Getting Started in the Solo/Duo Market

[tim_7string]

I have been wanting to get into the solo/duo market for a few years now, but I don't even know where to begin. I figured that maybe this thread could be a good resource for people like myself.

 

With full bands/combos, my "in" has always been a mixture of posting flyers looking for bandmembers, going to Open Jams, and auditioning to be in someone else's band first before moving on to establish my own. It was a little tough to get into the Grand Forks scene at first, which is one of the reasons I chose to become a bassist/keyboardist in a country-rock band when I first moved here. After a few years, I finally have made enough of a name for myself in the scene to do what I usually do (vocalist/guitarist/bandleader).

 

In my particular area, it seems like places that actually pay for acoustic music are drying up. Restaurants that previously featured it once a week have eliminated live music completely from their schedule (first The Blue Moose a few years ago and later Applebee's). I was told to get people's attention, you need to "be awesome," whatever that means for each person. Well, I can sing fairly well and I can definitely hold people's attention when I play fingerstyle. But as far as breaking in to begin with, I haven't a clue.

 

Are there any good ideas for places (or people) to get your foot in the door in this world?

[tim_7string]

Hmmm...absolutely no response.

 

I guess this forum is only for people who are already out there doing it. Duly noted.

[MusicalSchizo]

This is what I got when I posted a similar question a while back: http://acapella.harmony-central.com/showthread.php?2824511-Getting-started...suggestions

 

Maybe there are some ideas there for you.

Brian V.

[ptkbass]

I started doing this almost a year ago. I'm gigging about 2 or 3 times a month. You do it the same way you book your regular act. A CD in hand and a business card; schlep to the local haunts that don't book a full band for a glad-to-meet-you meet-n-greet. Shoot e-mails with a link to your music to all the places you're too lazy to drive to on your day off. My business card and the fancy-pants label I put on my discs gets noticed; it was time well spent on the computer.

 

Warm up act for others: do a couple (free, if you need to) warm up 50 minute gigs for fellow bands. Then chat up the owner during the regular band's set.

 

And: stamina, baby! It's a different thing than doing three hours with a band. The tunes are all less than 3 minutes long 'cause there's no couple chorus of solos and a vamp at the end. You'll need twice as many songs, and you'll be twice as tired when you're done. As usual, the first gigs are a pain in the ass to get, but after the owner likes you the rest are easy-easy-easy. And don't be afraid to ask for some money. You can come down in price way easier than you can go up in price. "Oh, too much bread? Well, what works for you, baby?" Use as many jazz terms as you can. "Solid", "Cats", etc. Just kidding. Or, maybe not?

[pogo97]

Forgive my pessimism, but do consider that this is not a clever time to enter the singles/duos market. And know, as pretty much anyone here can tell you, that the entertainment business is no friend to age. I won't say "don't do it" but consider your options and the incontrovertible fact that life is finite.

[tim_7string]

This is what I got when I posted a similar question a while back: http://acapella.harmony-central.com/showthread.php?2824511-Getting-started...suggestions Maybe there are some ideas there for you. Brian V.

 

Thanks! Very helpful, especially the comment about always, always, always having a business card, promo pack, etc. handy. I keep business cards in my car at all times and usually put a few in my wallet too.

[tim_7string]

 

I started doing this almost a year ago. I'm gigging about 2 or 3 times a month. You do it the same way you book your regular act. A CD in hand and a business card; schlep to the local haunts that don't book a full band for a glad-to-meet-you meet-n-greet. Shoot e-mails with a link to your music to all the places you're too lazy to drive to on your day off. My business card and the fancy-pants label I put on my discs gets noticed; it was time well spent on the computer. Warm up act for others: do a couple (free, if you need to) warm up 50 minute gigs for fellow bands. Then chat up the owner during the regular band's set. And: stamina, baby! It's a different thing than doing three hours with a band. The tunes are all less than 3 minutes long 'cause there's no couple chorus of solos and a vamp at the end. You'll need twice as many songs, and you'll be twice as tired when you're done. As usual, the first gigs are a pain in the ass to get, but after the owner likes you the rest are easy-easy-easy. And don't be afraid to ask for some money. You can come down in price way easier than you can go up in price. "Oh, too much bread? Well, what works for you, baby?" Use as many jazz terms as you can. "Solid", "Cats", etc. Just kidding. Or, maybe not?

 

 

Excellent ideas, ptkbass. Thank you very much!

[tim_7string]

 

Forgive my pessimism, but do consider that this is not a clever time to enter the singles/duos market. And know, as pretty much anyone here can tell you, that the entertainment business is no friend to age. I won't say "don't do it" but consider your options and the incontrovertible fact that life is finite.

 

 

^And then there is this post.

 

Oh, well. I guess somebody has to play Devil's Advocate...

[pogo97]

 

^And then there is this post. Oh, well. I guess somebody has to play Devil's Advocate...

 

 

Not at all. I mean it. Don't waste your life in a dying niche. I regret this, because it's a good venue for my own talents and it's a model I'm comfy with. But it's sure as hell no way to make a living for all but a very few. And if you "haven't a clue" you may lack the necessary instincts to self-promote as you'll need to do.

[tim_7string]

Not at all. I mean it. Don't waste your life in a dying niche. I regret this, because it's a good venue for my own talents and it's a model I'm comfy with. But it's sure as hell no way to make a living for all but a very few. And if you "haven't a clue" you may lack the necessary instincts to self-promote as you'll need to do.

 

I guess my biggest problem is that I rarely go out. I don't go to restaurants all the time, nor see a lot of local bands. I don't go to all the art and music fair stuff, kissing hands and shaking babies . That's really my biggest problem as far as networking and promotion. But I do have a website and I know it sees a fair amount of traffic, and people do recognize me on a regular basis. It's just that I'm still at a point where I have to knock on a lot of doors just like everyone else. As with anything, I have a feeling once my foot is in the door, it will take off. Just getting that first gig as a solo is the trick.

 

I'll tell ya what, though. I do agree with you to a point...the most popular solo acoustic performer I ever saw around here was very good-looking, female and young. While all the other guys at the Open Mic were promoting the heck out of themselves on Myspace and Facebook, she didn't even have a page, yet she had all kinds of people willing to help her out...and she wasn't even asking! Her vocal and guitar ability wasn't especially remarkable, but all the other elements she possessed made up for it.

 

I mean, I am aware that the trend these days for mainstream success is very young, very pretty, very female singers/musicians. I don't see that solo/duos are a dying niche, though, nor do I see that with bands. If anything, I see bands either continuing to shrink in size (solos, duos, trios) or really expanding (10 piece horn band playing KC and the Sunshine Band, Stevie Wonder, Chicago, etc.). The four- and five-piece combos will have a tougher time as the years go on I think.

 

And just to clarify, I'm not looking to quit my day job to make a living as a troubadour or anything. It's just another avenue of musicianship and creative expression I'd like to explore.

[ptkbass]

 

Don't waste your life in a dying niche. ...(snip).... But it's sure as hell no way to make a living for all but a very few.

 

 

Really? I mean, I know damn well that music will never support me to the level at which I'm accustomed. But I'm making a whole lot more money solo than I ever did with a band----and it's not even close. Plus, I'm home by 10:00pm.

[BlueStrat]

 

Not at all. I mean it. Don't waste your life in a dying niche. I regret this, because it's a good venue for my own talents and it's a model I'm comfy with. But it's sure as hell no way to make a living for all but a very few. And if you "haven't a clue" you may lack the necessary instincts to self-promote as you'll need to do.

 

 

 

Who said anything about making a living at it?

 

I stared doing solo stuff about 6 years ago and haven't regretted it. In the past month I've made an extra 800 or so dollars just as a solo, working 3 weekend nights and a few weeknights. I've made as much as 1300 in a month. Not getting rich but it's a nice supplement to my regular income and buys me my toys. Tim, just hit some venues and ask them. You need to decide what kind of venues you want to pursue, as the restaurant/wine bar gigs will be a lot different than bar gigs. I avoid bars as a solo and do all winery/restaurant/gallery type listening gigs. They're easier to get, require much less gear, and pay pretty well compared to bars.

[astone923]

I think it always helps to network with other solo/duo acts... at least around here. Whenever I book a new venue, I make sure to talk up the other GOOD acts and get them in touch with the managers. Usually they return the favor, and you help to create a vibe in your area that makes booking easier... once you're in the rotation at a few places it can really snowball.

[richardmac]

 

Who said anything about making a living at it? I stared doing solo stuff about 6 years ago and haven't regretted it. In the past month I've made an extra 800 or so dollars just as a solo, working 3 weekend nights and a few weeknights. I've made as much as 1300 in a month. Not getting rich but it's a nice supplement to my regular income and buys me my toys. Tim, just hit some venues and ask them. You need to decide what kind of venues you want to pursue, as the restaurant/wine bar gigs will be a lot different than bar gigs. I avoid bars as a solo and do all winery/restaurant/gallery type listening gigs. They're easier to get, require much less gear, and pay pretty well compared to bars.

 

 

YUP. I'm learning this lesson. I also like playing private parties and functions. Basically anything that is NOT a loud smokey bar with drunks.

 

EDIT - Get enough drinks in anyone and they'll start yelling "Free Bird" and honestly think it's funny.

[BlueStrat]

 

YUP. I'm learning this lesson. I also like playing private parties and functions. Basically anything that is NOT a loud smokey bar with drunks. EDIT - Get enough drinks in anyone and they'll start yelling "Free Bird" and honestly think it's funny.

 

 

Last Friday, I was playing a gallery for ArtWalk. During the gig, I got a call on my cell phone from the wine bar/restaurant I play often a block up the street- their weekend band was a no-show and asked if I could play with my duo partner. So as soon as the gallery gig was finished, I moved my stuff a block up the street and did the restaurant- and that Friday netted me 210 dollars. We did Saturday, too, for 150 apiece and tips and dinner. If I had to do that with my band, I'd have never been able to pull it off. Solo, I can be at a gig from my house and set up in a half an hour.

[tim_7string]

If I had to do that with my band, I'd have never been able to pull it off. Solo, I can be at a gig from my house and set up in a half an hour.

 

Sounds like a win-win, Pat. I don't really see a downside there.

[lewie]

might sound like a silly question this... but how do you break into the restaraunt-background music type of gig? I play the bars all the time but never had a dinner gig...

[Notes_Norton]

I've been doing this duo thing so long I don't remember how I got started other than:

Persistence is the key. Being the "band salesman" is the most unappetizing part of this job for me. Fortunately we get a lot of repeat business so I don't have to hit the streets and do 'cold calls' much anymore. When doing those cold calls, remember, if you knock on the door at the wrong time, you're just another interruption to the day, but if you knock at the right time, you can be a hero. So knock often. I know that a hard thing to do, and if I did it more I could make a lot more money.

 

Insights and incites by Notes

[ptkbass]

 

So knock often.

 

 

Right on. You'd think it's a fine line between knocking too often and not often enough. But if you don't knock often enough, you will be guaranteed not to get the gig. And if you knock too much, they might just give you that first gig just to shut you up.

 

Like in golf: Never up, never in.

[BlueStrat]

 

I guess I'll have to see if my ego can handle becoming part of the woodwork (background music) in those situations. :

 

 

You know, I worried about that, but now I welcome it. The pressure to "perform" is lower than a bar gig, and even though it seems like no one is listening, all of a sudden someone will come up and drop a 5 or a 10 in the tip jar and tell me how much they enjoy what I'm doing. After an entire evening of feeling ignored, I look down and see 50 or 60 bucks in the tip jar. And sometimes, the whole room, or most of it, will listen and that's when you can engage them, tell stories, and so on. Plus, I get to try out some new material that isn't polished and most people never notice if I flub it or not, and if they do, they don't care much. I see it as a chance to play music mostly for ME, and get paid for it. I think I told you, I play a lot more obscure singer/songwriter type songs, old Dylan, John Hiatt, Shawn Mullins, James McMurtry, John Prine, my own stuff, some old reworked classic rock and soul songs, etc. I don't do a single song I don't like. That's the beauty of those kinds of gigs- they're atmosphere gigs, and as long as you're playing a style and doing it well and you aren't playing above their conversation level, you're golden. I actually prefer these gigs to band gigs these days.

[tim_7string]

 

You know, I worried about that, but now I welcome it. The pressure to "perform" is lower than a bar gig, and even though it seems like no one is listening, all of a sudden someone will come up and drop a 5 or a 10 in the tip jar and tell me how much they enjoy what I'm doing. After an entire evening of feeling ignored, I look down and see 50 or 60 bucks in the tip jar. And sometimes, the whole room, or most of it, will listen and that's when you can engage them, tell stories, and so on. Plus, I get to try out some new material that isn't polished and most people never notice if I flub it or not, and if they do, they don't care much. I see it as a chance to play music mostly for ME, and get paid for it. I think I told you, I play a lot more obscure singer/songwriter type songs, old Dylan, John Hiatt, Shawn Mullins, James McMurtry, John Prine, my own stuff, some old reworked classic rock and soul songs, etc. I don't do a single song I don't like. That's the beauty of those kinds of gigs- they're atmosphere gigs, and as long as you're playing a style and doing it well and you aren't playing above their conversation level, you're golden. I actually prefer these gigs to band gigs these days.

 

 

You make a great point. Sometimes, you don't realize that people are really into what you are doing until much later. I know I sometimes get frustrated when I don't get e-mail from people that browse my website, but when I look at the stats, it's obvious that there are people that are interested in it. Must be similar to radio: trying to create an exciting vibe that seemingly goes into a void (getting no feedback, except for the occasional radio call).

 

And being able to play what you want (and obviously perform it well with love and passion) is awesome. A great performance is often what people crave when they go out to see live performances, be it a play, a recital, concert, typical bar band or solo/duo performer(s).

[Notes_Norton]

We always try to perform as if all the people are listening - in other words we do our best even if the audience seems dead and even if we were hired to be 'sonic wallpaper'.

 

It always surprises me that on nights when it seems we can't move the audience, a number of people will tell us how perfect the music was - even after decades of doing it. I guess it's because the majority of the time we get instant feedback on each song, and we get addicted to that feeling

[John Bartus]

We always try to perform as if all the people are listening - in other words we do our best even if the audience seems dead and even if we were hired to be 'sonic wallpaper'. It always surprises me that on nights when it seems we can't move the audience, a number of people will tell us how perfect the music was - even after decades of doing it. I guess it's because the majority of the time we get instant feedback on each song, and we get addicted to that feeling

 

It was like that last night at my regular Thursday gig (a great Keys place called Sparky's Landing) -- a good bit more sparsely populated than normal, but the people who were there were definitely more into the music. Even though I'm battling a bit of a head cold, the energy of the relatively small audience made for one of the musically better nights I've had in a while.

 

And I sold a CD!

[John Bartus]

With regards to the OP and getting started in the solo market, there's a lot of good advice already posted. Some of the better suggestions include: 1) Having a complete evening's repertoire ready for presentation (and many more songs in reserve if you expect to play the same places more than once); 2) Making sure your live sound and presentation fit the room and situation; 3) Getting yourself out there with CDs, promo packs, EPKs, Facebook postings and web presence, flyers, appearances at charity benefits and open mic nights, knocking on doors, and making a lot of phone calls. Do this enough and you should get to a place (eventually) where they're calling you for gigs... although you never really can stop your contact-making and self-promotion in this business. Wishing you all the best!

[Notes_Norton]

Regarding dull crowds. We were hired to do light, instrumental background music for a financial convention while they were having dinner. Low volume, no feedback at all from the diners, and we didn't expect it. But we played our best 'sonic wallpaper' music at a volume of about 60dba.

 

When I went to get the van to load the gear, the entertainment purchaser walked up to Leilani, gave her a big hug and she told her the music was perfect and everybody she spoke to loved it.

 

She also told the agency that booked us, "The music was perfect. It was just what I wanted." That statement translates to "job security" with the agency.

 

Playing what is appropriate for the gig, and the material and volume level the entertainment purchaser asks for is essential. Especially when you are starting out. If you cannot do the gig, be honest, tell the purchaser you would love to do the gig but you don't have the right material yet. You can also add that you will learn some and ask the purchaser to consider you in the future.

 

There is not many things worse than being mis-booked.