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1. GIGS...HOW TO GET 'EM

It’s the old Catch-22. You have to play a live gig before a club will let you perform. Chances are, there’re a ton of bands all fighting for the same slots on a nightly basis. Although there are no set rules when it comes to securing a gig there are a few guidelines every band or promoter should follow when dealing with possible venues.

1. Be respectful to the management and staff from the very first contact. Ask if it’s a good time to talk and if not find out when to call back. Be sure to call on that day or time they specify so you’re seen as dependable. If it’s a first time call ask to send a press kit and follow up in two weeks, giving them time to review it. If you’re doing your press kit follow-up be polite to everyone you talk to even if the answer today is no thanks.
2. Don’t forget the ‘little people.’ Many bands discredit the assistant or ‘go between person.’ True you’re not selling to them, but they are the closest link to the boss so don’t count them out. If the assistant finds you to be friendlier than the other 20 acts who called that day, you stand a better chance of being remembered for the RIGHT reasons and getting through to the head honcho. You really can catch more flies with honey than vinegar.
3. Don’t be picky. So what if you can’t play the trendy nightspot on Main St just yet? Cut your chops by playing a few backwater joints for the experience before you look higher.
4. Make sure you have enough material. Do you have an hour’s worth of music or can you do three? It’s always better to have more than less ready, just in case you’re asked to stay over.
5. Know your band mates’ schedule. Last thing you want to do is tell an interested manager that you have to check to see if you and your band are available. Find out in advance by communicating with your band mates and pick how far out you’re willing to be booked. If someone offers you a spot you need to be able to take it right there or offer an alternative without doing a call back.

Timing makes champions, but so does being prepared and respectful. The more confident, polite and professional you look, the better chance you’ll have getting the gigs and breaking through.

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2. THE QUICK JAB OF THE PRESS KIT – THE TIP SHEET!

Unlike the bio, which is more descriptive, your tip sheet is the nonsense, all-in-one info sheet about you and/or your group. It has six distinct headings listing all the vital statistics of your band:

1. Band/Artist Name
2. Musical Genre
3. City of Origin
4. Band members and Instruments
5. Key Points of Interest
6. Contact Information

Although nothing terribly fancy is needed for this sheet it should be organized properly, meaning that it looks pleasing to the eye and uniformed (no hanging lines or different tab spacing, etc.) How you typeset your tip sheet is entirely up to you, but the main purpose of the document is to be a quick and easy to read form about your group. It should also be no longer than one page in length so if you’re one of the fortunate bands that has lots of press coverage and awards, only list the crème de la crème on this form. Consider this: If you had 60 seconds to describe your band what would you say is most important? Anything you can’t fit in 60 seconds shouldn’t appear anywhere on this form so make your words count.

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3. INDIE OR MAJOR LABELS – UNIVERSAL QUESTIONS!

You want that label deal so bad you can taste it, but you shouldn’t accept the first thing that comes down the pike. First find out:

• Does the label have a national distribution deal?
• Has the label experienced late payments from the distributor?
• How much does the label make on merchandising and how much do you get?
• How many releases do they have per year? Too many could mean you’ll be left in the shadows.
• Are co-op ads and promotion specials available via the distributor? If so, which ones?
• What is their advertising budget for your record?
• What is your percentage on list price for both domestic and foreign sales?
• What are the terms (number of years and records)?
• Who has creative control? (You, a producer, engineer, etc.)
• Do you have a right to audit their books? (This is one way to check they are on the ‘up and up.’)

This is just a small sampling of questions that every artist needs answered (and in writing) before putting their John Hancock on a recording contract. For examples of a host of music contracts be sure to check out our 101 Music Business Contracts at http://www.musiccontracts101.com/docs/products/001/index.htm

 

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4. SET TRENDS, DON’T FOLLOW THEM

You’re just as good, if not better, than Toby Keith or Britney Spears. So why, oh why, can’t you break into the big time? Perhaps for starters there’re lots of artist out there who are like you, carbon copies of Toby and Britney.

The problem with many acts is that they follow trends instead of setting them. Sure the local clubs might love you since you’re ‘modern,’ but labels are looking for the ‘cutting edge.’ Think back to the late 80s when the airwaves began to fill with bubble gum pop music provided by such legends as the New Kids on the Block. At the same time a few little bands in Washington were doing their own thing and soon the alternative side of music became mainstream. Kurt Cobain and the Seattle sound didn’t follow the formula pop on the radio at the time. As Robert Frost put it, ‘they took the road less traveled and that has made all the difference.'

So if you want to get noticed by a label you have to do something worth noticing, something that makes you stand out from the pack of cookie cutter bands out there. Sure your music might sound wonderful, but if it sounds the same as everyone else, you’ll get left behind in the race to the big time.

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