The "dont want to play what everyone else is playing" Circular logic

[Lee Knight]

...to build an entire setlist of alternative material and still appeal to the masses is very difficult.

"an entire setlist of alternative material and still appeal to the masses "


Difficult? Yeah, it is. But it can be a worthwhile proposition. The guys I just joined up with have a simple yet unique mission statement.

Rockin' R & B Country - No Current Hits - Danceable and Fun

Right? We don't play anything that deviates from that MO. It's not better or worse than another band's agenda, but it is focused. And it appeals to a crowd that would be getting off on a Top 40 cover band. It might sound like a niche appeal but that's proved to not be the case.

I've been in plenty of different types of bands. Recording acts, successful and popular cover band, revue style... and this MO is proving to be worthy of attention as well. Drunk people like cowboy hats and loud rock guitars. It's all about focus and execution

[TIMKEYS]

" an entire setlist of alternative material and still appeal to the masses " Difficult? Yeah, it is. But it can be a worthwhile proposition. The guys I just joined up with have a simple yet unique mission statement. Rockin' R & B Country - No Current Hits - Danceable and Fun Right? We don't play anything that deviates from that MO. It's not better or worse than another band's agenda, but it is focused. And it appeals to a crowd that would be getting off on a Top 40 cover band. It might sound like a niche appeal but that's proved to not be the case. I've been in plenty of different types of bands. Recording acts, successful and popular cover band, revue style... and this MO is proving to be worthy of attention as well. Drunk people like cowboy hats and loud rock guitars. It's all about focus and execution

Most of song lists is about demographics and the kind of clubs you play.

[Vito Corleone]

Really? You've never had people come up to you at a gig and tell you that they liked that you had a wider musical pallet than the competition?

 

 

Sure. And I've had people come up and rave about the "big hits" songlists we play. And I've had them come up and tell me how much they like my shoes. The point is one is beaten to death on this forum: it isn't about the songlist, it's about how you deliver it. The successful bands aren't the ones who chose song A vs song B, but the bands who know how to choose the right song for a particular audience at a particular time.

 

I look at creating a songlist (and, by extension, the entire repetiore) as "filling slots". Over the course of 2-3 hrs of music, certain things need to be accomplished to result in a successful program and songs need to be chosen accordingly. Based on the type of band we are, the type of musicians we have, and the crowd we are playing for there might be dozens of songs that would successfully fill any one of those slots. Whether it is a popular hit or a more obscure piece may or may not matter. For the better bands, with big followings and really quality showmanship, relying on the popularity of the song to draw the audience becomes less necessary; for other bands it might be nearly essential.

 

As regards the poster I responded to: of course he can play whatever he chooses. But how many times have we seen the repitition of the same story on this forum: somebody comes in talking about how they want to start a cover band after not playing for years, isn't interested in the crowd size or the money and just wants to play what they like for fun, only to see them complaining a year or so down the road that they are tired of playing {censored}ty clubs for no crowds and no money because it isn't fun and now he's starting threads asking about which songs "work"? The thrill of playing live with a band just for the sake of it wears off after a few gigs for the vast majority of us it seems. In retrospect, I see where I came off as kind of a dick (what else is new?) but I was really just trying to prod him into thinking it all through a bit further and put together a more solid game plan and maybe save himself a few years in the process.

 

One of my biggest personal regrets is that when I got back into playing gigs "just for fun" at around age 40, I let too many other people call the shots in the band I was playing with in regards to songlist/direction-of-the-band and we ended up spinning our wheels for years. Had I instead followed my own instincts and put my foot down harder, I'd not only have been happier much sooner, but the band would be that much further along. It usually takes years to build a really good band, and who has years left to spend at our age?

[Lee Knight]

Most of song lists is about demographics and the kind of clubs you play.

 

 

I guess my point was, it can't only be about setlist. You still have to sell it note by note. And yes, I do see bands relying on tried and true setlists to get by. And yes, I do think this is burying the coverband biz.

 

A coverband is like any product. The concept needs to evolve with the buying public. Not just the setlist evolving with the current hits. But the whole concept.

 

Offer something that isn't offered by someone else. And still fulfill the requirements of the audience. Those requirements aren't to hear current hits, those requirements are to have a good time. Anyway you can provide it.

[Vito Corleone]

Maybe we are being naive, but we figure that people want to hear something other than top 40 or currently popular hits, which still leaves plenty of songs to choose from.

 

 

First of all, let me apologize for coming off harsh and rude. Not my intention--I was just trying to catch your attention a bit and it came across poorly.

 

Second of all, my name is David and welcome to the forum! It's good to meet you!

 

Third of all, yes there ARE plenty of songs to choose from. You by no means have to stick to the "standards" to put together a set list. But having said that--that isn't the same thing as saying there are all sorts of people out there clammoring for bands to play "something different". What they WANT is to be moved and excited and entertained. You might be able to do that with Sweet Home Alabama and you might be able to do that with a lesser-known Skynryd tune, but the truth is that if you are able to do it with the lesser known tune, it won't be BECAUSE you chose the lesser known tune.

 

So just keep that in mind. I've seen a ton of musicians who think that the answer to setting themselves apart from the rest of the pack is a more "clever" or "better" songlist. That isn't what separates the good bands from the lesser ones. If all it took were different song choices, then that's what every band would be doing. You certainly aren't the first guy to come up with the idea of "everyone must be bored with hearing the same songs from every band--WE'LL give them something different!" and thinking that's the key to success.

 

Having said that--play what you want to play, play the hell out of it and best of luck!

[vanlatte]

 

somebody comes in talking about how they want to start a cover band after not playing for years, isn't interested in the crowd size or the money and just wants to play what they like for fun, only to see them complaining a year or so down the road that they are tired of playing {censored}ty clubs for no crowds and no money because it isn't fun and now he's starting threads asking about which songs "work"? The thrill of playing live with a band just for the sake of it wears off after a few gigs for the vast majority of us it seems.

 

 

This is so true it needs to be repeated. You nailed it. I have seen the exact same thing in circles I run in and have noticed that the majority of people that come out all guns blazing determined to "not do the same stuff as every other band" lack experience. Not to put them down or anything but it's almost always the case, they just don't understand what they are getting into and really believe they can go against the grain. And I have watched every single one of them fizzle out for exactly the reasons you just described.

 

In the end they either pack up their bags or put their egos aside and start being more reasonable about what works and what doesn't work.

[TIMKEYS]

I guess my point was, it can't only be about setlist. You still have to sell it note by note. And yes, I do see bands relying on tried and true setlists to get by. And yes, I do think this is burying the coverband biz. A coverband is like any product. The concept needs to evolve with the buying public. Not just the setlist evolving with the current hits. But the whole concept. Offer something that isn't offered by someone else. And still fulfill the requirements of the audience. Those requirements aren't to hear current hits, those requirements are to have a good time. Anyway you can provide it.

 

 

 

There tends to be a herd mentality it seems. Now its being a so called party band. The demographics are there to support it , but its not the only direction for a band. I agree with what you say.

[Vito Corleone]

, but it is focused.

 

 

If I had to sum it up in one word, it might be that one: FOCUS. The best bands have a purpose, an agenda, and an identity. They use the songlist as simply one piece of this puzzle. The bands that just throw-together-some-good-songs-and-play-for-fun often end up having to rely on the 'hits' because they aren't focused enough in other areas of the product and playing Sweet Home Alabama is at least something that the entire audience can focus on in unison. More obscure songs can work just as well, but the song itself is only going to grab the attention of a small fraction of the audience (depending on how obscure it is.) In which case, you need something else besides the song choice to make the audience pay attention in focused unison. Can be done, and the rewards are great if you do. But it takes a lot more energy, work and FOCUS.

 

And is usually something beyond what the typical get-together-to-play-a-simple-gig-on-the-weekend bands are inclined, or even capable of doing.

[wheresgrant3]

 

" an entire setlist of alternative material and still appeal to the masses " Difficult? Yeah, it is. But it can be a worthwhile proposition. The guys I just joined up with have a simple yet unique mission statement. Rockin' R & B Country - No Current Hits - Danceable and Fun

 

 

Like I said I played in a successful band that played punk remakes, b-side songs and hard core and skater punk. Minimal radio tunes. Artists that we covered frequently were Sublime, Green Day, Blink182, Goldfinger and we played some of their radio hits we also played alot of their B-side stuff. Also covered The Vandals, NoFX, Pennywise, Lagwagon. We basically picked songs that we liked to play. We were truly the alternative to all of the bands in the area and had a nice ride for 3-4 years. We built a big following for several years rivaling some other popular bands in the area. Familiar faces at every show, we knew all their names, some would show up at 9pm to help load in. The thing that made us successful also limited us: #1- our following... just the nature of skater punk wasn't appealing to most legit venues. #2- Lack of broader appeal. #3 A narrow age range (18-25) that was tuned into the music. However, at the time (1998-2002) it made a connection with people just as punk music started getting commercialized. Then... as quickly as it built up, it fell apart. Right around 2002, after 9/11 and the smoking laws changed... we stopped drawing 100-150 people... and more like 15-20 started showing up. People were having babies, getting jobs... in other words growing up, and there was no younger audience really interested in the music we were playing. Live by the sword, die by the sword. It's completely possible to have success as a niche band... it's just hard to grow when your busy filling a niche.

 

By the same token, if I had a dime every time I had someone from a niche band ask me how they can get into 'X-venue' or get 'Y-gig' that my current band plays, I could quit my band and just collect the proceeds. "Not with their setlist" is my first thought. That's the problem with building things small... they're, well small. The band is having fun but then wonders why it can't book beyond "Jake's Crab Shack" or doesn't get picked for the Annual Music Extravaganza Fest and then wants to start changing things. I was the bandleader in my previous band and I could easily see where things were headed... or not. My bandmates were stuck in the mindset that we played songs we thought were cool. Instead of fighting it, I let things just be... strife and debate would poison the well. But as things started slowing down my alarm bells started going off in their heads. I was already consigned to the fact tha the ride was over. People ask me what happened with the old crew and I laugh and say "It was fun while it lasted". Truth was, it was neither scalable nor sustainable.

[Vito Corleone]

There tends to be a herd mentality it seems.

 

 

Of course. That only makes sense. Some of it IS just bands being lazy and following the pack: but part of it is because that's what is commercially viable at the time. This happens with any consumer product. Is any company going to make a internet capable device that isn't WiFi capable just to be different? Of course not. Is any Mexican restuarant not going to have tacos on the menu just because that's what every other Mexican restuarant does? The market is what it is and you position your product accordingly. The successful Mexican restuarant is going to be the one that has a better taco. Not one that leaves them off the menu because they think there must be a ton of people out there who are sick of the same old tacos.

[SeniorBlues]

The opposite of "focus" is "just", as in "I JUST want to play for fun, or I JUST want to play songs I like."

 

The hard part about deviating from the formula that you know will work for your demographic is that you have to have the whole band agree on how you're going to deviate from the formula, then work hard to make it work, assuming you also have the talent to stretch out beyond what you've been doing in order to keep your band mates musical heads in the game. More homework / high quality musical output / less money is a tough sell.

[wheresgrant3]

If I had to sum it up in one word, it might be that one: FOCUS. The best bands have a purpose, an agenda, and an identity. They use the songlist as simply one piece of this puzzle. The bands that just throw-together-some-good-songs-and-play-for-fun often end up having to rely on the 'hits' because they aren't focused enough in other areas of the product and playing Sweet Home Alabama is at least something that the entire audience can focus on in unison. More obscure songs can work just as well, but the song itself is only going to grab the attention of a small fraction of the audience (depending on how obscure it is.) In which case, you need something else besides the song choice to make the audience pay attention in focused unison. Can be done, and the rewards are great if you do. But it takes a lot more energy, work and FOCUS. And is usually something beyond what the typical get-together-to-play-a-simple-gig-on-the-weekend bands are inclined, or even capable of doing.

 

 

THIS//// It takes focus to be a successful niche band. Sticking with one genre or style certainly helps. Competent delivery makes a huge difference.

 

To stand out playing Top 40 you have to put just as much energy into delivery to stand out. As Dave says you have to build an idenity. I see it so many times on this forum... "if you add these songs expect X-results". The songs are just a piece of the puzzle... it's what you do with them (delivery) that will make your band memorable. And that's probably the goal of any gigging band... big or small... to be somewhat memorable?

[stomias]

One of the most successful AND enjoyable AND challenging band I've played in did 1 hit wonders and B sides. Out of about 150 songs we worked up maybe 2 or 3 were songs that I ever heard others bands do. We were told over and over again that we had the most original and enjoyable set lists that people had ever heard. At the same time I was playing in two other bands that did ALL the standard songs that everyone did. The 2 bands playing the standard stuff rarely got the gushing reviews as the first band. All of these bands had stellar players with professional attitudes and been members of some very high profile national and international acts. The one hit wonders band had lots of fans that were wealthy and the gigs we did all paid very handsomely. We would regularly get $500.00+ a man. We had 2 guitars and 2 keyboard players one of which was an expert at recreating string and horn parts or any other sound key to the arrangements, that was his only job. The othwer keyboard player was a monster pianist and B3 dude. Our drummer and lead singer were younger guys and their suggestions for songs to play were usually vetoed by the rest of us older guys. The leader knew more than anyone I have ever met about the history of rock soul and jazz and had a most incredible selection of albums and cd's and insights into the deep cuts and great pieces often overlooked. Oh and out of 7 members 5 were great lead and harmony singers. Probably the most important thing.

[Vito Corleone]

The opposite of "focus" is "just", as in "I JUST want to play for fun, or I JUST want to play songs I like." The hard part about deviating from the formula that you know will work for your demographic is that you have to have the whole band agree on how you're going to deviate from the formula, then work hard to make it work, assuming you also have the talent to stretch out beyond what you've been doing in order to keep your band mates musical heads in the game. More homework / high quality musical output / less money is a tough sell.

 

 

It all becomes about the balance of "is it worth the effort?" For some, simply being the best band they can be makes it worth the effort. For others, there has to be the financial reward to make it worth the effort. For me personally, it's a bit of both and I find the better the band is, the more money there is to make. So it's a win/win in that regard. For me.

 

My problem is working with musicians who aren't interested in putting out much effort for ANY reason. Playing just for fun is all well and good, but for me a big part of the fun is seeing the good results that come from work and effort.

[TIMKEYS]

Of course. That only makes sense. Some of it IS just bands being lazy and following the pack: but part of it is because that's what is commercially viable at the time. This happens with any consumer product. Is any company going to make a internet capable device that isn't WiFi capable just to be different? Of course not. Is any Mexican restuarant not going to have tacos on the menu just because that's what every other Mexican restuarant does? The market is what it is and you position your product accordingly. The successful Mexican restuarant is going to be the one that has a better taco. Not one that leaves them off the menu because they think there must be a ton of people out there who are sick of the same old tacos.

 

 

Down here you better be a mexican to open a mexican restuarant... and you better be a local to have a band that can stay busy at what the pay levels for bands are. Out of town party bands have one place to play and they run on a rotation with touring bands. To base a party band out of here is tough. we are just too far from anywhere to go out of town to play. we have a local party band and they have their own venue. That has been a challenge for them. Great band though ,,top tier stuff with a long track record of being the islands dance band.

[SeniorBlues]

Playing just for fun is all well and good, but for me a big part of the fun is seeing the good results that come from work and effort.

Absolutely. All we have to agree on is the form of the results. Financial, musical, entertainment? In what proportion?

[Vito Corleone]

All we have to agree on is the form of the results. Financial, musical, entertainment? In what proportion?

 

 

Exxxactly. The whole "everyone on the same page" thing again.

[drumsnbeer]

First of all, let me apologize for coming off harsh and rude. Not my intention--I was just trying to catch your attention a bit and it came across poorly. Second of all, my name is David and welcome to the forum! It's good to meet you! Third of all, yes there ARE plenty of songs to choose from. You by no means have to stick to the "standards" to put together a set list. But having said that--that isn't the same thing as saying there are all sorts of people out there clammoring for bands to play "something different". What they WANT is to be moved and excited and entertained. You might be able to do that with Sweet Home Alabama and you might be able to do that with a lesser-known Skynryd tune, but the truth is that if you are able to do it with the lesser known tune, it won't be BECAUSE you chose the lesser known tune. So just keep that in mind. I've seen a ton of musicians who think that the answer to setting themselves apart from the rest of the pack is a more "clever" or "better" songlist. That isn't what separates the good bands from the lesser ones. If all it took were different song choices, then that's what every band would be doing. You certainly aren't the first guy to come up with the idea of "everyone must be bored with hearing the same songs from every band--WE'LL give them something different!" and thinking that's the key to success. Having said that--play what you want to play, play the hell out of it and best of luck!

 

 

Hello to you as well. I guess I should have asked if the bands that are choosing standard set lists are using the band as a significant source of income. We are all gainfully employed and playing out 1 or 2 times a month is fine. We intend to play the hell out of our ( not obscure ) songs and figure that is what will entertain people.

[pickinatit]

....And is usually something beyond what the typical get-together-to-play-a-simple-gig-on-the-weekend bands are inclined, or even capable of doing.

Amen to this!! Every once in a while me and my band mates start talking about getting out to gig and then after I think about it for a while I have to bring us back down to earth a bit. Oh, we could probably play some small or dive bars the way we are, but beyond that?? I just ask, ok, who's going to buy the lights and the bigger, better PA/Mixer? Singer, when will you have the lyrics to the 40-50 + songs we'll need memorized so you don't need cheat sheets or anything. (Same question to the others including myself). In short, I just sort of need to remind myself and them that the work factor will need to be stepped up at least 3 or 4 fold if we want to get anything like serious about what we're doing.
I have no doubt that we have the capable part....the inclination part?? Not so much. (For which I'm actually relieved).

[Vito Corleone]

 

Hello to you as well. I guess I should have asked if the bands that are choosing standard set lists are using the band as a significant source of income. We are all gainfully employed and playing out 1 or 2 times a month is fine. We intend to play the hell out of our ( not obscure ) songs and figure that is what will entertain people.

 

 

Then you also need to ask yourself: what sort of gigs are available in my market and what sort of bands would they be looking for?

 

You have to remember that every nightclub is in the business to make money. The only reason they want a band is because they think it will help them make more money. YOU may not care so much about how much money you make but THEY certainly care about how much money they make. So even if you only want to play once-or-twice a month you need to make sure you can.

 

My advice would be to scope out the venues in your market and see if there is one you feel would be a good fit for the music you want to play. And then build your songlist accordingly. Work on being successful at one club and moving on from there.

[Vito Corleone]

Hello to you as well. I guess I should have asked if the bands that are choosing standard set lists are using the band as a significant source of income. We are all gainfully employed and playing out 1 or 2 times a month is fine. We intend to play the hell out of our ( not obscure ) songs and figure that is what will entertain people.

 

 

Since it's been 30 years since you've played out, let me give a brief rundown of how your first several months of gigging will go:

 

Once you guys work up 35-40 songs you think are pretty cool and will work, you book a gig at a small club where one of the guys in the band has a connection. The first night is just "meh", but hey---it's just the first night. And besides, the clubowner said he thought you guys were pretty good and he liked the stuff you play! He says "call me a couple of weeks and we'll see what I have coming up". You do and he books you again! Right on!

 

 

After playing a few times in the club's "B" rotation about every 6-8 weeks, you begin to notice that some songs are clicking with the crowd better than others, so you start re-arranging the sets to get maximum response. One night, towards the end of the 2nd set, things really start to click and the dance floor is beginning to hop. This feels good! 2nd to last song of the set the dance floor is full and there are pretty girls dancing in front of you smiling up at you as play your guitar solo. This feels REALLY good! Just like the old days even! You crank right into your big 2nd set closer which...~sigh!~...empties the dance floor. Oh well, that was more of a "show" song, a big set-ender, rather than a dance song anyway. No problem. We'll wake 'em back up during the next set. You open the next set with one of your best dance tunes. Unfortunately, the place had emptied out during the break and you half-heartedly play through the 3rd set for a nearly-empty room with your neck craning towards the entrance hoping some of those people come back. But they don't. But hey--it's not a total loss because the manager gives you an Early Out with full pay. You're home and in bed before 1 AM! Not the best result, but you'll take it.

 

You decide you need to learn a few more "crowd pleasers", so you decide to learn some of the 'standards' you've seen other bands have success with, or maybe you've had requests for, that you don't COMPLETELY despise. The crowds are staying longer, which is good, but it's still hard to really get that momentum going that towards that fully excited crowd that you feel the band is right on the verge of creating because, no matter HOW you rearrange them, having only 10 really killer crowdpleasers out of 40 songs just isn't enough.

 

One night you're playing and, for whatever reason--you heard there might be a bachelorette party in the back of the room--the crowd is a little better than usual. These 3 girls come up to you during a break, one of whom is pretty hot and while you're happily married and not at all seriously interested in a girl this young, and you're pretty sure she's not really interested in you, it IS nice to look at her while she's BEGGING you to play "Brown Eyed Girl", so you humor her. You keep trying to tell her that while you are familiar with the song (heck, you played the song years ago before she was even born, you say to her with a slightly lecherous grin) the band doesn't know it. She's pleading with you "but EVERYONE knows Brown Eyed Girl! Can't you play it for me....please??? It's MY song" she says while batting those pretty lashes. You ask her if she wouldn't rather hear "Moondance" or "Caravan" instead. She looks at you like she doesn't have the slightest idea what you're talking about and says "PLEASEEE" one more time while pulling a 20 dollar bill out of her purse.

 

So you go up to the guys and tell them about this girl and how she and her friends have been dancing all night and she's even offering 20 bucks, and you're pretty sure you can stumble through the song if they can follow along. So you do it and, even though it's sloppy as hell and you forget half the words, the crowd goes crazy for the fact that you did this special-request-we've-never-even-attempted-to-play-until-this very minute and you think to yourself "you know...even though I absolutely DESPISE that song and swore up and down we'd never be one of THOSE bands, that was actually pretty fun. I wouldn't mind doing that every gig. Especially if we get that sort of response. And besides, we sort of did our own version of it which I think the crowd really dug!"

 

And after the end of the night the clubowner not only paid you, but did it with a bigger smile and was asking YOU about openings in your schedule next instead of the other way around.

 

Long story short---save yourself 18 months, and all the song and dance about being "better" than certain songs and learn 'em already.

[tlbonehead]

geez........

[Kramerguy]

Guido, well put. I can't possibly add more to this discussion. I'm actually surprised it's still being discussed.

[wheresgrant3]

 

Since it's been 30 years since you've played out, let me give a brief rundown of how your first several months of gigging will go: Once you guys work up 35-40 songs you think are pretty cool and will work, you book a gig at a small club where one of the guys in the band has a connection. The first night is just "meh", but hey---it's just the first night. And besides, the clubowner said he thought you guys were pretty good and he liked the stuff you play! He says "call me a couple of weeks and we'll see what I have coming up". You do and he books you again! Right on! After playing a few times in the club's "B" rotation about every 6-8 weeks, you begin to notice that some songs are clicking with the crowd better than others, so you start re-arranging the sets to get maximum response. One night, towards the end of the 2nd set, things really start to click and the dance floor is beginning to hop. This feels good! 2nd to last song of the set the dance floor is full and there are pretty girls dancing in front of you smiling up at you as play your guitar solo. This feels REALLY good! Just like the old days even! You crank right into your big 2nd set closer which...~sigh!~...empties the dance floor. Oh well, that was more of a "show" song, a big set-ender, rather than a dance song anyway. No problem. We'll wake 'em back up during the next set. You open the next set with one of your best dance tunes. Unfortunately, the place had emptied out during the break and you half-heartedly play through the 3rd set for a nearly-empty room with your neck craning towards the entrance hoping some of those people come back. But they don't. But hey--it's not a total loss because the manager gives you an Early Out with full pay. You're home and in bed before 1 AM! Not the best result, but you'll take it. You decide you need to learn a few more "crowd pleasers", so you decide to learn some of the 'standards' you've seen other bands have success with, or maybe you've had requests for, that you don't COMPLETELY despise. The crowds are staying longer, which is good, but it's still hard to really get that momentum going that towards that fully excited crowd that you feel the band is right on the verge of creating because, no matter HOW you rearrange them, having only 10 really killer crowdpleasers out of 40 songs just isn't enough. One night you're playing and, for whatever reason--you heard there might be a bachelorette party in the back of the room--the crowd is a little better than usual. These 3 girls come up to you during a break, one of whom is pretty hot and while you're happily married and not at all seriously interested in a girl this young, and you're pretty sure she's not really interested in you, it IS nice to look at her while she's BEGGING you to play "Brown Eyed Girl", so you humor her. You keep trying to tell her that while you are familiar with the song (heck, you played the song years ago before she was even born, you say to her with a slightly lecherous grin) the band doesn't know it. She's pleading with you "but EVERYONE knows Brown Eyed Girl! Can't you play it for me....please??? It's MY song" she says while batting those pretty lashes. You ask her if she wouldn't rather hear "Moondance" or "Caravan" instead. She looks at you like she doesn't have the slightest idea what you're talking about and says "PLEASEEE" one more time while pulling a 20 dollar bill out of her purse. So you go up to the guys and tell them about this girl and how she and her friends have been dancing all night and she's even offering 20 bucks, and you're pretty sure you can stumble through the song if they can follow along. So you do it and, even though it's sloppy as hell and you forget half the words, the crowd goes crazy for the fact that you did this special-request-we've-never-even-attempted-to-play-until-this very minute and you think to yourself "you know...even though I absolutely DESPISE that song and swore up and down we'd never be one of THOSE bands, that was actually pretty fun. I wouldn't mind doing that every gig. Especially if we get that sort of response. And besides, we sort of did our own version of it which I think the crowd really dug!" And after the end of the night the clubowner not only paid you, but did it with a bigger smile and was asking YOU about openings in your schedule next instead of the other way around. Long story short---save yourself 18 months, and all the song and dance about being "better" than certain songs and learn 'em already.

 

 

Pretty true...

[TrickyBoy]

 

Since it's been 30 years since you've played out, let me give a brief rundown of how your first several months of gigging will go: Once you guys work up 35-40 songs you think are pretty cool and will work, you book a gig at a small club where one of the guys in the band has a connection. The first night is just "meh", but hey---it's just the first night. And besides, the clubowner said he thought you guys were pretty good and he liked the stuff you play! He says "call me a couple of weeks and we'll see what I have coming up". You do and he books you again! Right on! After playing a few times in the club's "B" rotation about every 6-8 weeks, you begin to notice that some songs are clicking with the crowd better than others, so you start re-arranging the sets to get maximum response. One night, towards the end of the 2nd set, things really start to click and the dance floor is beginning to hop. This feels good! 2nd to last song of the set the dance floor is full and there are pretty girls dancing in front of you smiling up at you as play your guitar solo. This feels REALLY good! Just like the old days even! You crank right into your big 2nd set closer which...~sigh!~...empties the dance floor. Oh well, that was more of a "show" song, a big set-ender, rather than a dance song anyway. No problem. We'll wake 'em back up during the next set. You open the next set with one of your best dance tunes. Unfortunately, the place had emptied out during the break and you half-heartedly play through the 3rd set for a nearly-empty room with your neck craning towards the entrance hoping some of those people come back. But they don't. But hey--it's not a total loss because the manager gives you an Early Out with full pay. You're home and in bed before 1 AM! Not the best result, but you'll take it. You decide you need to learn a few more "crowd pleasers", so you decide to learn some of the 'standards' you've seen other bands have success with, or maybe you've had requests for, that you don't COMPLETELY despise. The crowds are staying longer, which is good, but it's still hard to really get that momentum going that towards that fully excited crowd that you feel the band is right on the verge of creating because, no matter HOW you rearrange them, having only 10 really killer crowdpleasers out of 40 songs just isn't enough. One night you're playing and, for whatever reason--you heard there might be a bachelorette party in the back of the room--the crowd is a little better than usual. These 3 girls come up to you during a break, one of whom is pretty hot and while you're happily married and not at all seriously interested in a girl this young, and you're pretty sure she's not really interested in you, it IS nice to look at her while she's BEGGING you to play "Brown Eyed Girl", so you humor her. You keep trying to tell her that while you are familiar with the song (heck, you played the song years ago before she was even born, you say to her with a slightly lecherous grin) the band doesn't know it. She's pleading with you "but EVERYONE knows Brown Eyed Girl! Can't you play it for me....please??? It's MY song" she says while batting those pretty lashes. You ask her if she wouldn't rather hear "Moondance" or "Caravan" instead. She looks at you like she doesn't have the slightest idea what you're talking about and says "PLEASEEE" one more time while pulling a 20 dollar bill out of her purse. So you go up to the guys and tell them about this girl and how she and her friends have been dancing all night and she's even offering 20 bucks, and you're pretty sure you can stumble through the song if they can follow along. So you do it and, even though it's sloppy as hell and you forget half the words, the crowd goes crazy for the fact that you did this special-request-we've-never-even-attempted-to-play-until-this very minute and you think to yourself "you know...even though I absolutely DESPISE that song and swore up and down we'd never be one of THOSE bands, that was actually pretty fun. I wouldn't mind doing that every gig. Especially if we get that sort of response. And besides, we sort of did our own version of it which I think the crowd really dug!" And after the end of the night the clubowner not only paid you, but did it with a bigger smile and was asking YOU about openings in your schedule next instead of the other way around. Long story short---save yourself 18 months, and all the song and dance about being "better" than certain songs and learn 'em already.

 

 

That's fantastic!