The other day I plugged my crappy old Insignia Pilot into the truck stereo’s auxiliary input, & I started playing the songs on my trusty & hardly ever updated mp3 player in order by song title. I have no idea why I decided to take it off of “random”, but I did. (Sadly, my 500 GB hard drive has stopped working and unless it’s fixed I’ll lose a TON of music, so whatever this Best Buy generic brand mp3 player holds may be it for my collection for a while!)
I thought that “song titles that start with numbers” would be a pretty cool playlist. I’d thought I’d share some of my favorites.
I’ve posted advice for existing and aspiring bands before, and I thought this email from a pro would be useful. It was sparked when I saw his Facebook status the other day: “Great way to start the day: my favorite venue in the country complimented my email skills in contacting them to booking a date. It’s the highest praise I could hope for.”
The status went on to some comments & basically the author said he’d share the knowledge with those who cared to learn. I asked if I could post it in a blog, and here we have it. If you’re in a band on any level, pay heed to the advice below.
As far as background on Bengt, he’s in a band (& been in many), he records bands, he’s booked bands, and he’s generally been in every part of the scene. He knows what he’s talking about.
Action Camp
On to the advice & the guest part of this guest post:
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Alright, so here is what we usually send like 99% of the time. There always a bit of customization but this is the basic format:
1. Greeting, name the booker if you know it (usually listed on indieonthemove.com or their website)
2. Band name (with a link to the website), genre, location.
3. Date(s) requested in bold. They love that, it makes it easier read. If you can swing 3-5 dates that’s best, it gives them room. Do them a favor and check the website for those dates first, they appreciate that a ton. Also make sure to follow their booking procedure to the T. A lot of places have a specific way they like to work (Facebook message, Sonicbids, email format, etc). If you do it right it shows you listened so you’re already at the top of the pile.
Also, if another band that’s played there before suggested it, tell them so. It’s like introducing yourself to anyone else and starting with saying you have a mutual friend. It’s a job reference.
4. Links to music, video, press – let them decide if they want to book you. The more you talk about how awesome you are and why you should be booked, the more they think you probably suck and are trying to gloss over it. It’s like handing someone your demo and saying it’s not your best work.
5. If you played there or in the city before tell them. If you know what you drew and stuff be honest, they love that.
6. Offer to help build the bill, and specifically name bands you know or have contacted already.
7. Thanks in advance, Thanks for your time, etc.
8. ALL of your contact info including phone numbers. It shows you are easy to reach and you have your shit together.
One final thing: DON’T say someone famous produced your record, quote random blog reviews, list facebook or twitter numbers, anything like that. No one cares about that if they know what their doing in the working touring circuit. Steve Albini producing your record won’t make 100 people come out in Dayton on a Monday night, and facebook and twitter followers are ostensibly your imaginary friends that only you can see. Plus, even you have 4,000 people odds are only 10 of them are near the venue you are trying to book.
We are Action Camp, an art rock duo from Pittsburgh, PA.
We’re looking to see if you have Friday February 15th or Saturday the 16th available to book in the Revival Room – both look open on your calendar but I wasn’t sure if you would do a full house those nights. Our music is pretty different from what’s going on those nights so I’m not concerned about audience bleed over. This would be our 4th time to Southgate, 7th time in 3 years in the Cininnati/Newport scene. We know plenty of bands so we’d throw a bill together with 2 or 3 locals to help support.
If these are unavailable I’d love to work something out in the future. Southgate was/is by far our favorite venue on tour, I can only assume the new house is great. Sincerely, I (Bengt) booked a venue in Pittsburgh, and based many of my practices on the way SGH was run by Rick and his crew.
Previous dates:
Parlour 10/1/2010 (Gallery Opening, free show, 100+ attending)
Parlour 1/2/2010 (w/ Duppy a Jamba, 97 paid)
Parlour Summer 2009 (Flux Capacitors last show, well attended, don’t have stats)
Our most recent dates in the area were both in Cincinnati:
12/8/2012 The Comet Cincinnati, OH (100+, free show)
7/5/2012 Sitwells Coffeehouse Cincinnati, OH (smaller acoustic show, last minute add on tour)
Thanks in advance, can’t wait to see the new place,
So that’s it, pretty simple. Just be honest and to the point. I also should point out that this was 1 of 10 venues we emailed on Christmas, and he got back just a day later with this response:
“Thanks for writing. Those dates aren’t announced yet, but they are spoken for. How about Wed Feb 13, or Sun Feb 17?
“PS – very well done email, especially listing previous show turnouts. You’re way ahead of the curve on that one, and it did persuade me to jump on this, and get you in!”
I always email every venue that would work for us in a city, it’s better to have choices than no show at all.
So, there you have it. Got it? Good. Doing research in advance before you ask for dates seems like a no-brainer, but apparently it needs to be said. I guess some bands naturally put more thought into stuff.
I’m not sure how you’d approach this if you had no previous gigs in an area… perhaps we can get Bengt to comment further for new bands, first time tours, etc.?
So the other night while dining at Panera Bread, I was talking to my wife about guitars… and how I want a USA map shaped guitar painted like an old map with the pastel blue, yellow, green, & pink (red?) states. Then, I said I needed 3 more guitars to have an “even” 13 by the year 2013. With 13 being my favorite number… and us having a baby in 2013, it seemed like a good idea. She laughed and rolled her eyes. I said I could set up a Facebook page & get a million likes then she’d have to let me buy 3 more guitars. She said that a million was too many, & suggested 13,000.
Like all good jokes, I took it too far & started a page. Can I get 13,o00 likes by 2013 so I can add 3 more guitars to my collection? I need 13 in ’13!
So, spread the link if you’re so inclined… and we’ll see if I can get 1300, let alone 13,000.
That’s a private group on Facebook, so here’s what was said in case you’re not a member:
Rick D’Agostino is looking for some feedback from the music community out there..
Dig? So now, you have the gist of it. My blog may go on its own little tangent, you never really know with these things. It’s certainly worth talking about.
First, it’s clear that I’ve never been in a band where making money is the ultimate goal. I’m amazed over & over that venue owners let me come in, set up, and play in front of people. Sometimes we get money from the door, sometimes we get money from tickets sold, sometimes we give it all to the touring band, sometimes it’s a charity gig, sometimes no one shows up to pay anyone, sometimes we get some gas money or a couple of bucks to dump back into merch or something.
This is how it’s worked nearly everywhere and every time I have played: Most of the time, the cover is $3 to $5, unless we’re opening for a national act & it’s through a booker where we’re asked to sell tickets. Some call the latter “pay to play“, and rail wholly against it. Some people have no problem selling tickets. Some bands like mine do, but we try anyway. At bar gigs, the cover charge is usually $5. Sometimes it all goes to the bands, especially if it’s a bar & if you provide your own door person. Sometimes it pays for a sound guy (if there is one) & a cut goes to the bar, then the bands get paid. Sometimes locals defer and let the out-of-town bands take the cash (if there is one). Sometimes you can play for free at open stages, sometimes you pay to get in at open stages. Sometimes no one comes out to see you, and no one gets paid. Sometimes the band gets free or discounted drinks. It’s generally a no pay or break even situation. You hope to sell merchandise and/or CD‘s if you have them, and the bar hopes to sell drinks & food. The bands should promote and the venues should promote. Some venues think the bands should do it all, some bands think the venue should do it all. Generally 3 or sometimes 4 bands are all on the same gig. Sometimes, it all works out, sometimes… it doesn’t. This is how bands who largely play their own music are forced to operate.
That’s only 1 way. There are many other “scenes” here overlapping in the ‘Burgh.
Cover bands… or human jukebox bands, can generally charge a fee for playing a certain style, genre, or “songs that people know”. This is to provide entertainment to drunken Yinzer patrons who want to yell out requests. You probably usually play 3 sets, maybe 4… and you’re the only entertainment all night. You’re probably playing pop country, classic rock, or a little mix of everything. Professional singers/songwriters operate pretty much the same way as described above, but can get away with putting in more of their own material.
High-class… I know a band that plays funk, and can get $5000 a gig at the least. They put their twist on a bunch of songs, dress up, bring lights, and put on one hell of a show. I’m pretty sure I could never command that much cash for what I do… but how is one less relevant or entertaining? They do weddings, corporate parties, and “events”.
I’m sure there’s other stuff out there that I’m not even aware of. I can’t really speak for any other parts of the scene than the one I’m in.
I’ve heard the argument that charging only $5 is devaluing our craft. Bands should demand more to be heard live. It worked for Yuengling. They raised the price on their beer in the late 90s/early 00s and they took off ahead of the other “microbrews”. Should we then put a higher value on ourselves & our art? If we raise the price do we raise our expectations? Do we raise our worth? Do we raise the value of our music & entertainment?
I also see that a cover charge can make or break a show. Times are changing. People aren’t spending money on entertainment. Music is seen like it’s all supposed to be free. Why would someone pay for a live show? To me, if you don’t have $5 on you for a show, maybe you shouldn’t be going to a bar in the 1st place. $5 might get you 2 beers if you’re a butthole & don’t tip the bartender. Then again, we hardly ever walk away with any money anyway (the Fallout Shelter is an exception here, we get paid well there, regardless of turnout), so why not let people in for free?
The tip bucket. I’d play for one. I have no doubt that we’re entertaining. Why not, right? Do all bands split the tip bucket? Or go per performance? That if the 1st band up gets all the cash & the “cleanup” band gets nothing simply because the patrons ran out of cash? Are we nothing more than indoor buskers if we play for a tip jar? Is it a better measurement of our entertainment value to work for tips? Does it devalue our art to basically beg for donations to support the rock n’ roll cause?
I certainly don’t want to see my favorite venues close because they can’t afford to operate. I like to play them, I like to see other bands in them… I want them to do well. I want them to continue to host my band & other bands. I even want them to make a buck so it’s all worth their while, and so they can do it to make a living.
I just want to play. I don’t care where, or for how much. I have fun doing it. I think this is an important discussion to have, though. What is the value of live rock n’ roll?
We played a show last week with the Brothers of Brazil. These cats are absolutely nuts. They’re a ridiculously good show, they’re really nice guys, and they’re incredible performers. Musically, I’d say it’s a punk ethic with all kinds of samba, lounge, rock, and much much more thrown in. Supla & João harmonize vocals really well… and are both equally powerful frontmen. João is all over the place with his guitar. He goes in one direction, then switches into a completely different mode in the blink of an eye, and Supla doesn’t miss a beat. It’s just nuts. I can’t even get my head around how to describe it. The recorded music has nothing on the live show.
Check them out next time they’re in a venue near you… you won’t be disappointed!
Guitar nerds, check out Guitars of Pittsburgh! Twiz has put together a blog featuring photos of the guitars of people in active bands around the three rivers. It’s just getting started, but it’s sort of like an online collection of baseball cards with a photos and some “stats”.
Galveston B.B. Stone – Guitars of Pittsburgh
I had to choose just one from all of my goofy guitars for the photo, so I went with the one that started all the craziness. Plus, there should only be about 8 or 12 of them in the Unites States.
Check out Guitars of Pittsburgh, follow it in Tumblr or your news reader, and take a look at all the awesome axes we have around town!
So, AxVault.com has featured my guitar collection. How cool is that? I’m honored & proud to have been selected to be a featured collection! Of course, I dig anything that encourages me to buy more goofy guitars.
So, I’ve been really bad at blogging lately. It’s not that I don’t have anything to blog about, it’s mostly that I’m not finding much time to do it. I did have someone recently contact me with a complaint thinking I’m some entity… not sure who they thought. I wrote back to no avail. I think it was a dud. I may try again to get a response, maybe I’ll even post something.
Mainly, it’s because of a new job. I’m not tied to a desk with a few spare minutes or even with lunch time at the desk. Now, I’m on the road & in the field all day. When I get home, I don’t seem to gravitate right to blogging or my news feed.
I never did finish my New York Pro guitar… well, I did route out the pickguard with a Dremel set that my mom gave me, and eventually got the neck plate off, but I had my guitar guy put it all back together. If you need work done in the Pittsburgh area, let me know and I’ll send you to the right cat for repairs, setups, and even guitar insanity which is generally all I ever have for him (e.g. the Batman logo guitar went from goofy to absolutely playable in his hands). It looks ridiculous, plays like a dream, and screams through the amplifier like you wouldn’t believe. GFS pickups rule.
World (and Lunar) Domination 