Share Your Stuff

I watched a PBS special last night. George Carlin was posthumously being given the Mark Twain award for comedy achievement.

George used to do a funny bit on 'stuff,' and it made me think of musicians and their 'stuff.'

I know a number of musicians that own multiple instruments. Some of them are eager to have others play their instruments, but others refuse to let anyone touch their prized possessions.

May I suggest that you freely let others use your gear? It's just 'stuff.' You can't take it with you. In a few hundred years it will probably be dust, just like you.

I'd rather have a few 'dings' on my instruments and share the joy of playing them, than to have a collection of 'pristine' instruments that only I played.

Give it try. The next time somebody asks to borrow a guitar or sit-in on the drums, be the first one to offer yours up. It's a 'freeing' experience.

And, BTW, George Carlin was a genius.

Electric Drums

Many drummers have given me their opinion of 'electric drums.' Some like them, some love them, some hate them.

I think they are awesome for one basic reason, volume control.

Unless you're playing a 'huge' venue, chances are that an acoustic drum kit, played 'hard,' will over-power the other instruments.

An electric kit allows the drummer to 'whale away' on the kit, while providing total volume control. This is extremely important to a band that is trying to 'make a living' doing gigs in bars.

If your band is just 'playing for fun,' bring out the full-kit and let it roll. Just don't expect to get too many 'call backs.'

Lead With A Cover

When people are hearing/seeing a performer for the first time, they are making their own judgment as to whether or not the performer is worthy of a listen. If the performer plays an original song first, the listener must then judge the quality of the song as well as the quality of the performance. Although this doesn't sound like a huge undertaking, it actually can be.

The average American is in 'sensory overload.' They are bombarded by media messages at every turn. They are forced to make split-second decisions on where to direct their attention.

If you lead with a popular cover song, the listener is drawn by the familiarity of the tune and will be more likely to pay attention long enough to pass judgment on your performance. Once they like you, they are more likely to listen to your original music and obscure covers.

Think of it in terms of the direct mail business. Getting people to open the 'junk mail' is the hardest part. Once they pop the envelope, the chance for a sale goes up exponentially.

Open with a cover and you'll find that you'll have more people paying attention to your performance.

A Little Secret That Will Increase Audience Participation

Whether your playing at a private party or bar gig, chances are, some folks will want to dance.

Nothing gets the 'energy' up like having people hit the dance floor. Many times, it will 'make or break' the night. If people dance, they smile and have a good time. If you leave 'em with a smile on their faces, they'll think you were great.

Many times I've played gigs and knocked out a 'sure thing' dance tune, like 'Brown Eyed Girl' or 'Mustang Sally,' only to have nobody dance. When this happens, I pull out a 'little secret' tactic.

I start by approaching a couple. If your playing a private party, it can be the host couple, but, if not, any couple will do. I ask them to dance to the next song, as a way to 'get things going.' Then, After one-verse/one-chorus I stop the music and tell them to both to, 'pick a new partner.'

I repeat the process until everyone in the room is dancing.

This tactic works time and time-again and always makes the event just a little better.


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Volume Control

Everyone knows that, "it goes to eleven," but rarely is it appropriate to do so!

I've played in dozens of venues and I've hosted thousands of open mics, and the most prevalent 'issue' with musicians is 'volume control.'

There's a time and a place for 'blowin' it out,' but that time/place is not in a small bar with twenty-five people sitting within thirty-feet of the stage.

Most people go to bars/restaurants to socialize. They can't socialize if they can't have a conversation. These are the people that approach management and complain about the volume.

At many of our Atlanta open mics, venues management uses them to audition new acts. The number-one reason that good acts don't get hired is that they were 'too loud.'

Try this... Purposely make your volume 'too low' and try to get someone to ask you to 'turn it up.' It's a weird feeling. You'll love it!

I know this sounds 'preachy,' but if this gets through to just one musician, then I've done my job.


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Tribute Acts - Part 3

We've taken a look at how to create a tribute act. But the question remains, 'which band to emulate?'

When deciding which band will be the focus of tribute act, answer the following questions:

• What is the target demographic of my intended audience?


• How popular is the band with my intended audience?


• Will my target demographic come out to venues to see my band or any band?

One of the most successful tribute bands around is the Bon Jovi tribute band, 'Slippery When Wet.' Let's take a look at why they have a good 'draw.'

1. They've chosen a band to cover that has had an amazing career spanning two decades. They have a fan base with ages from the 20s-50s.


2. Their lead-singer looks and sounds like Bon Jovi.


3. They have gone out of their way to have to whole band look and sound like Bon Jovi.


4. They book themselves into venues where their target audience will attend.

Another successful tribute band is A1A out of Atlanta. They have done an extraordinary job of capturing the essence of a live Jimmy Buffet show. They figured out why Jimmy Buffet is so popular after 30-years of performing, people like to party!

There are many successful tribute bands earning a good living making music. Do your research, choose wisely, practice, and you too can have a successful tribute act.

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Tribute Acts - Part 2

In my last post, I talked about the virtues and money-making potential of creating a 'tribute act.' Now that you've had some time to think about how you might take advantage of the 'tribute act revival,' let's look at what you'll need prior to launch.

Your Capabilities - Take a close look at the configuration and capabilities of your band, or of yourself if you're going solo. Make sure that everyone can play their role. It's not enough just to 'cover' songs. You must be able to convince the audienc that they're actually seeing and hearing a close replica of the original act.

Lead Singer - Since the lead singer is usually the 'front-man,' and therefore the person that is most recognizable by the audience, his/her role bears special consideration. Make sure that the lead singer is a very close match to the original act. If you get this part right, your chances of success rise exponentially. A vocal match is more important that an appearance match. Try to get both.

Build An Act - If you want to get serious about making money with a tribute act, build one. Start with yourself and advertise for exactly what you need. Use Craigslist and the host of music-related websites to get the word out.

Ad Example: Wanted: Lead singer for a new Journey tribute band. Must have the 'pipes' of Steve Perry and be dedicated to making a living on the road. Band is located in L.A. and performs throughout the Southwest.

In my next post, I'll examine tribute act genres in terms of their popularity and earnings potiential.

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