written by: Gregory Douglass

So many bands and musicians have had success through viral music video outlets like Youtube. The demand for video is only increasing so it’s time for you to get in on the action. Youtube is still the second largest search engine in the world, and in case you forgot, that’s how Justin Bieber was discovered (how could you forget?) You could easily spend thousands of dollars on a sharp looking, professionally-produced music video – but if you’re just getting started, you probably can’t afford that. That’s no excuse for bypassing music videos altogether though. As a musician, you can’t afford not to have them these days, so here are six steps on how to make a music video on your own for free for those of you who are brand new to the world video:

1. Choose your strongest song. Assuming that you’re a recording artist, you probably have a least a handful of brilliant songs already recorded that you can choose from. Be sure to pick your strongest song, but don’t just take your own word for it – get some second opinions! Chances are, your favorite song isn’t necessarily your strongest song – at least not according to everyone else. Ask your fans, friends, and family what they think is your strongest – then do yourself a favor and take their word for it. This should set the stage for more consistent results from the music video you’re about to make. Understand that your music video will be an incredibly powerful promotional vehicle for whatever song you choose, so make it a strong one!

2. Choose your video equipment. Assuming that you already have a laptop, computer, smartphone, tablet, or camera with video capabilities – you’ll have plenty of equipment options to choose from. If you don’t have access to any of these devices, you probably have a friend who would be kind enough to let you borrow something. All of these devices come with some sort of internal camera and video recording capability, so choose whatever works for you. Since you’re making a music video, the audio component of whatever device you choose won’t matter because you’re eventually going to replace the audio with the pre-recorded audio of your strongest song. I use a Canon Vixia consumer camcorder myself – which is HD quality for a reasonable price – but you can use your shiny new iPhone 5, MacBook Pro, or something as affordable and easy to use as a Flip MinoHD Camera.

3. Create your concept. What kind of imagery comes to mind from the song you’ve selected? What kind of music video do you want to create? For example, you can choose to create a more traditional, story-driven music video, or a live performance-style music video. With a story-driven music video, you might consider doing some acting or filming various places, people, things, or circumstances that support your storyline or imagery. Get creative here and make the most out of what you have to work with already. Is there anything just lying around the house that you can incorporate? Include footage of you lip-syncing a performance, lip-syncing a studio recording session, or capture footage your band performing the song. This will also work exclusively for a live performance-style music video, and you’ll be better off lip-syncing to your pre-recorded song verses singing it live for sake of better audio quality.

4. Choose your locations. Keep it simple and stick to 1-3 locations for your music video. They can be anywhere that supports your storyline or imagery – even three different rooms in the same house works. Is your song dark and brooding? Consider darker locations with softer lighting. Is your song happy and inspiring? Consider brighter locations with wide, open spaces. Shooting outside during the day always offers ample lighting, and cloudy days are particularly helpful in regulating the light because clouds act as natural light diffusers – so long as it’s not raining on your video equipment! If you want more indoor lighting regulation, be sure to have some good lighti[...]

written by: Gregory Douglass

There are many ways musicians and bands can make money with their music. Perhaps the most obvious way is through performing and touring. Any given tour might rely on club, coffeehouse, and even college performances to generate income along the way – but there are other ways to generate additional revenue that may not already be on your radar. So here are 6 music money gigs you haven’t yet thought of:

1. College Keynote Concerts. College gigs are great, and are arguably the most lucrative gigs in the indie music biz. While college gigs can be a nice pay day, they are also the most competitive gigs to book. Most musicians and booking agents are going after college gigs in the same ways – through college booking conferences like NACA, or directly through Student Activities organizations. Try thinking outside the box and consider an educational tie-in with your performance pitch in the form of a keynote concert. Perhaps you or your bandmate could talk to the student body about the songwriting process and cap off your presentation with a performance. For keynote concert bookings, consider contacting various clubs & organizations outside of the Student Activities department.

2. House Concerts. House concerts are still an underground, growing trend – though they are still met with great resistance by many shy musicians who feel that they are just too close for comfort. As a touring singer/songwriter myself, I personally give house concerts my golden stamp of approval. They certainly are intimate, but you can’t ask for a more appreciative audience than a house concert audience! They are ideal for solo artists but great opportunities for bands to strip things down for a night as well. House concerts can be more lucrative than public venues with a $10-20 suggested donation jar and the higher level of interest in merch sales that they typically generate. If you’re lucky, your house concert host may even make you a home cooked meal or offer you their guest room for the night to help save you some dough on the leg of a tour.

3. Virtual Concerts. With platforms like LiveStream, Ustream, Justin.tv, Stageit, and even Google Hangouts now – virtual concerts have never been easier to administer behind the scenes. Consider setting the stage at home in front of your computers built-in camera, or step up your game if you have the right gear to do so. Stageit is specifically for concerts and has a virtual tip jar already incorporated, but you can also embed some basic HTML code on Justin.tv and sport a Paypal-powered virtual tip jar yourself. Make virtual concerts like these apart of a larger crowd-funding campaign for your next tour or album campaign.

4. Venue Rentals. If you’re really ambitious, you might consider doing what Ani Difranco did to build her legacy and rent venues. This will obviously cost you a chunk of change up front, but you might be able to fast-track your way into presenting your band in venues that are more suitable or more preferable than the usual direct-booking venue. If you are willing to hustle and ensure that enough people fill the house to make it worth the cost of the venue rental, than you can have your cake and eat it to.

5. Corporate Events. There are always Corporate companies looking to book entertainment for various internal events, and they usually have a decent size budget to work with. Corporate events gigs are not unlike the wedding gigs in that they are typically background music for attendees, so they may not be for everyone – but they are usually a nice pay day in the end.

6. Street Performances. For more seasoned/professional artists, street performances may seem too entry-level, but they don’t have to seem that way. Adapting to the new indie music biz model is adapting to fresh perspective on how to sustain a living as a working musician, so this might be the perfect exercise in checking one’s ego at the door. Street performances can be great opportunities for fast-g[...]

Sometimes I allow the past to fade from my memory too quickly. With things changing so rapidly in the digital age of music, it’s easy to forget just how different things in the music business were just a short time ago. One of my mentors always told me that it’s hard to move forward into the future when you’re focused on the past and looking over your shoulder, and, for the most part, he was right.

But not in this case.

Looking Over Your Shoulder

In the 90s, if an independent artist wanted to “make it” as a musician or performer, they had to beat the street and perform in front of real live people. How else would anyone hear their music? Artists needed fans, and live performances created fans.

Since creating fans is no easy task, that hard work was just the beginning. They spent hours writing music, picking band members, rehearsing, recording, mastering, ordering discs, and spending money—all of this just to acquire fans.

Now, the fans themselves weren’t the goal. “Making it” was the goal. What did this mean? To most independent musicians, it meant financial sustainability, which itself might lead to fame and fortune, if you were one of the gifted and lucky few.

To many artists, “making it” also meant widespread recognition. Because earning that recognition through constant touring and performing was slow and required hard work, some artists also banked on radio play, sending countless CDs to radio stations in hopes of breaking into the on-air market. Sadly, most of those CDs ended up in the trash and were never played over the air. While artists had hoped radio play would be a short cut to success, it was often a short cut to disappointment and unnecessary expense. So, starving artists either quit or kept on gigging.

The Internet Promise

The 90s passed by, and the next decade offered a whole new opportunity to artists with the launch of music sites on the internet. When the internet came, it promised easy access to self promotion and fame for indie musicians. Artists became enamored with the idea of getting their music on every internet portal for music, starting with iTunes.

The conversation changed; no longer did a musician have to work gigs to gain fame and make it in the business or wait on radio stations to pick up their music. With an internet short-cut to success, everything was finally going to be great. Fame was now possible without traditional air-play. An independent artist did not have to rely on gigging to make it any longer.

Not so fast.

The internet did deliver a wide variety of options for promotion of music, but it came at a cost. Fame was possible now, but money, which had always accompanied fame in the past, did not follow. In the 90s, more exposure turned into more revenue for artists; now, more exposure can actually turn into less revenue for the artist.

This doesn’t seem to make any sense—more exposure equals less revenue? But fans at shows today might hesitate to purchase music, since it is readily available online for free. In some cases, it seems that the more popular an artist becomes, the less likely it is that they could sell their music. But what could the artists do?

The Internet Is Not The Problem

Artists in the 90s had to make their way by touring and playing gigs. It was accepted as a necessary prerequisite to success.

Scratch that. It wasn’t “a” prerequisite. Touring and gigging were the only options available to an indie artist hoping to make it in the 90s. There was no internet, with its alluring digital tools, to distract and mislead musicians from the task at hand.

Here’s how it worked: a few gigs turned into a few more gigs; those gigs turned into better gigs at bigger venues. Eventually, gigging turned into touring and playing concerts. If you were good and lucky, you might even get radio play. If you did it right, all of this effort created fans who spent their money on your music. 

It is exactly the same to[...]

Written by: Julian Keaton

This week marks the 20th anniversary of Nas’ Illmatic album, and there are several reasons why this particular album is still relevant today. Illmatic has a unique and collaborative production sound, superb storytelling, cultural transcendence, and originality. It’s no coincidence that other timeless hip hop albums—like OutKast’s ATLiens, Eminem’s The Marshall Mathers LP, and Kendrick Lamar’s good kid, m.A.A.d city—also have these characteristics. If you want your hip hop record to withstand the test of time, these are important factors to consider.

It’s important to have talented producers working on your album, but they have to be able to work together. When working as a unit, studio sessions go smoother, the songwriting is better, and you can bounce ideas off everyone to get the best out of the song. Illmatic had five producers who worked together to make a well-knit, well-produced album. The Marshall Mathers LP had three main producers. ATLiens was mainly produced by Organized Noise. Because these groups of producers were tight-knit and able to collaborate, they created unique sounds that cannot be replicated.

In today’s music world, it’s no secret that labels arrange writing camps, where they pull together a team of the best songwriters in the country with the sole purpose of writing songs that will be commercially successful and, hopefully, lead to hit records. This approach, which utilizes the complimentary strengths of each writer, can result in songs with superb storylines, catchy melodies, and solid beats. It’s less common in hip-hop than in other genres—like R&B, pop, and country music—but it does still happen. In fact, some of the most impactful hip-hop songs come from collaboration, including Run-D.M.C.’s “My Adidas” and Grandmaster Flash and the Furious Five’s “The Message”. While you don’t have to collaborate to come up with quality music, doing so can open you to the ideas and methods of other artists.

Superb storytelling in these songs is what allowed them to transcend and impact culture. For example, many of the songs on Kendrick Lamar’s major label debut dealt with economic disenfranchisement, gang violence, and peer pressure—all of which are core to the culture of hip-hop. These same themes, though, connected Lamar’s songs with the millennial generation, made the album so influential, and caused a paradigm shift in the culture.

Lastly, and just as importantly as the other factors, each of the above albums stands out and stays relevant because the artists focused on maintaining their originality. A perfect example of a group focused on originality is Odd Future. Odd Future made a huge splash in the national music scene in 2010 because of its originality and unpredictability. Being able to stand on your own beliefs and ideas keeps your music fresh and original, while being different and intentionally not following trends makes you stand out. Fans definitely notice and often appreciate this focus on originality.

These factors can help your hip hop album stand out, be impactful, and withstand the test of time.

The post What Makes A Hip Hop Album Great? first appeared on Source Music Distribution » Podcast Feed.

The post What Makes A Hip Hop Album Great? first appeared on Source Music Distribution » Podcast Feed.

After hundreds of hours of hard work and practice, your band has landed its first public performance. You couldn’t be more excited. As soon as it’s confirmed, your head starts spinning with visions of screaming fans, lines down the block, crowds swaying to your music under the bar lights, and sold-out venues.

Your band kicks the rehearsal schedule into high gear. After all, you want your first gig to be stellar. You blast all your social media accounts—both personal and those your band just created—with information about the show, and you put up posters around town.

The big day comes, and you all take off early from your day jobs. The shorted paycheck stings, but the sacrifice will be worth it since this is your big break. After sending one last tweet about the performance, you finish loading the gear into your van and head out to the venue.

On a good day, it’s an hour away; today is not a good day. There are three wrecks on the highway, and with rush hour traffic it takes you nearly two hours to get there. Good thing you left really early… but now dinner will have to wait until after the show. When you finally arrive, you can’t help but notice that the bar’s a little more run down than you’d remembered. But that won’t matter when the crowds fill it in and the lights go down… right? Shrugging it off, you set up, run your sound check, and head backstage—to a tiny room with a couch and a table—to hydrate, shake your stage fright, and focus.

And then? The doors open. It’s time.

When you walk back out onto the stage, you notice a group of friends and family at the tables in the corner. Twelve or so familiar faces have made it. You tell yourself that the rest are stuck in traffic and will be there soon, and you start playing.

Aside from your group, there are maybe another ten people in the bar when you start. By the time you finish your set, the bar’s crowd has quadrupled. Problem is, half the bar is watching the big game on ten screens, and another group is waiting for a fight to erupt between two drunk, angry patrons. Besides your friends and family, only two tables have looked your way.

The rush of booking a show and performing on stage in front of strangers is strongly countered by the feeling that none of those strangers really noticed. With mixed emotions and a growling stomach, you pack up your gear and head out into the night.

Welcome to gigging.

Gigs versus Concerts

“Gigging” and “gig” are terms casually thrown around in the music world. You might have heard or even said, “I can’t make it to your party… my band has a gig that night,” or, “We’ve got five gigs in the next two weeks.” Generally speaking, a gig is a chance for you or your band to do your thing; hopefully you’re getting paid for it, but that’s not always the case. A gig could be an event, a festival, or at a bar, restaurant, or party; it could be for ten people or four hundred people.

While these opportunities to play are great, gigs most certainly are not concerts, so don’t be disappointed when some people in the crowd seem distracted. In fact, you should count on it.

At a gig, the focus isn’t on you or your band. It’s on the happy couple, the game on the bar’s TV, the food or drinks, and the other people at the table. With gigs, you’re simply a part of the ambiance, an enjoyable element of the event or venue… but you and your music aren’t necessarily the draw.

Now, your fans can show up to gigs. And, with the right touch, you can win over a gig crowd that didn’t come to see you. (With some events, like weddings, this requires a delicate balance—don’t steal the happy couple’s thunder!) But the fact remains that you and your music are not the reason most people are there.

With a concert, though, music is the focus. People aren’t at the venue to watch some game or visit with friends or drown their sorrows—they’re there for the music. (If there happen to be drinks, great!) Whether they bought tickets to your concert in advance and traveled just t[...]

There are easier career paths than that of the independent musician. In most cases, you—the artist or band—are the songwriter, manager, social media director, roadie, and, oh yeah, you play music. But, where do you play? And how do you break into those venues? We’re here to tell you.

First, know that the advice you find below won’t mean a thing if you’re not ready for the stage. To the serious performer, this means your songs are memorized, your instrumentation and vocals are tight, you have your transitions down, and—lest I forget the obvious—you’re comfortable in front of a crowd.

Having gotten those pre-requisites out of the way, let’s talk about getting gigs.

Network

It’s all about who you know, so get out there and meet your fellow music makers. You might have thought I was going to say ‘get to know the venues’; that is also important, but that’s not what I’m talking about here. It may seem counter-intuitive, but getting to know and befriend other bands can pay big dividends. Besides the fact that collaborating with other artists will help you grow and make you a better musician, knowing people in the local scene is a great way to hear about gig leads. These people can help; they are not your competition (unless you actually are doing a competition, like Battle of the Bands).

The independent music community is a place where you can find rich resources. If you make a connection with other groups and artists, they may be willing to put in a good word for you with promoters or bookers. Or, if you’re a fit, you could become an opening act for them. If you want to know the best places to play or get an introduction, play nice with other local musicians. And, when you get a break, remember to pay it forward for other up-and-comers. You never know who will be the next big thing.

Do Your Homework

The contact information for local booking agents is generally just a Google search away. But before you reach out to these people, find out all you can: their name, their preferred genre, the information and materials required for an audition, etc. If you have a buddy who knows the person you’re contacting, at the very least make sure to mention your friend’s name in your correspondence. Even better? See if your friend will introduce you in person—another situation where networking comes in handy.

If you’re trying to play an event or festival, first make sure your genre fits the audience. Your death metal sound may not jive with the bluegrass festival-goers. Second, know that there may be several stages, each with their own booker. Find out who you need to talk to about the stage that best fits your sound.

If it’s a bar or a club you’re looking to play, go check out some shows there. Get to know the bartenders. Watch the crowds; find out what they respond to and what seems to bore them. Make a connection with bands that are already playing at the club; a good word from a currently-performing band will go a long way in securing your gig.

Look Smart

You’ve found the person you need to contact. You’ve done your research. Now, make sure your email or letter to them is thoughtfully written. If this is not your strong suit, enlist a friend to help you.  (I mentioned a letter intentionally. Lots of emails get lost in spam filters, are deleted without being read, or just don’t make it to the intended recipient; personal letters will at least get opened.)

I should also mention that persistence is a virtue when contacting a new venue. Don’t make the mistake of sending one letter and thinking all your work is done. It may take several attempts to get the attention of the person who makes booking decisions.

Whichever way you send it, make sure you have reviewed and edited your communication thoroughly. This includes spelling your contact’s name correctly. I had an opportunity to interview three different PR firms last month to help promote my band. I was surprised by the offer from one of the firms; they spel[...]

Written by: Cliff Goldmacher

As passionate as we are about our songwriting, the reality is that sometimes it’s difficult to motivate ourselves to write. Whether it’s the fear of plumbing our emotional depths or just good old fatigue after a long day, there are often obstacles to overcome when it’s time to write. While flashes of inspiration are great, we can’t always count on the muse showing up on our schedule. Instead, we’ve got to make our own inspiration. I’ve put together a list of a few things that should help you keep your creative fires lit:

Set up a place at home to write

As simple as it sounds, having a place to go where you can focus and be creative can be motivating. Even if it’s just a small desk and chair in a corner of your living room, the fact that you’ve dedicated it to your art will serve as that little push you might need to write. Keep your writing tools—rhyming dictionary, guitar, laptop, etc.—out and easily accessible. It’s amazing what a difference putting your guitar on a stand versus keeping it in a case can make.  Make things as easy as you can for yourself, and you’ll be much more likely to dig in.

Set up a time of day to write

Routine can be a good thing, even for something as artistic and creative as songwriting. If, for example, you know that every day at 7pm you’re going to write for half an hour, then you’re more likely to do it. They say it takes a few weeks of consciously making yourself do something before it becomes a habit. A daily time to write will go a long way towards the healthy habit of songwriting.

Keep a file of unfinished songs

One of the hardest things about writing is starting with a blank page. By keeping an organized file of your unfinished lyrics and rough recordings, you won’t have to climb the mountain from the bottom every time you sit down. While sometimes it feels good to start with a fresh idea, don’t forget to check your unfinished ideas from time to time. It’s remarkable how a few days or weeks can add the perspective you need to see a partially finished song in a new light and finish it.

Find a co-writer

Nothing motivates more than accountability. If someone is counting on you to show up and work, you’re more likely to do it. Not only that, but halving the burden can make writing a much more approachable pursuit. This is one of the many benefits of co-writing. Other advantages include having someone whose songwriting gifts compliment your own in such a way that you both get a better song than you would have separately. If you haven’t co-written yet, this is as good a time as any to give it a try. Even if it’s not a perfect experience, we all benefit from observing firsthand someone else’s writing process.

Give yourself an assignment

Sometimes the idea that you can write about anything is just too much freedom. Often, it’s easier to write if you have some guidelines. For example, if you tell yourself you’re going to write a song with one chord you’ve never used or a song about a topic you’ve never covered, you’ll find it’s easier to get to work. Anything you can do to give shape and structure to what you’re attempting to write will make the task that much simpler.

Tell yourself you’ll only write for five minutes

This is one of my all-time favorites. On days where you’re really struggling to make yourself write, tell yourself you’ll sit down for five minutes. That way, if nothing is happening after five minutes, at least you’ve tried. It’s astonishing how often those days are the days where the breakthroughs happen. Taking the pressure off of yourself may be all that you need to get on a roll. That being said, if it’s just not coming, stop. There’s no point in making yourself miserable. There’s always tomorrow.

Conclusion

Being a songwriter is a gift, but, as with most gifts, some assembly (otherwise known as work) is required. My hope is by suggesting a few ways to lessen the burden of getting started, you’ll be able to write more consistently and enjoy the acco[...]

With digital music sales declining and music streaming robbing artists of yet another income opportunity, one of the few remaining viable revenue sources for indie musicians is a merch table.

I know. It doesn’t sound thrilling, and it carries nothing close to the rush of performing on stage. You’re an artist and performer, not a product pitch person. But, if you want a sustainable music career and not just an expensive hobby, you’ve got to learn to sell merch. It’s harsh, but true.

Think about the musicians you admire, the big artists who have already “made it”. When was the last time you went to their concert and didn’t see merchandise for sale? Never, right? That’s because these major artists understand the importance of selling merchandise. They rely on that extra income. When done correctly, it’s entirely possible that their profit from merch sales far outweighs their cut from ticket sales. If merch sales are so crucial to the success of these big artists, why would you shrink away from adopting the concept for your own career?

You shouldn’t. It’s time to stop making excuses and start making some choices. The longer you procrastinate, the more income you risk losing. Take some time today—now, even—to figure out what merchandise works best for your band and your fans.

Unless you are bringing in big money without merch sales and don’t need any extra, read on.

Choosing Your Merchandise

Let’s start by talking about the merch itself. Selling merch does require an investment, and choosing the wrong items—those that don’t end up selling—can result in money lost. Since your goal is to increase your income, that’s an especially frustrating and disappointing result.

You might be tempted to jump out and make large purchases of product to place on your merch table only to find that you missed the mark. Or, you might be so afraid of winding up with 700 CDs (or stickers, or shirts) left over in your closet that you haven’t ordered anything. Neither is a good place to be.

The following four tips can help remove some of the mystery when ordering merch and, hopefully, prevent you from making mistakes.

Popularity. Some items—your music on CDs or t-shirts with your artwork on them—are obvious choices, but others aren’t so clear. Ask yourself what your fans want to buy. If you’re out of touch with your fans or haven’t been selling merch, it might be difficult to answer this question. You can start by talking to or observing other artists in your genre or area who are already selling merch. What products are they offering, and what are people picking up and buying? Also find out what hasn’t worked.

Once you find a winner, stick with it; don’t tinker too much with perfection. If an item is a loser, dump it. Replace badly performing product with new choices. Don’t allow your merch table look empty and unexciting.

Quantity: how much should you buy to start? Once you’ve decided on a product to offer, how much should you buy up front? While it’s okay to be optimistic and hope for big sales, it is wise to test the market first. This might mean paying a higher per-piece price at first, but that’s better than a low per-piece price on a large order of product that doesn’t sell.

For example: you decide to sell a beer mug with your logo on it and think you can get $8 each on your merch table. If you buy 500 mugs, your cost is $3 per mug, which means your profit would be $5 per mug. Sounds good… if all the mugs sell. Or, you might decide to test the market and buy only 10 mugs, but then your cost jumps to $10 per mug. This means you lose $2 every time you sell a mug for $8. What should you do? Start with 10 mugs. While you do not want to be in the business of losing money, a $100 loss for 10 unsold mugs is nothing compared to a $1,500 loss for 500 unsold mugs.

It might cost a little more up front, but applying this practice to all new merch products will save you big money in the long run.

Price point and margin. These two items work hand in hand. Pr[...]

… getting gigs, that is.

There are two ways you can take this—the way your wife says it when she thinks you’ve lost your mind, or the way a well-intentioned friend offers you some career or relationship advice. The truth is, neither way is particularly favorable.

Most people in the music world would assume that this headline (and the subsequent article) is related to using the professional services of a record label or booking agent. It’s not. A record label might be a necessary part of furthering your music career, but that’s not what we’re talking about here.

So what are we saying? Maybe re-phrasing it would help:

You need help from professional friends

Let’s back up a little here.

Early last year, a talented young musician came by our office. She told us what she was doing to make it as a performing musician; she was full of creative ideas (so much so that we had some trouble keeping up), and it was an informative discussion. She plays gigs often, and she’s recorded quite a bit. She has a website, a product manager, music videos, CDs, and merchandise. She has a street team of dedicated fans that help out. She has profiles and content on all the right social networks: YouTube, Twitter, Facebook, MySpace, Instagram, LinkedIn, Google+. She has her music for sale on iTunes, and it is also available on Pandora, Spotify, and Last.fm. And then there’s…well you  get the idea.

It didn’t take long to figure out that she has a lot going on. Maybe a little too much.

Part of our discussion covered how she gets gigs. Now, she stays busy, performing three to five times per week (on average), and her music is her only source of income. She knows gigs are important, she makes most of her income from gigging and selling CDs and other products from her merch table.  Her challenge was finding venues that worked—meaning, the money was good, she connected with the audience, the venue fit her style and skill level, and the venue was happy with the night. When these gigs turned into regular repeat dates she was able fill out her schedule with rewarding performances. When all these stars aligned, she felt like she’d hit a home run.

Earlier in her career, she had worked with promoters and managers who had booked gigs for her. However, she hated that they monopolized the relationship with the venue, so she made an effort to start networking directly with the venue owners. As she dropped the managers and promoters, she worked her existing venue relationships to keep booking her regular gigs. To this day she still believes this was a good move for her career. She is in complete control of the booking process and it has paid good dividends.

The drawback to this method is that, when her go-to venues were booked up and she needed to connect with new ones, the new venues didn’t know her, and they didn’t know if booking her would work out for them. Remember, she no longer had access to a promoter or agent to introduce her to new venues. These professionals spent many years building a reputation for providing the talented artists that a venue needed to survive. If the manager or promoter vouched for the musician they were putting their reputation on the line. A trust relationship with the venue is very important.

Since she no longer had someone to vouch for her, our artist would quite often spend hours making cold calls trying to book a gig, and nine times out of ten the answer she heard was “no”. This soured our artist with this method of finding gigs. (We can’t really blame her; we have past experience with cold-calls in the business world, and it’s absolutely no fun to hear a dozen or more rejections before someone finally says yes.)

To make things even more challenging—when she got a “yes” it was really a “maybe,” and that was just the beginning. She had to send over a press kit that included a complete workup showcasing her talent. Once she passed this initial review (sometimes it would take weeks to get a response), she might be invited to a[...]