Live Shows
Don't swear - sweat! by Sami Fischer PDF Print E-mail
(10 votes)
Friday, 13 August 2010

Do you know the feeling, when you experience something you've experienced a hundred times before, but suddenly a light goes on in your head and your perception of it changes totally? Well we were playing at a great venue in Nashville a couple of nights ago and we opened for a band with a major deal but a minor following. A very decent amount of people came for our slot, the second opener still had a good number of people there but by the time the headliner band had played three songs, many people had left.  I know how the band felt, because we've experienced that too and it's the worst feeling to be performing your stuff on a stage and to see people actually leave. And then suddenly I realised something... there's two ways to deal with the uncertainty of a concert situation: 


One way is to emotionally detach yourself from the crowd and to look down on them. That way, if they don't like what you're doing or you're not getting a connection to them, you can just sit it out and blame it on the audience. It's the easy way to do it, because it doesn't hurt your pride. You can keep your belief in what you are doing and you needn't question your methods. This specific band, like many others we've played with before did exactly that. They knew they weren't getting through to the people so they put themselves in a position where it wouldn't hurt as much. They started swearing on stage. Fuckin' Nashville, we're Assholes, all you Motherfuckers... and so on. And to get at least a tiny bit of attention and to be able to have just a little connection to the audience they started raising their beer glasses and throwing out cheap drinking phrases.

 I thought to myself, what will the audience be left with after the show? Will they have liked the band just for the fucks, shits and let's get hammered? Does that add worth to music or depreciate it?  A reason to go for the first method might also be the fact that you don't actually believe in what you are doing. Because if it's not working you start feeling embarrassed and unsure about the values you're trying to put over, maybe you start questioning your style, your persona and the essence of your music. In order to protect yourself from having to confront yourself with these doubts you'll start acting cool. And swearing seems cool, doesn't it? There's another way to handle it though. Sweating. The advantage of the first, the swearing method is that you don't have to push yourself to deliver the best show ever. You just get it done with one way or the other, because you've made your peace with the fact that people are not enjoying themselves and you've detached yourself from it so well, that you don't really care whether you're doing your best or not.

The sweating method is the exact opposite to that. You sweat, work and try even harder, open yourself emotionally even with the risk of feeling hurt afterwards. It's means putting your emotions out there and making yourself vulnerable. It's fighting for every person in the audience and believing that at any point through the show you can win someone over. It's about doing your best until the final chord is played.  Now if a crowd really doesn't catch on to you, if you're just not getting through to them, with the second method, it can mean questioning your set, your songs and your whole act. It's painful and it's not always the sensible thing to do. I don't believe in letting your world be shaken by every fall you experience, but I do believe in being open for change at any point.We're not doing everything right yet, or else we wouldn't still be a self financed indie band.

We do a lot of things well and it's good to stand by those, but if you're noticing the audience drifting away during your set it can mean that you need to adjust it. Maybe the venue is a quieter place and it doesn't work too well with high-speed punk songs. Choose a couple of quieter songs or do an unplugged set - or simply don't play there if it doesn't fit your style. If you're playing with four metal acts and they are drawing people, maybe put some harder songs in your set or re-arrange a couple to sound a bit heavier, if that's something you can live with, without having to compromise your product...or again - don't play there if it doesn't fit your bands sound. 

Anyway, I think sweating instead of swearing is always the better alternative. It needs some courage, belief in what you're doing, and balls.

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A booking strategy that works! PDF Print E-mail
(0 votes)
Friday, 18 June 2010

From CD Baby's DIY Musician Blog :

Getting your band booked in the local club scene can be a challenging task to say the least.  It’s hard enough to get your email or press pack noticed by the club booker, but once you get your foot in the door, there are still numerous factors that can dictate whether or not you actually get a gig.  It’s time to get strategic!  Here is a strategy you can use to greatly increase your odds of getting the gig all the while making the club booker happy!

Click here to read the entire post.

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When To Take an Unpaid Gig by David Hahn PDF Print E-mail
(1 vote)
Friday, 04 June 2010

From MusicianWages.com :

You get a call. It’s a friend of yours, they are throwing a big party, and they want you to play for the guests. They don’t have a lot of money, though, so they can’t pay you. But you can pass out business cards and try to sell CDs. There will be lots of important people there and it’ll be great exposure they say.

You get another call. It's local non-profit. They are throwing a fundraiser at a fancy venue and they want you to provide entertainment for a couple of hours. They can’t pay you, but you’d really be helping out the cause if you would do it.

A third call comes in. It’s a local venue. They are having an event next month and 5 bands are playing a 30 minute set each. They’d like to invite you to perform. It doesn’t pay, but everyone gets a free drink and you can set up a merch table in the corner.

So what do you do? Do you take these gigs? You know that you have to make a living, but you know you also have to get out there and play for people.

Click here to read the entire post.

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Artists - Improve your booking emails and improve your life by Fran Synder. PDF Print E-mail
(1 vote)
Friday, 28 May 2010

From Concertsinyourhome.com :

After chatting with hundreds of venues, and looking at hundreds of booking emails sent to me, I can tell you the top 5 reasons your emails don’t get a response.

Your emails are:

  1. too long
  2. off target
  3. impersonal
  4. confusing
  5. they don’t ask a simple question

Let’s look at each one of these in more detail.

Click here to read the entire post.

 

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Direct to Fan - The art of the house concert by Dave Kusek PDF Print E-mail
(3 votes)
Friday, 30 April 2010

From FutureofMusicBook.com :

You want a relationship with your fans? Why not  go to their houses and play.  No way to get to know people better than invading their homes and doing your thing right in the middle of their living rooms.  Right?

The future is all about breaking new ground and combining that with solid business models that you can predict and work with.  Here is a guest post from Fran Snyder on house concerts and what they should be a part of your future.

I encourage all of you to build on this model and create new experiences and interactions that create value and exchange between artists and their fans that cannot be digitized.

Click here to read the entire post.

 

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Booking Your First Tour by Cameron Mizell PDF Print E-mail
(0 votes)
Friday, 02 April 2010

from MusicianWages.com :

Getting your band off the ground is full of “chicken or the egg?” situations. One of the things I commonly hear bands say that if they just had a booking agent, they could really get things moving. But booking agents only want to work with bands that already have things moving.

Just because you have to book your own shows doesn’t mean you can’t go on tour. Even if you don’t have much experience booking gigs, a little organization, creativity, persistance and flexibility will make booking your first tour is a simple enough task. After you get the first tour under your belt, going on the road in the future will not be as daunting.

Click here to read the entire post.

 

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Guest List Dos and Don'ts by Heather McDonald PDF Print E-mail
(0 votes)
Friday, 19 March 2010

From About.com Music Careers :

Ah, the guest list. If you're in a band, work for a label, or if you're a music promoter, manager, or agent, you know the drill. The day of the show, suddenly your phone starts ringing, and it's someone you haven't heard from in ages. "Hi! Long time no speak! How are you? We really need to meet up soon! Are you going to be at the show tonight? Is there any room on the guest list?" Repeat conversation 20 times. And not only do your long lost best friends want to be on the list themselves, but they want three of their friends, their friends' friends, and someone's cousin visiting from out of town to be on the list as well. Managing the guest list can be an extremely stressful job, if you let it be. Take back control and let these guest lists dos and don'ts be your guide when you're the one wiedling the plus one power.

Click here to read the entire post.

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Preparing for Tour with an Independent Musician by Elliot Jacobson PDF Print E-mail
(0 votes)
Friday, 29 January 2010

From MusicianWages.com :

Tours come in all shapes and sizes, from loading up in an old beat up van for a week to being flown around the world on a private jet for six months. Regardless of the budget or length of the tour, there are certain steps you can take to prepare yourself for life on the road. Touring can be a lot of fun, but not if you’re losing your sanity because you ran out of clean clothes five days ago! From band rehearsals to healthy eating, prepping your gear to getting along with your bandmates, I’ve compiled some tips from my own experience that will help you feel your best and play your best every show, every night.

Click here to read the entire post.

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Fans Bring New Fans to Your Shows PDF Print E-mail
(0 votes)
Thursday, 06 August 2009
How to get your fans to bring new people to your shows? While out this week-end this is a question I was thinking about. Sure you have your street team and they will be doing this. But how do you get your everyday fans those who are not participating in getting new people to your shows to do this?

2 things can help (your database and your cd) you to motivate all your fans not just your street team. Use your database to keep track of all fans E-Mail accounts. You should be doing this anyways. About 10 days before the show you want all your fans to bring friends to. Send out an E-mail offering x number of copies of your cd to the person who brings and gets to sign up to your Mailing list the most people. Go one better and offer to sign the cd and personally hand to said fan at your next show.

Another aspect to this is that you can send an E-Mail out stating the top 5 winners. Along with mentioning them in your blog. Have pictures taken of you signing the cd and handing it to the winner. That would make a great follow up post in your mailer and or blog. Read through my music fans Q&As to see what else fans want to be kept abreast of. The more you keep your fans informed the more active they will be.

Do this often enough you can build up a bigger mailing list and more fans willing to see you live. Many venues will be more willing to book you and pay you more if you can show how you can increase their customers for even that 1 night. These last 2 sentences combined shows just 1 benefit to following this advise. Another one is finding more fans that may be interested in joining your street team in its ever changing form.
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GigPay Contracts - an easier way to get it in writing PDF Print E-mail
(0 votes)
Thursday, 23 July 2009

The UK-based event payments company, GigPay last month launched an online tool that allows bands to generate and manage live performance contracts.

The service allows a musician or anyone hiring them, to draw up a customised live performance contract, by providing information relevant to their event or gig. Using answers, figures and dates provided by the user, GigPay's system generates the relevant legal clauses covering the scope of input. The result is a contract that is tailored to the user's specification. At this point the user can email or fax the resulting contract to the other party who can print, sign and return the contract, or go to GigPay.com to electronically agree to it.

Having been legal for many years, electronic signatures are starting to be widely adopted. GigPay's offer of e-signature as a signing option is a good move.

The contract itself can be changed at any time prior to agreement and the sender can make changes at the request of the recipient. After agreement the contract is indefinitely available online, allowing both parties the benefit of an unchanged, centrally stored contract. In addition, GigPay's contract has an easy to read format that displays a contract's key facts and then the detail following that. This seems to be a way round the 'long form' and 'short form' contract system used in the industry.

The service is targeted at live musicians, promoters, booking agents and DJs, though it can be used for most types of event bookings to manage and track the status of contracts drawn up by the system.
My opinion is that rather than solving a problem in the industry, this tool aims to improve the workflow associated with live performance agreements.

GigPay are offering the service for a per-contract fee of $1.80/£0.80 or a soon to be determined annual fee (allowing use of the system for no extra cost). The indication is that the annual fee will be no more than $25.

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Better Live Show Sales By NOT Raffling Off Your CDs! PDF Print E-mail
(0 votes)
Friday, 12 June 2009
How To Increase Your Sales By Not Raffling Off Your CD At Shows!

By Tim Sweeney (www.TimSweeney.com)


It has been suggested by some that raffling off your CD at your shows will increase your mailing list and CD sales. Actually, it hurts your sales!

Here is a better, more proven strategy that has worked for years by the music artists I work with. While it is true that you can get people on your list by raffling off your CD (except for those who have already bought it), you will find that you can get even greater results (meaning almost everyone) by raffling off items from local businesses. For example, my artists have been given free cell phones to I Pods to car tune-ups to free pizzas to give away. Local businesses are looking for new customers and new ways to partner with people.

If you were offering to give away items like these at your next show, how many people would put their name and email address in the drawing? Better yet, how many people sitting on your mailing list would suddenly come to your next show to try to win this stuff?!

The key is to get more people to your show (especially new ones) so the venue will pay you more. Bond with your fans before the show and start selling your CD and get everyone on your list then! If you meet with your fans before the show and build a better relationship with them, you will see you sales increase like my artists.

Need help? Email me questions through the website, www.TimSweeney.com
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Success at The Merch Table, The First 10 Ideas by Charlie Dahan PDF Print E-mail
(1 vote)
Friday, 12 June 2009

From center of the indie label universe :

I have witnessed artists who understand the potency that exists for both financial reward and fan development at the merch table and seen too many artists (the vast majority, I am sad to say) put no effort into it and lose not only revenue but potential life-long fans. So, here are some of my observations and suggestions to making your merch table a buzz with activity and a source for fan development and profit. This will be a series of suggestions / tips – here are my first ten:

Click here to read Charlie's entire post.

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7 Truths and Tips On How To Get Gigs And Fill Up Your Touring Schedule by Daniel Kohn PDF Print E-mail
(0 votes)
Friday, 29 May 2009

From Inside-The-Music-Biz.com :

It’s the famous old question on every hungry band’s mind - How To Get Gigs?

I can hear your pain from this computer screen - “Everyone else can get gigs left right and centre but my band is still struggling to figure out how to get gigs…..”

The truth of the matter is that getting gigs and playing live shows isn’t really that hard, you just need to understand the sensitivities of how the live music system actually works.

Click here to read the entire post.

 

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Make Your Gig Work by Heather McDonald PDF Print E-mail
(1 vote)
Friday, 08 May 2009

From About.com Music Careers :

Playing live is so important when it comes to building a following for your music. Shows give you the perfect opportunity to connect with the fans you already have, plus get lots of new fans on board. However, it's not enough to just play a great gig (though it's definitely a crucial ingredient). No matter how much you have the crowd going during your set, it will turn into a one night stand unless you find some way to convince those people you're a keeper. Here are a few things you can do at your show to make sure the audience doesn't forget your name in the morning.

Click here to read Heather's entire post.

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Write a Killer Setlist PDF Print E-mail
(3 votes)
Friday, 06 February 2009

There is nothing more exhilarating and worthwhile than putting on a killer live performance. It's the single most effective way to convert new fans and win over your audience. But before you let your musical beast loose up on stage, there is a lot to consider when preparing for your show.

Today I'm going to discuss how to construct your set list to ensure a successful concert from the opening song to the encore. Many artists and bands who are just starting out in their gigging career tend to overlook the importance of considering the order of songs in your set. Don't make this mistake. Craft your setlists wisely!

Read the entire post here:

http://www.servethesong.net/the-craft/write-killer-setlist/

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What I Learned Working at Venues by Cameron Mizell PDF Print E-mail
(0 votes)
Friday, 16 January 2009

From MusicianWages.com :

When I was in college, I had several jobs.  One was at a restaurant, one at the town’s best music venue, and I also gigged several nights a week.  All at the same time.  The experience taught me a lot about what goes through the minds of the owners, managers, and staff at different types of venues.

Click here to read Cameron's entire blog post.

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Check Out IndieOnTheMove.com PDF Print E-mail
(0 votes)
Friday, 19 December 2008

The creators of Indie Indie On The Move have performed 500 live shows with their band over the last two years without the aid of a booking agent, record label, manager or other industry "professional". They have created this site to help you do the same thing.

Check out IndieOnTheMove.com to learn more!

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10 Tips for Any Band Looking To Go On Tour by Eric Schechter PDF Print E-mail
(3 votes)
Friday, 14 November 2008

From SkatterBand Blog

1) Get a Tour Manager. Having a great Tour Manager with you, will make your life on the road 10x easier. They handle the routing, the sleeping arrangements, the schedule, the club owners and anything else that can cause stress on the road…That way, all you need to worry about is rocking out. If you can’t afford to pay one, try asking a responsible friend to come along for the ride. Give him some incentive by offering him a nice commission on every album he sells for you. 

Click here to read the full blog post.

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GigPay launches alternative to cash and cheque payments PDF Print E-mail
(3 votes)
Thursday, 06 November 2008

With live performance income ever more important, in the face of declining record sales, GigPay Ltd have launched a service designed to handle live payments. The service helps live musicians collect payment for a gig by accepting credit/debit card payments. Promoters use GigPay to automate payments to their Performers, whislt retaining records of them.

By using a combination of credit card processing, email billing and escrow, anyone can accept payment or pay for a live event. The payment clears into a Performer's GigPay account before the gig and is released into their bank account after the gig. This offers both parties full control of their funds at all stages of the transaction. The platform was built to be faster than cheque and more secure than cash payment.

GigPay's fee is based on your pay range rather than a sliding percentage, meaning that it varies as a percentage of your gig pay starting from 0.8%. However the Performer and Promoter still have an option of nominating who pays the fees on each transaction.

GigPay is very useful for cross border/state touring as well because of the system's ability to handle all the major currencies including Japanese Yen.

The service also works well as a performance contract and as an invoice record.

The website can be found at https://www.gigpay.com

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Checkout Better Than The Van PDF Print E-mail
(2 votes)
Friday, 31 October 2008

Better Than The Van is a couchsurfing social network for touring bands and musicians. We think it's a great way for bands and music fans to connect with each other for a practical reason. You'll meet new people, discover new music and help make touring a little easier. 

Touring isn't cheap or easy. We know, we've done it for years. We thought of this as a way for bands and music lovers to offer up their floor and couches. We've stayed in some great and not so great places while on tour, so we know it can be hit or miss. We figure people are fans of bands and bands become fans of other bands. If we give them all a place to meet under a common need, good things will come of it. We want to help spread more music to more places.

If you are a touring musician or are willing to share some floor space with touring bands be sure to check out BetterThanTheVan.com

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How and Why Your Band Must Tour by Ben Grimes and Paul Rogers PDF Print E-mail
(0 votes)
Friday, 10 October 2008

You need to get in front of people who are not your classmates, girlfriends and parents. You need to get out of town, blow open peoples' minds, show them exactly who you are and connect with new fans who will love you like friends.

Okay, you’re ready to take it on the road and blow some minds elsewhere for a change. Here are some pretty basic tricks for getting your band out of the neighborhood and into some new scenery:

Click here to read the entire blog at TuneCorner.

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How to not get your band booked PDF Print E-mail
(3 votes)
Friday, 03 October 2008

I've had many many jobs in my life. From removing asbestos to strip club DJ to pizza delivery to unloading aircraft. But the one thing I've done and never stopped doing was booking concerts. When I say "job", that would infer that I get paid to do that "job". Booking concerts very infrequently pays but I'm addicted to music and have been ever since my big brother gave me my first record, Destroyer by Kiss. I learned a long time ago that if I don't book the bands I like...they ain't coming. Over one thousand concerts and 17 years later of bringing bands to Memphis, I'd say I know EXACTLY how to get a band booked into any venue in the world. I didn't say I could get people to show up...I just said I could get it booked.

Click here to read the entire piece at Jagshouse.com.

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Who Pays for Gig Promotion Costs by Heather McDonald PDF Print E-mail
(0 votes)
Friday, 01 August 2008

from About.com Music Careers:

Gigs aren't cheap. Not by a long shot. On a small scale, sometimes you can work out a deal with club to play for free and do some promotion yourself, but in most cases, even small, indie shows need some kind of budget. There's the cost of printing up posters and flyers, maybe the cost of renting the venue - and that's if you keep everything to the bare minimum. Depending on the size of the show, there might be additional advertising costs, the cost of gear rental and more. So - who pays? Does the promoter foot the bill? Should the musicians count on shelling out?

Click here to learn more about how gig promotion costs break down.

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Advice About Playing the College Market by Derek Sivers PDF Print E-mail
(0 votes)
Friday, 13 June 2008

From Derek Sivers, Founder of CD Baby, at Sivers.org:

From 1995-1998 I made my full-time living playing at colleges. Got hired by over 350 schools for about $300,000 (gross, not net) on the East coast (from Florida to Maine, as far west as Arkansas.)

I’ll try to put into one article, here, every bit of advice or wisdom I could share with my fellow musicians, from my experience.

Click here to read Derek's full post. 

 

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How To Promote A Gig by Heather McDonald PDF Print E-mail
(1 vote)
Thursday, 14 February 2008

You've got the venue booked and the band on board, now all you have to do is promote the gig. Concert promotion can be a tough job - there is a lot of work to get done, and often there is not much time in which to actually get it done. The job gets even harder if you're a new promoter. If the stress of getting a show off the ground is making your head spin, take a deep breath and check out this guide, which will walk you through it.

To read the full article click here

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Rules to Take the Stage By - By Jordan Tishler PDF Print E-mail
(3 votes)
Friday, 09 November 2007

This is a list of rules you should memorize and live by when performing at clubs or other public places. I have compiled this list after years of watching acts do stupid things that really hurt them, and ultimately lead to their downfall. Don't make these mistakes.

http://digitalbear.com/articles/stagerules.html

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Booking FAQ From San Francisco's Bottom Of The Hill PDF Print E-mail
(1 vote)
Monday, 29 October 2007

The Bottom of the Hill in San Francisco has taken the time to write an extensive FAQ about getting booked to play the venue. This isn't just about playing the BOTH, but explains how to build a following  and promote your band in a way that will get you the opportunity to play at the choosier clubs in any city.

http://www.bottomofthehill.com/booking.html

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How To Find the Right Venue for Your Live Show By Jeri Goldstein PDF Print E-mail
(2 votes)
Wednesday, 24 October 2007

Yes, it is so important to play as often as possible. It is also just as important to make sure you play rooms that help move your career forward. Once again this topic requires you to review your long-term goals and keep them in mind as you tackle every new aspect of your career. In this case, selecting appropriate venues can be challenging but rewarding.

 http://www.performingbiz.com/articles/015.html

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How to Approach Booking Agents By Jeri Goldstein PDF Print E-mail
(0 votes)
Wednesday, 24 October 2007

You have reached that point in your career development when adding an agent to your team would be a logical next step. Before you pick up the phone and start calling around, I suggest you do the following three steps.

http://www.performingbiz.com/articles/044.html 

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Three Methods to Getting Openers and Support Act Slots By Jeri Goldstein PDF Print E-mail
(0 votes)
Wednesday, 24 October 2007

One method to expand your audience is to serve as a support act for a known main act on multiple tour dates or to open a show for a larger act. These are choice slots and many acts are vying for them. Sometimes you can get lucky and be in the right place at the right time. If you are more interested in process rather than chance, here are a few suggestions on how to go about landing some of these choice performance slots.

http://www.performingbiz.com/articles/021.html 

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Developing A Home Base of Support to Build National Success By Jeri Goldstein PDF Print E-mail
(0 votes)
Wednesday, 24 October 2007

There is great advantage to concentrating the majority of your development in your hometown as you plan for future tours to new territories. I have always been a believer in starting your career in a central place, like your hometown or a town nearby that would be conducive to your career development.

http://www.performingbiz.com/articles/001.html 

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Playing Your Music Live By Nadine Condon PDF Print E-mail
(1 vote)
Friday, 19 October 2007

No matter how good those demo tapes are, all labels– indie or major– still want to see bands live. Here are some do’s and don'ts on how to get started.

http://www.discmakers.com/music/ffwd/2004/condon-dec.asp  

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Top 39 Annoying Things That Bands Do PDF Print E-mail
(0 votes)
Sunday, 08 July 2007

Click here for tips on how not to conduct yourself on tour.

http://www.creepycrawl.com/top39txt.htm

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