This Week's Tips - 28 March 2014

Last week I read a great newsletter by Madalyn Sklar of gogirlsmusic.com and wanted to share a bit of what she had to say:

"I want to talk about something I think is important: Accountability

Accountability is defined as:
An obligation or willingness to accept responsibility or to account for one's actions

I know. It's a scary word to most people. It is for me too. That is why years ago I started the GoGirls Elite Mastermind Group. If you don't know what a mastermind is, click here for details. And below is the definition of mastermind group.

Mastermind Group: A small group that you meet with for the purpose of reinforcing growth and success while offering support to one another; a group that has been identified and set aside to concentrate specifically on growth and manifesting success.

I'm a big believer in two heads are better than one. That is the whole basis for mastermind. Working together in small groups to elevate each other to new heights. It's empowering. It's enlightening. It's amazing! I decided back in September that I would restart the GoGirls Mastermind. It has been nothing short of magical. The best part about it is accountability. Doing what you say you are going to do. It's one thing to say it. But to then do it and have others cheering you on. Well that is a completely different thing because it gets you to do it.

Think about what is important for you to accomplish right now. What is holding you back? What if you surrounded yourself with like-minded people? I think you would reach your goals faster. That is what mastermind does."


I hope you enjoyed Madalyn's thoughts on accountability as much as I did. Visit her blog for some great insights about the music business, social media and more!  http://www.madalynsklar.com/.

10 Things You Should Never Say On Stage ... Guest Post by Ari Herstand

1. We’re Having Technical Difficulties

Even if your guitar just caught fire. Well actually, that would be hilarious if you said it then. But when bands sheepishly admit it into the mic, it’s uncomfortable and kills the vibe. Technical difficulties are your fault. Even when they’re not. It’s your stage. It’s your show.

You should know your gear inside and out. If something is cutting out or screeching or feeding back, you should either know immediately what it is and be able to remedy it in 13 seconds or know how to quickly figure out what it is.

It’s your job, as the performer, to command the attention of everyone in the room from start to finish.

2. I Forgot The Lyrics

The worst is when singer/songwriters sing a line like “I forgot this next line la la la.” That is so annoying. Not funny. If you can’t memorize your lyrics then bring a lyrics sheet on stage as reference. Or make shit up on the spot.

The only thing worse than shitty lyrics is forgotten lyrics.

3. I Want To Thank My Girlfriend

It’s like having a one on one conversation with someone in the audience off the mic. Uncomfortable for everyone else in the house.

Leave her out of it. It makes you look whipped. If she did something truly awesome, then you can say something like “we’d like to thank our friend Sarah for getting this song into the hands of the music supervisor at Parenthood.”

If your girlfriend needs to be publicly thanked for her support then you have bigger issues you have to work out.

4. I’m Sorry

Don’t ever apologize on stage. It makes you look weak. I don’t care if you just dropped a baby. Don’t apologize.

Making excuses for your shittyness makes everyone in the house uncomfortable and feel bad for you. I hear it all the time: “I forgot the rest of the song. Sorry.” “I’m sorry if this song sucks, we just wrote it.” “I’m sorry there aren’t more people here.” “We haven’t rehearsed this much, it might suck.”

Own the stage. Own the room. Own your set. Or don’t show up.

5. Your City Sucks

Should be a no brainer, but I can’t tell you how many touring bands I’ve seen make fun of the city they are in – ON STAGE. It may be fun to joke about in the van, but your audience takes pride in their city. No matter if you think their city is cool or not.

Never say anything negative about the town you are in while on stage unless you want a beer bottle thrown at you.

6. This Song Is About My Grandma Who Died Of Cancer. Love You Nana.

Don’t depress your audience. You can play a song about your dead grandma, but you don’t need to tell the audience that’s what it’s about.

People don’t pay money to come to shows to be sad. They come to be happy. To have fun. To be enlightened. To be inspired.

If you can’t communicate the power of your song by just playing it, then maybe the song isn’t really that good.

7. I’m Broke

Don’t make your audience feel bad for you. It removes the mystique and coolness factor. You can say “help us get to the next city and pick up a T-shirt.” That offers an emotional appeal in a positive light.

But saying “we’re broke, so buy a t-shirt,” just turns your audience off.

Guilting your fans into buying your merch never works.

8. You Guys Suck

Even if 95 out of the 100 people are screaming above your acoustic set while smashing glasses and vomiting in the corner, 5 people are engulfed in your set. Never insult your audience. They always have one ear to you – even if you are just background music.

You may think no one is listening, but you’ll be surprised at how many compliments you get and how much merch you sell once you hop off stage.

9. Any Requests

You’re never going to get the songs that you actually have prepared and there will always be that one asshole who yells “Free Bird” as if he just came up with the joke.

Play your set as is. If someone drove 300 miles to hear one song, she’ll yell it out whether you ask for it or not.

10. How Does It Sound

This is a slap in the face to the sound guy. Never ask the crowd that. It should sound amazing. If it doesn’t, then it’s either your fault or the sound guy’s fault. Either way, you just pissed off the one person not in your band who can actually make you sound WORSE.

Ari Herstand is a Los Angeles based singer/songwriter and the creator of Ari’s Take. He is hosting a music business meetup on March 29th in Hollywood before his record release show. Sign up here. Follow him on Twitter: @aristake

Ari's Take: Should You Pay to Play ... Guest Post by Ari Herstand!

I live in LA. I've only been here 3 years, but in that time I've met many excellent musicians in town all talented enough to explode at any moment. The sad reality is, in a town so saturated with incredible musicians, the cream isn't necessarily rising to the top as quickly as it would in other cities. Everyone who is great here is on the same level - getting little victories here and there. Some land a major tour and hit the road. Some get signed and go through the major label roller coaster. Some work the YouTube angle. Some make their livings on song placements. Some fly around the country playing colleges. Some get in their car and tour the coast/country on their own. But what all the non-superstar musicians in LA have in common is, when we play a show in town we accept shitty shitty deals. How do I know that these are shitty deals? Well, I've booked shows in nearly every major city in the country and know how other cities do it.

This isn't going to be a post about LA (as that could fill a book), but rather the issue of "pay to play" clubs.

Let's explore some of the many scenarios bands get offered by venues and promoters every day:

THE WORST

Require bands to purchase tickets upfront
WHAT IS IT: Typically this happens with "promoters" who scour Reverbnation (they used to use Myspace), find naive bands and promise them slots at well known venues. All you, the band, have to do is sell 35 tickets (which you must purchase in advance). But hey, you get to keep $3 for every ticket you sell! What a deal! Except you have to buy the tickets for $7 and sell them for $10. If you do the math, you are making 30% of the cover from the people JUST there to see you - which is the shittiest deal in the history of shitty deals. They usually put about 5-15 bands on a night, who each play about a 20 minute set. And the bands almost never fit together musically.

IS THIS FAIR: F NO! How these "promoters" get away with this is they prey on young bands who don't know any better and will do anything to just play the venue - including paying lots and lots of money for this. As tempted as I am to name the names of these fucktard promoters who do this (and boy would I like to) I will not and hope that enough of you read this article and tell these promoters to politely fuck off when they contact you (as I have many many many many times).
_{+++Fun story: My final year in Minneapolis, one of these promoters kept hounding me to play a club I had actually headlined many times. I told them that I typically get 500 people to my headlining shows and I'm not interested in their deal (as I had a very good relationship with the club already). They responded explaining how much money I could make with their shitty deal if I brought 500 people (duh). I responded telling them no thanks and to please not contact me again. I was then hit up by the same "person" with the same stupid form email multiple times in the coming weeks. Each time my responses got more and more annoyed, until finally I contacted the owner of the club and told him what was happening and how it was giving the club a bad name and that they should stop working with this promoter. The owner cancelled their upcoming show and hasn't worked with them since. BAM! More bands need to do this in more cities.}

LESSON LEARNED: Don't pay to play cool venues. You will be PAID (a fair amount) to play these cool venues when you are ready and can draw a substantial crowd.

+My Response To An LA Promoter
+50 Is The Magic Number (Book a Headlining Tour)
+How I Got 250 To My Debut CD Release

REALLY BAD

Venue takes a band's credit card at the beginning of the night to cover the difference in the required minimum draw

WHAT IS IT: This is almost as bad as the above scenario. A venue takes a band's credit card at the beginning of the night and unless a certain number of people pay to see that band (the door guy has a tally sheet) at an absurd cover price, the venue will charge the band's credit card to make up the difference. This actually happens at clubs on Sunset Strip.

IS THIS FAIR: No. You and the venue should be in this together. You took a chance playing their club, they should take a chance on you. I get it, they are trying to protect themselves financially, but there are much more ethical ways to do this.

LESSON LEARNED: If the venue doesn't have enough faith that you will bring a crowd, then don't take the show.

BAD

Venues charge a "rental fee."
WHAT IS IT: Music venues that also host private events like weddings got smart to the fact that they were making a buttload more money when they got wedding parties to rent out the venue than if they book a night of music. So, these venues figured, "why not ask bands to pay nearly the same amount to book a night in our beautiful venue?" They'll make you rent the place for, say $1,500. You can charge whatever cover you like and will make 100% of it (if you're lucky). You are essentially acting as the promoter. Oh you play music too? Eh.

IS IT FAIR: Well, it's not ideal. The venue is basically completely covering their ass and will make out on this deal regardless if you bring anyone. The venue is basically admitting they have 0 faith in your draw and they are doing YOU a huge favor in LETTING you play their club (for an exorbitant fee).

LESSON LEARNED: I would say pass on this deal typically. Play a different club that gives you a fair and standard deal. Or, crunch the numbers and if you think you will bring enough people to make this deal worthwhile then go nuts. It helps to fill a promoter's shoes once in awhile.
+BookingYour Own Tour: A How-To Guide

SNEAKY

Venues only pay you after a certain number of people come to see YOU
WHAT IS IT: I've only really seen this kind of deal in LA and NYC (some other cities are catching on though). Basically, the door guy has a tally sheet with each band's name on it. The venue works out a separate (standard) deal with each band. Typically, you get paid ONLY if a certain number of people (I've seen 15-75) pay to see you (and not the others on the bill). You then get a cut of the door from dollar 1 after the minimum number of people come. Meaning if the minimum is 35 people at $10 a head and you bring 33, you walk with $0 (and the venue takes your $330 - and all the drinks your fans buy). However, if you bring 35 (and your deal is 60%) you walk with $210.
+Booking Your Own Tour: A How-To Guide

IS IT FAIR: Kind of, but not really. On the surface it looks like they are just covering expenses, BUT if they have 5 bands on the bill and each are required to bring 35 people at $10, the venue is getting WAY more than just the amount to cover expenses. If every band brings 30 people the venue makes $1500 (30 people x $10 x 5 bands) and each band makes $0. Yikes!

LESSON LEARNED: I don't like these deals because it encourages competition amongst the acts and not a "we're all in it together" approach - like I stand by. You have 0 incentive to work with the other bands on the bill to make it a great night - encouraging fans to stay from beginning to end. Because of this, bands in LA and NYC don't get to know each other that well and typically show up right before their set and leave shortly after. "Hit it and quit it." Which rubs off on the fans too. It's VERY unique to see fans in LA or NYC come for a full night of music (because of this practice). Venues don't realize that if they stopped working their deals this way and started encouraging complete bills and promoting the entire evening of music, they would get more people in their club for a longer period of time (i.e. more drink sales). But hey, I don't run the clubs.

STANDARD

Venue takes expenses off the top
WHAT IS IT: A venue will take an amount off the top to cover expenses before they split the door. I've seen anywhere from $50-1500 for 700 cap and below clubs ($1500 was the Roxy on Sunset Strip). Standard is $50-350 depending on the size of the club. Anything above $350 for a club under 500 capacity is screwing you.

IS IT FAIR: Sure. They wouldn't need to hire a sound guy or a door guy if you weren't playing there that night. This money (typically) does directly go to these people and then the venue splits the remaining money with you fairly.
+What is a fair venue deal?

GOOD

Door split from dollar one
WHAT IS IT: Many venues are happy to have you and will split the door with you from the first person who pays a cover. This is ideal. If 10 people come at $10 a head and you have a 70/30 split with the venue, you walk with $70.

IS IT FAIR: Absolutely. I see this deal occasionally, but most will at least take $50 off the top for the sound guy.
+The Sound Guy

GREAT

Guarantee + % of door
WHAT IS IT: If you are more established and have a great relationship with the club, you can negotiate this kind of deal. It takes some serious clout though and a proven history in their club. Venues will do this to get you to play their club (and not the many other options in their city). Because of your proven history, they feel confident that with the amount of promo that they will do, they will be able to get enough people out to your show to make it financially worthwhile for them.

IS IT FAIR: Absolutely. You earned this!

There's a fine line at what is acceptable, ethical, smart business and career advancing.

Look at it from the venue's standpoint: They are taking a risk every time they open their doors for a show. If no one shows up, then they do lose money (door guy, sound guy, bar tender, electricity, heat, AC, on and on). If they are strictly a music venue and don't open unless they have a show, then they really are losing money the moment they open the doors, until people (ideally drinkers) enter their club.

The biggest misconception bands have about venues is that the venue is supposed to promote their show and bring people to the club. Venues think bands should promote the show and bring people to the club. In the end, neither end up promoting the show and no one shows up.
+How I Got 250 to my Debut CD Release
+50 Is the Magic Number (Book a Headlining Tour)
The reason all the clubs in LA and NYC can create such horrible deals for the bands (and fantastic for the club) is because there are SO MANY bands willing to take these shitty deals. If one band refuses, then there are 10 more waiting in line (maybe not as good) that will take the deal. Venues in smaller cities tend to create better deals to lure in the good bands who will bring a crowd. They realize that if they offer shitty deals and enough bands pass on the deals, there will be no bands left to play their club and they'll go out of business.
+Don't Be Afraid of The Phone (what bookers look for)
The most important thing to understand is don't play a big venue if you can't fill it. Take shows at a smaller clubs and fill them. Open for bigger bands at bigger venues to build your crowd. Keep selling out the small clubs and eventually you'll be able to move up the big clubs with enough clout to get a fair deal.
+My Response to an LA Pay to Play Promoter
+Our Tour Page Is Totally Full (of empty shows)

If you want to Get Specific with me about your project and situation shoot me an email (via the Contact Ari form) and we can setup a consulting session.

17 Things Local Bands Just Don’t Get ... Guest Post by Ari Herstand!

1. Trashing other bands in your scene isn’t hurting their rep. It’s hurting yours.

2. Acting disinterested with folded arms at the back of the room at other bands’ shows does not make you cool. Singing along at the front of the stage does.

3. Looking like a rock star isn’t as important as sounding like one.

4. Image is actually important. Cargo shorts are for dads at a barbecue. Not for musicians on stage.

5. Being respectful and friendly will take you much further than being superior and entitled.

6. Going to other bands’ shows is THE most important thing you can do to support your scene.

7. Your scene’s gatekeepers are friends with each other. Get in with one and you’ll get in with them all. If you piss one off, prepare to be blacklisted.

8. You don’t need press to pack a show. You need a strong work ethic

9. Physical promotional materials are still incredibly important. Get out into the world and put up some posters and hand out some flyers. Don’t spend all of your time on Facebook.

10. Facebook is dying. If your entire promotional plan relies on it, you’re doomed.

11. You need to conquer your hometown before you can hit the road. If no one cares about you locally, what makes you think people will care about you anywhere else?

12. Touring means nothing unless people actually show up to your shows. Do not tour unless you know how you’re going to get a crowd at every show.

13. Playing around town all the time weakens your draw. Spread out your shows so you can promote one big show every 6-8 weeks.

14. HOWEVER, when you’re starting off, you need to play out everywhere and anywhere all the time to get practice. Record every show. Once YOU love listening to your live set (and non-friends and non-family tell you they love your band) then you can book real shows and charge a cover.

15. If you suck, you do not deserve to be paid. Get good first. Then you can start charging.

16. No one in the industry cares about how good your music is. They care about how successful you have become on your own.

17. Go out of your way to help others in your scene. It will eventually come back around.

Ari Herstand is a Los Angeles based DIY musician and the creator of Ari’s Take. His record release show is Saturday, March 29th at the Hotel Cafe in Hollywood. Get tickets here. Listen to his new single “Keep Fighting” here. Follow him on Twitter:@aristake