So You Wanna Be A Rockstar?: rock

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3/10/08

Vol 2, Conclusion: Counting Down the Top 20 Sins Committed Against Musicians By the Music Biz

First off, I’d like to thank all of you for sticking with me for another year. I hope that reading my column proved to be an educational and insightful experience. Although I bitch a great deal about the music industry, there are a lot of amazing people out there working on all aspects of the business to make it more artist-friendly. I urge you to follow your dreams if it’s music that is truly in your heart, I simply hope that my column has been able to provide you with a more realistic perspective in terms of what you will encounter. As you follow your path, and begin to gain success, you’ll learn soon that it’s really a love/hate relationship, and it’s definitely not as glamourous as the media would like you to believe. Irrespective of this, there’s something about rocking out on stage to a sea of thousands of people that is untouchable in terms of the euphoria it produces.

To help you along your journey, I’m happy to announce that I’ll be returning “back in black” to charm you all a third time come September, and “So You Wanna be a Rockstar?” is promised to be bigger, and better than ever.

Last week, courtesy of Henry Rollins, you caught a sneak peak of what is to come with my new monthly featurette interview series, “Hear it From the Pros”. To further help me cater my topic selection to areas about which you’d like to learn and/or if you have suggestions for potential interviewees from whom you’d like to hear, please visit my myspace page (www.myspace.com/soyouwannabeinarockband) and fill out the readership survey. I would love to hear from you!

Without further adieu, to end off the year in an must-read obligatory countdown, I’ve compiled a list of the top 20 sins that the music industry has committed against artists over the years. My intention in doing so is to not only inform you of these atrocities, but as well, hopefully compel you to speak out against them.

In the current climate of the music industry, indie musicians have the ability to take back the power, but this can only be achieved if we unite together, and fight for what we deserve: that is, to be treated as professionals. I once read that the first step to change is through enlightenment. I’ve given you the power, so now let’s see you use it.

In order, based on YOUR ratings, starting with the #1 voted most “sinful of the sins”, here goes:

1) The media’s commitment to focusing more on the personal mishaps of celebrities, rather than remembering them for their artistic contributions

2) Allowing lipsynching and advances in technology to make up for a lack of talent

3) The creation of reality TV karoake contests to discover the next popstars

4) The music biz’s emphasis on marketability over talent

5) The government and music industry’s creation of misleading grant programs that fail to fulfill mandates to provide indie artists with necessary funding

6) The lack of governance over bogus battle of the bands contests and "pay to play" scouting events

7) The music industry’s ongoing attempts to maintain a closed network based on who you know, NOT how talented you are

8) The allowance of our standards to drop so low that cliche love songs, and raps full of profanities which fail to inspire and rather encourage degradation, violence, and discrimination receive airplay

9) The lack of implementation of pay equity scales for touring bands

10) The “successful” separation of music from the people

11) The employment of musically uneducated and ill-researched staff to conduct concert and album reviews

12) The creation of double standards for acceptable sexual expression among male and female artists

13) Radio payola scams

14) The commodification of music

15) The perpetuation of the "overnight success" myth

16) CTRC's refusal to implement legislation regarding illegal downloading

17) Allowing "artists" to illegally sample music

18) New artist campaigns that overmarket their artists so excessively that we end up hearing the same song(s) on the radio upwards of five times per hour

19) The music industry’s belief that they (the labels) can dictate to the public what music is worth listening to by throwing money at it

and finally...

20) The ridiculous amount of legal battles that exist between bands trying to earn a decent buck for their talents, and record labels trying to rape them for everything they’re worth

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, 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.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their 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.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

8/24/07

Vol 2, Issue 1: A New Year, A Lot More Experience

Another year has passed, and though I’m only a little bit older, I’m a lot more experienced. Much has happened, some for the better, some for the worst, but either way, I’m here to share my experiences with you, so that you will be granted adequate and realistic knowledge regarding whether or not the pursuit of the “rockstar” dream is truly what it seems.

For those of you just joining me, I’m sure you’re curious as to what makes me an expert? Well, as could be expected, I was once just like you: a dreamer who wanted nothing more in the world than to rock the masses as my day job. Though in theory, it sounds monumental and insurmountable to say the least.

Let me tell you this:
1) there are no get-rich quick schemes in this industry
2) the only person you can put faith in is yourself
3) And finally, everything you think you know about the music biz, whether you were taught in school or you picked it up from some MuchMusic or MTV program, is either complete and utter BULLSHIT, the entire story is NOT being told, or you’ve simply become the victim, like myself, of wanting a dream so passionately that you have been blinded by your own naivety.

So back to the part about what makes me an expert? To get it out of the way, let me first explain that I would never claim to know all that there is to know, but I do feel that my personal experiences, both successes, and failures have provided me with concrete knowledge that I would like to offer you. Obviously, no two cases are alike, and there will always be exceptions to the rule, but, if I do know anything (which I hope I do), it’s this: I wish to god that someone would’ve given me the honest truth when I was started out, like what I’m doing for you.

So am I a philanthropist, a martyr, or is there something in this for me? Why am I offering such priceless knowledge free of charge? Well, what it comes down to is this…All I’ve ever wanted was to change the world in what little way that I could. Through my art, my music, offer some kind of hope, comfort, or inspiration to those in need, like my favourite musicians have done for me. While I realize that some of you may love me, others (likely more of you) will hate me, as long as I can help at least one of you with what I have to say, I’ll know that I was a successful artist at the end of it all. If not for art, then what for?

So, if you’re intrigued to read on, you’ll learn quickly that I’ve been a performing musician since the age of four, I wrote my first song at seven, I’ve fronted two successful bands who garnered significant industry interest and record deals, toured extensively across North America, started my own record label at 15, and did I mention I did this all on my own? I scratched and fought my way to the top against every feat you can imagine from inner-band quarrels to financial ruin to emotional despair to sexism. All of this I tell you so that you will understand two things: I’m quite serious in what I have to offer, and I’m not just some unqualified wannabe piddling out dribble who has nothing better to do that bitch and complain about the unfairness in the world.

I’ve held every role in the industry from talent to publicist to booker to legal advisor. So, if YOU wanna be a rockstar, keep reading, you may just learn something.

4/16/07

Vol 1, Conclusion: Breaking Down the Most Influential in the Music Biz

I’d like to start out by thanking all of you for taking the time to read my column weekly. I hope that amidst my many rantings about the music industry that you’ve managed to gather a tidbit of wisdom here or there.

Below I’ve compiled a list of artists who have made the industry what it is today by becoming leaders in revolutions of sounds, imagery and artistic movements. You’ll notice that very few contemporary artists have made the cut, and that is for one reason, and one reason only…Since the death of the grunge period in the late 90s, there remains a void in music history.

Everything you currently hear on the radio has been stolen from someone else - someone great from the past - and next to no artists, in the last ten years, have risen to the challenge to create something that can be considered “true art.”

So I leave you with this - if you truly aspire to become a musician - to offer this world music with meaning - art that makes a difference in people’s lives -- look up to these greats, gather inspiration from them, and start a revolution. Every serious songwriter should own at least one album from every artist on this list.

I would like to note that although many may consider my choice to exclude artists such as Elvis or Frank Sinatra, a crime, I do have good reason – neither of them ever wrote a song throughout their entire careers. This list is made to honour musicians who actually deserve the title, “artist.”

In no particular order…

1) Madonna: Her longstanding title as the most famous woman in music isn’t mere coincidence. She is the queen of reinvention and an icon in leading social trends.

2) Sex Pistols: The world’s first and only true punk band. It wasn’t about the talent, it was about the attitude.

3) AC/DC: Very rarely can a guitarist outshine his own lead singer, or for that matter, create nothing, but catchy songs.

4) Kiss: A band that has truly discovered the secret to branding and merchandising. Take a lesson from their savvy businessman Mr. Simmons.

5) Jimi Hendrix: A whole lotta blues, a whole lotta rock’n’roll and imagine most of his material was written on an acid trip.

6) Aerosmith: Steven Tyler is the iconoclast of what every lead singer should strive to be.

7) Bob Dylan: Amazing songwriter. His tracks will continue to be covered by other artists ‘til the end of time.

8) The Beatles: Talk about universal appeal. A band that not only possessed two uber-talented songwriters, but as well, was able to grow and redefine themselves with every album.

9) The Beach Boys: Sugary harmonies that any band would envy. Leaders in the ‘Surf Rock’ movement.

10) Buddy Holly: Who thought that ‘Nerd Rock’ would ever catch on?

11) The Smashing Pumpkins: Truly original melding of discordance with melody.

12) Nirvana: The voice of an angst-filled generation.

13) John Lennon: Was never afraid to speak his mind.

14) Chuck Berry: The true ‘King of Rock’n’Roll’.

15) James Brown: He isn’t called the ‘Godfather of Soul’ for nothing.

16) Michael Jackson: The first black artist to ever receive airplay on MTV. He had the moves, the style, the talent – the whole package.

17) David Bowie: A gender bending leader in ‘Glam Rock’. Again, a great example of an artist who possesses the ability to reinvent himself.

18) Black Sabbath: Like demons caught on vinyl. This band surely scared the shit out of your parents.

19) Marvin Gaye: Spoke out for what he believed in the most.

20) Neil Young: Couldn’t sing a note, but his songwriting is untouchable.

21) Ray Charles: Helped to break down racial barriers in music.

22) Little Richard: Way before his time.

23) Alanis Morissette: Gave women a whole new confidence in telling off their ex-boyfriends.

24) Queen: When Broadway met rock, and with a set of pipes like Freddie Mercury, it couldn’t have been a better combination.

25) Red Hot Chili Peppers: Their unique style of mixing funk, rap and rock has been imitated by many imposters.

26) System of a Down: Inventors of music for people with ADHD.

27) Bob Marley: Brought reggae to the mainstream.

28) Deep Purple: Wrote one of the simplest and most repetitive three chord riffs in history, but somehow managed to make it a hit single. That deserves props big time.

29) The Jackson Five: The world’s first boy band.

30) Janis Joplin: The ultra blues mama who wasn’t afraid to bare it all and I mean that in every sense.

31) Henry Rollins: Not just a musician, but an inspirational speaker. One of the smartest people in existence, hands down.

32) Joan Jett: The Queen of PunkRock.

33) The Pixies: Failing to achieve major mainstream success, this band still remains one of the most credited bands in history in terms of influencing other artists.

34) Alice Cooper: The precursor to our Marilyn Manson.

35) The BeeGees: Any men that can sing that high deserve to be on this list.

36) Steppenwolf: Creators of ‘Biker Rock’.

37) Rolling Stones: Great songwriting, but we much prefer when their material is covered by other artists. Sorry Mick.

38) Van Halen: Inventor of the guitar technique, “tapping.”

39) Eric Clapton: How many major bands was this guy seriously a part of?

40) Metallica: When metal went mainstream for all of us to enjoy.

41) Guns’N’Roses: Axel Rose and Slash? Enough said.

42) Led Zeppelin: Hold the record for the longest breakthrough single, “Stairway to Heaven.”

43) Bjork: Too damn weird to ignore.

44) Pantera: As evident by the recent demise of Dimebag, this band has had a major impact on underground music listeners everywhere without meriting any mainstream radio play what-so-ever.

45) Johnny Cash: The man in black who made country music cool.

46) Prince: The male equivalent to Madonna.

47) Heart: Our first glance at what dual female fronted action can deliver. Barracuda anyone?

48) Kraftwerk: Synth-pop artist extra-ordinaire: the precursor to industrial.

49) Tom Petty: Who doesn’t know the lyrics to “Free Falling?”

50) The White Stripes: Simplistic, but in just the right way.

51) Pink Floyd: Until you’ve watched Wizard of Oz while listening to “The Dark Side of the Moon”, you will not be able to understand their significance.

52) Abba: A great example of gender equality and cross-over success.

53) The Who: Creators of the first rock opera, “Tommy.”

54) Muddy Waters: Haunting, soulful, and real.

And finally…
55) Cher: For having the most farewell tours the world has ever seen. We appreciate her persistence, but she should really learn to give credence to Neil Young’s words, “It’s better to burn out, than fade away.”

4/2/07

Vol 1, Issue 17: Getting Signed: More than Putting Pen to Paper

A good friend of mine once told me a story about how his arrogant youth led to the moment in which he permanently jeopardized his music career. Believing that his act had reached its pinnacle and could not improve upon “perfection,” he haphazardly organized a showcase event where his band was to demonstrate its abilities to all of the leading Canadian record labels. Fast forward about ten years from this showcase, his band remains unsigned by a major label, and additionally, has undergone several lineup and image changes in an attempt to re-emerge in the industry. The moral behind this story is to explain to all of you “overly anxious to-get-signed musicians” out there that you will only get one chance. So, in the words of Jack Sparrow I suggest that you, “wait for the opportune moment.”

Despite all of this, my friend has still managed to do well for himself on an independent level, but when he sat me down to tell me this story, his voice took a stern tone and I knew that he did not want to see me making the same mistake that he did.

From this story, along with the many horrific tales that I’ve been told about young eager bands getting royally screwed from their first record deals, I’ve learned that taking your time to educate yourself about the various options is essential for survival. I highly suggest NOT signing the first proposal that comes your way. If a record label really wants you on their roster, they’ll be willing to negotiate to suit your needs. However, if you appear too anxious to close the deal, you will likely find yourself in a situation in which they’ve taken advantage of you. Get a lawyer, get everything on paper, and only commit to a contract that you feel is mutually fair. I don’t suggest signing a 10-album deal right off the bat, as it is difficult to predict a band’s longevity and you don’t want to find yourself paying off your record label for the rest of your life because your bandmates weren’t in it for the long run.

Aside from all of the precautionary advice, in terms of approaching labels for roster consideration, there are some things you need to know. As previously mentioned, record labels receive countless artist submissions on a weekly basis. Therefore, if you decide to take the standard route of mailing out press kits to your desired labels, you need to make your band stick out from the rest, and I’m not talking just music here. Professionalism, and stylish packaging will go a long way. A growing cutting-edge European trend is to construct interactive DVD press kits; instead of inserting paper copies of your band’s bio, touring engagements, press write-ups and notable accomplishments into a standard folder and mailing it off.

An interactive press kit will include all of the aforementioned typical contents, but will also give bands a major advantage. By including live footage, personal interviews and band member biographies, an interactive press kit allows record labels to truly get a sense of a band’s personality and marketability.

If you do chose to undertake the standard snail-mail route, you better have a lot of patience. It can take anywhere from two months to a year for your material to get reviewed, and remember that labels will only contact you if they are interested in learning more about your act. Be sure to direct your package to a specific person or at the least, the A&R department to ensure that it does not get lost in the mail. I recommend following up with the specified label representative a few months after issuing the press kit to ensure that it was received and to inquire as to whether or not they’ve had the opportunity to review your material.

Along the same lines, another increasing trend is the solicitation of online electronic press kits (EPKs) through popular sites such as http://www.sonicbids.com/. Although these press kits are a great way to organize your band’s accomplishments and are accessible worldwide (which cuts down significantly on mailing costs), I have found their use to be more successful among bookers and festival coordinators, as opposed to record labels.

The last and (in my opinion) most effective way to appeal to record labels is to either take part in a showcase event such as Canadian Music Week (CMW) or South by Southeast (SXSE) or to host a showcase event of your own in a industry-directed city like Toronto, New York or LA.

With events such as CMW or SXSE, it is easy to get lost amongst the other 500 competing for the attention of the industry bigwigs. I recommend sending out personalized invites to your labels of choice at least a month in advance, trying to generate pre and post media coverage for your appearance and promoting your show as much as possible to ensure a strong turnout. There would be nothing more devastating than playing one of these events with record execs on-site and no crowd to play to.

In terms of hosting your own label showcase, again an act needs to promote, promote, promote. On any given night in Toronto, NYC, or LA, there are hundreds of events vying for the public’s attention, and you will need to make yours intriguing and something to remember. Ensure that you have provided a guest-list outlining all of the record label representatives you have invited, as you do NOT want to make them pay to see your performance.

Record execs often do not reveal their identity at these sorts of events, but rather contact you afterwards to inform you of their attendance, so your band must be on its best behaviour treating everyone in a professional manner. After your event, send out thank-you notes to all of your invited representatives (even those who did not make an appearance) for the opportunity to showcase your act for their roster consideration. If you are unsuccessful in your attempt to get scouts to come to your event, my only suggestion is to keep trying. Persistence does get recognized in this industry.

Take Joan Jett, for example. The record labels all agreed that she had talent, but no one would sign her because of her hard image and pushing the envelope style. She established her own label, BlackHeart Records, and sold her first albums out of the trunk of her car. She currently remains signed to her own label, and just this past year headlined Warped Tour. If they didn’t want her as she was, she didn’t want them either. Take a lesson from Ms. Jett, she’s not called the “Queen of Punk Rock” for nothing.

3/26/07

Vol 1, Issue 16: Making Merchandise

Have you ever noticed that it’s the 14-year-old high school bands who are totting around the best gear at shows and are stocked up with a full selection of merchandise? Perhaps these purchases were graciously donated through the generosity of their parents, or maybe a collection of the profits they’ve earned from babysitting gigs fronted the bill. It’s one thing to have top of the line gear, what musician doesn’t want to rock out like the professionals do? But, to travel with a mini retail store of your band’s paraphernalia before your band has even developed a reasonably sized fan-base or released an album, well, that’s just foolish.

From my fun and not-so-fun manufacturing experiences, I’ve learned a couple of things about developing merchandise that I’d like to share with you.

#1) Do not, I repeat, do not order any merchandise without proof that you are getting exactly what you requested.
A few years back, I decided to order some t-shirts for my band for the first time: a relatively simple design with two colours. I ordered both male sports tees, and female baby tees, which ended up costing me a few hundred dollars (which would not have been a problem seeing as I priced it out so that profits could be made). However, upon the much-anticipated delivery of my t-shirts, I noticed a critical issue when opening the package. Despite several attempts for clarification on sizing on the women’s style, I somehow ended up with 50 child-sized tees that were UNSELLABLE! Considering that I, myself, am a petite woman, and I was not even able to get my head through the neck hole of any of these shirts, I’m sure you’re getting the picture. I pleaded with the manufacturer explaining that he had made a huge mistake with my order, but guess what? He had already been paid, and therefore, could care less about my complaint. Luckily, I was able to salvage some of the funds through creative innovation. However, we still lost a substantial amount of money on that purchase, and suffice it to say that I will never work with that manufacturer again.

So, what I learned from that experience is this: Prior to finalizing any merchandise order, ask your manufacturer to send you a sample of your desired item to ensure that it is properly sized and has your desired appearance. Photos are not accurate representations of products. If your manufacturer refuses to comply with this simple request, I suggest you take your business elsewhere.

#2) Try to stick with companies in your region.
At first glance, many of the per-item rates that U.S. manufacturers charge for merch products seem substantially cheaper than that of the Canadian companies, and in some instances, they are. However, one must realize that customs, shipping and taxes are being left out of the equation. From my experiences working with both sides of the border, I’ve learned that there are hefty tariffs placed on imported resale goods. Thus, sticking with local companies will guarantee that your band will be able to profit with its sales, instead of just breaking even.

#3) Do a test run first.
It’s hard to predict what your fans may or may not be into in terms of merchandise. Asking their opinion is one thing, but the proof, as they say, is in the pudding: what are they actually willing to spend their hard earned money on? Because it’s difficult to judge this in even the best of situations, I recommend that bands never place bulk orders on new items. Even if all of your band mates agree that your new idea to get customized wristbands is fantastic, it doesn’t necessarily mean that your fans will buy them. As a good starting point, I recommend getting no more than 25 - 50 copies of a new item (generally the minimum amount that can be placed in a merch order for a reasonable price). This will allow you to gauge an item’s popularity without taking a huge financial loss if it doesn’t sell.

#4) Be as specific as possible.
When placing orders with manufacturers, it’s important to provide as many details as possible to avoid errors and potential delays. For example, the difference between vinyl, litho, latex and thermal stickers may seem trivial from your point of view, but it can substantially affect how a design will look once it’s printed, as well as the longevity of a product. Being knowledgeable about different stocks (the materials on which items are printed) is therefore extremely important to ensure that your order precisely matches your idea.

#5) For all of you black fans.
This is a tricky one. Although black is a very popular colour used amongst band designs, trying to find manufacturers that will print colour on black backgrounds is more difficult than one would anticipate. As an added bonus (note the sarcasm here), all products with black backgrounds are always more expensive to print than products with white/transparent backgrounds. No one likes sacrificing their design scheme because of cost issues, therefore being aware of this fact while developing a logo/concept for your band is essential. To help minimize what I refer to lovingly as the “black factor,” sticking to companies that regularly deal with band merchandise as opposed to generic screen printers is recommended, as they will be more sympathetic to your situation.

Manufacturing merchandise is a big step for any band, and something I do not recommend until you are in both a financial and professional situation to do so. Also, remember to always provide manufacturers with two weeks to a month's leeway time in the event that there are complications with your order. Bands tend to overwhelm manufacturers in the springtime to prepare for summer touring, so getting in before the crowd will ensure you don’t find yourself on the road with nothing to sell.

Some great (and reasonably priced) merch manufacturers that I regularly work with and strongly recommend are:

CDS
Indiepool
http://www.indiepool.com/

T-SHIRTS
Last Man Standing Clothing Supply
http://www.myspace.com/lastmanstandingclothing

STICKERS
JDBuilt Signs
http://www.jdbuilt.com

PROMO PHOTOS
Forest City Image Centre
http://www.imagespin.com

3/12/07

Vol 1, Issue 15: The Rules of Rock

Your albums are your livelihood, your art, your creation. Inspired by your feelings and decorated with your thoughts. They are you in a musical form: a reflection of what you stand for, what makes you tick, what breaks your heart and what will repair it. A simple compact disc can embody one’s full range of emotions: the good, the bad and most certainly the ugly. Because of its power, due time and consideration must be taken when getting ready to record your masterpiece. Whether it’s selecting the right producer, or deciding which songs should make the cut, taking your time will be time well-spent. If you want to release an “all killer, and no filler” album, then I recommend taking the following rules into consideration.

Rule #1: Don’t be in a rush to record.
There’s nothing worse than an album that grabs your attention immediately with its screeching distortion, but come track five has lost you somewhere in the translation. To avoid finding yourself in this scenario, I would advise you not to be too anxious to get into the studio. The best art, like a fine wine, grows in taste and refinement as it ages. So, take your time and make sure that every single one of your tunes is sickeningly addictive, gets stuck in your head on repeat, and makes you want to partake in a full-body gyration before you book your studio time. There’s nothing wrong with having a token soft acoustic track in the mix to demonstrate another side to your act, but for the most part, I’d recommend sticking to what you do best. Additionally, there’s no faster way to piss-off a producer than to go into a studio unprepared, but hey it’s your money, so if you want to waste it, that’s your prerogative.

Rule #2: The first 30 seconds will make or break you.
Because of the overabundance of artists vying for the attention of few labels, your act is left with very little time to make an impression. When labels receive artist submissions, they hold listening sessions in which they listen to hundreds of bands back-to-back in order to make their roster decisions. Due to the design of this process, it’s extremely easy for bands to get lost amongst one another. After listening to music consistently for hours, one’s ears start to get tired (especially if the music is poor in quality), and thus, one’s attention span is shortened. I cannot state enough how important it is to be able to grab your listener’s attention the moment the disc begins to spin. Every song needs to have a strong catchy intro, and it is recommended by musicologists that the vocal melody of a track kicks in no later than the 30-second mark.

Rule #3: Always put your best song as track two.
Rarely do labels listen past the second track on your disc unless you’ve truly peaked their interest, and even still, time constraints may prevent them from doing so. Therefore, the first track on your album is designed to act as an introduction to your band. Ideally, it should be a strong song that demonstrates a synopsis of what is to come. It shouldn’t be too heavy, or too soft, but rather right in between. This opens the door for your act to be able to expand in either direction, without having the listener form too many preconceived ideas of how the rest of your album will sound. Your strongest and/or title track should follow closely in line as the second track in rotation. This allows listeners to get a sense of your act's full potential from the very start. As record execs don’t have the time or patience to go through a half hour of your music in order to find your band’s high points, I recommend using this formula if your intention is to solicit your material to labels.

Rule #4: Come prepared.
If you are recording with a professional producer, it will undoubtedly be expected of you to arrive with new strings for your guitars, new skins for your drums, and your vocalist well-rested. Your gear and your band members need to be in tip-top shape to be fully productive and to work to their full potential. Make sure you get plenty of rest, eat well, and don’t overexert your energy. As for your gear, revive what you can. It is not expected of you to purchase brand new studio equipment, but considering that gear undergoes wear and tear from practicing and touring, a band needs to ensure that their equipment is as fully restored to new as possible. If that means spending a couple extra bucks bringing it back up to par, I assure you its worth it. Don’t just trust me, trust your ears: you’ll be able to hear the difference.

Rule #5: Bring your producer a CD by a familiar artist that illustrates how you want your album to sound.
This is especially important if this will be your first recorded album, and if you are working with a producer who is new to your material. By bringing along an example of a disc that demonstrates the production quality you wish to obtain, you are creating a framework for your producer, and also likely setting your budget. When it comes to selecting an appropriate example CD, it’s clearly important to consider the production/technical side of things, but as well, finding an artist that is similar to your act in sound will assist in this process greatly.

Rule #6: Just because it’s free doesn’t necessarily mean it’s a bargain.
In my opinion, there are certain jobs that should be left to the professionals, and recording/producing a band’s album is definitely one of them. No matter how many recording programs you’ve managed to illegally download onto your computer, you need to face the facts, basement and at-home recordings simply cannot render the same quality as a professional in-studio recording. Aside from the disc’s sound quality, a trained sound engineer will be able to pick up on things that you may not even notice. They are educated to be sticklers for perfection, so if you want your band’s album to be able to compete with the big leagues, hire a professional. However, not just any professional producer will do. Do your research, know which bands your producer has worked with in the past and be sure you are selecting the man/woman you feel is best suited to the job.

Rule #7: Your producer should NOT be the same person as your mixing engineer. The more the merrier is definitely an expression that is fully embraced when it comes to recording. Because it is such a tedious endeavour that requires listening to the same sections of songs over and over again, it is strongly suggested that several engineers are hired to work on your full-length as opposed to just one. Producers are only human after all, and the more that they hear something on repeat, the less likely they will be able to pick up on imperfections. Therefore, hiring at least three different people to cover the jobs of producer, editor, and mixer/masterer will ensure that your album is as close to perfection as possible. As a bonus, producers often have their own staff with which they work or at the least will offer you a referral to a sister-company that handles the aspects of the production that they cannot.

Rule #8: Be in the studio at all times.
Even if you’ve already recorded your instrument, it really makes no sense to abandon the studio. Not only it is disrespectful to your fellow bandmates that waited patiently for you to lay down your tracks, but as well, this is your art. If you take off in the middle of recording, you might as well sacrifice your say in terms of how you want the album to sound because if you were not there, then you’ve got no business complaining about the results. Some of the best ideas for albums have spawned purely from being “in the moment” or on account of a minor suggestion from a producer. So, if you want to see the magic as it unfolds, I recommend sticking around. I wouldn’t want to leave my art into the hands of others, so why would you?

And finally...

Rule #9: Have fun.
Recording can be a stressful experience if you let it, but truly, it’s meant to be satisfying. Let your creative juices get flowing, and experiment with different settings and effects. Ask your producer questions, get involved, take pictures and make it something to remember. If you’re getting worked up over a note you just can’t hit, relax, take a break, and let someone else take over for a bit. Don’t rush yourself, you can take all the time you need. It’s your album, you set the deadlines. Never record for more than twelve hours straight, and if you aren’t happy with something, speak up. Remember, your producer is there to work for you, not against you and your vision.

3/5/07

Vol 1, Issue 14: Ready to Record?

With the surge of indie artists, and the decline in label wealth due to illegal downloading, the competition for getting signed has reached an all-time plateau. No longer can record execs wage a band’s talent and marketability based upon a mere three to five track demo. Instead, the demand for strong full-length albums (ranging from 10 - 15 tracks on average) and/or E.P.s (extra-play) has been resurrected forcing artists to spend more time polishing their material and defining their sound prior to getting into a studio.

In my humble opinion, this movement is for the better as the one-hit wonder groups of the 80s and 90s continue to leave a bad aftertaste in my mouth. Although the idea of shelling out extra cash is definitely not “music to the ears” of any artist, there are several benefits that go along with releasing a full-length.

For starters, there’s the much-hyped CD release party. These are not only a great way to garner press and develop a fan-base, but if planned and executed successfully, a CD release party can generate huge bragging rights. Additionally, label reps generally prefer to attend special events over just any given gig. So, if you, as an act, feel ready to play to the movers and shakers in the industry, you’ll be more likely to receive a response from a special event invite as opposed to the generic “hey come see my band play at our local club” type message.

Along the same lines, tours (which can last anywhere from a few weeks to a few years) are generally booked in support of the release of an album. You’ll find you will have a significantly higher success rate of clubs willing to book your band when your appearances at their venues are affiliated with a tour. To state it blatantly, it just sounds more professional: like you’ve got your shit together and you know what you are doing. If you can continue to ride the success of an album’s release for two or more years all the power to you. Touring will only help you establish a reputation and a long list of contacts.

On a similar note, just as venues will be more likely to book your act, the press will be more likely to provide you with coverage when in conjunction with an album’s release and tour to support it. Again, it comes back to professionalism. The media does not have the time nor energy to waste on acts that do not know how to solicit their material properly.

If that didn’t convince you investing into a full-length album is an investment in your band’s future, perhaps this will: by having full-length discs available at shows for purchase, a band can start to regenerate an income thereby minimizing the time-frame of their debts.

Even with retail and online distribution, my band continues to earn the majority of its funds through selling merchandise directly after our live performances, which is quite a common phenomenon for indie artists. Fans are able to relive their concert experiences by listening to a band’s album whereas a demo cannot reproduce the full effect because it’s incomplete and therefore, leaves you feeling unsatisfied. Having cds available for purchase at shows is a fantastic way to be able to spread the word about your act (all it takes is one person to buy it and share it with all of their friends), and if you can make a little extra money to keep your act on the road (god knows the venues won’t pay well), I say go for it. You never know when your van is going to break down in the middle of nowhere at 3am, and that money is going to come in handy for a tow-truck or hotel room.

In order to survive in this cutthroat industry, one of the most important things a band must do is stay with the times. Though popular in the past (primarily because of their cost effectiveness), demo CDs have become passé. Giving record execs demos when they want full-lengths will get you nowhere fast. Even if your primary motivation is not to get signed right away, I’d still say that going with a full length is a safer bet as you never know who you might meet or what opportunities may come your way. Being prepared for everything (and I mean everything) is what being a musician is all about. On top of the countless benefits that I mentioned, full-length albums also make bands eligible for government grants and awards. Full-lengths act as great sales tools for bands, and above all, they prove that you can rock a record from start to finish, which these days seems to be a rare thing indeed.

2/19/07

Vol 1, Issue 13: Selective Sponsorship

When it comes to gaining support from others, and I don’t just mean fans, but people who are willing to either a) provide you with their merchandise for free and/or b) front you money, a band really needs to prove themselves worthy, as next to no one will invest into something that isn’t a sure deal.

Sponsorship agreements need to be mutually beneficial between their parties. Therefore, if you, as an aspiring band, want to place yourself in a position to make demands, you need to have good bargaining chips of your own to back up what you say. It’s all well and good to make promises that you will do this, or that for each company that supports you, but without any tangible proof of your hard work, you’ll find yourself barking up a lot of trees to no avail.

For starters, I recommend getting some bragging rights to your name before approaching anyone. Once, you’ve got a decent amount of accomplishments on your resume, by all I means I encourage you to find as many sponsors as possible. Not only will this assist you with cutting down expenses, but it looks great on promotional materials, can help you reach a greater fan base and, most importantly, give your band that extra bit of “buzz.” If a band has a great deal of people behind it that are willing to invest into that band’s future, it speaks volumes to the media and labels indicating to them that they should be keeping their tabs on your act and its endeavours.

First things first, which companies should you go after? Remember that when you sign into a sponsorship deal, you are aligning yourself with that company. Not only does that make you a supporter of their products, but indirectly you are now a spokesperson for them (just as they are for you). Therefore, you must be apprised of the nature of their business. It will obviously look bad on your part if you accept free merchandise from a company that’s manufacturing plants are child labour sweatshops. So, rule number one is: know the company with whom you are getting involved to ensure that it is the kind of business with which you want to be associated.

Along the same lines, when choosing sponsors to approach, I recommend trying to find companies with which you share a common vision, or outlook. For example, as a female rock musician who promotes empowering messages through her lyrics, the first sponsorship deal I secured was with DaisyRock Guitars. DaisyRock is a company that specifically creates guitars that are tailored to the smaller physical stature of women. Their mission is very much to promote strong women icons in rock music, and to assist is absolving the inequities that female musicians face. I feel that DaisyRock’s and my message are one in the same, and therefore an alignment with each other was strategic. I fully support their mission and their products, while they offer my band a great deal of support.

The point I’m trying to make here is that if there is a cause or a movement in which you truly believe, there is likely a company that creates its associated products. Affiliating yourself with that company will ultimately affiliate you with that cause, and if you can find a means to profit from a cause that you truly support, it only makes the pie sweeter. But don’t mix up my words, I’m not suggesting that you jump on the bandwagon of every cause in town just to get free swag. Not only is that morally wrong, but your fans and sponsors will see right through it. There is nothing wrong with seizing mutually beneficial business transactions, but don’t let your greed misguide you.

2/5/07

Vol 1, Issue 12: Making Headlines

If I can tell you anything about gaining media exposure, it’s this: persistence and loyalty pay off big time. Though results likely won’t emerge as a consequence of your initial trial efforts, this should not discourage you. The more a media outlet hears from you, the more likely you are to receive coverage. On the same note, don’t forget to acknowledge the exposure with which you are provided.

Building and maintaining strong relationships with various media outlets will only be to your advantage, and therefore is of the utmost importance. A step in the right direction begins with showing your appreciation for all media coverage, regardless of whether an outlet prints a full-page feature on your act or only mentions your band’s name in reference. Every little bit counts, and therefore should not go unnoticed.

If you still need more convincing, consider this: Canadian Musician (CM), a prestigious industry publication elected my opinions as the viewpoint for Canadian indie acts in regards to signing record deals for a ongoing three month feature. My perspective was represented alongside those of several industry bigwigs including Greg Nori (Treble Charger/Manager of Sum41), Steve Blair (Warner Music Canada), Barb Sedun (EMI Publishing) and Grant Dexter (MapleMusic/Last Gang Records). So I’m sure you can imagine just how much of an honour this was to me.

What most people aren’t aware of is that in order to be provided with such an opportunity, I had to continually hound the editor of Canadian Musician for over six months before I was even granted a response. When provided with this amazing experience, I ask him why he elected me as a spokeperson for Canadian indie acts. He responded with this simple answer, “Because you were extremely persistent, and professional with me on all accounts.” So, trust me on this one, persistence does pay-off, you just need to re-program yourself into appreciating prolonged, instead of immediate, gratification.

Timing and locality are everything
Timeliness is a key factor in terms of getting featured and if you can correspond your media efforts with an upcoming event, tour, or record release, you will likely have better results. Never leave the solicitation of your press release up to the last minute as the media has deadlines to which you need to demonstrate consideration.

Sending out emails or making the necessary phone calls at least two to three weeks in advance works well. However, for larger cities such as New York or Toronto where there is steeper competition, contacting the media a month in advance is recommended.

As well, focusing on the local market to which your event pertains would be in your best interest, as the media produce stories that are not only current, but oriented towards their community. Of course, the internet is able to break some boundaries here with sites that, for example, cover cross-Canada events, but generally speaking targeting your media efforts specifically for each city to which your band tours is a good idea.

Which medium to target
The choice as to whether you solicit media attention towards print, radio, or television will largely depend on a) your event’s target market (all ages, 19+, charity orientation etc.) and b) the size of the city to which you are touring.

I personally think that there is no harm in contacting as many media outlets as possible per city as a multitude of coverage will only help with promotions. The more often that people hear about an event, the more likely it’ll peak their interest, and resultantly, they will be driven to seek out more information, if not attend to see what it’s all about. So, when it comes to soliciting media attention, I adopt the popular adage, “go big, or go home.” There is no such thing as too much coverage, but there certainly is such a thing as too little.

The other thing to keep in mind is that if you are touring to foreign territory, it is doubtful that you will be apprised of the media habits of your target market. Therefore, if you contact all outlets, it’s a safer approach as opposed to attempting to guess which ones appeal to your audience.

However, by saying this, I’m not recommending that you bombard every media outlet in each city. You need to ensure that you are only contacting media outlets that provide coverage to artists to whom you are similar in genre, otherwise, you will be wasting your time, and irritating potential contacts.

Have a direct contact
When contacting a media outlet, make sure you do your research and know who it is to whom you should be speaking. Magazine, radio and television outlets have large staffs, and if you send out a generic email through a contact form, your message will either be ignored, or fittingly, you will be provided with an automated response. If you don’t take the time to personalize, why should they? Although writing personalized messages to direct contacts is more time-consuming, it is well worth the effort.

In terms of who you should be contacting for coverage, for magazines, your approach should be directed towards the music editor. Similarly for TV and radio, you should be contacting the station’s music director. Coming across a music editor/director’s email and/or phone number is typically easy given that most media outlets have official websites with staff directories. In this event, this sort of information is not provided online, hey what are phonebooks for? All it takes is one simple call to inquire as to who is in charge of music promotions for your desired media outlet. You’ll find that little bit of research will go a long way.

Please remember that these editors/directors have worked hard to earn their placements in such high profile careers. Thus, a direct approach in which you know their first and last name, and can demonstrate a bit of knowledge in regards to their outlet and the coverage it provides will speak volumes in terms of your level of professionalism and they will be more likely to consider your request for exposure seriously.

Know what you want
Keeping in mind the importance of media research, one should be aware of the different kinds of exposure an outlet offers and what your desired coverage is prior to solicitation. Be clear in your message. If you want to do an interview, say exactly that. Your message should be short and to the point, but detailed enough to grab their interest. Tell them who you are (including a brief list of notable accomplishments), what you want (interview, feature, or review and how it relates to their outlet), how they can contact you, and where they can find out more information on your act if required (links to your official site, Myspace, and/or EPK).

Press Kits
Sending out press kits need to be done in a highly strategic fashion. In order to create an impressive, and attractive press kit, it requires a lot of time and effort. Furthermore, mailing them out certainly does not come cheap. So, I advise you to NEVER send out a press kit without previous contact and a direct request from the outlet to do so. It’ll either end up in the trash, or worse, your band could become the victim of a vicious attack.

You will find (if you don’t want to take my word for it) that music editors/directors will often feature unsolicited material in their cd review segments which often proves to be a less than desirable experience. Reviewers are more apt to tear apart bands with whom they have had no prior contact because let’s face it, to them, your act is merely just another band to which they will feel no guilt for slamming as a relationship has not been established. Even if a reviewer is not totally keen on your band’s music, you will find their reviews of your cds will be much more positive if, for example, you’ve conducted an interview with this individual.

Another thing to keep in mind is that reviewers are human and thus temperamental. Another reason as to why you could become a victim of a heartless review is because well simply put, they were having a bad day, and you’re music didn’t appeal to their current state of mind. Again, a way to prevent this unfortunate experience from happening is to ensure that any CD review you solicit is accompanied by an interview/feature in which the reviewer is able to put a face and personality to your band.

Remember, media relationship building is important, as citizens turn to the media as a truthful unbiased source of information. It’s called “reputation management,” and not only is press solicitation a great way to garner the attention of new fans, and promote appearances, but it certainly looks good on the resume and attracts industry execs. Just make sure that when you seek out promotional opportunities, you maintain control of the coverage because once you send out unsolicited material, it’s like feeding yourself to the sharks.

1/29/07

Vol 1, Issue 11: Getting the Right Kind of Press

When it comes to making or breaking an act in the music biz, a philosophy that I have come to fully embrace explains that in order to obtain success, the first step begins with not being afraid to ask others for what you want. Afterall, the worst they can say is “no,” but if you never ask, you’ll never know what possibilities are at your disposal.

When I say “others”, I’m referring to bookers, labels, potential sponsors, and the media. You will learn quickly that essentially those within each of these career disciplines operate similarly, and thus, one’s approach to garnishing media exposure parallels that to one’s request for a show at a particular venue.

Just like Canada’s high profile clubs, notable media outlets such as Chartattack Magazine, Edge 102.1, or MuchMusic’s “The Wedge” (akin to the US' MTV & Alternative Press) are bombarded with press kits, cds, emails and telephone calls from bands from all over the world at varying career junctures looking to get their 15 minutes of fame. Like venues, media outlets need to first and foremost consider their audiences and their needs. Coverage of stories and/or events is largely determined by what will merit the highest ratings and/or readership (i.e. once again, not surprisingly what will bring in the most profits). Therefore, the likelihood of a noteworthy media outlet providing coverage of your indie act with its humble origins instead of promoting a national touring band’s appearance in a nearby city is slim to none. However, this is not meant to discourage you.

Eventually, after your act has proven themselves through a lot of hard work and persistence, these forerunners of the media will come to you. But, in the meantime, don’t disregard the multitude of local and internet based media outlets that are more than willing to provide “up and comers” with exposure. Getting your name out there in the papers, on TV and radio, irrespective of whether the media outlet is a major publication, or just some guy with a website who thinks he knows how to review cds, is essential to the success of any band. Just as the old adage states, “there’s no such thing as bad press.”

Not only is it advantageous to have several quotes from various press outlets on your resume, but you never know who is reading or looking at what. The greatest thing about attaining media coverage (especially through the internet) is that it allows you access to a worldwide audience. Consequently, a band is able to establish fan bases in areas to which they have yet to tour.

For example, my band’s debut album, “Unpretty” is currently receiving rotation from countless radio stations and podcasts anywhere from North America to England to Japan to Brazil. As a result, we receive fan mail and merchandise orders from all over the world, none of which would be possible without the support of the media.

When subject matter is given consistent coverage by the press, it becomes legitimized. People in general, have a tendency to take a liking to aspects of popular culture just because of the fact that they are popular. If your act is continually able to keep its name in circulation, people will perceive it as being popular, and thus will have a natural inclination to “jump on the bandwagon.” In other words, if you act like a rockstar, people will think you are a rockstar and treat you accordingly.

Though, as I’ve mentioned there are many positive outcomes to attaining media coverage, bands with little experience in this area need to be on their guard at all times. Despite how nice reporters may seem, at the end of the day, they are looking for a story and scandals always sell the most. Therefore, I suggest that you are careful about what you say and to whom it’s said.

Though becoming a media charade has worked in the favour of artists such as Marilyn Manson (without bad press, he’d receive no press at all), having your words twisted, misquoted or skewed to fit a reporter’s agenda is not a fun experience and could potentially be damaging to your band’s career. You can rest easy in knowing that it is illegal for reporters to fabricate stories or make slanderous remarks against you. However, this does not mean that they won’t dig deep to find the perfect angle.

I think it’s important to be honest if the media attempts to reveal the skeletons in your closet. But, remember there’s a difference between speaking with your best friend and speaking with the media. In terms of blatancy, never say more than is absolutely necessary and always attempt to maintain the focus on your act, not your personal life.

1/16/07

Vol 1, Issue 10: Making Your Rock Show a Success

As mentioned in my last column, if you’re feeling rather ambitious and up to the challenge, a final means of getting your act booked would be to propose to a club owner/booker that you would like to put together your own show. But, as I previously stated, I only recommend this option to bands that are experienced, have strong followings, and know how much hard work is required in order to do so. In addition, I recommend that this option only be presented to bookers with whom you’ve worked before so that you are aware of their expectations.

Often established acts will find themselves at the request of various charities wishing to put together fundraising events or if your act is planning a special event to co-ordinate with the release of a CD or a music video, putting together your own show for each of these options would be in your best interest.

There are definitely a lot of great advantages with lining up your own bill, and outlining the details for the night, but don’t be fooled into thinking it’s an easy task. I can tell you from personal experience, no matter how hard you try to cover every detail, last minute issues will arise, and/or there will be something you have forgotten. Therefore, I recommend starting early.

Compliment your sound & make your whole show strong
Sometimes having extremely diverse variety-type shows can be effective if an event is being put together by a large organization or a festival. However, when it comes to local rock shows, I recommend that you do not stray too much from your own sound. Booking solid openers that are unique, but complimentary to your act would be in your best interest.

When crowds come out to see a specific act, it’s because something has caught their attention about that band’s music and/or performance which has lead to the development of their following. Bookers, taking note of a strong act, will usually book lesser-known support acts with whom the strong act shares a similar sound. The rationale behind this strategy is simple: the fans of the strong act will be more likely to enjoy a support act if the genre is relatively the same. Hence why you don’t see many concerts with a jazz band opening for an industrial group, because it will likely divide the audience.

The other point to take into consideration when booking acts on your bill is their draw. I know there’s a tendency to want to book your friend’s bands (who may or may not be established), but at the end of the day, you need to ensure that your show overall will be strong.

I think it’s fair to have a couple of newer bands as openers for the show as it would give them a chance to expand their fan base, however, make sure that you aren’t relying on a solitary act to bring out all of the people.

Usually when I put together shows, I book four to five acts a night. The opening act is often a friend’s band that is from out-of-town with little to no draw. However, the other four acts on the bill (my band included) are established in the area and can make up for the initial band’s lack of contribution to the crowd. I always give the headlining spots (the last and second last set times) to the strongest acts on the bill, as you want to ensure that each band will have a decent crowd to whom they can play.

Make sure to leave your ego out of the decision making process when you’re devising the band schedule for the night. If you’ve booked an act that has been established in the area for 20+ years, the headlining spot indefinitely should be theirs, NOT yours just because you booked the show. It will still be recognized that it’s your show as you did all the grunt work, but if you would like it to be the best night possible, know your bands, their capabilities, and book their set times according to such. Also, knowing when each band’s crowd usually comes out should be taken into consideration.

Choose your venue wisely
The setting and atmosphere need to be appropriate for the music genre, but as well keeping the crowd capacity amount in mind is important. Estimate a realistic figure in terms of attendees for the night based on each act’s average draw. Depending on that amount, you’ll be able to more accurately find a place that suits your show’s need. 100-200 people may be a strong turnout depending upon the event, but if you are playing at a club that is designed to accommodate crowds on the upwards of 800, then the place will look empty. A smaller more intimate venue would be more appropriate in this scenario. Giving the appearance that the place is packed will do wonders for impressing bookers, and you’ll find yourself likely to get more show opportunities in the future.

Selecting the date
Obviously setting the date may not entirely be your decision if you are putting together a show on behalf of a non- for-profit organization. However, if they have left the details up to you, you will likely have some influence. Before agreeing to any specific date, do your research. Know which club you have in mind, and when their crowds are usually the strongest.

For example, I have found that crowds at Call the Office (www.calltheoffice.com) are often larger on Friday nights then Saturdays, even if the bills for each night are equally strong. As a consequence, when hosting my own shows there, I always request Fridays.Of course there are strong clubs, such as The Bovine Sex Club (www.bovinesexclub.com ), that seem to have a built in following for every night on the week. Therefore, selecting a weekday will not necessarily put your show at a disadvantage. However, selecting the date of your event based on your chosen venue’s crowd alone is not enough. You need to know your competition.

When my band was touring the States this past summer, we had so many shows going on month to month that keeping track of holidays and other events that fell on the same night as our appearances became overwhelming. As a consequence, we unknowingly booked an appearance in St. Louis at a local bar just down the street from where a Rancid concert was taking place. Luckily for us, the support acts with whom we were booked were very strong, so we manage to play to a decent-sized crowd. However, we can only imagine how much the larger the turnout would have been if Rancid was NOT playing that night. Therefore, being aware of shows offered by other popular venues that may compete with yours is of the utmost importance.

Realize that the regular bookers/promoters of clubs will have a stronger means of promoting their events. So, if you are scheduled to put together your event on the same day that the Taste of Chaos tour is coming to town, again, suck up your pride, and choose a different date or else your show will suffer the consequences.

Make it quick, easy and painless
There is nothing worse than an unorganized show that requires fans to have to wait around for long periods of time while each band tears down and sets up their equipment, and runs through a sound check. For the benefit of your soundman (he’ll appreciate it, trust me) and your fans, stick to one backline (drum-kit, minus breakables and a bass amp).

Obviously selecting equipment that is compatible with each band’s requirements is important, but usually the standard practice is that the headlining band will provide the gear for each act to share. Some liability issues can come into effect here, so make sure it’s crystal clear that if any of the support acts damage the headlining act’s gear, that support act will be held responsible for the replacement charges.

Another suggestion I offer you in terms of making your show run as smoothly as possible is sticking to the club’s already defined parameters. If on average, the venue at which you are hosting your event runs all ages shows with five-dollar covers, your event should follow the same format. Regular club audiences often do not bring more money with them outside of covering the cover charge and/or their drinking expenses. If suddenly, the cover charge is raised unexpectedly to even seven-dollars, it may cause people to become frustrated, and worse, denied entrance because they didn’t plan for such. This situation can be avoided if your show’s cover is advertised well on all promotional materials, however, I still recommend sticking to the club’s typical practices as a means to avoid potential angry customers.

Give them plenty of notice
Last, but not least, give everyone involved plenty of notice. I recommend drawing up a schedule of the night, and notifying everyone involved at least two to three weeks in advance. Be as detailed as possible. Make sure you mention which act will be providing the backline (outlining the make and style of the equipment), what the cover charge is, each band’s set time, when doors open, how many people are allowed on the guest list (if applicable), how much time will be allowed for changeovers, where bands will be allowed to set up their merchandise, band payment etc.

Try and answer all the questions that you anticipate arising. Not only will this help to avoid last minute conflicts, but as well, it gives each band, and the venue plenty of time to advertise your event. Make sure to provide all those involved with a method to contact you if there is a problem.

Along with outlining how you would like the night to go, tell everyone involved what you expect of him or her. If ticket sales are required, each band needs to do their part. Remember it’s your reputation on the line, and your show’s success is a reflection of how hard your band works. Tell each support act what’s required of them, and keep on their asses to make sure they keep their promises.

1/8/07

Vol 1, Issue 9: All the Right Moves to Securing the Right Gig

Aside from the option of hooking-up with a strong local act as a means to book your initial gig, a band may also consider the following options: a) working with promoters b) contacting club owners directly or c) putting together a show themselves. If you choose to undertake the last option, I warn you that it is an extremely time consuming and stressful process, and sometimes can even cost money out of your own pocket. In addition, if you don’t deliver on your promises to the venue (such as fulfilling X amount of ticket sales), you could very well find yourself being out of a place to play. I only recommend this option for bands that have already established somewhat of a reputation and/or have members from previous acts that have done so in the past.

Owners Vs. Promoters
For newer bands, the other two options are much more feasible. So what’s the difference between the two? Though similar tactics are utilized when it comes to contacting promoters and club owners, from my experience, I have found that club owners tend to be more reliable, and sympathetic to the position in which new acts find themselves. As well, club owners have strong insider knowledge of their venue’s regular crowd, as well as the acts that draw well to the club. Therefore, if you request to be slotted onto an already established bill, it more than likely will be a decent show.

Promoters, on the other hand from my experience, often will try to screw you in any way possible. Now this is not the case in all situations, but I do suggest if you decide to work with independent promoters that you issue contracts that outline all of the necessary gig details along with the promised compensation. So, in the event a promoter tries to give you the runaround, you have legal proof that they agreed to the show’s details. In addition, prior to working with a given promoter, I recommend that you contact bands with whom they have previously worked to inquire as to how their events have run in the past. Generally, they charge club owners flat fees for their services so regardless of whether the show turns out well, they get paid the same amount. Unfortunately for bands, this often results in poor treatment and a lack of consideration.

The Approach
As far as the initial approach goes, bands once again need to take into consideration that this is a highly competitive field, especially if you are looking to get shows at the top rated venues. If you are a new act, you will need to use every and any angle you can to get yourself booked, whether that be through the utilization of a catchy tagline, an explanation of your band’s diverse influences, an allusion between your band and a renowned artist of the past, name dropping of previous acts from which members have participated, toured with, and/or producers with whom your members have worked... Literally I mean it, anything and everything.

Biographies
But, before you approach any booker, make sure you’ve got a good story to tell. You need to peak a booker’s interest so that they are willing to give you a chance. If your act is relatively inexperienced and you have yet to record any material (yes believe it or not, you can get shows without bookers hearing your music), your biography will become your primary selling feature.

Members of the popular Toronto based band The Antics, went out of their way to paint themselves as rebellious punk rockers that really couldn’t care less what other people thought. In their case, mirroring the attitude of their predecessors, The Sex Pistols, definitely worked out for them.

Promo Photos
In addition to having a biography on hand, most bookers like to be able to put a face to the name. They want to check out your band’s image and appeal, so obtaining professional promotional photos right from the get-go is crucial. Snapping a few decent band shots is quite feasible even without access to a large budget. Many student photographers need to gain valuable work experience and shots for their portfolios. As a consequence, they are apt to offer their services for a minimal fee or sometimes even free of charge. Check out your college or university’s photography divisions, I’m sure you’ll find that there is some genuine talent there.

Music Samples
Lastly, though I did make a little quip that it’s possible to book shows without submitting music to booker, keep in mind that this is a skill, which only an experienced musician who has been around the block a few times will be able to pull off. Therefore, having an audio recording accessible, even if just through a free “Myspace” account will be beneficial as most bookers want to hear your act before they book you a slot. Basically, you need to look at it from this perspective: in this case, something is better than nothing, but DON’T EVER (and I mean EVER) send a burned CD with a paper cover that you made yourself to a booker (so unprofessional).

So You Wanna Be A Rockstar?