Performing In a New City? Tips For the Traveling Indie Musician

[Editors NoteThis blog post was written by Michelle Aguilar, a writer and digital artist based in Los Angeles.]

 

When I’m not studying, freaking out during mid-terms or in the mountains, there’s a high chance that I’m at a concert seeing/dancing to one of my favorite musicians or serendipitously coming across a fascinating artist. After getting to know several indie artists and hearing their stories, I thought it’d be a great idea to write an article specifically aimed for the traveling or touring musician…and assuming that you’re an artist since you’re reading this: Hello! I hope you find the following mini-guide for the next journey.

1. Health

But First: Your Health

I never thought I’d be the one saying this– it’s what my mother would say to me each time I’d skip out on doctor appointments—but “your health comes first.” A few things you can do to keep your health on check:

  • Party in moderation. Although there’s much to celebrate about, touring is not a vacation. You know yourself best so whatever that means to you, do it. Also, be sure to sleep as much as you can, your brain, body and everyone else will thank you!
  • Eat right. This may be difficult, especially when you’re on the road. Great news is that you can always buy a cheap cooler (use freezy- paks not ice) and fill it in with fruits, nuts, veggies and other healthy snacks. Buy lunch meat and other food from a near-by market.
  • Stay sanitized. Bring hand sanitizer and wipes and use them. Wipe door knobs, shower handles and other objects if you’re staying at a motel. The constant moving between different places, restaurants and meet-and-greets are easy ways to get sick.

2. Planning

Always Plan for Worst Case Scenario

They say “hope for the best and expect the worst”, you say “%$!*, we should have done that.” Don’t worry, it happens to all of us, but when it comes to traveling to play gigs, the consequences are no joke. A few things you can do to prepare:

  • Try to have extras of everything: cellphones, laptop, amplifiers, guitars, mic’s, cables, xlr’s, stands, extension cords, batteries, picks, stings, straps, and snare drums.
  • Know what’s around the venue, specifically hotels and their availability. Even if you already have a place to lodge, it’s always good to have alternative options at hand.
  • If you’re traveling by land, make sure that your vehicle is thoroughly checked and cleared of any issues.

3. Booking

Avoid Over-Booking

It can be tempting to get a little too adventurous or fill your schedule up for x needs..but if you stretch yourself too much, it may have a negative effect on your overall performance and motivation.

  • Know yourself. How many hours of sleep do you need? Do you get tired easily or are you naturally on-the-go? Keep all of these in mind to give yourself space to recharge and perform your best.
  • Read up online forums specifically for indie artists as yourself that may have a venue database. A great platform is Indie On the Move. This can help you sort out venues and efficiently narrow down your options to avoid over-booking.

4. Promotion

Be Ahead of the Game With Your Promo

With so many business elements becoming more and more digitalized, it’s easy to get comfortable with social media and be satisfied with simply posting your events. However, we must not forget the fundamentals! Also, if you do use Facebook, do more than just post:

  • Send a press release about your tour to the local radio stations, newspapers, and weeklies at least 6 weeks before your appearance.
  • Build relationships with established bands in the city you’ll be playing at. Start by befriending them on social media and reach out. You may even land another gig with them that same weekend or in the near future. Swap offers such as opening for each other in each other’s towns.
  • Use Facebook Ads effectively. Target these adds for people living in or around the zip codes for the venues you’re going to perform at. You can even limit them to people who are interested in your genre.

5. Networking

Stay a While

Regardless of where you are in your music career, there is always room for an after-show meet and greet with those that supported your performance. After all, being an artist is never a one-way street. You are here because of your hard work and you are also here because of your fans’ dedication and appreciation towards your music.

  • Depending on the venue that you’re in, try to squeeze in at least 20 minutes of meet and greet time. This shows you appreciate you fans and it will most likely increases fan loyalty. Also, you never know what you can learn by meeting a fan; they may be in the industry and have some advice, they may be that drummer you’ve been looking to fill in—you never know!
  • Hang out near your (if you have one) merchandise booth to show appreciation to those buying more than just the concert tickets.
  • Be initiative and take pics/videos with your fans, upload them on your social media. Humility stands out.

I hope these tips have been helpful in preparing you for your next show. Of course there are probably a lot more other things to keep in mind when preparing to perform in a new city, so I definitely encourage you to primarily rely on your own experience as well as consult with management or fellow musicians.

Do you have any other tips or suggestions you’d like to share? What is something you’ve learned about traveling as an artist? Please, feel free to let us know in the comments.

4 Major Live Music Trends Changing The Industry This Year

[Editors Note: This blog was written by Rachel Grate and originally appeared on the Eventbrite Blog.]

 

We’re just one month into 2017 (ed. – this was originally published in February of 2017), and it’s already proven to be a year of big changes — and the live music industry is no exception to the rule.

To stay on top of your game in a shifting landscape, you need a firm grip on the music trends that will shift the landscape in 2017. But don’t take it from us — take it from the nineteen industry pros we interviewed, including Newport Folk Festival, Afropunk, National Sawdust, and more.

Here’s how tastemakers predict the live music industry will change in 2017 — and how you can use those trends to protect your business.

1. Activism will revive the live music community

“Music has recently been more about escapism than activism,” says Jay Sweet, festival director and talent buyer for the Newport Festivals Foundation. But with major political changes coming in 2017, fans may be looking to their favorite artists to take a stance. “I’m excited because I think this could be the year where musicians could… try to affect positive change through music,” Sweet says.

Matthew Morgan, the co-founder of Afropunk, believes fans will look to live music as an opportunity to make sense of the world around them. “We’re in line for some really great art over the next four years, [and] what we’re doing is going to be even more important,” Morgan says. “So many people are looking for things that are positive, that give them something meaningful in their lives.”

“We’re in line for some really great art over the next 4 years.” — Matthew Morgan of @afropunk

In this quest for self-expression, fans and artists will use live performances as an opportunity to build community around shared causes. “Festivals are a place for people to congregate safely — a place to share a common, collective experience,” Sweet says. It will be up to independent promoters and producers to create these safe spaces for activism.

2. Immersive theater will influence live music performances

From popular events like The Speakeasy in San Francisco to the topic of breakout HBO show Westworld, immersive theater made a big splash in 2016. These shows make audience members a part of the performance, and this year, we’ll see their influence begin to make live music performances more multidimensional.

“The world of immersive theater is about to explode,” says Nick Panama, the founder of Cantora. “We’ll be seeing a lot more experiential storytelling, and its influence on live music.”

Panama predicts live shows will expand the storytelling from the music itself to other senses. Instead of relying solely on audio cues or a screen behind them to tell a story, performers will begin to activate the entire room or stadium with immersive sensory details. Using a variety of new technologies, fans will become part of an alternate reality for the duration of the show.

3. Venues will band together to establish more sustainable economics

With rising rent prices in cities across the country, venues are facing a serious financial challenge in 2017.

“Venues will either buy the land they sit on, or they’ll move,” says Brendon Anthony, the director of the Texas Music Office. “We’re not going to see our favorite venues in the same place unless they own the land. The venues that are iconic and last [will] need to control their rent.”

“Venues will either buy the land they sit on or they’ll move.”@Brendon_Anthony of @txmusicoffice

But venues may not be able to crack the code to sustainability on their own. Venues will have the most success if they band together to protect their businesses.

“There are real ways venues can work together to make their margins a bit easier to handle,” Anthony says. In Texas and other states, for instance, venues, bars, and restaurants are all taxed in the same way, even though venues have to put more of their money back into infrastructure. There could be a way for venues to reduce their tax rate, “but for that to happen, venues would have to define what being a venue means, and then go to work to lobby as a group for the change.”

Fighting for this recognition won’t be easy, but it’s the best way for rooms to protect their business. Venues in the UK have already seen success with this strategy, led by the Music Venue Trust and their annual Venues Day, aimed at raising awareness and advocating for venue rights. Venues in the states will need to follow suit, banding together to protect the future of live music in their respective cities.

4. Brands will become even more intertwined with artists

Sponsors spend $1.4 billion on the music industry in the United States each year, and that number is only going up. Instead of investing in large activations or stages at festivals, our experts predict that brands will focus more on building relationships with specific artists in the next year.

Mark Monahan, the festival director of Ottawa Bluesfest, has seen this shift firsthand. “In the last few years, most sponsors want to activate around artists,” Monahan says. “Five years ago in the festivals space, that was a nonstarter. Artists are recognizing the role sponsors play in helping to fund festivals, and are more willing to participate in auxiliary activities.”

Currently, most of these artist activations look like meet and greets, or small, private shows with festival headliners. But these activations will need to evolve and become more natural to succeed in 2017. It is likely we’ll see more activations like last year’s Lady Gaga’s Dive Bar Tour, sponsored by Bud Light. The series focused on one of the most important roles a brand can play for an artist: delighting fans by bringing them in more direct contact with their idols.

But this integrated relationship between artists and brands could be in conflict with another trend — that artists are more openly expressing their political beliefs.

“I’m hesitant about what the branded content space is going to look like in the next year,” Gaston says. “If artists get more politically involved, will that impact how brands interact with artists? It’s going to be really tricky if that spending shifts, especially since brand dollars have become more important to the bottom line for both artists and labels.”

5 Reasons Teaming Up With Another Band Means a Mutual Boost on Tour

[Editors Note: This blog was written by Jhoni Jackson, a music journalist and Puerto Rico-based venue owner.]

 

Heading out on tour with your band has the potential to bring everyone in it closer together. Co-existing and constantly collaborating, playing together night after night—becoming a tight-knit troupe in the process is almost inevitable. But why not double the bonds you could solidify by bringing another group into the picture? Organizing a joint tour means you’ll connect with even more fellow musicians—and that’s not the only benefit, either.

The notion that there’s strength in numbers is inarguably true for independent and DIY bands. Touring is one of the toughest parts of the gig; in that effort especially, you’ll accomplish more working together.

1. You’re sharing fans

Even if you hail from the same city, chances are you don’t share the exact same fanbase with any other band. That means pairing up in any capacity is an opportunity for exposure to new listeners; touring together is a maximized version of that.

Whenever possible, tag your tour-mates in related promo and other posts—and they should do the same, of course. Collaborate as much as you can: Both bands should be reflected in promo material like tour posters, promo videos announcing dates, Facebook events, and so forth. Every time you promote together is another chance to appeal to each other’s fans.

One result of two separate camps collectively pushing the promo could be increased show attendance, and there’s some strategy within that for increased effectiveness. If either group has toured before, include spots in your schedule that one has played and the other hasn’t; the band visiting for a second time can help carry the newcomer in terms of pull. Even if both bands are embarking on first-ever tours, though, you can also use Insights on your Facebook page to learn about the demographics of your fans. Their locations could help you choose which cities you visit, or what kind of marketing effort will work best based on your existing (or yet-to-be-built) audiences.

2. You can pool resources

Lug around less by sharing gear, particularly the bulkier items like amps and drums. Go in on groceries together to save money, and share the burden of cooking and preparing meals by rotating responsibilities. Depending on how big your group is, you might even travel together in a single vehicle, so there’s only one gas tank to fill to be split among all of you. And when you’re reaching out to friends and acquaintances as you line up places to crash on tour, more musicians in the mix means a greater potential number of generous hosts.

3. Two networks are better than one

Maybe one of you knows a booking agent in a particular city and the other doesn’t, or perhaps you’ve established a rapport with certain outlets that your touring mates haven’t. Knowing the right people in any given city can be a boon to a DIY tour. Whatever the effort, your connections combined are obviously doubly powerful.

4. Collaborating sparks creativity

Working together on any type of creative strategy, the sharing of influences and obscure discoveries, even casual conversations about art and music—something special happens when separate imaginations meet. New ideas pop up seemingly from nowhere; you gain fresh perspectives about other people’s work and your own.

Creativity fuels creativity, and in the close quarters of tour life, there’s no doubt you’ll find inspiration in collaborating—and practically living together—throughout the trip.

5. Through the camaraderie, you strengthen community bonds

Touring together is one of those shared experiences that facilitates deep connections and meaningful, lifelong friendships. The struggles, triumphs, exhaustion—incredible shows, bad turnouts, strategizing for press, the perpetual uphill battle of financial sustainment—are all collectively endured or celebrated.

Camaraderie develops naturally, and that, in turn, helps you strengthen your overall ties to your scene, whether that community is local or built around a genre and spread throughout different cities.

Facebook’s New Reach Objective: A Game Changer for Touring Musicians

[Editors Note: This is a guest blog post written by Don Bartlett, owner of No Door Agency, an Austin, TX-based boutique management and marketing agency. Don also hosts a seminar titled “Facebook Marketing For Musicians. Be sure to read his TuneCore Blog article on maximizing your Facebook ads on an indie budget.]

From it’s earliest days Facebook has used its powerful data algorithms to deliver incredibly well-targeted ads. It was a dream for most advertisers. They wouldn’t just put your ad in front of your target audience, they’d put it in front of the specific members of that audience who were most likely to engage with the ad. The success of this approach changed the entire landscape of advertising, and advertisers reaped the benefits. For musicians trying to promote tour dates, though, this presented a problem.

Bands are in a relatively unique position, from an advertising perspective. In each tour city we have small but very valuable target group of people we want to reach. It’s critical that we reach ALL of that group, not just the ones who might be prone to engaging with Facebook posts. If we’ve got 500 fans in New York City, we want all 500 to see the ad for our show.

Until now, the best objectives were “Page Post Engagement” or “Website Clicks” which deliver to those people who historically took those actions when viewing ads. In many cases that left a decent chunk of your fans out.

In late 2016 Facebook rolled out a new objective that solves this problem. When you choose the “Reach” objective you are now functionally telling Facebook that you want to reach as many people in your target audience as possible. After a few months of testing we’ve found that ads with the Reach objective perform significantly better for these small but valuable targets.

Note that that when you’re advertising to larger, non-fan target audiences….fans of similar bands, for example…you’re still better off using the “Page Post Engagement” or “Website Clicks” objective.

Another significant advantage to the Reach objective is that for the first time Facebook is allowing you to put a limit on how often people see your ads. Even an ad for your favorite band’s show can get annoying if it’s popping up in your newsfeed 4 times a day. This new feature lets you define an amount of time that a user will not see your ad again after viewing it.

It’s a very helpful tool that provides an extra degree of control to what your fans are seeing from your page. A good rule of thumb is to build in a frequency cap of at least two days for most campaigns.

Taken together these two new features provide a huge improvement to the tour marketing arsenal. Facebook ads have always been a one of the most effective ways to reach fans in a given city, but the effectiveness was often limited by their optimization algorithms. With the “Reach” objective we now have a concrete way to reach all of them.

Industry Interview: Jake Schneider of Madison House Inc.

No matter what genres of music you love to make or listen to, it’s nearly impossible to have missed the unprecedented rise of electronic dance music in popular culture over the past decade. Derived from electronic and house genres, EDM has become a mainstay on college campuses, at major music festivals, and in clubs and venues across America. In fact, for a lot of us, the soaring popularity of this specific subgenre seems to have come out of thin air. Of course, any independent artist dedicating their lives to the grind can trust that there was a lot more behind it.

Enter Jake Schneider, Partner and Director of Agency Development at Madison House Inc., a Boulder, CO-based booking and management company. Jake is the booking agent for some of the most successful and cutting-edge acts in electronic music, including BASSNECTAR, Keys N Krates, Paper Diamond, Lotus and more. At just 33-years old, he’s got over ten years of industry experience that also includes event coordination and booking, as well as DJing.

Given his unique perspective on the rise of this genre, and keeping in mind how much advice he has to offer TuneCore producers and artists, we interviewed Jake to get his side of the story from the middle of America:

You began booking electronic artists at an interesting time in the genre’s history. What kind of opportunities did you see in midwestern markets that weren’t being capitalized on?

Jake Schneider: Uh-oh. This is a long answer so bear with me here!

Electronic music, like every genre, has been so cyclical in its nature. There are some legends in the electronic world hailing from places like Detroit or Chicago that have been doing this since I was in diapers. That’s actually pretty disgusting to imagine me in diapers, but I want people to know that I don’t think myself or any of my artists “reinvented” the wheel or anything here.

One of the main factors to the success of many of our clients in the midwest was the fact that there wasn’t any larger scale outlets or ways to bridge electronic music with my generation on a live touring level in the late 90’s early 00’s. I mean yes there were raves around that time, more so prior to that, and even more so in specific pockets of America, however that scene had cooled off a bit. If that wasn’t part of your world, you and the rest of the Midwestern masses maybe knew about “dance music”, and had listened to some of the big European artists like Paul Oakenfold, or enjoyed singles like “Sandstorm” by Darude, etc, but it was tough because there really wasn’t a radio format that was pushing it. It wasn’t as accessible as it was in Europe and other places around the globe. I’m from the Twin Cities (Minneapolis and St. Paul) and went to the University of Iowa and everyone that I knew just hilariously lumped dance music together and called it “techno”.

Then, it all changed for me in 2000, when I was a freshman in college, had my own PC that could burn CD’s (SICK!!!!!), Napster was JUST blowing up and I’m in a dorm with KILLER download speeds and just shredding through music to play and experiment with. I would say 2000 or 2001 was the “wild wild west” of music with the ability to so freely obtain albums and tracks from any artist, from anywhere in the world so quickly. I started listening to some dance music, but really as I began working with SCOPE Productions at the University of Iowa, where I was the Talent Buyer and Director of Operations, booking concerts for the University, my musical tastes were quickly broadening. Soon I was booking concerts that need to cater to an entire student population with different musical agendas  as well as servicing the people in Iowa City, IA and the surrounding areas who wanted to see big name marquee artists. The school was essentially the main hub for the majority of concerts that could accommodate over 300-400 people because all of those venues were on-campus. That was a pretty crazy experience.

I DO remember though exactly when I first realized that electronic music had a ton going on in the background and would continue to grow, especially in the midwest where it hadn’t recently been prevalent outside of certain markets and straightforward “dance clubs” – I was DJ’ing  four to five nights a week at a huge Big Ten bar (Go Hawkeyes) called “One-Eyed Jake’s” (my name was Jake so that was always fun explaining to drunk bachelorette parties that “both of my eyes are fine” and that “no, I cannot play ‘Yeah’ by Usher for the THIRD time tonight because I just played it two songs ago, and I’m sorry that the bachelorette is crying because she likes that song, but she missed it and can you please tell your friends to stop throwing bachelorette party penis straws at me.”). ANYWAYS, that got pretty unruly, and I would occasionally fill in at it’s sister club, The Summit, where there was a taste for those “four on the floor” dance tracks and if I were to DJ there I had to play some of that stuff, but at the end of the day I was much more of a Hip-Hop, R&B and Dancehall guy spinning records at those types speeds which were obviously a bit slower than the Tiesto tracks that a couple of my buddies were interweaving into their sets.

Towards the end of my tenure in Iowa City at one of our SCOPE meetings, a buddy of mine, Josh, who was working with us at the organization, had taken the time to burn me some music with The Disco Biscuits and LTJ Bukem. I didn’t know what the hell I was listening to, but I knew that there was a fan base, and it was being driven pretty heavily from the East Coast, and that The Disco Biscuits were classified as a “jam band”, but had electronic leaning sounds, and eventually learned that LTJ Bukem was a Drum & Bass electronic artist. I didn’t know what the hell to do with DnB, where to put it, and what it meant until I made the transition to the Boulder/Denver area in 2005.

I had been hired as a Booking Agent, by an amazing outfit of people running a boutique booking agency and management company, amongst many other artist services, called Madison House. The roster was very jam-band heavy then, and one of the first acts that they let me work on was called LOTUS, but unlike other improvisational jammy acts, their albums, were significantly different. The electronic aspect of the album stuck out to me more. I thought to myself, “Whoa, this is a band playing dope dance music with a bunch of ridiculously gifted musicians”. I started to go out in Denver and Boulder more and realize that there was a full on crossing over of jam bands, hip-hop and electronic music.

jake-schneider-edm

Then after seeing them up at JazzAspen, I picked up a band, Pnuma Trio, who were a super young threesome of kids inspired by electronic artists and other similar bands, one being, Sound Tribe Sector 9 and was fascinated with their love of these various worlds. The thing about all these bands is that they had Grateful Dead-esque followings where people would record the sets, look at the setlists every night on one of dozens of message boards and because those set lists were different every night, and the fans were so passionate about the music and the LIVE SHOW, you had kids touring across the country to see them night-after-night, like many did with The Dead, Phish, Dave Matthews Band, etc.

Because of this ability to sell “hard tickets”, it meant they packed venues, and because they packed venues, promoters starting catching on and understanding that this was a whole new untapped world and when the “multi-genre” festivals started popping up all over the US, more and more acts like these were included in the lineups. On top of that the traditional “jam” festivals started booking more straightforward DJ’s and producers, many of whom were influential for this new “jam-tronica” sound being utilized by the bands of this newer generation. It just started snowballing. Bands like, The Disco Biscuits, began throwing their own festival called Camp Bisco. It was a hybrid of anything and everything Jam, Electronic, Indie, Hip-Hop, etc. DJ’s and producers were being flown in from across the globe to the US for the first time ever (or maybe for the first time in a long while) to be a part of these events. More and more began to pop up and I realized we had a whole new scene of fans willing to dig into all of these genres.

And all the while during this time, you’ve got a whole West Coast scene, with underground parties, raves, beach “gatherings”, etc and along comes Burning Man. So many acts came out of that movement. I’m talking less about the Vegas or Los Angeles rave artists and more about these underground and grassroots DJ/producers were had cult-like followings. Burning Man also attracted some of the more free-spirited jam artists as well so there was some cross-pollination there also. One of the larger and lovable bands on our roster is The String Cheese Incident, who has been a Madison House client since day one. They did an amazing job creating awesome music and a touring fanbase, but even they interweaved electronic music throughout their sets. There was some collaboration and friendship between them and an act that I signed, Bassnectar, whose live show was unprecedented. If you asked any of his fans if it was “techno”, you might get spanked. He was playing and melding all different genres of music like Breaks, some DnB at times, later Dubstep, but could not be pigeon-holed into any such genre. He had long hair like some guy out of a metal band and he was head-banging for most of the set. This wasn’t what people thought was “TECHNO” coming from Los Angeles or Las Vegas, this was a completely different beast.

The midwest had a ton of different festivals and music fans, and because not all of the fans were raised in this rave era, they were just blown away that this type of music could be executed onstage. Moe’s Summer Camp is an excellent example of crossing the bridges between live music and electronic music. Ian Goldberg from Jay Goldberg Events was watching the trends closely and booking the stuff that these kids wanted to see! There were fledgling promoters that are now BIG promoters who took a risk on this stuff and the kids just couldn’t get enough. They wanted a “LIVE” show and they were getting it with these bands and the DJ’s and producers that were affiliated with them. These DJ’s started adopting the touring mentalities of the bands and next thing you know you have Bassnectar or The Glitch Mob going on tour and kids doing EVERY date on it. And it grew at a healthy rate. It wasn’t overnight. There were SO MANY cities to service that hadn’t been paid attention to, and now was the time to give them love. Those European “mega-club” DJ’s who were getting paid crazy money to fly to Ibiza once a week weren’t coming across the pond to play in places like Bloomington, IN or Madison, WI – two amazing college towns and just a SMALL fraction of the midwest in general. It spread like wild-fire and the adding of festivals continue to perpetuate it.

When developing, some of these acts could be touring for 8 weeks and giving THREE of those weeks to the midwest if they wanted to. So many college towns, so many underserviced markets. It was realizing and paying attention to the fans in these secondary and tertiary markets and cities that helped propel electronic music in the Midwest. As soon as this stuff started coming to the Midwest, kids just ate it up. They were hungry for a change of pace. The record industry was becoming stale and it was all about the LIVE SHOW and now there were electronic bands and DJ’s that had an actual LIVE SHOW. It wasn’t just a little guy onstage amidst pyro drinking champagne – it was something completely different.

Explain the importance of any artist’s live performance in your opinion, and how you feel that’s evolved in the past 10 years.

When it comes to electronic music, if you want to be a producer and have no live show or stage presence, then that’s what you should be. But if you are going to become an artist with a live show aspect, then the sound needs to be better each and every time you come back to a city or venue. It was to the point where there became sort of an “arms race” with production and technological improvements and this mentality that the more bass and subs, lights, LED panels, etc. that you had, the better. That was sustainable for a bit, but the music had to get better and progress and stay with the times. The amount of genres within electronic music is nearly comical, but again they’re cyclical, so you need to stay relevant and one of the ways of doing that is by delivering sets that the fans are NOT going to forget.

From a professional perspective, what are some of the challenges you face today when trying to coordinate/curate/book the perfect event experience?

I think one of the toughest challenges we face is the fact that for many straightforward band’s, fans have become accustomed to a very stale experience in shitty under-serviced venues, stale arenas, or awkward amphitheatres. There has got to be more than that to stick out, which is why you are seeing so many artists (and festivals of course) focus on the experiential stuff. How do you get the consumer to forget the fact that they are in a venue named after a mega corporation? There are so many ways to do it, be it production like I’ve talked about already, video content, ancillary performers, dancers, the list goes on.

At first it was a struggle with promoters to understand the need to spend extra on these types of things, but as they saw the artists grow and the fanbase engage more, they were more likely to increase the experiential or production budgets for the shows in the future. There’s too many bands out there right now and at the end of the day most of them are just a name in a venue’s strip ad on the back page of your local newspaper.

How do you become MORE than that?

You get your artist to help promote the show. There’s this saying that “promoters don’t promote any more”. That’s true sometimes, but it’s complete nonsense other times, however in this digital age it’s on the artist very much so to get the word out too. If I am working with acts like that, who are capturing the audience, and that artist starts selling loads of tickets, you better believe that all of the promoters around are going to want to help with the next show, and are going to either meet your needs for transforming the venue, creating a room within a room, or spending the extra money to bring in the correct support artists to compliment the show.

What do you consider to be some underrated advice for newer electronic artists who are looking to connect with fans among all the static?

Pay your dues. If you make music that people like, keep doing it, but figure out where it all came from. Just because you have a single, doesn’t entitle you to endless success. Keep the creativity juices flowing and study what has worked and what hasn’t worked in the past because there are lessons learned from the stories of EVERY major artist ranging from Jimi Hendrix to The Beatles to DJ AM!

Similarly, what are common mistakes you see artists in this space making on a daily basis?

Not paying their dues. Lacking humility. Take it down a notch, too. You’re only 22!! Remember, there are other artists who have a 15-passenger van filled with 8 stinky band members playing rock clubs each and every night, splitting their money. You have got it good!

At what point do you suggest an indie DJ/producer begin to seek a booking agent? What booking abilities should they work on before then?

It’s great if an act can be garnering a scene for themselves in the region they call home. There is no “steadfast” rule, but being able to sell 500+ tickets to a show in your hometown, or being able to add worth when added to a bill with one of my acts because you’ll help the show sell better, and being able to sell 100-200 tickets in some surrounding cities – all of this can create the basis for needing and attracting an agent. There are anomalies though. Maybe one of your promoter partners has someone in their market that isn’t doing a bunch of business yet, but is making crazy music. I’ve picked up acts on that level before. It’s a slow build, but it can be done.

Quick: What are some of the biggest pet peeves of booking agents in your space and how can folks avoid being ‘that artist’?

Oh wow, this is an interesting one. My attention isn’t to come across mean about any with this, but in no certain order:

  • I don’t use my CD player and everyone knows that CD’s don’t really fit properly in anyone’s pockets. They’re just a pain-in-the-ass.
  • Stop making up your own “sub-genres” of music. It’s insane how often I get something like “I’ve created some new tunes and it’s kind of got that World-Step vibe”. Ugh.
  • Be humble and don’t cause problems for the bands that you’re supporting. We’ve had acts that were supporting a band that complaining about their green rooms and other trivial things. If you create a disturbance then you’re not doing it right.
  • Same goes with the staff at venues. BE NICE. These people are busting their asses for you and are naturally going to be crabby at times. And you’ll probably have to work with them again. We don’t want bad feedback on you.

How To Build a Great Set List

[Editors Note: This is a guest blog post written by Mason Hoberg. Mason is a freelance writer who covers music-related topics and is a regular contributor to Equipboard.]

 

One of the hardest parts about being a musician is that unless you come from a genre that’s acceptable in academia, (essentially just classical or opera), no one ever really teaches you the finer elements of stagecraft. Most musicians have to learn things like building a set list, using a microphone, or setting up a stage by trial and error.

Like any other craft there is a lot of variation in how you can approach the more technical apects, but there’s still a few things that you should know in order to put on as good of a show as you possibly can. This article is going to give you all the information that you need to perform one of the most important parts of being a good musician – building a great set list:

Using Tempo

Your first focus when building a set list is to make sure that you don’t perform in chunks or divide your set list too predictably when it comes to tempo. You shouldn’t have four slow songs followed by four fast songs. All that happens when you do that is that you cut the effect of every song in your set. Your fast songs don’t seem as intense, and your slow songs seem boring and drawn out.

This still holds true if you play a genre like metal or rap also, because “fast” and “slow” are relative terms. I’m not saying that if you’re in a super speed metal band you’ve got to break out the acoustic guitars every show. Just be aware of the dynamics of the songs in your set relative to one another, and play them in an order that avoids monotony.

There are a few different schools of thought on how to use tempo, but really there’s only one principle you need to follow; don’t focus on the song, focus on the show. Ideally, your fastest songs should directly precede or follow your slowest ones. Mid-tempo songs should go between one extreme or the other, but never in the same way repeatedly. For example, don’t build a set that’s fast song, mid-tempo song, slow song, repeated ad nauseam.

Know Your Keys

Just like tempo, you want to make sure that you don’t play every song in the same key. However, this isn’t quite as strict because playing in the same key for a few songs in a row isn’t quite as noticeable as playing at the same tempo. When it comes to keys, just use your best judgement.

A good rule of thumb is that if two songs in the same key could potentially be mistaken for one another there should probably be a few songs between them, if not several.

Know The Length Of All Your Songs

Knowing the length of your songs is super important because you’re never going to play a show without a set time slot. You’re generally going to have one to two hours at the most, and you’re going to want to make the most of them.

Two days before I do a show (I never sing or play the day before a show, I prefer to spend that day getting lots of rest and drinking a ton of water) I run through my whole set and time out every song. Then I open up Polaris Office and type out my set list, putting the keys and time right next to the song.

It’s important that you do this before every show, because as you practice your songs they’re gradually going to change a bit from performance to performance. It might only be a difference of 10 or 15 seconds, but if you’re playing a two hour show those tiny differences in song length will start to add up.

Also, make sure that you give yourself 10 minutes of space in your alloted time slot whenever you do a show. This covers the time that you’ll spend retuning (which you should do every four or five songs) and the time that your frontman will spend interacting with the audience. If you’re worried you won’t use up the whole ten minutes throughout the course of your show, put an extra song on your setlist that you can use to fill up that gap

90% Of The Audience’s Impression Comes From The First And Last Song

The harsh reality of being a musician is that the impression you make on your audience is made up of a million small moments. The most important of which is how they feel after hearing your first song, and how they feel when they feel at the end of your show.

The reason for this is that it’s the only time you can really guarantee their attention. Everyone’s mind starts to wander throughout the course of a show. Maybe the guy in the first row gets distracted by the cute bartender. Or the hipster girl’s attention starts to wander five songs in and she decides she’d rather be flicking through Instagram. While that’s not ideal, it’s not all that big of a deal. So long as they can hear you, (which they probably will), you’re still good.

However, when you play your first song they’ll watch you because they’re curious. And when you play your last song they’ll watch you because they expect some sort of finale. So make sure that you bring out your best stuff towards the beginning and end of your show.

Leave the stuff you’re not quite as confident about to the middle, because your audience is only really going to remember the parts of your show where they were most engaged.

In Conclusion

Like many parts of being a musician, building a great set list isn’t really complicated so much as it’s just something that requires some forethought. Remember to capitalize on the periods of your set that will have the most engagement, be aware of the length of each of your songs, and remember to avoid monotony by recognizing the tempos of every song on your set list. Most importantly, have fun. Not every musician is going to hit it big, but every musician can have a great time performing.

Feel like I missed something? Feel free to tell me all about it in the comments section below!