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Opening Acts!...Does Playing Before A Rock Star Make You One? PDF Print E-mail
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Written by Sheena Metal   
Saturday, 09 August 2008
Itís the dream of many a musician to open up for either: their favorite band or the favorite band of their childhood. For many, the ultimate in true rock star status is to share a stage with the musicians who made you want to play music in the first placeÖto see you name in lights (or printed on a flyer, as the case may be) with the guys (or gals) whose music you listen to almost as much as (if not more than) your own. 

But is it really a good idea, as an unsigned artist, to open up for an act already known to the general public? Will you get anywhere near the recognition opening up for Pearl Jam in a large venue that you would at a local club playing with other unsigned bands? Will you fans dig your music as hard as ever or will they forget all about you in a mad frenzy to have Eddie Vedder sign their backs? 

Itís a double-edged sword that many artists forget to think over carefully before rushing starry-eyed into the excitement of being the opening act for: (Insert Name Of Famous Rock Star Here). In many cases, venues and promoters still expect your crowd to turn out and drink it up at shows, even though the headliner will draw a big crowd of their own. Many of these shows are an hour plus away from your local area and tickets can be upwards of $100. Is that something you can expect your friends will be up for? 

And then thereís the issue of press. Do you dare ask a reviewer to come out and cover your show and expect that a large portion of your article wonít be about how ìPearl Jam rocks!î You score local radio play only to have the DJ announce the show and play, ìAlive.î Sometimes opening up for a signed act can make an unsigned artist feel even more invisible than usual. 

The following are a few tips that may help you to weigh the pros and cons of grabbing a spot as the opening act for a famous band: 

1.) Would You Take The Show If You Werenít Playing With Pearl Jam?---Many artists think that playing with a famous act is so important that they donít even bother to check out anything else about the gig. Many assume that rock stars always command rock star stages, but this is often not the case. Many acts, especially classic rock/retro acts on revival tours, are looking to get out and play anywhere that will put them up the right kind of front money. Often times this means that the venues are in more remote areas either looking to get on the musical map or using a well-known act to entice people to drive in from far away. Sometimes, the clubs are older rooms looking to get their groove back or new places that havenít yet acquired a regular crowd. Before booking anything, drive out and check out the venue on a few different nights and make sure that you like the room, the stage, the regulars, the area, etc. and ask yourselves if this is a venue that would play if it was! 

nít for the draw of the signed headliner. Since many of these shows can cost unsigned acts anywhere from $200-$2000 in ticket guarantees, you want to make sure that your getting your moneyís worth musically. 

2.) Would Pearl Jamís Fans Listen To You If They Caught You In Your Local Bar?---For a lot of upcoming acts, the lure of playing in front of a crowd of adoring fans is a huge plus. But, you need to make sure to remember that just because people are coming to a club doesnít mean they plan to listen to you. Sadly, often the followers of signed acts could care less about unknown openers and will arrive right before the headliners set. Sometimes, they sit in at the bar in another room praising their favorite band while the openers play to their friends and the wall. Worst case, many of them will rush the stage yelling, ìPearl Jam! We want Pearl Jamî while you do your best to win them over musically. This is why itís important to only open for signed acts that fit in the style of your music. If you loved Pearl Jam in high school but your band sounds like John Mayer, you might want to think twice before deciding that their fans are automatically going to dig your tunes. 

3.) Find Out All Of The Details Before Committing To A Signed Act Show---Itís fairly easy to book a local show: two to five unsigned acts, 20-45 minute sets, all ages to 21 and up, $0 to $10 cover, sound check or line check, maybe free parking, possibly some free drinks, sometimes backline gear, occasionally free food, and pray for a decent sound man. Itís all pretty much cut and dried and if your band has been around awhile, you can confirm gigs in your sleep. Signed headlining acts are a whole different animal and promising your crowd to a venue two hours away, with a $40 cover charge where your band is playing a 15 minute set with your gear scrunched up on the front of the stage so that the headlinerís gear can remain set up might not be as easy as you think. Your fans are used to seeing you rock the house, down the street from their homes, where you play long, get an encore and the house buys everyone a shot! Unless theyíre dying to see Pearl Jam, they might not be u! 

p for all of extra energy it takes to see you open up for a famous act. 

4.) You May Not Be Signed But You Can Act Like You Are---If you decide to take a gig opening up for a signed band and you want to impress them, their crew, their reps, and the clubís management, then make sure youíre act as professional as your headliner. Get there early, have your gear organized, make sure everything is working perfectly, load in at the speed of light, have your set list ready, be courteous to the sound guy (gal), keep your set on time, and load off at the speed of light. Most importantly, have your merchandise in order and professionally displayed at the club/arena: CDs, DVDs, t-shirts, bumper stickers, hats, condoms, thongsÖyou name it. You know youíre unsigned but the headlinersí fans donít, so why advertise it? Put on a fantastic show and maybe youíll sell some CDs, etc. and make some extra cash. 

Thereís one more thing to consider here: fulfilling a dream. If itís your dream to open up for an act you love, then throw caution to the wind and do it just for the dream. If you lose money, hate the club, get booed by over-zealous fansÖwho cares? For that one set, you shared the stage with the band that put the dream in your heart to get up on a stage in the first place. Plus, itís great bragging rights for your band. You can throw it up on your website and talk about it to your grandchildren. If you donít mind the extra effort, commitment and sometimes hassle, then go for it! Who knows? Maybe theyíll pick you up as the opener on their tour? Maybe their label will see you and sign you? Maybe Rolling Stone will come out to review them and mention your name? If youíre doing it to fulfill the dream, then everything else is a bonus. Just remember to get all of the details, and stay smart when undertaking a huge gig. Now, get up on that stage and wow that big crowd,! 

you rock stars! 

About The Author

Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musiciansí assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: http://www.sheena-metal.com

 
The Gig Is Up - Getting Those Gigs PDF Print E-mail
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Written by Artistopia   
Friday, 08 August 2008
Time for your music dreams to come true ñ playing live onstage to masses of screaming fansÖor at least a room full of people listening in to your creations. Though the ultimate goal is a good-paying gig, an artist or band just starting out may have to take on some freebies. Consider them as experience. Use this list as a start on how to get gigs, a checklist of the basics, and an idea starter. 

The Prep: 

Talent ñ know your style, be solid in your performance abilities before you take on too big a gig 

All band mates know their responsibilities 

Calendar ñ create your timeline 

Internet - online presence, class ads, forums, press, make friends with other bands 

Networking ñ go to shows of other bands and meet them, create critical allies, rub elbows 

Press kit ñ with contact info, web address 

Demo tape/CD with your 3 best songs 

Rehearsed extensively 

Decent equipment ñ with backups and spares 

Reliable transportation for band and ALL equipment 

Funds ñ who handles your band finances, food, gas, places to stay 

Booking agency or manager to get bookings ñ when affordable and research thoroughly 

Sound Technician 

Playlist ñ well shaped, great flow, more than enough for the time allowed, minimal pause between songs 

The Places: 

Fundraisers, charities, benefits 

Festivals, fairs, city free concert venues, trade shows 

Music competitions, songwriting contests 

Battle of the bands 

Clubs, bars, pubs ñ karaoke, open mic night 

Weddings, special occasions, private functions, parties 

Country clubs, cruise ships 

Restaurants, cafes, coffee shops, bookstores 

Schools, churches, colleges 

House concert 

Jam sessions 

Online video 

Gig trading with other bands of similar style ñ one band opens the show, the other closes 

Getting the Gig: 

Attitude should be ìhow we can help each otherî 

Understand what is expected of you ñ donít assume anything, including food and drinks 

Make sure the venue has a good rep for being fair 

Be ready if you need to do a live audition during a clubís less busy hours. 

Venue specifications, space, sound 

Keep your word, build respect, do what you say you will do 

Get it in writing, contract 

You know itís up to you to promote your gig, right? 

The Promotion: 

Word of mouth with enthusiasm! 

Flyers, posters ñ get permission as needed (e.g. parking lots) 

Street teams, fan clubs 

Internet marketing ñ events, email, ezines, newsletters, class ads, Blogs, concert calendars, mailing list (online/offline) 

Call ALL your friends, family, co-workers, school mates 

Press releases to any media available 

Newspaper, radio, local gig guides 

Bulletin boards, music stores, record shops 

Go where your particular style of fan would hang out or work ñ do your market research 

Swap promo with local stores, restaurants, come up with some cool idea 

The number of heads through the door is the most important factor for a re-booking 

At Work: 

A gig is a job ñ so the same rules apply: be on time, donít take too many set breaks, be prepared to do your best and be professional at all times. The reputation you create will proceed you. 

Sound check, balance, volume levels 

Make sure the audience knows the name of your band 

A good catchy opening line 

Be adaptive to your environment ñ have a sense of humor 

A musician under the influence of drugs or alcohol is a recipe for disaster 

Merchandise for sale ñ CDs, t-shirts, stickersÖdoor prizes 

Have someone take good photos (video) for adding to your photo albums later ñ and schmooze with your fans! Get fan names to add to the photo narrative. 

Collect emails, hand out biz cards, promote the next upcoming gig, get references 

Something will probably go wrong, think through typical disasters and try to be prepared 

Have a great time because you are doing what you love to do! 

The Follow-up: 

Let everyone know you had a great time and appreciate that they came to see you and thank the venue operators and staff 

If you have a band following you, be polite and move your equipment as quickly as possible 

Have your pre-appointed money collector do their job 

Drop the rock star attitude ñ donít get a big head 

Respect the people around you and doní burn any bridges 

Learn from every experience 

Add any upcoming gig or follow-up press release to your music profile. Show the world what you are about! 

About The Author

Artistopia - The Ultimate Artist Development Resource http://www.artistopia.com is an artist development and community on the web providing music artists, songwriters and bands all the tools needed for displaying their talent, music business collaboration, marketing and networking. Online since 2003, Artistopia develops advanced technology solutions that leverage the Internet to both the music artist and music companies respective advantage. 

 
Preventing Demo Suicide PDF Print E-mail
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Written by Steve Veloudos   
Monday, 25 February 2008
Your demo is your calling card to the music industry. A good demo could result in getting those special gigs on weekend nights or possibly sparking some interest from an A&R rep. A bad demo on the other hand may lead your band into gigging on weekdays in bad time slots were there usually is no audience in the club or worst yet rejection from many people in the music business. Whatever you are using your demo for there are some guide lines that can help you position your band in a favorable light. Likewise there are some things you should avoid at all costs which will label you as non-professional.

Best Song First
Put the best song first on your CD. May people in the music business are very busy and if the first song on your demo
doesnt catch them it is highly unlikely that they will listen to the rest of your CD.

3-6 Songs
Put no more than six songs on your demo no less than three. Again, industry people are busy and they will probably not listen to more than six songs.

Label Jacket and CD
Make sure to put your contact info on both the CD as well as your CD jacket. Your CD may get separated from the box and if you dont have your contact info on the CD the listener may not dig through the paperwork of all the other bands that have submitted CD's to find your info. Make it easy for them, have it in both places.

Quality Recording
Make sure that the CD you are sending was decently recorded. It doesnt have to be done in a full blown state of the art studio. Make sure that the recording is clean and sounding good.

Don't Shotgun
Shotguning is sending your CD to hundreds of industry people without checking out what types of music that they work with or if they accept unsolicited submissions. If you are sending to labels check out other artist that are on that label and compare their music to yours. A label that puts out rock albums may not be interested in a country act. The best thing you can do send a letter explaining about your act and that you would like to submit a CD to their record company. Include a self addressed stamped post card for their reply. This will help save you money on postage from those labels that are not interested or wont accept unsolicited CD's. Use postal mail for this contact. Emails get easily missed and may not reach your intended industry person.

Well there you have it, follow these quick and dirty rules and you will get you shot at the industry. Good luck and let me know how things work out!

*********************************
Steve Veloudos is the owner of www.zebramusic.com. Steve is devoted to helping musicians and bands further their careers in the music industry. Stop by his web site and subscribe to the free Musicians Tip Sheet.  The Tip Sheet includes industry contacts, and many other items designed to advance a musicians musical career. Subscribe to the newsletter by going to: http://www.zebramusic.com
 
Booking Tips PDF Print E-mail
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Written by Steve Veloudos   
Wednesday, 20 February 2008
This article is about the subject of booking your band. It contains a few helpful tips that you can start using immediately when you are booking your band. 

Get Organized
You need to come up with some sort of system to keep track of who you called, what was said, who you sent packages to and who you need to follow up with. I recommend getting a Day runner, they are compact and can help you stay organized by keeping all important information in one place. Inside you can keep detailed notes and reminder notices to follow up on phone calls or anything else that has to be done. At the very least get a calender and a note book and keep good records.

Press Kit
Make sure you kit is the very best it can be before you send it out. If it is sloppy or unorganized that is the way you band will be perceived. Make sure your best song is the first song on your demo.

Don't Lie
Do not lie about your draw. Clubs care about one thing, how many people you can get through the door. If you tell them you can draw 200 and only 50 people show up you have betrayed the trust that the club owner has given you, which will hurt you in future bookings there. If you donít have a large draw or you are just starting out tell the club owner that and then ask to open for a band that has a large draw. If you band is good you can get some great exposure to many people which will increase your draw. If you have a mailing list and it is a decent size (qty 500 people). Let the club owner know about it, this may help you booked on a better night or time slot.

Meet The Booker
If you are booking your band into a new venue or if your band is new, go down to the club and meet the person who is doing the booking. I find it is best to do this in the beginning of the week (Mon or Tues) when they are not so busy. You can personally hand over your press kit and you will get more attention than if you just called and dropped your package in the mail.

Put Together A Package
Get together with a few other bands and offer a package to the club owner. This can really work well if you make it different and interesting. An example might be : a few Reggae band got together and threw a Reggae fest. They found someone who makes Reggae jewelry, also a restaurant that brought in barbecues and cooked reggae food and a travel agency set up a booth about Jamaican vacations. Use you imagination and creativity. Put the package together and then go to the club owner and sell the idea to the booker. If you are a standard rock band consider an unplugged night with a few other bands. How about getting together with 10 other bands and have a rock marathon where every band plays one set? Anything you can do to make your show not just another band playing in a club will be much more appealing to the booker and will attract more people to come to the show to check it out.

Well there you have it, I have just started to scratch the surface on the subject of booking you band. I hope this help you and as always, drop me a line and let me know how your band is doing! Good luck and happy bookings.

*********************************
Steve Veloudos is the owner of www.zebramusic.com. Steve is devoted to helping musicians and bands further their careers in the music industry. Stop by his web site and subscribe to the free Musicians Tip Sheet.  The Tip Sheet includes industry contacts, and many other items designed to advance a musicians musical career. Subscribe to the newsletter by going to: http://www.zebramusic.com
 
Seven Steps To A Successful Audition PDF Print E-mail
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Written by Marco Kasel   
Monday, 30 July 2007
I have been a musician since the tender age of 7 and in my career I've passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives. 

In this article, I want to shed some light on what an audition process looks like from the point of view of the "auditioner" rather than the "auditionee". I'll give you seven tips that hopefully provide some help. 

I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I'll talk about will mostly relate to cruise line entertainment auditions. 

Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship. 

The most obvious type would be the live audition, where you go to the audition location in person and play what's asked of you. 

You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you'd play almost exactly the same music. 

And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don't have to perform music that the company provides, but rather your own repertoire. 

There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips. 

1. Get the details on the job description 

This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won't waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet. 

Also, if sight-reading is the main focus of the job you're applying for, there is no point in hoping you'll slip by simply because you can improvise like Charlie Parker. 

2. Be flexible enough to present what's actually needed 

Let's assume that you got all the details on the job description and you realize that you don't exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it'll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project thatís geared to the job in question. 

3. Audition only when you feel that you have a good chance of passing 

Often musicians apply for a job they are not qualified for. Now, you could argue that that's what auditions are for, and people couldn't possibly know in every case whether they are qualified or not. I agree, all I'm saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it. 

Being dishonest about what your skills really are can hurt you in more ways than one. Let's assume for a minute that you slip through the cracks and you end up in an orchestra but you can't cut the gig. First and foremost, you'll be humiliated in front of other musicians, you'll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it's begun. (This happens all too often...) 

So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you're about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you're lacking. 

4. Put some time and effort into preparing your best possible package 

This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn't supply a package that's appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway. 

Usually, demo packages include the recording itself, which should present the exact repertoire you're planning to play on the gig, a short resume of each member, and a list of your repertoire. 

You won't impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that's asked of you, played with energy and skill. 

5. Try to impress with your playing, not with your resume 

I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won't get you a gig if you can't play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they've played with. You're doing yourself a disservice if you hype yourself up with your resume and you can't back it up later during the audition. 

6. If you fail, accept the criticism and use it to prepare better for your next audition 

All the practicing in the world may sometimes not be enough to pass an audition. If that's the case, accept the reasons that you're given by the jury, and go home and practice those specific things. If they aren't forthcoming with specific reasons, ask questions. I think it's only fair that a jury tells you what your weaknesses are if they turn you down. 

I'll spare you the details of all the things we've heard from people that have been rejected. Just watch "American Idol", and you'll get a good idea of what we go through sometimes. 

7. Be honest about your strengths and weaknesses 

This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you're being judged on. Weaknesses you've been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person? 

Those are my "7 Steps to a successful audition". I hope that some of you will find this information helpful. Please visit my website for more information on the subject of "Music on Cruise Ships". Contact me if you have questions or if you'd like to audition. 


Marco Kasel is the president of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers. 

 

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