Technique: The Gig Kahuna—Opening for National Acts

Regardless of whether you are on the entry, mid, or upper-level of your local music scene, the thought of opening for a national touring band seems like a dream come true. On the surface, it appears you’ve been bestowed the honor of sharing the stage with the gods of the limelight. You have been chosen to receive that magical key to the gates of stardom. The heavens above are shining down upon you. You are going for a ride on the gravy train.

Sorry to throw a bucket of ice water on you, but the truth is you are more than likely being exploited rather than blessed. Usually, the only real benefit of such a gig is a boost in band morale, which certainly doesn’t hurt. Consider some of the realities of opening for nationals:

You are expected to help get the word out about the show. Chances are you’ll have to pre-sell tickets, maybe even buy onto the show (more about buy-ons in a future column), so don’t cry “pay-to-play.” While the touring bands get paid, you can expect to be paid very little or nothing. Since most nationals come as a package deal with one or more supporting bands also on the tour, you’re not likely going to get a direct support slot. You are playing for the fans of the nationals, so unless you bring your own fans out, the crowd will probably either go to the bar to order drinks or hang out outside and wait for the anchor bands to go on during your set.

As agreed by contract, the headlining band usually backlines the stage. This means the supporting bands (including and especially you) will have to set up in front of the other bands, drum kit and all. Not a very comfortable situation. The headliner will usually also get a lockout on most of the channels on the soundboard, leaving the supporters with only the remaining few. In larger venues that have a big enough stage, PA and lighting to accommodate such events, these factors might not be too big of a deal. But if we’re talking a club tour, it’s definitely not an ideal situation for you.

You can also expect little or no lights, monitors, or sound-check, and you’ll more than likely sound and look like ass. If you’re lucky (VERY lucky), the headliner might be impressed by you and want to hook you up, but don’t hold your breath.

There is one particular scam I’d like to warn you about: It’s where some manager, label rep, or agent books a national tour for his band, maybe a newly-signed act or otherwise. He contacts local bands in each town and offers them some “golden opportunity” to open for his “national band.” More often than not, the locals are also offered the promise of playing in front of the national band’s “label reps.” Of course, to get in on this “opportunity,” you’re expected to sell advance tickets (If you read my last article about battles of the bands, this might start to sound familiar.) at some ridiculous price. To the uninitiated, this might appear to be a good opportunity. But what you’re really accomplishing is 1) ensuring a good turnout for the touring band, and 2) covering the “national band’s” touring expenses.

As crazy as this might sound, if you are an entry to mid-level band, you might be almost better off opening for an upper-level local band than a national. I have several reasons for such a wack idea:

While the anchor(s) might want to backline the stage, at least they’ll usually share the drum riser (assuming there is one); they won’t be near as likely to demand a lockout on the soundboard channels; you’ll probably get at least a brief soundcheck; and you might even get paid, at least some gas money. You will probably get treated closer to an equal as far as sound, lighting, monitors, etc.

This is one reason I always strongly recommend making friends with, and supporting other local bands. (Read one of my past columns, ‘Clique Clique Boom.’) You never know when another local might invite you to play a nice show with them.

In summary, it can be cool to open for a national, and I’m not saying there’s anything particularly wrong with it. But if it doesn’t happen, if the deal falls through, if the show gets cancelled, or if you get turned away, it’s nothing to cry about. It’s nothing to be envious of. And it’s no reason to get discouraged. Remember, more often than not, someone else is reaping the fruits of your labors. You’re more than likely better off putting your efforts into your own next local show. If you seriously feel you need to open for a national, there are ways to make it happen on your own (more on that in a future column).

David Himes is the author of the book Realities for Local Bands: Talent is not Enough. You can find it at Amazon. For a FREE sneak preview, click here. The book is also available in PDF format. Also, David published a local music scene paper for over 16 years and has held over 400 live shows, giving him a unique insight on the scene. Your feedback and comments are welcome.