Alyson Miller is a CPA who provides specialized accounting and tax services to music and entertainment clients.  She is the founder of Alyson Miller, CPA PLLC a rock and roll accounting, tax, and business management firm. She has years of music business experience working for both independent and internationally recognized artist and songwriters, record labels, publishing companies and music distributors.  

Musicians can save themselves some money and reduce their tax bill if they know what to look for when it comes to filing taxes.   There are many deductions that are specific to being a self-employed musician. 

If you are self-employed (i.e., you don’t receive a W-2 from an employer) you will file your income and allowable expenses on a Schedule C as an attachment to your 1040.  The net of the Schedule C is then reported on page 1 or you 1040. 

Always keep receipts for everything along with other documentation that you may have such as tour schedules. Here is a list and brief description of the typical allowable expenses.

Travel Expenses

The location has to be far enough away that is it inconvenient to return home otherwise expenses are considered commuting expenses and they are not deductible. 

Allowable expenses include:

• Hotels
• Airfare
• Phone calls to home
• Rehearsal space rental
• Tips
• Local transportation like taxis at your destination

Meals

• Meals associated with overnight travel
• Meal expenses incurred while discussing or conducting business

You are only allowed a deduction for 50% of the meal costs and the IRS requires a receipt and documentation on who, what, where, and why you incurred the meal expense.

Equipment

• All equipment (guitars, amp, strings, etc.)
• Repairs and maintenance on equipment

Any item that generally costs more than $500 is depreciated over 5 years.  What this means is that you can take one-fifth of the costs as an expense each year for 5 years.  You may be able to take a 179 deduction which means you can take the entire cost as an expense in the year you purchase the item.

Vehicle Expenses

There are two methods allowed for vehicle expenses.  You can choose one or calculate both and choose the one that gives you the biggest deduction.

Method 1 – keep actual receipts for:

• Gas
• Repairs & maintenance
• Insurance
• Property Tax

The IRS also allows a depreciation deduction for your vehicle under this method.

Method 2

• Keep mileage log of every mile traveled

• Use standard mileage deduction for each mile traveled (55 cents for 2009; 50 cents for 2010)

If you have a room in your home used exclusively for your business such as a studio you may be able to deduct it.  You can take a percentage of the square footage and apply it to:

• Rent
• Mortgage Interest
• Utilities
• Property Taxes

Health Insurance

• Premiums that you pay as a self employed musician are fully deductible on the front page of the 1040.

Other Items

• CD’s and music downloads
• Concert tickets
• Music publications
• Wardrobe

Don’t get greedy with these items!  Wardrobe must be used exclusively on stage.

Always consult your tax professional about your individual situation.  One size does not fit all so finding a music business accountant is always preferable. 

Martin Atkins has a 30 year career in the music business that includes touring with the bands Public Image Limited, Killing Joke, Ministry, Nine Inch Nails and Pigface, owning an independent record label celebrating its 20th anniversary with over 350 releases, and is an instructor at Columbia College Chicago teaching The Business of Touring, Applied Marketing, and Indie Label Management. He is also the author of the book Tour:Smart.

Before we delve into the wonderful world of touring logistics, strategies, great ideas that can help, bad ideas that won’t, and a few stories along the way; perhaps we should ponder if, with all of the technological advancements every day AND (for f’s sake) the price of gas!, If it’s even necessary to tour anymore?

Yes it is, you know it is, stop smoke-screening you lazy bastard and get with it!!

You don’t need to look far for an example of how important it is to get out there. Do you think for one second that, if it wasn’t essential, that politicians ever leave home? Most of those guys can’t even bring themselves to think about other people, let alone touch them—(unless it’s on the ass). So the only reason they are out there is: 1. More ass, or 2. Their advisors told them that they had to, showed them the evidence, and pushed them out the door. Think about this the next time you see one of them getting on the ‘truth bus’ or whatever crap they are selling this week.

Every single element affecting your career and your ability to continue is helped by touring:

• Anyone anywhere is more likely to check out your MySpace page if they see you are coming to town.

• Any promoter in any other city is more likely to give you a gig if they see you are performing in other parts of the country.

• People on the web write about things that happened at shows they went to, not shows that didn’t happen, that they couldn’t go to…

• Your manager, if you have one, will prioritize you over another (maybe better?) band because you are working harder (unless the other band is Radiohead).

• You can be the eyes and ears for your label, if you have one... or for other bands too lazy or frightened to leave their home base. You can tell them where responses, crowds, sound-systems are good or where ‘promoters’ are baaaaaad.

• Your agent, if you have one, will pay more attention if you show him you are prepared to perform seven shows a week. That means if he can get you to a point where you are earning $1,000 a night, then he could earn $1,000 a week.in commissions. (good job agents don’t care about money huh!)

• The record store (if you can find one) is more likely to stock your music and put up a poster.

• Everyone from the local blogger to the local paper is more likely to review your CD or mention your show.

• You can leave behind promotional beacons… t-shirts etc, put up stickers in bathrooms, graffiti in the dressing room and generally ‘leave your mark’

• Your album (or collection of songs) will be better because you’ll have direct and immediate feedback from a real, live audience; either smiling and jumping up and down because the songs you thought were great really are, or throwing things because you are delusional and your songs are shit. Either way, this is way more valuable than a bunch of people on your MySpace page plugging their own albums.

• It is a great opportunity to triumph over your shyness (eventually without the aid of alcohol) and polish your people meeting skills.

• This is stuff YOU can do – (while you are waiting for all of the people who said they were going to do something to come through for you.)

• You are creating more of your own content, audio, video and mythical…. you can’t release a Live in Paris (Texas) album if you don’t go and play there!

And, very importantly:

• The more you play, the better you get!

• You can meet GREAT, enthusiastic people who can help you next time around

• You can discover wonderful things in other town’s thrift stores

In addition to all of this – many other things will just become blindingly obvious to you as you begin this journey. You will realize when the guitarist pukes on you for the fourth time that maybe his drinking is becoming a problem – you can reflect further on this as you pull out pieces of sweetcorn and carrots from the pockets of your jeans at the laundromat.

What does all of this mean? How will it really help you? Well, all of these bits of information are little bricks in your wall (I use that analogy a LOT) but, here’s an example of what you’ll be getting from this column to leave you with:

A simple decision for a band in the mid-west – between heading out to the west coast or staying closer to home but still hitting major markets – the difference in gas costs alone - $1200. That’s the tour support that the label that wouldn’t sign you, wouldn’t give you!

Ok, now, do I have your attention???

GREAT – if you want to start reading up on this, taking control of as much of your career as you can – then there is a great deal on my e book here or you can go to Amazon and get it here.

Martin Atkins

Todd Hansen is the Creator of Better Than The Van , a couch-surfing social network for bands on tour. Todd has spent the past 10 years playing/touring in bands and running a label out of Minneapolis. He now calls Austin, TX home and spends his time creating new ways to help bands do great things.

I feared writing this blog post only because I've read so many in this vein and usually there is very little new information. But, Dave asked me to so why not right? I'll give it a go.  Disclaimer:  I hope those that read this peel off some new ideas; or it lights a fire under your butt to tour; or gives you cause to lambast me with ironic whit about how my ideas are passé'.

I know touring is hard but it's absolutely necessary. If you want to quit your job and do music you must tour. It's even more important now as most money to be made is out on tour. Plus if you find yourself on a label, they'll expect you to be in a van more than your apartment.  Let me tell you one quick story from a few years back about Syd Butler of Les Savy Fav and owner of French Kiss Records.

When I first met Syd French Kiss was picking up a band from the label I was helping to run. Over drinks one night The Plastic Constellations (TPC) and I listened to Syd talk about his expectations for the band. TPC would not be sitting around, waiting for something to happen. Syd's conviction was borderline religious. "Tour, tour, tour…that's it", he would say and drive the point home the rest of the week. He believed that on whatever level a band exists, touring is beyond a necessity.   I couldn't argue. Syd had built a band and a label on that foundation. In the years that followed, Syd never let up, always asking TPC when they were touring next, even when they were out on tour. I got it. A label is helpful but a band's success is usually launched via your four-wheeled pirate ship sailing to all points USA. (Note: Syd’s not alone, read the last paragraph of this interview at Hypebot with Patrick Amory of Matador Records.

Understand I don't think that all bands just kick back, write some songs and wait for magic to happen. But it's important to know that making a personal connection in other cities builds momentum and makes your band familiar. Yes, I know this isn't a new concept but I'll keep going. As you meet other bands and people you build a friend base that evolve into a fan base.  It's these people that act on your behalf in those cities by passing along your music and stories of your show(s) to friends. Word of mouth is the most potent marketing tool.

So how do you get shows outside of your city when you don't have a booking agent or are just starting to tour?

Simple. Relentless networking. My DYI game plan was to go around the venues and straight for bands in the cities I wanted to play. I'd hop on MySpace or like site and start asking around. I looked at it no different than being in my home city and meeting people/bands at shows. It becomes mutually beneficial situation as they are probably looking to tour as well. They help you, you help them and your network grows. They may not be able to help when you right away, but they might pass you on to another band; or introduce you to someone at a venue; or hook up a house show. Basically don't be afraid to ask for help and give help when asked.

It takes time, patience and genuine willingness to help people out but the benefits are worth it. Be smart when you try to show swap by finding bands that fit the style, genre or mode of your band. Obviously you’ll have a better chance of the crowd being into what you’re doing. You will make stronger connections that can lead established friend bases that grow into fan bases. MySpace is not the only option either. As social networks become more tailored for particular needs, space will be created for sites dedicated to helping bands with the practical necessities of touring; like finding a free place to stay after a show.

Steve Gerstman has twenty years in the music merchandising business, having worked at Winterland, Signatures and Brockum. He started Steve Gerstman Services, Inc. in 2001, which currently incudes among its clients Eric Clapton, Queen and Stray Cats. In 2007, Gerstman began Cut Merch (www.cutmerch.com ) which he calls the "First 21stCentury Merch Service."

INSIDE TIPS ON TOUR MERCH:

You have finally booked some shows – congratulations! – and now you’re looking forward to the big day.  And if you haven’t been living on Mars for the last few years, you know that selling merch is a way to make money.  After all, touring can actually cost you money, especially at the beginning, and selling merch can make the difference between costing you money and breaking even – or even making some!

1. PLANNING THE TOUR MERCH

Like other aspects of your tour, you need to think through what you will want to sell on your dates and, very importantly, how many to produce.  Regarding what items, don’t try to get too fancy or different with your tour merch.  There are many reasons why bands sell t-shirts, mostly black if they are of the rock variety.  It is because (1) that’s what their fans want and expect, and (2) they provide good profit margins.  It is important to try to figure out how many to produce, an issue I will deal with later.  Along with t-shirts, sell your CD if you have one.  If you are going out for the first time, or in a city where you are appearing for the first time, or if you otherwise are playing to new people, and you are playing in clubs that hold less than a hundred people, that’s all you really need to have.  If you want to carry more, consider a keychain or poster, or a girl’s shirt.  (Baseball caps usually are embroidered, and you won’t want to incur the set-up costs for a small run of caps.) 

2. DESIGN

If you have a CD cover design or a design on your website or MySpace page, use that, or at least tie it in.  If you have a logo on the CD, use that.  Don’t make changes in typeface or colors if you want to project an image to people that they will remember.  T-shirts are billboards for your band, and having the t-shirt reflect the same (or similar) images as your CD cover and your web presence will help people remember you and associate it with you.  I also recommend that you make your tour merch tour merch, by which I mean that people who buy merch at shows like to see (and show their friends) that they “were there.”  An itinerary back (if there are, say, six confirmed dates or more) does that.  If it’s less than six dates (say, in a month’s time), then you might not want to date the merch – because you will want to sell them over a longer period of time, and you won’t want to sell “stale” product.  Finally, keep your designs simple.  That means only print two sides (forget sleeves) and keep the colors down.  Going crazy on prints and colors on a short run of shirts raise the cost more than you can make up on the price you sell them at. 

3. PRODUCTION

You have to balance the number of items you produce with the cost per item.  The more you produce, the less each will cost, but the more you are out-of-pocket.  It is the goal of every merchandiser and band to come out of each tour with as few items as possible, especially if you’ve “dated” them with an itinerary back or other date. It probably isn’t as critical when it comes to CDs as you probably have a garage full of them.  If you do a keychain, a simple acrylic one that uses a digitally created photo is the cheapest to produce, and the result, with two sides in color, looks pretty cool.  When you are thinking about how many shirts to produce, consider the number of people you expect at each show, the number of shows, and then multiply that by the “per cap,” meaning what you project you’ll sell per attendee and divide by the price you will sell them for.  Whew!  There’s a tool on the www.cutmerch.com website for this you can use for free.  Go to the site and send a note.  It’s called the “forecast tool.”  Another resource for posters or handbills (you may want to give out handbills at the shows) promotes your website, announce tour dates or record release, whatever.  It’s www.psprint.com.  Very reasonable prices for anything printed on paper and easy to use website.  Regarding the print run for apparel, try to meet the minimums that keep per item costs reasonable.  As to what “reasonable” means, you need to shop around.  And don’t forget that your costs may or may not include set-up costs.  Don’t assume: Ask!

4. SALES

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A question from Carol the bar owner:

Hello John,

I was wondering if you could answer some questions for me.

Our bar booked a show with a band by verbal agreement for two weekends in a row. The first weekend they were there they were incredibly rude, and were even overheard in the bathroom telling people to not come to this show because they don't like our bar. While onstage they called us by the name of a different bar, and when corrected, they lead singer said loudly in to the microphone "I don't f-ing care"!!

The manager took him aside during the next break and asked him to correct himself in the next set and he spent the rest of the night sarcastically stating that he was at "The correct name of our bar" and he was "Sooooo happy" to be there.

At the end of the night the manager told him not to bother coming back next weekend, that we would find a band that wanted to be there.

Long story short, they are taking us to small claims court for breaking a verbal agreement.

We're wondering if they even have a case? Does this type of thing happen often?

Thank you for your time.

Carol

WWJDD?

SUCH DRAMA ! ! No, I don't think that they have a case.  How much money was guaranteed? $100? or was it just a door deal?  This band really should get a life & spend a little more time making music rather than bitching & moaning & working on their rockstar attitude. You ought to have one of the burly bouncers find the band & threaten the shit out of them (most likely they'd fold like an oatmeal outhouse) . . . KIDDING ! ! I don't think this happens very often 'cause people usually have better things to do.  Maybe show in court, roll yr eyes at the judge & say, "Really? Are you kidding me? you're going to all this trouble for some crappy bar gig?" (Of course that's not to say yr bar is by any means crappy). Have they actually filed the small claims suit? I doubt that they will actually get around to that. Musicians are really wired that way.
 Don't forget; wear a tie in court, have fun & thanks for writing,
Jd

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

Martin Atkins has a 30 year career in the music business that includes touring with the bands Public Image Limited, Killing Joke, Ministry, Nine Inch Nails and Pigface, owning an independent record label celebrating its 20th anniversary with over 350 releases, and is an instructor at Columbia College Chicago teaching The Business of Touring, Applied Marketing, and Indie Label Management. He is also the author of the book Tour:Smart.

No, not shellfish philanthropy - SELFISH - what I mean is this - GIVE of yourself - open up and HELP someone other than yourself - it will PROBABLY help you way more than spending the same amount of time doing the same old stuff you have been doing and not getting the amazing results you read about on the side of the cereal box.

Lets look at a tiny example - putting up posters........you could put up another 50 of the same posters that no-one has really been taking any notice of for the show that you haven't sold many tickets for - OR, offer to help another band (maybe an out of town band you've connected with through the internet) don't try and hash out some quid pro quo deal before you do it - I LIKE the idea that I'm allowing someone the option of totally ripping me off - that's the best way you can see very quickly what they are really made of - and, when its only a few posters and a few staples (and a parking ticket and a trip to the emergency room because you stapled your hand to a telegraph pole) - then its a pretty cheap litmus test of personality - ok?

So, what might happen - well, the out of town band might also ask if you know of a place to stay - do you?, they might also ask if you know where they can get their mellotron fixed, or they might think that here is a guy that's DOING SOMETHING in a city they need help in - and what would happen if you were actually on the bill???
Maybe, after doing this for ten bands you meet the promoter(s) in town. Believe me the ones that are really doing this will NOTICE someone who is running around putting up posters - instead of talking the talk and then binning them! They will see you here and there and register this activity - so that, when they have a problem with a show that needs some extra work and all of their street teamers are off touring with their band or sick or sick of touring or whatever - you will get the call. Maybe you'll just get to know the people at Kinkos and get a discount or meet your new guitar player (been there, done that). 

I'm not saying, hang on tight cos next week you're joining the fucking BEATLES!!!!!!!! I'm just offering up some different ideas.

 I'll be in New Orleans on Monday sept 15th at Loyola - a free Tour:Smart lecture open to the public at Nunemaker Hall from 5 til 6pm - come and get a flyer that gets you in to my dj spot later that night for free! Then I'll be at the Baltimore Music Conference, New York City (Film Screening and Art Show), Philadelphia and Virginia - come and say hi!

Peace Love Respect

Martin Atkins

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A Question from Pete in New York

What would you do if a drunk punk throws bottle rockets at you onstage during a solo acoustic show?

WWJDD?

It seems obvious that you have to keep yr cool and fire back some choice words to the dummy who wishes he had enough talent to be on stage rather than firing bottle rockets from the audience.  As Peter Case once told me, "Don't lose yr cool, man. If you lose yr cool, you lose yr power."  Occasionally this kind of disturbance can save an otherwise dull show, it's happened to me.  Where the show goes along, good but nothing special. Then some drunk start mouthing off & you've got immediate conflict & something memorable. Just go w/ it, be witty & don't get ugly.  If it comes to that, hopefully there is some security guy to "throw the bum out" or you might just have to put up yr dukes, this if course is a last, & ultimately never satisfying, resort.  And handling these things (stupid people or equipment failure) just gets easier the more time you have to deal w/ them.  Keep yr cool & no one will notice. If they do, they just think how cool you are.

good luck, I hope this helps
and as always, thanks for writing
JD

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

For most beginning bands getting and playing as many gigs as possible is one of the main goals. Playing a good show can do wonders for your promotion, but a bad show won't bring you any new fans. This article shows you 9 mistakes you shouldn't make when you have a gig, improving your chances at a great show.


1. Playing too soon

Everyone has been to at least one show where you thought, “I wish the band had practiced a bit more”. Some bands are in such a hurry to get to playing live, they forget one of the most important things about playing live: having a good set.

You shouldn't play live if you don't have enough songs. A rule of thumb is to have at least 10 songs or between 30 and 45 minutes of music. Before performing you should know these 10 songs thoroughly: don't include songs you're not sure you can't play without errors just to make your set longer.


2. Not enough technical preparation

Besides the musical preparation, you should also be prepared for technically. Make sure you know what equipment the venue has available, and what you need to bring yourselves.

"Does anyone have a b-string left?"

Guitar strings break. If possible have a (tuned) spare guitar ready, but at least have some spare strings.


3. Too long pauses between songs

You don't want to your audience to fall asleep, so make sure your set is as continuous as possible. Nothing is as deadly for an excited audience as long pauses during a show, because all guitar players tune their guitars between every song, and the drummer needs to rearrange his drum kit. Keep the amount of tuning to a minimum. Try to perform your songs in blocks of 2, 3 songs at the time, for taking a short break to tune.

Switching between the standard tuning and drop D tuning after each song takes too much time: If you have a lot of songs in different tunings, try to either have one guitar ready for each tuning, or play songs in a different tuning directly after each other.


4. Tuning with sound audible

For the guitar players: If you have some spare cash, buy yourself a pedal tuner. That way your audience doesn't have to listen to the sounds of you tuning your guitar. A small investment for looking a lot more professional.


5. Talking too much / too little

People come to rock shows for music, not for speeches. Don't bore your audience with long-winded explanations about each songs or your complete band history. Keep those for your liner notes. On the other hand, just walking on stage, performing your songs back to back, without even acknowledging there's an audience isn't too smart either. After your gig the audience should at least know who you are, and where to find your website.

When talking between songs, try to pay attention to where you are and who your audience is. Try to avoid clichés. For example, I've seen too much bands trying to be cool by talking about smoking pot at concerts in Amsterdam: I live there, I know you can smoke legally here. I'm sure every city has its own cliché people get tired of hearing at every other show.


6. Acting like it's just another rehearsal


I've been to too many shows where band members show up in their regular boring everyday clothes, standing on the stage without moving more than necessary and ignoring the fact that there is an audience.

It isn't called a show for nothing! Give the people something watch, besides your music. Otherwise they could just put on your cd and stay home. Dress up a bit. Move around the stage, if you ain't sweating when you're done, you're doing it wrong!


7. Complaining during the show

The sound man won't be excited to fix your monitor sound, if you bitch loudly about your (lack of) sound. Try to catch his attention without letting the whole world know what the problem is.

This applies to other problems also. Disappointed in the low turnout? Don't complain to the people who DID show up.


8. Don't hide backstage

This one is aimed at starting bands playing local venues. Don't spend the entire night hiding backstage, especially during the shows of other bands who play the same evening. Support the other bands by watching their performance!


9. Being too drunk/stoned/high

Yeah, yeah, we know, you're a rockstar. Well, the best way to act like a real rockstar is by rocking as hard as possible, and giving the audience a great show. Living in Amsterdam I've seen a bit too much wannabe rockstars messing up their show by being stoned out of their minds. Of course, too many bands seem to play only for the free beers they get. Sure, drinking is fun, but try to do it after your show, not before.


The main point of this article? If you want to be treated like a professional musician? Act like one!

David Slade and Collins Kilgore play in the indie band American Princes.  The band's fourth record Other People was recently released on Yep Roc Records

 
Anyone who’s ever had serious hopes of being a professional pop musician has heard of South By Southwest.  Specifically, they’ve heard the dictum “You’ve gotta play South By Southwest.”  Implied in that statement is the promise that this festival is an essential springboard for a band’s career that, upon playing, will rocket the group to the upper echelons of rock n’ roll stardom.  And of course everyone believes this the first time they play SXSW.  They quickly learn, however, that they have been misinformed.  We have experienced this disillusionment personally and, while not as life-shattering as one would think, it has certainly reshaped how we view the whole thing.

South By Southwest and its Northeastern counterpart CMJ differ from the “music festival” in the classic sense of the term.  Unlike Woodstock or Reading, where already famous artists play for crowds familiar with (or already receptive to) their work, SXSW and CMJ are effectively music industry sample sales, where a horde of unestablished talent competes among itself for the attention of tastemakers – journalists, record label employees, radio promoters – whom, presumably, are the gatekeepers of fame and fortune.  The bands believe that, if they work hard and put on an amazing show, their hard work will be recognized by People Who Matter who, in turn, will discover the Band and Make Things Happen.  Consequently, South By Southwest will be the most amazing week of their artistic lives. There are a few myths and one truth to this scenario, outlined below.

THE MYTHS (note: Don’t be too bummed by any of this.  Remember, there are always exceptions to any rule!):

1. You Will Get Discovered at South By Southwest: You will no more be discovered at South By Southwest than you will playing in your practice space at home. The likelihood of an A&R rep walking in and signing you on the spot is identical in both cicumstances. This is the case for a few reasons, the first being that all of the people interested in signing bands at SXSW go into the festival with a list in hand of the artists who are already hot, and this list is long. If you’re not a regular mention on Pitchfork, or aren’t already the toast of Portland, Brooklyn, LA, London, Lisbon, or Chicago, you won’t be dropped in on by Jonathan Poneman. He’s busy checking out those other acts.

Another reason that record label decision makers aren’t going to come to your set is because they’re busy hyping the people they’ve already signed.  SXSW is a proving ground for fledgling acts on a roster so, often, the labels and managers are too busy going out and hustling attention for their own groups to be concerned with whatever you’re doing.  As you are trying to improve your market share, so are they.

2. You Will Generate “Buzz” By Playing at South By Southwest: This is where we get into a lesson on prepositions. Specifically, the difference between the words “before” and “at.” Going into SXSW with no one having heard your name outside of your incredibly small hometown (say, Little Rock, AR), you won’t leave Austin with your name on the lips of every festival attendee. As is also the case with Myth #1, the bands who leave SXSW with buzz are the same bands who went into the festival with buzz. To illustrate, we’ll recount what could have been an actual snippet of dialogue from this year’s festival:

REPORTER FROM A FANCY MUSIC MAGAZINE: Where did you just come from?

FREELANCER WHOSE REVIEW OF VAMPIRE WEEKEND YOU JUST READ: The Merge [Records] showcase.  I saw She & Him.  Zooey Deschanel is so hot.

REPORTER FROM A FANCY MUSIC MAGAZINE: Tell me about it.  Man, that record’s good, too.  

Here is a dialogue snippet that absolutely did not go down at this year’s festival:

REPORTER FROM A FANCY MUSIC MAGAZINE: Where did you just come from?

FREELANCER WHOSE REVIEW OF VAMPIRE WEEKEND YOU JUST READ: Well, last night I was walking down the street, and this guy came up to me and handed me his band’s CD.  They’re from Terra Haute, and this is the first time they’ve ever played here.  I listened to it and it blew me away, so I just went to their showcase.  It was incredible!  I’m going to make sure I tell everyone I know about them.  Here, let me give you their MySpace address.

REPORTER FROM A FANCY MUSIC MAGAZINE: Awesome!  I’m always on the lookout for something new.

3. Playing A Lot Of Shows Will Impress People and Your Hard Work Will Pay Off: At our first SXSW (2006) we remember hearing about a certain buzz band at the time (Tapes ‘N Tapes) and how they were playing a record 6 shows that year.  "How ambitious and hard-working they are," we thought to ourselves.  “Clearly, this has a causal relationship to the fame they are enjoying.”

The following year there were a number of bands that played at least six shows, and the New York Times ran an article about The Black Lips (who played eight shows), discussing how they were the "hardest working band at SXSW."  This year we tried it out and played 6 shows (in 2 days we might add) and it just so happened that THIS WAS THE NORM for bands playing in Austin in 2008.  We heard rumors of one band playing a remarkable 11 shows, and more absurdly, a band that made 12 appearances.  That works out to 3 shows a day for 4 straight days, or possibly 6 shows a day for 2 days.  However you parse it out the important thing is that the New York Times wrote about neither of these bands. We're not sure if they got any real hype from playing this many shows, other than providing an eyebrow-raising factoid for musicians to scare each other with.

Back in ’06, Tapes 'N Tapes were probably not the first band to play 6 shows at the festival, but they had been all over the blogs in the weeks leading up to the festival, and their frantic schedule was one thing that people zeroed in on when giving them praise. It illustrates the principle that bands only attract buzz at SXSW by bringing it with them.

The term "hard working at SXSW" is a myth insofar as it's a redundancy.  The first two times we played the festival, doing only 2 shows apiece, our experiences were equally as taxing as our 6-show stint this year.  No matter what you do you will A) be on your feet entirely too long, B) drink entirely too much, and C) will likely to expend far too much mental energy hoping that someone there will have the power or the will to break your band.  Festivals like SXSW and CMJ serve mostly as a way to say "Hey, we're here" or “Hey, we’re still here.”  It's just a matter of paying your dues, like appearing at your monthly Rotary Club meeting. Except instead of paying the Rotary treasurer you pay Sonicbids.

THE LONE TRUTH:

1. You Can and Should Have Fun at South By Southwest:  Make this a pleasure before business experience and you’ll have a blast.  While there are a lot of downsides to every band in the known world descending on a single town, the upside is that a ton of phenomenal music is made available to you, all within walking distance.  Further, you literally cannot escape the festival without being showered in free alcohol and barbecue so, if that’s your bag, then get psyched.  We’ve stumbled onto incredibly intimate, awesome shows of unknown bands who have become some of our favorite artists.  We’ve also gotten to see crazy, huge stuff like Mastodon, David Byrne, John Doe, and Iggy Pop for free.  You can also get free shoes.  We know this for a fact.

Fundamentally, festivals like South By Southwest or CMJ are week-long celebrations for a ton of people who are, for whatever reasons, completely committed to a bunch of different aspects of music, from making it to selling it and all the points in between.  It shows just how wide a sampling of cultures throughout the world are affected by pop music‚ to the point where people will travel for days and days just to celebrate its existence (and to hype their own little piece of the cake, but still, we want to end this on an up note).  While these festivals aren’t going to make you famous (unless you’ve already got something going for you, such as being Zooey Deschanel), that fact is effectively beside the point.  You go to these things to play shows for the pure sake of playing shows, and to experience music for the pure sake of experiencing music.  And this is the best thing that one could possibly want, ultimately.

- David Slade & Collins Kilgore