Our qualifiers can be summed up as follows:
- We generally work with original artists; not with cover bands. Sure, a few covers in the set list are fine, but they shouldn't take up more than 25% +/- of it.
Most of our shows are headlined by touring acts, from out-of-town places
- We do business in music rooms, not bars. Sometimes the lines can blur, but in general our shows take place in venues with a raised stage and where people are walking in the door to see the band, not their friends and bartender. This can range from 100-seaters all the way up to theaters and festivals. Most of our shows are in the 100-800 attendee range. We also offer advisory servicesw to venues, festivals, promoters, and artists.
- You must sound good. Check that, you must sound very good. Subjective, to be sure, but how else would it work? We're not going to hire you without putting our ears to it. Yes, we are picky.
- We work in many genres, with a few exceptions: no rap, no hip-hop, and no urban-pop. Simply put, we can't stand that stuff, so why would we torture ourselves? We seem to specialize in a few specific genres: Americana; alt-country; indie and roots-rock.
- You must buy into our "formula". Our "gig steps" for local acts are: 1) playing support for a larger local/regional act; 2) playing support for a touring act; 3) headlining in a small room; 4) supporting a touring act in a larger room; and 5) headlining a larger room. If your band is new and not yet established in the local market, you would start out at Step 1. Others might skip a step or two. But that is the general way in which we help develop local talent.
- Point us to your website/Facebook site, where we can listen to you. Correct: we prefer listening online to receiving CD's from you for a first listen. We also like to see a large number of followers/friends on your Facebook page --- that tells us that you "work it," as far as cultivating a fan base. You have an email Fan Club? Very good.
- It is also very beneficial to you if you have a great looking Video on the web somewhere. We like to link-out to these from our Upcoming Events / Ticketing pages and email alerts used to promote our shows. If it's a 'tie' between two acts that we are considering for a gig, the one with the video clip wins. Often, the video is the first contact we have with finding out what a band is all about. So, invest a few buck in a good quality one. Find that kid from high school that went to film school .
- Be realistic when it comes to the "how much ya gonna pay us?" part. If you're a support act in a small room, don't expect much of anything. Consider it an investment. If you do the mental math on these types of shows, you realize that there really isn't room (financially) for a support act; hence the reason there usually isn't one. Still, we try to do it as often as possible, for the reason stated at the very beginning here.
- Get into -- and stay in – our loop. Go to our shows and make a point of saying 'hi'. Don't be bashful--we're not!
.
12 Random Tips for Emerging Bands
(From a Producer-Promoter's POV)
1.Songs (Not Shows) Gain New Fans
When you're getting ready to post the fact that you have a gig next Friday, ask yourself this question: would I go to see some band who I never heard of before? Not likely.
Your musical output is what gains new followers (and eventually new attendees), not the cute name you gave your band or your serious-looking promo photo. Solve that problem by making sure that the market is at least familiar with some subset of your work beforehand.
How? Pick your 'best' tune (i.e., the one song in your repertoire that would most likely be the one to get old school radio airplay) --- and then put it out there into as many eardrums as possible. Make sure it is the one being pushed to the local-music radio shows; is the auto-play selection on your website; is the featured tune for your best music video clip; is used in any ads (real or make-believe) you create, etc. Repeat with a new song every six to nine months. Work it!
Get 'em to appreciate your music as a way to hook 'em and get them into your orbit. THEN you let them know where they can go catch it in a live setting. The bottom line: put more effort in promoting individual songs, not individual shows.
2.The Third Song Rule
Song #3 in your live set is the single most important one you'll play all night. Trust us here. Make it count. This is where the tune from #1 (above) might go.
FYI: your Closer is second, your Opener is third. Encores are nowhere in the mix.
3.Shared What?
We REALLY don't care who you 'shared the stage with' on past gigs.
The fact that you were the first of three support acts for a hair-metal band's nostalgia tour says nothing about your talent or draw-power. Strip it out of your bio – you're embarrassing yourself.
3.Bars vs Music Rooms
Understand the differences between the two...
In a bar, the band is secondary to the scene. In a music room, the band is primary; the floor layout usually reflects that. Cover bands play in bars; but they generally don't play in music rooms. Original acts strive to escape the bars and find the music rooms.
Also; the 'traffic' dynamics are different in the two settings. In general, a bar has a built-in clientele that will walk into the joint regardless of who is playing the music. But if you are stepping up to a music room, the scenario is different: people are coming to see the particular band playing that evening. The expectation is then reversed and the onus falls (predominantly) on the band's reputation and fanbase.
4.Don't Burn-Out Key Supporters
Yes, a band needs people at their shows to keep everyone happy. But you can't expect your spouses, boy/girlfriends, parents, relatives, classmates, neighbors, +/or roommates to attend each and every gig you line up. No matter how monumental you may think your shows are, to others the routine quickly gets monotonous. You'll burn them out and they will start looking for ways to avoid you. For certain categories mentioned above, that might not be a good thing.
Likewise, don't blast notices to your mailing/friends/fan list, shouting about the their need to get to your Friday show at the coffee house or the HUGE news of your playing at the Joe's Bar Happy Hour tonight. Send too many of these and you'll start to lose followers. Those left will pay less attention to your alerts and news flashes than they did before.
The better strategy is to pick your spots better. Save the 'All Hands On Deck' e-alerts for the important shows, where you are stepping up to a bigger-class venue or some other special occasion.
5.Market Spacing
If you talked us into putting you on the bill (either as support or headline), then don't be doing your CD-release / holiday party at the joint around the corner in two weeks. Not without asking, at least.
6.Blackout Window
Closely related: if you're in the aforementioned 'Music Room' mode and to the point of being confident enough to go on the road, then be aware of the standard 60/60 rule (or common variations). This means that if you come in and play a show for us, then you shouldn't be playing another one within 60 miles of that room in the next 60 days. Again; not unless you ask. Guess what? We'll usually say yes. In those cases, don't announce that next local gig until a few days after you've done our show. NEVER announce it on our stage.
7.Promoter as Partner
Treat us --- or any promoter --- as a long-term business partner, not as a one-shot customer. Work together to create a plan that "grows" your band in any given market. Maybe the first show is in a shitty little room with an 8-foot stage, but it might be worth it if the idea is to move you into a bigger room the next time you're up to bat.
8.Lemons into Lemonade
Keep the faith, even on those nights where you drew just five paid's to your show. Figure out 'why' and make the necessary corrections to minimize the chances of it happening again. Plus: you'll be surprised at the number of good future contacts and lifelong fans come out of these disasters. We've seen it happen.
9.Not Every Day is a Big Payday
Realize that a promoter is personally on-the-ropes financially for a show and that the break-even calculation is so tight (from the room rent, labor and headliner cost, etc) that the support/warmup act budget is minimal, at best. But certain support slots might be important for your progress, in that they expose you to a large mass of strangers.
So, look at these support-act slots not as big paydays, but as band-development opportunities. At the least, you'll make some new friends that might take a shine to you. We've seen that happen, too.
At the same time. Don't play for free for anyone. At least get gas money. Unless it's a worthy benefit or a band member's wedding. But only one wedding freebie per member! Actually, playing at a band member's wedding never seems to work out very well, so scratch that idea.
10. Stay in Touch
If we put you up on our stage, that means we are genuinely interested in you, your music and your progress. Let us know how you're doing out there. Invite us to your big gigs and other events; shoot us your new clips.
11. Just Ask
In all the years we've been doing this, we've had a grand total of two (2) artists ask us “what would you recommend we do to improve our show?” Would any other industry act this way and not seek customer input? We think not. This ties back to Point #7. Plus: realize that we are at least viewing this thing from the only angle that really counts --- facing the stage.
12.Release Parties as Parties
Having a CD-release party or something big to yell? Well, don't just announce it and then wait to see who shows up. Drag the right people there -- fellow musicians, allies, talent buyers, radio people, movers & shakers, the mayor, your extended network, fans, etc, etc. Get creative; for this is important stuff. Treat is as: a) a celebration and, b) a reach out & touch event. Write it up as a marketing expense. Yeah; free admission, liquor and cheese sticks.
Most importantly: HAVE FUN. When it stops being fun, you're in trouble.
1.Songs (Not Shows) Gain New Fans
When you're getting ready to post the fact that you have a gig next Friday, ask yourself this question: would I go to see some band who I never heard of before? Not likely.
Your musical output is what gains new followers (and eventually new attendees), not the cute name you gave your band or your serious-looking promo photo. Solve that problem by making sure that the market is at least familiar with some subset of your work beforehand.
How? Pick your 'best' tune (i.e., the one song in your repertoire that would most likely be the one to get old school radio airplay) --- and then put it out there into as many eardrums as possible. Make sure it is the one being pushed to the local-music radio shows; is the auto-play selection on your website; is the featured tune for your best music video clip; is used in any ads (real or make-believe) you create, etc. Repeat with a new song every six to nine months. Work it!
Get 'em to appreciate your music as a way to hook 'em and get them into your orbit. THEN you let them know where they can go catch it in a live setting. The bottom line: put more effort in promoting individual songs, not individual shows.
2.The Third Song Rule
Song #3 in your live set is the single most important one you'll play all night. Trust us here. Make it count. This is where the tune from #1 (above) might go.
FYI: your Closer is second, your Opener is third. Encores are nowhere in the mix.
3.Shared What?
We REALLY don't care who you 'shared the stage with' on past gigs.
The fact that you were the first of three support acts for a hair-metal band's nostalgia tour says nothing about your talent or draw-power. Strip it out of your bio – you're embarrassing yourself.
3.Bars vs Music Rooms
Understand the differences between the two...
In a bar, the band is secondary to the scene. In a music room, the band is primary; the floor layout usually reflects that. Cover bands play in bars; but they generally don't play in music rooms. Original acts strive to escape the bars and find the music rooms.
Also; the 'traffic' dynamics are different in the two settings. In general, a bar has a built-in clientele that will walk into the joint regardless of who is playing the music. But if you are stepping up to a music room, the scenario is different: people are coming to see the particular band playing that evening. The expectation is then reversed and the onus falls (predominantly) on the band's reputation and fanbase.
4.Don't Burn-Out Key Supporters
Yes, a band needs people at their shows to keep everyone happy. But you can't expect your spouses, boy/girlfriends, parents, relatives, classmates, neighbors, +/or roommates to attend each and every gig you line up. No matter how monumental you may think your shows are, to others the routine quickly gets monotonous. You'll burn them out and they will start looking for ways to avoid you. For certain categories mentioned above, that might not be a good thing.
Likewise, don't blast notices to your mailing/friends/fan list, shouting about the their need to get to your Friday show at the coffee house or the HUGE news of your playing at the Joe's Bar Happy Hour tonight. Send too many of these and you'll start to lose followers. Those left will pay less attention to your alerts and news flashes than they did before.
The better strategy is to pick your spots better. Save the 'All Hands On Deck' e-alerts for the important shows, where you are stepping up to a bigger-class venue or some other special occasion.
5.Market Spacing
If you talked us into putting you on the bill (either as support or headline), then don't be doing your CD-release / holiday party at the joint around the corner in two weeks. Not without asking, at least.
6.Blackout Window
Closely related: if you're in the aforementioned 'Music Room' mode and to the point of being confident enough to go on the road, then be aware of the standard 60/60 rule (or common variations). This means that if you come in and play a show for us, then you shouldn't be playing another one within 60 miles of that room in the next 60 days. Again; not unless you ask. Guess what? We'll usually say yes. In those cases, don't announce that next local gig until a few days after you've done our show. NEVER announce it on our stage.
7.Promoter as Partner
Treat us --- or any promoter --- as a long-term business partner, not as a one-shot customer. Work together to create a plan that "grows" your band in any given market. Maybe the first show is in a shitty little room with an 8-foot stage, but it might be worth it if the idea is to move you into a bigger room the next time you're up to bat.
8.Lemons into Lemonade
Keep the faith, even on those nights where you drew just five paid's to your show. Figure out 'why' and make the necessary corrections to minimize the chances of it happening again. Plus: you'll be surprised at the number of good future contacts and lifelong fans come out of these disasters. We've seen it happen.
9.Not Every Day is a Big Payday
Realize that a promoter is personally on-the-ropes financially for a show and that the break-even calculation is so tight (from the room rent, labor and headliner cost, etc) that the support/warmup act budget is minimal, at best. But certain support slots might be important for your progress, in that they expose you to a large mass of strangers.
So, look at these support-act slots not as big paydays, but as band-development opportunities. At the least, you'll make some new friends that might take a shine to you. We've seen that happen, too.
At the same time. Don't play for free for anyone. At least get gas money. Unless it's a worthy benefit or a band member's wedding. But only one wedding freebie per member! Actually, playing at a band member's wedding never seems to work out very well, so scratch that idea.
10. Stay in Touch
If we put you up on our stage, that means we are genuinely interested in you, your music and your progress. Let us know how you're doing out there. Invite us to your big gigs and other events; shoot us your new clips.
11. Just Ask
In all the years we've been doing this, we've had a grand total of two (2) artists ask us “what would you recommend we do to improve our show?” Would any other industry act this way and not seek customer input? We think not. This ties back to Point #7. Plus: realize that we are at least viewing this thing from the only angle that really counts --- facing the stage.
12.Release Parties as Parties
Having a CD-release party or something big to yell? Well, don't just announce it and then wait to see who shows up. Drag the right people there -- fellow musicians, allies, talent buyers, radio people, movers & shakers, the mayor, your extended network, fans, etc, etc. Get creative; for this is important stuff. Treat is as: a) a celebration and, b) a reach out & touch event. Write it up as a marketing expense. Yeah; free admission, liquor and cheese sticks.
Most importantly: HAVE FUN. When it stops being fun, you're in trouble.
STAY IN THE LOOP:
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