Vol 4, Issue 6: Taking Care of Business AND Yourself!

It’s a mere two days before one of the potentially biggest shows of your entire career: a live performance and radio interview in Times Square, New York City. Your non-refundable flight is scheduled to leave early the next day in the AM. You wake up and your back is completely out of whack. It hurts to move your arm and shoulder (naturally the side with which you strum the guitar). It hurts to move your neck in every direction, other than keeping it stationary to the right side (which makes singing or any bodily motion, as you can imagine, quite difficult). Your chiropractic office is closed and there are no emergency clinics in the area that can deal with your situation. If you snake out of this opportunity, you know you’ll likely never get another one comparable…in other words, “the show”, as they say, “must go on.”

This, my friends, happened to me and can entirely be attributed to an injury I incurred several years ago, during my band days, from trying to carry five guitars simultaneously (we were in a rush!): a combined weight which exceeds my total body mass. Need I also mention, I’m only 26!

So what’s the lesson here? As a creator – an artist of anything – your health is vital as it affects not only your performance, but also your inspiration, motivation, attitude, and overall demeanour. Therefore, I’d like to impart onto you the necessity of taking care of yourself, while taking care of business.

Now, it goes without saying that professional musicianship and healthy living don’t exactly form what one would term the most “natural” of marriages. While the promotion of excesses in stimulation (both sexually and substance-assisted) is something that goes hand-in-hand with the r’n’r image (for better or for worse), life on the road, further, isn’t particularly conducive to optimal functioning.

For starters, especially if you’re touring the States as I primarily do, trying to find inexpensive places to eat that offer nutritious food options…well good luck. Because, in my experience, the typical musician is not that well-equipped navigationally-speaking, time is not a luxury that is on your side when you’re commuting from gig to gig. What this means is that if you find an opportunity to gorge on gas station energy bars and Red Bulls, you’ll likely take it.

The second major health dilemma that the touring artist encounters (ie: lack of sleep) is directly associated with the craft in which we engage. I don’t know how many of you have attended live shows and then attempted to go to bed directly afterwards, but trying to combat the ringing in your ears, not to mention the adrenaline that’s pumping through your veins is no easy feat. Just imagine how much more amplified (pardon the pun) these effects are when you are the one onstage.

Finally, the real killer…stress. From dealing with asshole promoters that try to screw you over, to last minute gig changes, to technical difficulties (which seem to abound!), honestly when you weigh the 45 minutes of euphoria you experience on stage against all of the shit you had to go through in order to get there, it’s doesn’t always seem worthwhile.

It doesn’t take a health expert to tell ya that when you combine the above three factors you end up in a situation where your immune system is weakened creating the perfect opportunity for the common cold (or worse, such as in my case) to take over. While I’ve seen many an instrumentalist “just rock past it”, it’s quite difficult to not sound like a drowning cat when you’re hacking up phlegm and can’t breathe out of your nose. Irrespective of your weapon of choice, I think the vast majority of you’d agree that when you’re feeling unwell, your ideal destination consists of a warm bed, with both Kleenex and a puke bucket on-hand, and a strict IV of chicken noodle soup and Gingerale, as opposed to a smelly touring van. The point?

Life on the road is hard and contrary to popular belief UNglamourous – there’s no need for sugar-coating -- but you can make it harder or easier on yourself by simply knowing what you’re getting into, and preparing accordingly in advance. 

If you don’t wish to find yourself with a bad case of the sniffles or having to face the reality that you’ve got a show you must play and you’re currently less than 100% mobile, I recommend you take to heart the following suggestions: 

1)                          Don’t overexert yourself EVER! I don’t care if you’re in a rush. If experience tells me anything, it’s that gigs NEVER start on time, nor do soundchecks. I was told by my chiropractor that had I not started getting adjusted when I did that by the time I was 40, I would have been in a wheelchair. Not cool or very “r’n’r” is it?

2)                          Pack nutritious snacks whenever possible, and avoid sugary and highly caffeinated drinks at all costs. Water, surprise surprise, can be quite the thirst quencher and there’s nothing like a piece of mango, or pineapple to give you that extra energy kick you need (without the risk of addiction or crashing!)

3)                          Save your partying for when you’re at home. I know many a musician that likes to celebrate their gig successes by getting trashed directly after. However, considering that there is usually little downtime from show to show, this means you end up in situations where you either have people driving while at least partially intoxicated (VERY illegal and VERY dangerous) or people playing while trying to kick an ugly hangover. Further, alcohol and other “substances” don’t tend to bring out the best or most sound judgement in people. When you’re crammed in a limited area for long stretches on the road, the last thing you need is an excuse to get into a fight.

 

4)                          Take shifts driving so that everyone gets a chance for some shut-eye. Further, spread out your gigs and always give yourself extra time (particularly if you’re crossing the border) so you’re never in a rush.

5)                          Get contracts (backed by the musician’s union to ensure legal protection) for EVERYTHING. You can never be TOO prepared as they say.

6)                          Plot out your directions well in advance and gain familiarity with your route (check for construction and possible weather threats that may require a change in plans as well); even better, get yourself a GPS.

7)                          Learn how to cope with adversity. Meditate. Deep breathe. Scream if you have to! Just find some way to deal with it all that doesn’t hurt yourself, your band’s reputation, or others.

8)                          Don’t pick up random groupies. No, this isn’t your mother speaking, but let’s be real people, sexually transmitted diseases are widespread (including many that have permanent or terminal effects). Moreover, finding out you’ve got a kid from some one night stand is so passé. Finally, it’s frankly dangerous. Being in a foreign locale with a lot of expensive gear on ya makes you an easy mark. There’s nothing wrong with meeting new people, and engaging with your fans, but put some limitations on things - keep your equipment in your pants.

Vol 3, Issue 20: Touring Riders & Paying Your Dues: But I Don’t Wanna Play Just for Beer

I’m sure all of you are familiar with the frequently expounded three word expression, “paying your dues”. Though the phrase found its origins in the Industrial Revolution, in reference to the fees one had to pay in order to remain a member of his/her trade union (and therefore receive protections from employer exploitation), in modern times, it is most commonly used to describe the situation in which rookies find themselves, upon entering the job market for the first time. In the industry of music, specifically, it is typically expressed as a piece of advice to aspiring amateurs, from vets and industry professionals alike, who are all too eager to see their names in lights without having done any of the leg-work to get there. As we learned just a few short weeks back, in our discussion with three label reps, although talent and marketability are essential qualities for any band to get noticed, so too is work ethic, and without it, you won’t get very far. It is with this notion, in mind, that I will be writing on this week’s topic; that being, touring riders.

Long before you are in the position to be making any demands from promoters and/or club owners, you have to, as you may have guessed from my intro, “pay your dues”. What exactly this constitutes will vary slightly from band to band dependent upon your territory and/or genre, however, all band start-up stories involve playing countless shows, at dives, to crowds of ten people (if you’re lucky) for which you do not get paid, and are not appreciated. If your home-base is located in a big city such as Toronto, or Los Angeles, because such places are already oversaturated with wannabes and has-beens, this poor treatment is taken to the extreme; something you’ll get a brief taste of, when you tour these metropolises.

For instance, many clubs, in booming cities, actually expect indie bands to rent tour buses, and fill them with their hometown fans in order to bring a crowd to their out-of-town gigs. Further, rather than providing newcomers with opening spots so that they can work on expanding their followings, several major venues expect said bands to rent out their spaces in order to put on their own shows.

It is of my personal opinion, that both of these practises are absolutely ludicrous, as, typically, indies don’t have that kind of money to spare, and neither method will help a band in improving their attendance rates for future shows. However, this just scratches the tip of the iceberg in terms of the kind of b.s. a band must endure in order to establish themselves, and gain respect among industry professionals – all of which must be done, need I remind you, while maintaining a smile on your face! Perhaps a personal story, at this point, will be illuminative.

Aside from having countless promoters rip us off by leaving mid-way through our sets to avoid fronting our bills, not to mention being electrocuted by our microphones each time we attempted to play and sing simultaneously due to improper grounding, when my band ANTI-HERO first emerged on the scene, our rise through the ranks was anything, but easy.

Upon the release of our album Unpretty, we were invited to play out in Northern Ontario (about a 10 hour drive) at what was supposed to be a massive sporting event. As we were promised to play to 10,000 people, we agreed to cover all of our own expenses (which included renting an additional vehicle) because we were under the impression that we’d be able to break even through merch sales. When we arrived however, we were led to the stage which we learned was completely separated from the sporting event, and charged an additional admission price. Not surprisingly, the crowd wasn’t very keen on this; thus our audience ended up consisting of the other bands who were given the same line, and our significant others.

So in telling you all of this, what is the point I’m trying to get at?

Well, as much as it will suck and cause you endless frustration, realistically speaking, it will be AT LEAST a year before you have established yourself and your following, to a point where you can play semi-regular gigs to decent sized crowds. Usually to get to this stage, you will have had to have released an album. For the sake of your own career, DO NOT even think (and I mean it) about creating a touring rider until you’re at this point as it will not be honoured, and may potentially prevent club owners from offering you future shows.

Okay, but once I get there, what should I include in my rider? Because it’s no surprise that most musicians have a penchant for booze, club owners often try to pawn off beer tickets, to bands, in lieu of payment. While this may satisfy the tastes of some, it fails to assist you in profiting from your gigging enterprises. You need to ensure, above and beyond your booze requirements (if any) that your gas expenses, parking costs, and accommodations (if required) first and foremost are covered. Anything extra on top of that is “just gravy”, as they say, and that way, all earnings you obtain from merch sales or cover charges will be straight profit that can assist you in making it to your next destination.

Should I make any other special requests along the lines of Ozzy Osbourne and his bowl of 2000 brown M&Ms? Clearly, this is something that is up to your personal discretion, but keep in mind, your demands will only be met if you’ve got the star power to back ‘em up. Beyond payment concerns, if you are touring to unfamiliar territory, I do strongly suggest that you include in your touring rider that popular local acts are to open your show. Your ability to do promotions in new areas will be limited as you will not be knowledgeable of the scenes, and quite simply, you cannot rely on the clubs, themselves, to make your special appearances known. With this in mind, you may also wish to include in your rider that venues, upon confirmation of booking, are to provide you with lists of their local media for your publicist.

As your career develops more and more and you prove yourself worthy of the rockstar designation, it will result in bigger stages, better sound, more rawkin’ audiences, and, of course, “celebrity treatment”.

With that being said however, I hazard you to remember two things:
1) never forget where you came from and
2) don’t convince yourself, for a second, that it’ll be an easy climb.

You’ll undoubtedly have to deal with a lot (and I mean A LOT) of shit, at first, but don’t let it turn you into a pushover, or cause you to bend your standards, once you’ve attained some bragging rights of your own. Most importantly, you must remember, in the music industry, there are certainly no second chances, and to protect your own career, you most definitely should never concede on territory you’ve already conquered.

Catch Rose Perry appearing as a special guest speaker at this year’s Jack Richardson Music Awards’ Seminar Series this Sat April 4^th! www.jrma.ca for more details. Youtube link available here: http://www.youtube.com/watch?v=KRwAH8Gx_Qg

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.

Vol 3, Issue 12: How Booking Companies Work to Keep Indie Artists Off the Main Stage

As established in our discussion last time, the latest tactic that the industry has adopted in order to maintain its hegemony within the biz’s changing climate has its roots in booking practises, and derives its strength, just as previous music business practises have, through the creation of a system based on exclusivity. As much as I, a proud DIY advocate who singlehandedly managed to book two successful North American tours for my own band, hate to admit it, in reality, because of the structure of the industry, truly, there is only so far an indie act can go on their own. In today’s economy of corporate conglomeration, if you’re looking for that super rockstardom, whether your band is composed of ladies or gents, it is inevitable that, without an inside connection, you will eventually collide, face-to-face with the music biz’s “glass ceiling”.

Aside from the enforcement of the “no unsolicited materials” policy which is held by most of the world’s predominant booking agencies, the internal politics of these companies dictate that the support slots for any major bill are to be granted to lesser known acts from the same label and/or booking agency family, therefore disallowing the consideration of any outside indie bands (even if their genre would be more complementary to that of the major act’s and, even if they’ve established a strong local following in the concert area). Likewise, when you see listings of obscure bands of which you’ve never heard on major festival circuits, like that of, The Taste of Chaos concert series, you can bet on pretty good odds that again, they were already somehow associated with the headliners.

If you think that you can supercede the powers that be (aka these booking companies), think again, as unfortunately, a vast majority of the large concert halls responsible for bringing acts like ACDC to crowds of 72,000 are actually directly affiliated, if not owned by the booking companies themselves. LiveNation, for example, after their acquisition of the House of Blues in 2006, is now the proud owner of over 160 venues worldwide.
For the few companies, such as Canada’s Agency Group and SL Feldman & Associates, which are willing to consider reviewing material from an act with whom they have not yet established a business acquaintanceship, this does not mean that getting picked up on their roster is as easy as just sending in a professional press kit (and, well, crossing your fingers).

First off, the fine print on both of their sites explicitly outlines that they will not consider your act unless you’ve already established a substantial following, and have gigged around extensively. What this means in translation is that you likely would have already had to release at least one full length which has consistent sales, received a decent amount of radio, if not video play, and as well been around the block, for at least a few years, before they will even contemplate giving your materials a once over (ie: they don’t want to do the hard work for you).

Secondly, from my own experiences, I’ve noticed that booking agencies tend to shy away from signing punk, metal, and generally hardcore bands which may be deemed offensive because these forms of music tend to be “acquired” tastes, and therefore don’t have as strong of a profit-making potential. (Again, folks, I hate to reiterate, but it’s essential that you realize that everything in this industry ultimately comes down to dollars and cents.)

Thirdly, because although there are lots of companies out there “claiming” to be legit booking agencies, but realistically, there are really only a select few who control about 80% of the marketplace, having your material reviewed will inevitably be a lengthy process, and by that I mean, it may take several months to almost a year just for your package to arrive on the appropriate person’s desk, let alone be assessed. With that in mind, it’s important, that if you do wish to attempt, in the words of Jim Morrison, “to break on through to the other side” (of the glass ceiling, that is), that you specifically address your package to the agent who already works with artists who are comparable to your genre of music.

From all of the aforementioned details, as I’m sure you’ve deduced for yourself, if you thought achieving label representation was difficult, obtaining a booking agent is in a whole nother ball park; the reason being that control over all of the world’s major concert events in is in very few hands, and so, said companies can afford to be extremely picky with whom they chose to represent.

Booking agents typically get a flat fee for each show they book, and receive additional compensation derived from a percentage of ticket sales, and so, they are only going to be interested in working with you if your act is a guaranteed strong investment. Additionally, upon being signed, booking (promotional companies in general), often expect their newly sign artists to sink in funds into areas that they feel are a concern in order to up the band’s market appeal. These investments are expected to be made, irrespective of the fact that bookers offer no guarantee that they will be able to get the act touring opportunities.

With all of that being said, if you’re interesting in trying to reel a booker in, here are a few quick last pieces of advice:

1) Do you homework: Learn about the various companies and see which one best suits your needs in terms of both its booking capabilities as well as the genres it represents

2) Make a direct contact

3) Rather than sending out a press kit and waiting agonizingly for it to be reviewed, I suggest inviting your booker of interest out to an important live performance (cd release party, or a slot at a national conference) so that they can see you in action, and you have a chance to make an in person connection. However, if you are going to go down this route, make sure you are ready (and I mean REALLY ready) because you’ll only get one shot.

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.

Vol 3, Issue 11: The Changing Face of Record Deals: An Inside Look at the Industry’s Emerging Strategy for Maintaining Monopoly

As alluded to by various comments made on behalf of both myself, and several of this year’s interview subjects including Alan Cross, and Carla DeSantis, the face of the industry, moreover, the face of the record deal is changing. The monopoly that major labels once held because of their exclusive ability to offer artists worldwide distribution, and unmatchable promotional opportunities simply cannot compete in the age of the internet in which artists, because of their newfound accessibility to unlimited online resources and opportunities for networking, are able to become self-sufficient. Put blatantly, what’s the point of signing with a label (which may necessitate giving up a substantial share of your profits, and quite possibly having to sacrifice your artistic integrity) when with the simple click of a mouse, one is able to access both exposure to a worldwide audience and dissemination of one’s products across the globe free of charge, or at the most, for a nominal fee, while maintaining complete songwriting ownership and control over one’s image?

Though some will argue that traditional record labels still provide superior retail distribution attesting that indies are unable to get shelf space without having a) a huge following in the area which will guarantee sales and b) a large promotional budget which will allow them to do store tie-in events, this argument fails to acknowledge that many majors, such as Koch for example, because they can’t afford the risk of taking up shelf space unless the product is guaranteed to move, have actually gone strictly to catalogs for their up and comers. Thus, they are once again unable to provide you with anything you cannot get on your own. And so, as can be expected, the music biz’s business model which has ruled the day since the 1890s, has had to change with the times.

In order to maintain relevance during this state of transition that is rattled with illegal downloading (and hence, fewer profits to be made off of disc sales), label scouts and business professionals alike, needed a new plan not only in order to stay in business, but also to ensure that “the suits” would not lose their position of privilege and power. The plan: to zero in all efforts towards the one domain in the biz within which artists can only go so far on their own; that being, booking, and the secret weapon: a little thing called, “no unsolicited materials” (ie: you cannot submit any promotional materials without prior request or without an inside connection to the firm in question). For those of you who’ve attempted to get on the bill as the opener for a major act such as The Foo Fighters, you’ll be all too familiar with those three heartbreaking words, and all of the bureaucratic b.s. that goes along with them. The leader of the pack in this venture is a little known company (note the sarcasm) that goes by the name of, LiveNation (originally a subsidiary of Clear Channel Communications, a highly influential U.S. media conglomerate), a brand that any regular concert goer will recognize as gaining increasing omnipresence on just about every advert for any major event. But, before we get into the nitty gritty of what exactly it means to be signed to one of these company’s rosters, such as that of LiveNation’s, a brief overview of how the traditional major label record deal works, is in order.

Generally speaking, traditional deals with major labels allow musicians to strictly focus on being performers (ie: publicity, management, and booking is all taken care of for you), however, these gratuities do not come without a hefty price. Though details vary from contract to contract, artists are conventionally signed for at least a few years in which they are required to release a specified amount of works, and the vast majority of profits (in some instances, upwards of 90%) earned off of all sales relating to their musical compositions are awarded solely to the label. The artist is expected to tour and attend promotional opportunities in order to market their works, and any profits earned from touring (which are, at best, only about 5 - 10% considering the high costs associated with funding transport, stage crew, special effects etc.) as well as any monies earned from the sales of merchandise belong wholly to the artist. Additionally, if licensing opportunities should be presented to the artist, the label’s commission on said negotiations is usually about 15 - 20%.

So up to this point, it may seem as though these deals are somewhat mutually beneficial - there is give and take on both ends of the bargain- however, there’s an all too often undisclosed catch that cannot be understated in terms of its importance: in these deals, if the artists’ musical compositions fail to achieve commercial success, any upfront resources that were granted to the artist in order for him/her to partake in recording, and/or marketing his/her products will be owed back to the label in full!

So how have deals changed due to the infiltration of companies like LiveNation? Well, as previously explained, traditional major labels primarily focused their energies on pushing units (ie: records, cassettes, compact discs) in order to generate profits. Because fewer and fewer music consumers are actually purchasing legitimate copies of musical works, profits in this area have, understandably, greatly subsided. Consequently, deals with companies like LiveNation not only demand a substantial chunk off of sales of musical works (however, in most cases, without the catch of loss of songwriter ownership), but as well, now infringe on territory that used to solely belong to the artist: that being, touring and merchandising because as noted by Fortune Magazine, the majority of earnings achieved (over 75%) by current major artists come strictly from these two domains. However, it’s important to realize that LiveNation’s cash flow margins on tours average a slight “4.3%”, and thus its not surprising that the company is continually seeking to expand its horizons in order to bolster its profit making potential.

In an effort to eliminate the need for record labels and/or just about any other external company that has traditionally been required to properly launch and manage a major artist, in its contracts, LiveNation has sought to gain control not only over its artists’ touring arrangements, and catalogs, but as well its artists’ web presence, publicity, merchandising, and videography. Further, there have been recent talks discussing LiveNation’s involvement in negotiating licensing and publishing deals on behalf of its artists in order to get a cut off of their royalties.

In order to seem as though the deals they are presenting are “fair”, those artists specially selected to be recruited for LiveNation’s roster are often offered obscene amounts of upfront money, like that of Madonna’s 10 year contract estimated at a cool 120 million. Despite all of the signs which indicate LiveNation’s totalitarian aspirations, the company’s President and CEO Michael Rapino, maintains that they merely fulfill the duties of a music promotional company and nothing more.

So what does this mean for the indie musician? Moreover for the music consumer? These are topics that I will tackle in the next few weeks.

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.

Vol 2, Issue 6: The Truth About Canada`s Grant Programs, and How They Actually Serve to Reproduce the Industry, Rather than Foster New Talent

For an ambitious indie rock band, there is nothing more like “music to the ears” (pardon the pun) than hearing about the artistic grant programs that the Canadian government has put in effect in order to “provide assistance toward the growth and development of the Canadian independent recording industry.” In theory, this goal of FACTOR, (The Foundation to Assist Canadian Talent on Records) seems quite noble as it’s based on the premise of need and merit. Further, it provides a sense of hope to independent musicians who greatly require financial assistance in order to take their career(s) to the next level through recording, and touring endeavours. However, from both personal experience and observation, I can tell you that neither FACTOR nor Videofact, the two central grants programs so crucial and intertwined with successful exposure in Canada's music industry do anything, BUT help new and independent bands who are not only worthy of such help, but as well, sincerely need it.

With impossible and even sometimes ridiculous grant application requirements (such as the stipulation for touring grants that denotes you must have sold at least 2000 copies of your album within your desired touring territory, or the recording grant condition that states you must have obtained a FACTOR-recognized distributor prior to the recording of the album for which you want funding), along with the favouring of applications submitted by record labels, the common allocation of funds into the hands of artists whom have held professional status in Canada's industry for, in some cases, over 15 years, and the lack of a restriction measure in place which would discourage the granting of funds towards artists who have already been past recipients of said monies, it would seem to me that the goal of FACTOR, and VideoFact seems rather focused on perpetuating a cycle of the same artists maintaining chart-topping success, rather than giving new talent a fighting chance as their so-called mandates would claim.

Additionally, rather than providing independent artists with advice on how they can better their chances of obtaining grants, standard form letters are issued to artists who are declined funding which in many cases outline “steps to improve one's application” that are completely irrelevant to the given case. I remember receiving one of these “advice” letters in which my band was instructed to work on obtaining media exposure and booking tour dates in order to add legitimacy to our Videofact grant application. Anyone who has followed my band’s history or has visited our website would be well aware of how extensive our media and booking portfolios are. Furthermore, enclosed alongside our Videofact application was a detailed copy of our press kit which outlined all of our career highlights and accomplishments –perhaps they just missed that (it was only in a big red folder marked ANTI-HERO). Might I also add that in another application, we hired a professional firm to outline our music video synopsis, budget, and storyboard to give our application even more edge, yet still, we were rejected.

What this suggests to me is the following about these programs: grant-issuing agencies do NOT review applications from artists who are not already established at a professional level and/or are not backed by a label to some degree. Evidence for this rather problematic finding can be seen in the grant recipient lists (available on FACTOR's & VideoFact's websites) that rarely (and I mean RARELY) contain artists of whom you've never heard (I encourage you to check out the charts for yourself if you do not believe me)! Further, the eligibility requirements of both FACTOR and Videofact’s programs reinforce this point as the reason as to why artists are applying for these loans in the first place is so that they can essentially garner more attention, establish a larger fanbase, and improve sales. Thus, the likelihood of an independent artist (with absolutely no label support) obtaining the goal of 2000 album sales within 18 months of its release, is, unfortunately in today’s industry, highly unlikely.

Again, as referenced in one of my first articles of the year, if Bon Jovi, an artist that’s been around for decades, was holding the top Soundscan slot with only 7,000 in cd sales, how can the record industry possibly expect a band without a well-established reputation, and without necessary promotional/marketing funds to sell that many discs in that allotted time period? It’s not impossible, but HIGHLY unlikely.

On the similar notion, in terms of the recording grants’ requirement of having a reputable distributor in place prior to the recording of one’s album: what I’m wondering about this, is first off, does the Canadian music industry sincerely believe that a distributor will just slap their name (and reputation) onto a record they’ve never heard or for that matter support an artist who’s never released a previous album, and so there is no way to judge their sell-ability? Not a chance.

So, what does this all mean for independent artists? Firstly, this biased selection process adds credence to my rantings about how truly difficult and unfair this industry is. Secondly, as an independent artist, it would seem that the Canadian music industry is fairly adamant in stating that you can only get so far on your own before encountering a situation in which you need an “inside man”. Thirdly and most importantly, the favouring of established artists indicates to me that the Canadian music industry is not as willing to take risks on new talent as it is a safer bet to invest in artists whom they know are able to generate money, which once again reaffirms the fact that business trumps talent in the music biz.

While there have been some recent developments in terms of trying to alleviate this major dilemma such as the offering of seminars by FACTOR that provide tips on how to prepare successful applications, along with the growth of independent firms that assist artists in undergoing the grant application process (as it can be rather hectic, time consuming, and confusing), this issue of course still remains.

I hope that in the future these grant agencies will begin living up to their mission statements, and start giving underdogs a chance. Who knows they may even be surprised by how much undiscovered talent there is out there? And perhaps, the monotony of mainstream radio will be alleviated as well.

By writing all of this, I do not mean to imply that these agencies have not benefited many artists in the Canadian music industry as they most certainly have, and I’m happy for the hard working well-deserving artists who have been grant recipients. The point I’m trying to make here is that there is an unequal treatment of signed/unsigned bands going on within this selection process, and I truly feel that independent artists need to be aware of this situation. Similarly, I hope that by writing this perhaps I can inspire a change in policy.

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/

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.

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/

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).

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/

Vol 1, Issue 8: How to Book Your First Paying Gig

So you’ve got your act together, you’ve established your name and image, you know your material like the back of your hand, and you’re raring to play your first gig, but no one will book you? Don’t think this is an uncommon problem. Just as the media are bombarded with bands fighting for exposure, club owners and promoters deal with hundreds, sometimes even thousands, of emails and phone calls a day from bands who want to rock their venues. Once again it comes down to this: what makes your band so special?

Look at it from the promoter or club owner’s point-of-view; if they book a new unknown act, they are putting themselves at risk. There is no guarantee that your act will be able to deliver on its promises, and they can almost be certain that your act will have relatively no draw outside of close friends who may or may not actually dig your music.

Just like record labels, club owners and promoters want to make money first and foremost. Additionally, they need to uphold the reputation of their establishments as being a “hot spots”. Therefore, booking new acts for them is understandably risky business.

New acts can deal with this dilemma in one of two ways:
a) Ask a popular established local artist if you can be their opening act for their next show OR b) Have a strong sales-pitch that will get your foot in the door.

If you chose to undertake the latter option, know this: if you don’t deliver on your promises, you could quite possibly become “blacklisted” from that club and its affiliates. Club owners and promoters pay bands that are reliable and hard-working. If you prove yourself “worthy” in the eyes of a booker, you’ll be amazed with the opportunities they will offer you in the future.

When it comes to requesting opening slots, rule number one is this: be respectful and sincere. Don’t harass every band in the city that has a decent following, especially if their style doesn’t resemble yours in the slightest. It won’t benefit you to play to a pop crowd if you’re a heavy metal act.

Moreover, don’t approach bands that you genuinely dislike. The purpose of opening slots is to gain the support of the larger act’s fan-base. Fans are very loyal to their favourite local acts, and they won’t appreciate it if it’s obvious that you are simply milking the bigger act for what they are worth. Furthermore, partaking in this action is disrespectful to the artists who have made the local scene what it is.

If you plan on building up a reputation for your act, in virtually any city, you need to understand that music scenes are generally very close-knit. Practically everyone in bands knows each other or at least knows of each other meaning that if you piss one person off, you are really pissing off all of their friends who happen to be in bands as well.

Secondly, don’t set your expectations too high. You will most likely NOT get paid and there is no way your first gig will be as a supporting artist on Metallica’s tour, even if they are from your hometown. I’m sorry if this bursts your bubble, but the openers for nationally touring acts are usually lesser known bands that are managed by the same label. It’s very controlled, and breaking into that territory takes time as an act needs to rack up its bragging rights before a label will consider adding them to their roster.

Instead, aim at “getting in good” with the popular local acts that have “street cred”. This goal is much more feasible, and it is possible so long as you approach them in a professional manner.A commonly used strategy for this purpose is to attend several of the popular local act’s shows ensuring you are seen as a paying supporter. After one of their sets, initiate casual conversation with the lead singer (almost always the one in charge of booking shows) as a fellow musician, NOT as a fan. Tell him/her how much you enjoy their music and performances (a little ego stroking never hurts, but don’t go overboard), and then further go on to explain about your new act, and how you would be honoured to share the stage with them. Make sure you swap contact information so that you can later remind them of your meeting. Also have a demo on hand to offer them free of charge, or at the least a website link through which they can check out your act. Above all, remember to follow-up. Popular local acts are approached by several bands requesting this very favour, therefore if you really want the slot, show them. They certainly will not come hunt you down.

If you chose to attempt the second suggested method of approaching a booker directly, make sure you have polished your skills of persuasion. Trust me on this one, it’s all in the pitch.

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/