Jul. 16, 2008 - Issue #665: Surviving the Industry

« Back to Edmonton Musicians' Survival Guide

Gigging

Mary Christa O’Keefe / marychrista@vueweekly.com

This article is part of a series of interviews between Vue Weekly and Mark Feduk, Terry Tran and Ken Beattie about some of the survival techniques employed by musician's in the modern music industry. (circa 2008)

To read the introduction to this story check out this article:
Musician's Survival Guide: Intro to Promoting, Recording, and Gigging

Vue Weekly: How can we get our first shows?

Mark Feduk: When you’re starting out and have no recording yet, remember it’s a community. Go to shows, meet other bands, especially in your genre. Support them, talk to them, learn as much as you can from them. A band that’s more established can sometimes ask bookers or venues if you can open for them.

Vue adds: do the same for a young band when you get the opportunity.

VW: How much material do we need?

MF: Ask the booker/venue how long your set is, but regular sets are about 45 minutes, or maybe only half an hour if you’re opening. Have about that much ready. You also want versatility, some ability to shift with the mood of the crowd.

VW: How do we build a set?

MF: It’s one of those things you should never stop working on. A lot of bands start with their great stuff, but save your best songs for last, especially if you’re newer. I know it’s tough to start with stuff you aren’t so excited about, but the last songs are what stick with the audience.

VW: Performance tips? 

MF: Watch for the catatonic gaze. You want to look at the crowd, engage with people, but don’t hold eye contact so long you freak them out. And don’t watch people walk out—you can’t take it personally. At this point, it’s about getting in front of people. Don’t be hard on yourself after the first couple shows. Don’t have high expectations—it’s a long, rough, tough process. Just keep working on your show.

VW: Questions to ask a promoter/venue when we’re booked?

MF: What the terms are, when your load-in, soundcheck and set times are, if and when they need logos or images, if you need to poster. Your guest list is usually one or two people per member. Your rider depends—a couple drinks in a bar, sometimes a meal. Try for what you can get. There’s no harm in asking politely. If they have a kitchen: “Is it possible to have a meal?” If you’re touring: “Can we get accommodations?” A lot of clubs have deals with hotels. It all should be talked about before the show, though—if you wait until that night, nothing will happen. An email usually stands in for a contract. Print it out and bring it to the show with you.

Vue adds: also ask who you’re playing with, how much cover is, if there are advance tickets, if they’re printing handbills or posters you can distribute. Sometimes bands can’t give Vue details on their own shows, which makes it dificult to run a story previewing a gig. If you don’t know the venue well or if it’s a DIY-ish show, check if you’re expected to do door duty, so you can plan in advance. 

VW: What’ll we get paid?

MF: Unfortunately, you kind of have to take what you get at first. Terms you should be familiar with: a guarantee—a set amount no matter what; guarantee versus the door—a good situation, you get whatever’s higher; guarantee plus the door—the best situation. A percentage of the door is most common, though. Both you and the venue will be working to get people there.VW: How do we split the money?

MF: Figure out what the band will do with money you earn, and how you’ll pay for band expenses. At first, all the money goes into a band account. Later on, maybe half goes into the account and the rest is split between you. If you’re solo, you pay people backing you no matter what, even if you don’t make anything.

Vue adds: band finances could be a whole other article. Find an accountant/bookkeeper who can give you advice and help you set up a system.

VW: What about soundchecks?

MF: The sooner you find load-in, soundcheck and set times out, the better you can plan. Be prompt, leave early if you’re touring. First, set up your gear on stage—place amps, drums, whatever you use. Next, soundpeople run their lines—you need to get out of their way. When they’re ready, you’ll test everything: drums, bass, guitar, vocals, whatever else, do a line check. Then you’ll run through a quick song. Play your loudest song, the one that uses the most instruments. Don’t crank your amps when you’re on stage—lots of young bands do this, and you can’t hear vocals. On stage it may sound great, but out in the audience, no. Let soundpeople do their job—they know the room. Keep levels where they set them, ask for something in monitor if you can’t hear well enough on stage, but only do that during a show if you have to—you’re bringing the audience back to reality, abruptly. Respect your soundperson. When they give you advice, it’s usually good. If you have the inexperienced soundperson—and it happens—or if something goes wrong, be gracious and ask them for help with the problem. Don’t assume sabotage, unless you’ve been an asshole—then you probably deserve it.

 

VW: How do you book your own tour?

MF: Plan three to four months beforehand. Ask your contacts and mailing list about whether they can help with places to play or stay, do your research on venues and bookers and local media. Be open to interesting shows, like house parties. On the road, play as much as possible, even just for a place to stay and food and drinks. Corb Lund was great to the Uncas and asked us to play with him when he could on the road. We didn’t tour “with” him, but we drove out where we could to open when we got that opportunity. It may not pay much, but a chance like that is worth the investment—drive to Vancouver and spend $800, even if you only make $100. It’ll be worth it playing a full room—better than headlining with no following. And set up other shows on the way there and back.

Vue adds: start in summer with regional dates, then hit the west coast before tackling central or eastern Canada or winter tours. International tours are beyond the scope of this article, but bottom line: do your research and paperwork. Get a passport before you need it, just in case.

VW: Road tips?

MF: Take care of yourself. Two weeks into a six-week tour, half the Uncas were sick—I lost my voice—from stress, crap food, partying every night and some gross conditions in band rooms. Try to hit grocery stores when you can and make your own food when you can—it’s healthier, you play better and it’s cheaper and saves you time. 

VW: How often should we play?

MF: Even your best friends won’t see you every week. Play a lot the first few months for experience—if you’re always opening—but don’t overplay your hometown. Don’t freak out if there’s one bad show, but if crowds are shrinking, you haven’t put enough work in to the show or are overplaying. Take time to write, rehearse, build your set and give your audience something new every time.

Vue adds: many places won’t book you within two to four weeks of another show (in town).