Joan Baez Days. A good friend Lilli called me and asked if my husband and I wanted to form a Folk Band with her. So she came over and the three of us started to jam not only to Joan Baez but found ourselves blasting out Born To Be Wild, White Rabbit and that was the beginning of our “Hippie” band. We then invited my brother-in-law Rob to be the lead guitar player. Believe it or not our first two gigs we had no drummer. And the people still loved the selection of songs we did. Thinking back now I wonder how we pulled it off. Have you ever heard Born To Be Wild and Jumpin Jack Flash without drums? But we were hired just that way as a house band. Then we asked another brother-in-law to be the drummer and we were complete. We rehearse faithfully every single Sunday. The old saying we have been preached to all our lives really does pay off – practice makes perfect. Not that we are perfect, but it does make us a tighter band.

We were a house band for over a year at The Strand Cafe in Lemont, Illinois. It was a Cajun/American Restaurant. We seemed to fit right in. The decor there was out of this world. They had wild, bright colored hand painted murals on the walls. There we learned how interacting with our audience was very important for our band. We talked to the people, told our silly jokes, played our LOUD ROCK N ROLL and everyone was very receptive. We had no sound engineer and we’d often ask the crowd if they could hear us, or were we too loud, and we found that people loved to tell us. They felt like they were a part of what was going on. Sadly, the Strand was sold and turned into a “fine dining” restaurant and we would not have fit in there.

To market ourselves, every time we play out we ask people to sign our mailing list. If the people like you and your music it will really help you into getting a following. If we play indoors, I always make sure to put our business cards on every table . They include our picture, web site address and phone number. When we started out we did take some jobs that did not pay all that well. But it gave us that beginning experience that every band needs. It gave us the feel of what its like, how to set up and very important, because of those little gigs we landed better paying jobs. Now we play from Festivals to Private Parties. We also made our own CD Demo right on my PC. This was another part of the learning process, and the results came out better then we had expected. We made up packets of past flyers, black and white and color photos of the band, and some text about the band and our play list. We have found some people that have wanted to hire us just based on the songs we do without ever having heard us.

Another source for future jobs for our band is a local music production company that is interested in getting us into more Fests next year. They do take a commission. Usually 10 percent if it’s under $1,000 gig, and 15 percent if its over. If you want to go that route that can also help a band. The more jobs they get you, the more money you both make. However, we mainly like to market ourselves. You need to be friendly to those you contact, and always thank places that have given you the opportunity to play. If it were not for them, you would not be a working band.

Our band is a very important part of our lives. Music is a great reliever of the normal stress life many of us face daily. Our rehearsals, though sometimes work, are also very rewarding. You forget about the bills or the To Do List for the following week. Everyone needs to make some time in their life for things they enjoying doing. Three of our band members have full time jobs. Two being on third shift and one being on first. That is our only draw back right now. We can never play on a Friday Night because of work commitments. But hopefully one day that will change when they are able to get on a day time schedule.

Its also fun to think of the different possibilities for your band. We put on a “mini” Woodstock Fest last year in Mokena, Illinois. People sat on blankets and it really set the atmosphere. We set out Lava Lamps and Candles and some funky posters. Although our music is mostly rock, we did have requests for Puff The Magic Dragon, and when we played it, people took out their lighters and were waving them in the air. Such a wonderful feeling. For future mini “Woodstock” fests, we are going to encourage people that come to dress “hippie” also.

What really works for us is that our music is still alive and appealing to people of all ages. It is not uncommon to hear people singing right along with us, or giving the “Peace” sign. We dress the part and that really adds to our performances. I think people feel the energy we display at our gigs. I think its very important to “feel” the music you play.

For our next gig, we have asked people to come dressed as “Hippies” and the establishment has offered to give away some prizes for the best dressed “Hippie” there. Also I usually make up a few hemp bracelets I throw out to the crowd. It just makes things fun.

From our experiences of playing out, we have learned many things the hard way as others do also. But we have also met many wonderful people.

I am having the best time of my life.

Peace

The Manager is the poor slob that gets the job no one else wants. The person that can talk to anyone, anytime, anywhere, and about anything, and do it well. It is my job to make contact, keep in contact, and keep the contact happy. This involves many things, please, allow me to explain…

1) Record Keeping

Keep records of all the clubs you are interested in playing. A little black address book works very well. Keep the contacts name, the phone number of the club and the contact’s home number if you can get it and (this is not an easy thing to get, trust me..) the full address of the club.

*And very important* !! The date you sent the promo! When they received it, and what your conversation involved!

It is very easy to become confused when you call 10 clubs a day!! Nothing says “rookie” better than calling back a person you called yesterday, and they said no…AND, even if they say no this time, maybe they won’t next time, so, always, always be polite and respectful.

2) The Gift of Gab

Having the “Gift of Gab” is a blessing. You MUST be able to make small talk, and be sincere. I know all of my “Contacts” spouses names, their kids, and even the family dog. You can’t be business all the time, and coming across as a friend makes you more real, and them, more willing to work with you.

If no one in the band is able to do this, you may have to enlist someone from the outside. A spouse, girlfriend, boyfriend. Every Christmas I send cards to the club contacts and also the people at the local newspapers, and I thank them for their help in the past year. This not only keeps “My band’s” name upfront in their mind, but it is a show of my appreciation of what they have done to better my career.

Is it just luck that our photo is in the “Entertainment Section” 2 to 3 times more than other bands? No. Also, if a special feature was done, or an article, I send a thank you card right away. This is not only good business, but good manners.

3) Your Promo

Your promo is the first impression, not only of the band, but also of yourselves. Always include a bio on every band member. What experience you have, how long have you played, points of interest. Don’t make it too “Busy” though. Figure, on average, you have less than a minute to capture this persons interest.

Any press release material on you or the group always looks good. Include an 8 x 10 black and white photo, also a color one if you can. A schedule can also be included. This shows that you are working steady, and they like to see that.

A CD is a must; cassettes don’t cut it anymore. Studio time can be afforded if everyone pitches in. After all this is a group effort, right? A video is optional.

4) Your First Gig

Once you are able to get that first gig, show up early, get everything set up nice. This means tape your cords, so no one is hurt in a “horrible tripping over a cord accident”. Strange things happen when alcohol is involved, cover your rear. Also, tape cords on stage. This looks clean and professional.

Start 5 minutes early, if you can, clubs love this. When you take a 15 minute break, take a 15 minute break,or even better, a 13 minute break, not a 17 or 20. They will be watching.

Always act professional. Most musicians get a bad rap, because of a few idiots. We NEVER drink when we are gigging, some bands do. In my own personal opinion, if you want to drink, wait until you are done. Contrary to popular belief, you do not sing or play better when you have had a couple – trust me. Go listen to karaoke some night if you don’t believe me… It’s not pretty. Be polite to the help, and always remind the crowd to tip the waitresses and bartenders. Why? Because if you make it a point to look out for the other people trying to make a living, like you are, they are going to greatly appreciate your acknowledgment of them, and that means more tips. They are happy to have you there, they will be in your corner when it comes to hiring bands for future gigs.

P.S. if someone tells you to turn it down, do it immediately!! Do not argue or complain, you are working for them, you are not in charge!!!!

I hope my years of frustration and mistakes will help you to be more successful in your musical career. And remember, the most important thing of all… Have Fun!!