Vol 4, Issue 5: To Perform, Perchance to Entertain

A few months ago, my good friend local bluesman Nathan Ouellette and I were having a debate on the way home from a joint gig. While neither of us could pinpoint a solitary definitive cause, essentially at the end of the discussion, we came to the conclusion that in a lot of ways, the “live music scene” is dead. As mentioned last time around, more and more once popular havens for mohawkers and moshers are closing down each day. While I believe this is partly a generational phenomenon (god knows I did everything I could to sneak into punk shows when I was underage, but that trend seems to have lost its appeal among the millenials), I also think it is due to the fact that the "working musician" has lost any sense of “professional” status in contemporary society.

Because of so called “advances” in audio technology, anyone and I mean ANYONE can cut a decent sounding record if given the right producer and enough Autotune, even if said individual(s) lacks in talent altogether. Add to this the “wired” state of the world, social networking sites, and video games like GuitarHero, and essentially you end up with a situation wherein everyone thinks they’re a bloody rockstar. 

To make matters worse, I’m not sure if it’s because we’ve become lazy, oversaturated, or too self-obsessed (perhaps a combination of all three?), but generally speaking, audiences and venues alike have developed a preference and higher regard for artists playing covers as opposed to those courageous enough to share with the world pieces of themselves.

*Come on, the fact that a glorified karaoke contest that weighs in more on marketability and looks as opposed to its contestants’ actual compositional ability is responsible for pumping out how many of our recent top selling artists speaks for itself.*

Given the above described current situation, how is one to stand out? More importantly, how is one to develop a following? And no, Twitter and Myspace stats don’t count – I’m talking about real people coming out to real gigs. Well in one simple phrase, you need to perfect the difference between “playing” versus “entertaining”. Perhaps an example would prove illustrative:

Last year, I was lucky enough to score floor tickets to witness one of my favourite childhood bands live in the flesh: No Doubt. While I was totally stoked to see them perform, I was kinda bummed that Paramore was selected to open the show. Now there’s no question that Ms. Williams can most certainly hold a tune, but their music quite simply just doesn’t do it for me. Despite this, that night Paramore earned my seal of approval for managing to match No Doubt in terms of energy, showmanship, and stage presence; something that is no easy feat. On top of this, I was impressed to see that they are a band of genuine musical talent. By that I mean, lipsynching proved unnecessary as they rocked much harder in person than on anything I’ve ever heard recorded by them. Taking into consideration their continued success (and the amount of people who come out to their live gigs regularly), I’m sure you can see where I’m going with this.

If I (or anyone else for that matter) is paying good money to see your act live, then it is YOUR duty to deliver the goods and give em a show worth coming out for again and again. Hitting every note with precision is impressive, but NOT merely enough. If I wanted to listen to the most polished audio example of a given act, I could simply pop in their overproduced album.

Live shows, though it seems some have forgotten in recent years, are supposed to be about an experience – one that allows you to feel intimately connected to the artists you’re witnessing. While a lot of bands rely on special effects and frills in order to turn their “performances” into “experiences”, unless you’re going for a gimmicky kind of deal akin to KISS, most of the time this sort of thing indicates that you’re trying to overcompensate for a genuine LACK of ability. So what do I suggest instead?

As a rock musician, the most important asset you can possess is ATTITUDE. Honest to god, it’s no lie when I tell ya that at times I feel as though half of my job as a performer is to also act as a stand-up comedian. Audiences come out to see bands live who make them feel as though they are, in part, responsible for how the show goes. In other words, it is all about feeding off of each other’s energy. If there are moments where you can directly include them (ie: clap or scream-alongs), capitalize on them and when you’re rehearsing, plan this shit out, in advance!

While being able to successfully pull off your sound live is important (ie: don’t hire a singer who’s tonedeaf or gets trashed before every gig so that you end up playing sloppily. Contrary to popular belief, booze and drugs do NOT make you play better!), it is MORE important, in my view, to be a true entertainer, even if that means you flub up in a minor way here or there. That, my friends, is being a musician. That, my friends, is being a PROFESSIONAL.

What one needs to acknowledge is that irrespective of the above-described less than ideal circumstances musicians are facing right now, the live show medium has always been and likely always will remain the most effective method through which to recruit fans and sell merch…that is, if it’s done effectively. I know I’d rather be told that I rock harder live than on any album I’ve released, how about you? In other words, if you need Autotune to sound “tuneful”, maybe you should consider an alternative vocation.

Vol 3, Issue 21: The Ins & Outs of Music Videography

ANTI-HERO: Unpretty (2005)
Video is undoubtedly a powerful medium, and in the view of many entertainment critics, “the ultimate medium of the future”. From a cultural perspective, it The business point of view also points out, that perhaps one of video’s most beneficial attributes, is that it has the ability to evoke emotion, and illustrate complex meaning through imagery and representation.allows audiences to link an artist’s work with his/her image and name. The popularity of even poor quality “home-mades” on sites, such as Youtube, once again reaffirms video’s social significance.

As society becomes ever more encompassed in the “Digital Age”, the growing importance of video promotion, among musicians, cannot be understated. Back when I was still a rambunctious munchkin, video taping devices were known by their full name, camcorders (hard to believe, I know) and a foreign sounding version of the video tape that went by the title of “Beta”, was all the rage.

Things, suffice it to say, have changed considerably since my childhood, and instead of having to rely on film, and the mucky business of hands-on editing, digital methods have made video taping and production accessible and understandable to virtually anyone in the general populus. Accordingly, with this newfound ease of video manipulation came the novel expectation that all musicians should have promo videos as part of their professional portfolio. Lucky for all of you, turning this prospect into a reality has never been easier, or for that matter, cheaper. But just so we’re clear from the get-go, cellphone clips do NOT count, and should not be used, under any circumstances, for marketing your band. Their image quality sucks, their audio is even worst, and if you are looking to make a professional impression, well you lost me at “cellphone video.”

In terms of a starting point when it comes to making promo vids, the following things should be considered:


1) Video Type
Should you go live or traditional music video? Both versions, obviously, have their advantages, and if possible, I say do both. However, if you are restricted, for budgetary reasons, to invest in only one form, your decision should ultimately be based on your band’s career direction.

Whereas live videos have the ability to showcase your band in action, and demonstrate to potential talent buyers why your act should be booked over comparable others, music videos work to expand a band’s fanbase because of their ability to be aired on a variety of programs (both online and via mainstream media). In addition, the release of a music video often accompanies that of an album/single, making it an easy means to generate publicity for your band.

A final version of the promo video that your act may choose to undertake is that of the “on location” (ie: in the studio or on the road) or “behind the scenes” footage reel. Not only can these vids be shot for an extremely inexpensive cost (ie: usually filmed completely with handhelds), but as well, hardcore fans absolutely revel in this kind of up close and personal encounter with their favourite bands, while such videos also allow industry execs to get a taste for your personality and band dynamic. With that said however, generally this last version of the promo video is typically not released unless your band has already established a fairly substantial following.


2) Budget
Although making a flashy million dollar production would surely be quite the experience, I understand that it is not realistic for the vast majority of indie bands. You’ve got to use the resources that you have at your fingertips, and that’s why again, I recommend taking advantage of Fanshawe’s (or your local college's) multi-talented student body.

One of my very first music videos, for an acoustic track off of one of my demos, was shot and edited by a friend of mine who was studying MultiMedia and Design Technology. Not only did I get great promotional material out of this venture, but she was also able to submit the work as a project for one of our classes; hence, it was a mutually beneficial arrangement.

If, for whatever reason, you are unable to find a student who is able and/or willing to assist you in making a vid, never fear as there are a variety of freelance music video makers in and around town that are indie-friendly. Checking postings on boards such as craigslist, or kijiji, and/or resources like overhear.com and mygiglist.com is definitely a good place to start.

Remember that your video’s budget should reflect your opportunities for airplay. As we learned last year, the likelihood of submitting a video to MuchMusic and achieving airplay, without a pre-existing contact, is extremely low. Therefore, your vid’s quality should be geared towards online. With this in mind, I do not recommend spending in excess of a couple thousand dollars. It’s not worth it, and because of internet compression, the extra quality that you paid for will most likely NOT even be noticeable.

It’s also important to keep in mind, that if your video requires extras, the vast majority of people are willing to volunteer.


3) Content
Last, but not least, what should your video (if a traditional music video) be about? As mentioned in my intro, video has the capacity to tell a story, and to relate your musical expression to who you are/what you’re all about as an individual act. I’ve seen far too many generic videos, from indies, strictly constituted of jam sessions in dimly lit warehouses complimented by sporadic zoom-ins and excessive head-banging. For the sake of my own personal sanity, please, do not use this plot (or lack thereof) as your video’s storyline – it’s overdone, out-dated, and does nothing to set your act apart from others. The best (and most memorable) music videos, in my view, relate directly to their song’s lyrical message; they’re emotional, and reflective, and balanced out by the perfect amount of rocking out.

With my band’s debut video, “Unpretty”, our vision was clear from the start. The song, beyond its references to the fashion industry, is essentially about overcoming obstacles, and challenging conformity. To visually promote this ethos, each of the members in my band played out a role in which they reached a breaking point, and literally were confronted with a wall they had to smash. The “breaking through to the other side” was symbolic of one achieving and expressing their genuine identity, without having social limitations imposed upon them. In the video, the plot comes to a climax when I jump on stage, and the song concludes with the crowd screaming for more.

In telling you this story, whether or not our track or accompanying storyline strikes your fancy, is not the point. Rather, I am merely trying to impress upon you the importance of taking risks, and sticking true to who you are as a band. Beyond receiving extensive worldwide airplay, our video has been nominated for numerous creative awards. I can safely say that had we gone the generic “indie rock band” video route, this certainly wouldn’t have been the case.

About the Author:

Rose Cora Perry is the former frontwoman of Canadian hard rock bands ANTI-HERO & HER, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services for female rock musicians.

Her bands toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest, and achieved label status.

Voted “Best Rock Act of the Year” by numerous industry publications, ANTI-HERO's critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.