Buena Park Music

.

Music is a social object. There, I said it. Music brings people together. Now dig some John Cage:

.

.

Pseudo-deep question: is it music?

.

Pseudo-official answer: who am I to judge?

.

It’s a trap. If you answer yes then you’re a middlebrow poser. If you answer no then it’s a wonder they let you graduate high school. But it doesn’t matter because John Cage doesn’t need your approval. He’s ahead of his time. He’s so advanced of a composer, you don’t even want to know.

.

Theoretical Music

.

In his essay Who Cares If You Listen? Milton Babbitt argues that composers should carry out their research in the sanctuary of the university. Of course, if you want to go on stage and bang around some kitchen appliances in a university setting, the safe environment comes at the expense of any chance of popular appeal. According to Babbitt, that’s okay because that’s how theoretical physics is developed and most people don’t understand that, right?

.

Right. But in 1958 most people understood the concept of going to the moon. So they understood the point of theoretical physics, if not the specifics. Even the most obscure research and development takes place to solve some type of problem, so what problems are being solved by theoretical music?

.

Opportunity Cost

.

Musicians have good reasons to avoid going to conservatory these days. Beyond the harsh truth that a degree in humanities is simply not worth the money, even if you have been dedicated enough to earn a full scholarship, do you really want to learn about music from people who don’t believe you should seek an audience?

.

Every time some indie band bores audiences with musical dreck that lacks confidence and clarity, or a pop artist wallows in gratuitous melismas and Autotune, or a hip hop artist yammers on about how rich they are, we are witnessing the dilution of three traditions at once. They are being diluted because they are failing to evolve.

.

Isn’t it the stated purpose of university research, or of any public support for the arts, to empower artists who inspire us with creativity and innovation? When the study of music takes place behind closed doors, when composers declare a monopoly on their knowledge so it can only be used to produce work that few people understand and even fewer people enjoy, something is wrong.

.

Ones and Zeros

.

The internet has made a ton of information available to a ton of people. What used to be distributed through a heirarchy can now be shared socially, which means that colleges and universities no longer have a monopoly on learning. What “art music” composers never want to admit is that music theory is not rocket science. Music theory does not need to be actively developed, because it is not an end in itself.

.

Composers and musicians have always been free to disengage with their audiences, and audiences have always had plenty of other things to interest them. You can only “challenge” an audience so much before they start ignoring you, and if the point of music is not finding a suitable balance, or “compromise” if you want to be nasty about it, then what could the point possibly be?

When you have gone out of your way to build up a reputation and solicit venue owners to finally book a show for your band, it’s awfully silly to have all your efforts compromised because you failed to make to most of the actual gig.  Yet, it’s amazing how often this happens.  Here are some tips to keep in mind when your goal is to entertain your audience while building on your reputation:

.

1)      Have a good idea of where the gig is.  Double- and triple- check your directions, and leave early enough to allow yourself time in case the venue is hard to find.  Go to Google Maps and print out a map showing the directions you will take, and check the street level view in the venue’s area so you are already oriented when you arrive.  Remember, you have to setup your equipment and run a sound check, so there’s really no such thing as too early.

.

2)      Some higher-profile events, such as festivals, require you to have security clearance.  Get the information ahead of time and make sure this will not be an issue, and make sure you know where you are to park, unload, etc.  You should have an A-Z idea of everything you need to do to prepare for the show, and leave as little as possible up to chance.

.

3)      Even though it is a good idea to at least be in the area as early as possible, get a specific setup time from the venue owners or promoters and show up 15 minutes before that time.  Make sure it is physically possible to setup your show in the time provided.

.

4)      Ask if the venue provides a PA system or if you will need to provide one.  Also, ask if there is a stage provided or if accommodations need to be made for the performance area, such as moving tables.  The venue owner will appreciate your consideration.

.

5)      Duct tape is your friend.  There should be no loose cables in the performance area.  Make sure you have enough room to move around without tripping over something or pulling a cable out of an amp.

.

6)      For your sound check, you want to keep your treble and bass sounds from overwhelming the mix, and you want to avoid unwanted feedback.  Keep in mind that two different mixes are used, one for your stage monitors and another for the house speakers.  The monitor mix will affect your performance, and the house mix will affect attendance and future bookings.  Ask yourself what can be turned down, rather than what can be turned up.  In other words, get a professional sound technician.

.

7)      Limit breaks and intermissions to 10 minutes.  People will start leaving if your breaks are much longer than that, and then you will be known as the band that takes too many breaks, which is no good.

.

8)      Do not criticize band mates on stage.  It’s unprofessional, it burns bridges, hurts the vibe of your show, and makes you look like a diva.  People make mistakes, and if something is bothering you, mention it after the show.

.

9)      Ensure people are coming to your show.  Promote the hell out of it, get people in the door, and you are much more likely to get booked again in the same venue.  If you are playing to an empty house you are doing something wrong.

.

10)  Tune up before you start playing.

.

11)  If you can afford it, have extras of everything: strings, picks, guitars, amps, you never know when equipment will fail, but you can bet it will happen at some point.

.

Your experiences playing live will be far more enjoyable if you are serious and prepared.  While many of these suggestions may seem like common sense, these are the types of mistakes that hinder a new band and prevent them from reaching their potential and gaining fans.  Be aware of these errors and omissions, and give your audience the performance they deserve.

A band that plays in a garage all the time is destined to stay in the garage.  Success depends so much on being in the right place at the right time, and for a new band the right place is onstage in front of an audience, and the right time is now.  In the beginning stages, nobody is going to approach you begging you to play at their establishment, but at the same time, the art of getting shows booked and attracting crowds to them is no huge secret.  Familiarize yourself with the following concepts if you want to be competitive:

.

1)      Music itself is impossibly subjective, so what promoters care about most is relevance.  A press kit proves your relevance, and for that reason it is your primary and most powerful promotional tool.  As you play more shows and get more fans and press coverage, you will want a central document chronicling your achievements; this is your ticket to playing larger shows, gaining more exposure, etc.

.

2)      Arguably the most important part of your press kit is your demo.  If you haven’t had enough exposure yet to dazzle promoters with your positive press, a well done demo can often land you gigs in smaller establishments.  Even though you might not consider this an “official” release, quality still matters.  Whether it is recorded at home or in a studio, your demo should reflect your performance as you intend it to sound live.  This is easier and less expensive to do than you might think.

.

3)      Open mic nights are a great option for artists who have not developed a significant fan base.  In urban areas these are hosted almost every night of the week, and they have served as entry-level performance opportunities for about as long as music has existed.  A good open mic has a built-in audience comprised largely of other artists, and networking with other artists is never a bad idea.

.

4)      Bands and artists love opening acts, and they love free stuff, so if you offer to open for someone for free, there’s a good chance they will say yes.  Like an open mic, this gives you a built-in audience.  Unlike an open mic, you get a longer set and an implicit endorsement from another artist.  Hand out business cards to people in the audience, and give a press kit to the venue owner or any promoters in attendance.  Or journalists.  Or bloggers.  Lots can be done in a single evening.

.

5)      After playing open mics and opening for other artists for a while, odds are you will have gotten a few write-ups and thus a beefier press kit.  Start visiting venues that are a good fit for you and leave them your press kit and demo.  Give them a day or two for review, then call and ask for feedback.  You don’t want to be a pain in the ass, but you do want to be persistent.  Ask if there have been any cancellations that need to be covered; you’ll be surprised at the number of bookings you get because of cancellations.

.

6)      Lose the idea of getting paid in the beginning, and your opportunities for exposure will be enhanced.  Offer to play at festivals, town fairs, and other events with large audiences.  Just as you would at any show, hand out business cards and press kits.  With greater exposure comes greater demand and better ability to attract crowds.

A good band or artist can begin a successful career no matter where they are located.  One does not have to live in a big city in order to find a market for their art; as a matter of fact, the smaller the audience for live music in your area, the easier it is to make an impression.  Large-scale success begins with cultivating a small following of dedicated fans.  Here are some tips:

.

1)      Get an idea of what your strongest material is.  This doesn’t necessarily mean your personal favorite; remember, you are trying to get people to your shows.  Which songs, beats, and hooks are most likely to win over a live audience?  As a performer, you need to develop a sense of what your audience is into and, to an extent, cater to it.

.

2)      Have a specific, actionable goal in mind with everything you do.  Are you trying to sell a song or a beat, or get noticed by an A&R rep, or sell CDs, or simply gain more fans?  Different goals are achieved using different strategies and tactics, and focusing your energy to a specific end will greatly enhance your chances for success.

.

3)      Become well established as among the top artists in your area.  Identify other artists in your league, seek them out, and attempt to ally yourself with them.  If an artist wants nothing to do with you, don’t dwell on it and do not under any circumstances share your marketing plan with them.  Likewise, if an artist with a  demonstrable following approaches you for an alliance, always say yes, no matter how well you like their music.  Remember, you are essentially promoting a business, not showcasing your musical taste.

.

4)      Respect your fans.  They are your friends with whom you share an interest, not merely consumers of your merchandise.  Give them things for free as often as you can, whether it be music, advise, swag, whatever.  People want to feel personally connected to the artists they like, so always cultivate positive vibes, just as you would with any friend.

.

5)      Create a market where there isn’t one already.  Even if you live in a town with no good live music to be heard anywhere, that doesn’t indicate a lack of demand so much as it indicates a lack of supply.  Most small towns have at least one high school and are in proximity to some type of college or university.  Get to know the people at your closest college radio station, or help a high schooler start a band or find a place to play.

.

6)      Publicize all your accomplishments.  Call your local newspaper before your shows.  Contact anyone who writes about local culture and try to get them to review your records or concerts.  Chronicle your activities on a blog (a subject in itself).  Make the right kind of noise and you will be noticed before too long.