Open With a Cover Song

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.

Use Open Mics To Test New Songs

Open mics are a great way to test out new material. They provide a friendly, supportive atmosphere that allows you to 'go crazy' and try tunes that you might not feel comfortable trying at a 'paid' gig.

Before you play the new song, tell the audience what you're doing. Ask them for their feedback. Something like, 'This is a new tune for me. I'm thinking about adding it to my play-list. I'd like to know if you think it's a 'keeper.'

Not only will you get great feedback, but this tactic will get people to pay attention to your performance, and that's never a bad thing.

Open Mic - Auditions

Many venues use their open mic as a way to audition new acts for paid gigs.

If you are looking to get hired at a venue, and you're auditioning at an open mic, here are a few pointers...

• Play the 'covers' that are appropriate for the 'paid gig' that you're trying to get
• Limit any 'originals' to one, unless you're auditioning for an 'original-only' gig
• Order something to eat and drink
• Bring some people with you
• Tip the staff
• Come early and stay late
• Socialize with the other performers
• Make-nice with the host and with management
• Go with a minimal gear setup

Here are some things to avoid...

• Bringing in outside food and drink
• Playing your set and leaving quickly
• Acting like you are 'God's gift to the world' and all others are beneath you
• Making too many demands on the host regarding equipment, etc.

I've seen people ignore these things and absolutely 'crash and burn' on many occasions.

If you want to make the most out of your audition, and possibly land a paid gig, take this stuff to heart.

Dealing With Venue Management

I've been working with bar/restaurant management for about fourteen years. As a group, they are tough and fair. If you deliver, they will treat you right.

What happens when they don't 'do the right thing?'

I recently had a venue owner tell me that they were going to reduce the fee paid for an open mic that I run, because I wasn't going to be there. They thought the 'take' for the night would be lower, and therefore their fee should be lower.

Of course, the 'take' for the night was right in the 'normal' range for the open mic, despite my absence.

My options were as follows:

1) Tell the owner that the fee is set and it's not negotiable

2) Suck it up and consider the 'big picture'

I chose option 2.

I could have 'stood my ground,' but if it led to my losing that venue as a client, it would have been a terrible financial decision.

I accepted a little less money on one night, kept the owner happy, and dealt with a slightly bruised ego.

It's easy to get frustrated and 'fly off the handle' when dealing with venue management. Just remember to take a deep breath and consider the 'big picture' before you get in their face!

Allowing Audience Members On Stage

Most 'live' performances that I've witnessed don't include an audience member joining the band. While this is the 'safe' way to go, I'd like to suggest another path.

I recently played a solo-gig at a party. I set up an extra mic and announced many times that, 'there's another mic here, just waiting for you to join me!'

I didn't have any 'takers' until the very end. Of course, the drunk brother of the host wanted to knock out a number. He did a poor job of 'Mustang Sally.' But, everyone danced and they all loved the song.

The brother slid me a C-note and with a 'wink,' said, 'thanks for that.'

Musically, it was a disaster, but it ensured that I'll get the call the next time they throw a party. And, the cash didn't hurt either!

Backing Tracks

To use or not to use, that is the question with backing tracks. This is one topic that really gets musicians going.

The 'nay-sayers' on backing tracks typically opine that backing tracks detract from the 'live' performance. Likening backing tracks to 'karaoke' seems a bit harsh, but I've heard it said many times.

On the other side of the 'tracks' are those that hail backing tracks for their ability to create a full-band sound without having to enlist all of the usual suspects, thus delivering 'more bang for the buck.'

Here's how I see it...

If you're playing a solo-gig and you know that people are going to require 'dance music,' backing tracks are a good way to go. I think that for 'dance songs' it is very important that bass/drums be present. It doesn't mean that you can't pull it off without tracks, it's just better if you use them.

I would suggest staying away from backing tracks on ballads and non-dance tunes in most situations.

The most important thing is to 'read the room.' Figure what kind of crowds like/dislike the use of backing tracks.

I favor using 'authentic' bass/drum tracks, rather than midi-generated. It just sounds better.

Get a few tracks together and make sure that you're comfortable with them at home. Try it out at your next gig and see what works for you.

If you're using backing tracks, feel free to ignore the one musician-moron that gives you grief. He doesn't matter!

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.