My Latest Column Just Dropped

[David Himes]

Check out the new 'Gig Kahuna.'

 

http://www.harmonycentral.com/articles/creating-a-scene-for-local-bands

 

I'd like to hear what all of you think.

 

Cheers!

[RoadRanger]

Around here the norm seems to be to split right after your set and then bitch about the scene sucking. Oh, and ignoring whoever's on while waiting to get on. Guess it's really true that you can't fix stoopid . Oh, and last weekend the one local venue that does multiple original band shows had the last band rip off their mics, cables and maybe even their stands .

 

I don't care much for open mics either - besides the whole "play for free" thing it generally goes just like those shows, everyone ignores the other acts and splits ASAP when they are done. WTF?

[Vito Corleone]

It's been decades since I was involved in any sort of "scene", but back then it was very competitive and not a lot of camaraderie or support between bands and among musicians.

 

I suppose it makes more sense for everyone to band together with more of an "us against the world" mentality, considering the state of the live music biz these days. But still would be hard in many scenes if there's a lot of players switching between bands, etc. I would think.

 

Is everyone all still sleeping with the same groupies like we used to do?

[SpaceNorman]

It's been decades since I was involved in any sort of "scene".....

 

Same here. There's a couple of reasons for it. It's due in large part because I'm a private event cover band player. The reality is that there is no such thing as a "private event cover band" scene. Private event bands work as independent entities ... there's no schmoozing bar owners, there's no requirement to put in any "face time" around venues. It's sell your client over the phone / via emails - then do what you gotta do to deliver your product.

 

It's also due in large part to the fact that I have no time (and probably less interest) to spend time in bars / clubs ... trying to stay on top of what's going on in the local scene. Open mics? Multi-band bills? The reality is that time is tight - and sitting around waiting for my turn at an open mic ... or our slot on a multi-band bill - is an inefficient use of the my time. I work with a couple of good event bands ... and don't have a need to be pounding the pavement these days. Since I don't need to - I don't. The truth of the matter is - I don't miss the days when I needed to be involved in the "scene".

[MartinC]

Yeah, another old dude here so none of that applies, and really, for me anyway, never did. I probably missed a few opportunities by not hanging out enough, but I was always about getting the gig, doing the gig, and going home. At least since getting married at 27 years old. Before that, I'd hang out. But no other bands ever really gave a break to a band I was in that I can remember. Other musicians, absolutely. I guess I'd say that good relationships with other musicians will take you a lot further than trying to network with other bands, but that's just my experience.

[David Himes]

Roadranger, just curious where you're at as far as city and state.

 

Granted, some musicians might have to get up early the next day for their day jobs or maybe go home to their families or something. But it really is a shame that many don't support their local scene, yet expect the scene to support them. And as the world gets less and less human, it seems everyone is relying too heavily on social networks. Pitiful.

 

The current cesspools of spam and spy tools (er, I mean social networks) are no substitute for getting out movin' and shakin'. So some don't hang out to sell merch? Don't hang out to soak up the love after your set? Sadly, too many original bands these days are getting weak turnouts because they depend too heavily on social networks.

 

As for the club where a band ripped off their mics, sounds like a case of a lame house soundman not doing his job. Most clubs will hold the house soundman accountable for not keeping an eye on things like that. Most soundmen are good about that, but too many don't care when it's not their PA. Pitiful.

[ski219]

I was going to say the article is obviously aimed at original bands. Most everyone left on this forum are cover guys.

[RoadRanger]

Roadranger' date=' just curious where you're at as far as city and state.[/quote']It's visible in my profile

As for the club where a band ripped off their mics, sounds like a case of a lame house soundman not doing his job. Most clubs will hold the house soundman accountable for not keeping an eye on things like that. Most soundmen are good about that, but too many don't care when it's not their PA. Pitiful.

The "soundguy" is the owner. He'll let you set up and mix with the house stuff or will do a quickie "set and forget" for you then he's back behind the bar for the night.

[David Himes]

I was going to say the article is obviously aimed at original bands. Most everyone left on this forum are cover guys.

I'm a newbie here, and not familiar with who all posts here. But it seems like out of the six figure numbers on this part of the forum, there would have to be some original musicians out there somewhere.

 

Yes, my stuff is aimed mostly at original artists, but cover people can also get a few tidbits as well.

[David Himes]

It's visible in my profile The "soundguy" is the owner. He'll let you set up and mix with the house stuff or will do a quickie "set and forget" for you then he's back behind the bar for the night.

Wow. That guy needs to do one of two things: 1) Get a house soundman and cover him out of the door money, or 2) sell what's left of his PA and require bands to bring their own. Bands don't care when it's not their PA. I'm sure this guy also has to deal with blown speakers, amps, etc. as well. F*** that!

[Opus Antics]

I'm a newbie here, and not familiar with who all posts here. But it seems like out of the six figure numbers on this part of the forum, there would have to be some original musicians out there somewhere.

 

Yes, my stuff is aimed mostly at original artists, but cover people can also get a few tidbits as well.

 

 

Most of those six figure numbers are old news. The forum has been pretty dead for a year +.

[StratGuy22]

As a quick estimate, I would guess that there's less than 1,000 active members here, and that's being generous. They really did a number to this place. But hey, I'm sure they're saving a lot on bandwidth now.

[RoadRanger]

Wow. That guy needs to do one of two things: 1) Get a house soundman and cover him out of the door money' date=' or 2) sell what's left of his PA and require bands to bring their own. Bands don't care when it's not their PA. I'm sure this guy also has to deal with blown speakers, amps, etc. as well. F*** that![/quote']He's actually got some sort of processor/protection on it - I know he has to "boot" it with a PC attached. He's done it this way for several years now. It actually sounds OK, I mixed on it once or twice.

 

[Iamthesky]

There's original artists here -- I'm one -- and I live in a thriving originals scene.

 

The Gig Kahuna is exactly what I'm looking for and is harder to find on HC these days: something that is not aimed exclusively at cover bands. Tips for playing weddings or corporate events are not really very useful to me (although I do enjoy reading the posts).

 

I'm in the process right now of getting my new band to gig-worthy state, and part of that process is that everyone should know who you are before the band even gets booked. I attend tons of originals shows here in the Triangle, talk to the band, the venue staff, the sound guys -- I have a reputation for supporting the venues and bands that is invaluable when it comes time to book. My band's stickers are up in the venues, I wear the band tshirts. People know who Fredfin Wallaby is, and are already eager to hear us.

 

And it pays off: I already have a venue lined up for our first show, just waiting for me to give the word that I'm ready to book a date. You don't get that without being a recognizable fixture on the scene.

 

But it's not just enough to hang around at the shows. You have to work at it. Every time you're in public in the context of music -- even in restaurants where music people go, for example -- you have to have a "look" to help people recognize you. Wear similar outfits -- I am one of those "all black" guys, with a denim jacket if it's cold -- and make it easy for people to pick you out in a crowd. Stand up front some of the time so everyone sees you, hang with the sound guy some of the time, have your own "place" in each venue so you're easy to find. Be accessible and chat with everyone. It's all about having the image going 100% of the time.

 

And you know what? it's fun. I've discovered a lot of good music and good venues on the way, and made a lot of friends I wouldn't have met otherwise. It's a win-win.

[David Himes]

There's original artists here -- I'm one -- and I live in a thriving originals scene.

 

The Gig Kahuna is exactly what I'm looking for and is harder to find on HC these days: something that is not aimed exclusively at cover bands. Tips for playing weddings or corporate events are not really very useful to me (although I do enjoy reading the posts).

 

I'm in the process right now of getting my new band to gig-worthy state, and part of that process is that everyone should know who you are before the band even gets booked. I attend tons of originals shows here in the Triangle, talk to the band, the venue staff, the sound guys -- I have a reputation for supporting the venues and bands that is invaluable when it comes time to book. My band's stickers are up in the venues, I wear the band tshirts. People know who Fredfin Wallaby is, and are already eager to hear us.

 

And it pays off: I already have a venue lined up for our first show, just waiting for me to give the word that I'm ready to book a date. You don't get that without being a recognizable fixture on the scene.

 

But it's not just enough to hang around at the shows. You have to work at it. Every time you're in public in the context of music -- even in restaurants where music people go, for example -- you have to have a "look" to help people recognize you. Wear similar outfits -- I am one of those "all black" guys, with a denim jacket if it's cold -- and make it easy for people to pick you out in a crowd. Stand up front some of the time so everyone sees you, hang with the sound guy some of the time, have your own "place" in each venue so you're easy to find. Be accessible and chat with everyone. It's all about having the image going 100% of the time.

 

And you know what? it's fun. I've discovered a lot of good music and good venues on the way, and made a lot of friends I wouldn't have met otherwise. It's a win-win.

Great post! I like to think 'The Gig Kahuna' adds a whole new and needed dimension to Harmony Central. Of course there are no guarantees, but I can promise reading my column (and my book) will maximize your chances of in the pursuit of your dream.

 

I'd like to learn more about you, what city and state you're in, etc. And please help spread the word about the new column in Harmony Central! Lots of good stuff coming in the near future.

 

Cheers!

[GtrGeorge!]

David, I wish you well...but I just don't inspired by anything around here lately...I do wish everyone well...but the dollars and cents of things means very hard times and I think it's cruel to suggest anything different. In a great economy people can afford music and nights out. Right now that just isnt happening anyplace I have been. Instead we need a totally dfferent paradigm..and even with my experience I am not sure what that is.

[MartinC]

If this is working for you I think that is great, but I'm the opposite. I rarely go to see local music, and when I do, it's because a friend is playing. I do go to see name acts once in a while, and sometimes I see and talk to fellow musicians. But, I would never dress like I was going to be onstage, or hang out at a certain spot to be seen, or go to a club and hang out trying to meet the sound guy, or who ever. I have approached many booking people over the years, and booked hundreds of gigs one way or another, but never by making myself known in any kind of scene simply by hanging out. I think that happens when you gig regularly. Go away, and so does that recognition.

I was talking to the booker at the Fillmore years ago, and I asked if it helped if one had local press, played locally regularly, etc, to get booked there. He said nope, it was all ticket sales. They didn't care what paper you were in, where you played. They just cared how many seats you could sell.

As far as getting that first gig at a venue, a good recording, a good reputation from playing similar places, or support from other bookers, can do the job IME.

 

 

 

 

There's original artists here -- I'm one -- and I live in a thriving originals scene.

 

The Gig Kahuna is exactly what I'm looking for and is harder to find on HC these days: something that is not aimed exclusively at cover bands. Tips for playing weddings or corporate events are not really very useful to me (although I do enjoy reading the posts).

 

I'm in the process right now of getting my new band to gig-worthy state, and part of that process is that everyone should know who you are before the band even gets booked. I attend tons of originals shows here in the Triangle, talk to the band, the venue staff, the sound guys -- I have a reputation for supporting the venues and bands that is invaluable when it comes time to book. My band's stickers are up in the venues, I wear the band tshirts. People know who Fredfin Wallaby is, and are already eager to hear us.

 

And it pays off: I already have a venue lined up for our first show, just waiting for me to give the word that I'm ready to book a date. You don't get that without being a recognizable fixture on the scene.

 

But it's not just enough to hang around at the shows. You have to work at it. Every time you're in public in the context of music -- even in restaurants where music people go, for example -- you have to have a "look" to help people recognize you. Wear similar outfits -- I am one of those "all black" guys, with a denim jacket if it's cold -- and make it easy for people to pick you out in a crowd. Stand up front some of the time so everyone sees you, hang with the sound guy some of the time, have your own "place" in each venue so you're easy to find. Be accessible and chat with everyone. It's all about having the image going 100% of the time.

 

And you know what? it's fun. I've discovered a lot of good music and good venues on the way, and made a lot of friends I wouldn't have met otherwise. It's a win-win.

[Vito Corleone]

 

I was talking to the booker at the Fillmore years ago, and I asked if it helped if one had local press, played locally regularly, etc, to get booked there. He said nope, it was all ticket sales. They didn't care what paper you were in, where you played. They just cared how many seats you could sell.

 

 

 

 

 

Yep. It's always been this way and applies whether you're playing originals or covers. It's about how many people can your name bring to the venue. Or---if you're playing a venue where the crowd is going to be large regardless--how long can you hold 'em.

 

[bigboy78]

It is sad the musicians can’t even be bothered to go and see bands these days. No wonder there are not as many gigs and the pay is pitiful.

 

I think what lamthesky was saying ties into what you two “old-dudes” are saying. If you want people to come and see your original band, they need to know you and want to see you first. The general attitude seems to be “I only go to see my friends bands”……so make sure you are everyone’s friend. If you can make yourself a bit of a man-about-town, when the gigs come, you will sell tickets. Sure the guy at the Fillmore only cares about ticket sales, but without local-press, regular gigs and a general “vibe” you aren’t selling any tickets.

 

When lemthesky’s band lines up the gig at {Venue Whatever} there will be a buzz. Act Like a Rock Star. Be a Rock Star.

 

[MartinC]

I'd dispute that gigs pay what they do because musicians aren't going out and supporting other local bands. I think there are many reasons, but the main one is supply and demand. If there are bands out there willing to promote, sell tickets, and play for almost nothing, who can blame the venues for taking advantage?

 

And, I think there is a huge difference between wanting to be a rock star and a working musician. If you want to be a rock star, then being a man about town will likely help.

 

 

It is sad the musicians can’t even be bothered to go and see bands these days. No wonder there are not as many gigs and the pay is pitiful.

 

I think what lamthesky was saying ties into what you two “old-dudes” are saying. If you want people to come and see your original band, they need to know you and want to see you first. The general attitude seems to be “I only go to see my friends bands”……so make sure you are everyone’s friend. If you can make yourself a bit of a man-about-town, when the gigs come, you will sell tickets. Sure the guy at the Fillmore only cares about ticket sales, but without local-press, regular gigs and a general “vibe” you aren’t selling any tickets.

 

When lemthesky’s band lines up the gig at {Venue Whatever} there will be a buzz. Act Like a Rock Star. Be a Rock Star.

[Iamthesky]

This is where the originals market differs from the covers market, I think. Sure the great bands like, NIAB, Jump Start Your Party, Ostrich Hat, you all have your own following, but a lot of the people go to the venues solely because they know there's a cover band and don't care as much who it is when deciding where to go.

 

When you're talking about originals, you're up against genre specialization: most metalheads won't go to an exploratory jazz session and vice versa, so it's important to communicate to your potential audience so that they know they want to see your band. Most people don't say, "I don't know anything about the band playing at ABC tonight, so let's go see them." I think I'm the only person I know who does that. So if you think that as a new prog band you could pull in some jazz-funk fans, you need to go to the jazz-funk shows to make that connection, because otherwise they won't look twice as what might be marketed by the venue as a rock show.

 

For someone planning to go out on a Saturday night, the default at a cover venue is they'll go to the show; the default at an originals venue is not to go unless they are sold on it.

 

FYI, I'm in the Triangle area of North Carolina. I'm based a little outside Chapel Hill and Carrboro, but most of the venues we'd play are in Raleigh; Durham is also in our local musical metro area. There's a rich scene here particularly in originals, as well as several very popular cover-band clubs clustered in places like Glenwood South in Raleigh.

[Vito Corleone]

And, I think there is a huge difference between wanting to be a rock star and a working musician. If you want to be a rock star, then being a man about town will likely help.

 

 

 

Very true. One big reason I didn't commune with other local musicians much "back in the day" is because I was busy working.

 

Hard to go out and see many bands perform when you're playing 5 nights a week, 50 weeks a year.

[David Himes]

Good to read the array of feedback! As I always say, different tactics work for different bands. Sorry to see some of you have been less than successful in past original bands. I don't want to cram anything down anyone's throats, but a lot of you should read my book. It's loaded with lots of good insider info.

[Iamthesky]

 

Very true. One big reason I didn't commune with other local musicians much "back in the day" is because I was busy working.

 

Hard to go out and see many bands perform when you're playing 5 nights a week, 50 weeks a year.

 

That trumps every other reason right there, best reason of all. And if you're playing out that much, you ARE being present in the scene all the time.

 

But there aren't very many originals musicians who can say that..