Booking Your Band: The Right Gigs for the Right Money

What kind of band do you have? What kind of crowd is going to come see you? Will people follow you from venue to venue? What are you going to do to get people in the door? These are all questions you need to ask yourself before making a single call to book your band. Consider this: There are bands that once had record contracts and songs on the radio that can't even make enough to pay each band member 100 bucks. Is that fair? Some bands have big crowds at every show but don’t get the money they should. Should the club take all the profits? Unfortunately, club owners and bands usually do not communicate well enough for both sides to find common ground. When there is money to be made, there should be a way for everyone to share a piece of the pie.

When you’re young...you take anything and everything - cookouts, yacht clubs, telethons, bake sales. Anything you can do to play in front of people. Now you’re looking to take the next step - recording costs money, new gear costs money, rehearsal space costs money, not to mention gas, food, strings...yes, you should get paid to play.

Here is a rundown of what I look for, what you should look for, and how to go about keeping it so everyone wins. Oh, and how to go about getting blood out of a stone if necessary:

 #1: If you can bring the people, you should be paid for it.

How many people can your band put in a club? That is what matters, end of story. Oh, wait - your bass player went to Berklee, your drummer once recorded with the singer of (insert band), or your singer headlined Budokan? If it doesn’t translate to paid admissions, it’s as relevant as your waist size in high school. Nobody cares. Anyway, let's say this is your first show at a new venue and you are unsure of how many people you can bring. I call these "Aunts and Uncles shows," because you better be calling everyone with a pulse - including your aunts and uncles, mother and father, and even ex-girlfriends - to help make a great first impression. If you go in there and fail, you’re looking at a second show for probably less money just to prove the failure was a fluke. If the place will even hire you again, that is. If you bring a huge crowd first time in, your work ahead is already going to be a lot easier, but there are other things to think about. Some clubs have built in crowds, so how do you go about protecting your band’s interests? An example - say you take a gig first time in for the minimum price of $500. Figure out what the capacity of the venue is, ask what the cover charge is, and do some simple math: If a room holds 300 people, and the cover charge is $5, then a maximum of $1500 will be yielded at the door alone. Consider that both the club and band will have a certain amount of non-paying customers, so adjust that yield to $1350. You are being paid $500, but what about the $850 that the club made off the door after paying your band for filling the venue?

On the other side, a club has to pay its staff, electricity (the sound system uses a hell of a lot of juice, by the way), and heat/AC, and they have ridiculously high liability insurances. They also have alcohol profits that you aren't going to see any of (that Budweiser you paid $5 for at the bar only cost the owner about a buck). Why shouldn't you get a bigger piece of the door once your band establishes itself? That's the key - after your band establishes itself. My rule of thumb - once can be an accident, twice can be a coincidence, but three times is a trend. Wait for three good shows before hitting up the owner for more cash, and don’t take no for an answer. Get those aunts and uncles out to see you!

 #2: Pigs get fat, but hogs get slaughtered.

Always leave room between your head and the ceiling when negotiating a raise. As with all bands, there will be nights where you blow the roof off the place, just as there will be rainy or snowy nights where it's slow - but those big nights will always show your capabilities. At the end of the gig, you want the club to have made money, you want the staff to have done well in tips, and you want the money the band made to be a reflection of the crowd it drew. However... If you want to be that ball breaking jerk who asks for every loose penny that falls out of a patron's pocket after they paid a cover that was already set too high so your band could make more money, club owners will delight in throwing you out on your ass you when you no longer draw. They also will look to pay you less for underachieving. Make the money you deserve for a big night. Give some of it back if it doesn't turn out the way you anticipated. That’s right…offer to take less. Show you are willing to work together.

True story…a band had an $1800 guarantee for a gig at a beach club, and the hurricane/monsoon/apocalypse that happened on the night of the show reduced the crowd to about 60 paying customers. When the owner sat down with the bandleader at the end of the night, he asked if they’d take $1200. The bandleader told him to give them $1000, knowing the club took a bath even paying that reduced rate. The owner gave it to him, shook his hand, and said, “I can pay my door men with that extra $200 - I really appreciate it.” Next time in, it was a great crowd - the owner gave them $2300.

 #3: A club isn't obligated to give you a raise; your band isn't obligated to keep playing there.

Some club owners get it – thankfully, all the ones that I book with are extremely fair and generous, and I love doing business with them. If every owner in the world were that way, I probably wouldn't have written this blog in the first place. If you are consistently making more off the door for the owner than for your band, a raise is definitely not undeserved. Some places might come right out and offer more, though some will wait for you to inquire about it. You can ask, and they can certainly say no. So do you keep booking there? By doing that, you are telling them you are willing to play for no extra money - where is their incentive to give it to you if they already haven't? Personally, I would exercise my right not to play there unless the club will meet the bare minimum. Do it with class and dignity - respond to calls from the club that "we're all set, we have no open dates" rather than having a loud screaming match. If they don't call you again, then your loss amounts to little more than an underpaying gig for an owner who didn't value your services. If they do call to ask why you won't book with them anymore, you now have a forum to properly air your grievances. If they still refuse a raise, then you continue to play elsewhere. Remember, what you are willing to accept is what you will receive.

 #4: Don't play the "Tonight I'm your friend, but tomorrow I'm your enemy" game.

Every area has more than one place that features live music. I won't play multiple rooms within a five mile radius - I will not pit one club against another, no matter how much money is available. When I ask an owner for the money I know the band deserves, one of the things I state and stand behind is that I will not book shows at their competition. For that matter, don't play two shows in the same weekend that will draw from the same audience pool. Clubs in different cities? Even then I tread lightly if they are inside twenty miles – I always let clubs know where else we are playing. A little loyalty goes a long way. If I expect a place to treat my band with dignity and respect, it all starts with me giving the same to them by not taking our following down the street to another venue. By showing a club that you are willing to work with them in this manner, you are helping build a greater relationship between club and band that is going to pay off for you both in the short and long term. Loyalty - give it and you'll get it.

 #5: Know the kinds of gigs that work for your band; Know the gigs to avoid.

Playing shows in most cover rooms around Boston means having to play all the cover songs that many bands are also playing (see my blog, “Songs From the List”): What I Like About You, Laid, Blister in the Sun, Sweet Caroline, She Hates Me, Crazy Bitch, My Own Worst Enemy, etc. If this is what the young crowds expect to hear, then that is what you have to play. What you must NOT do is to book shows in these venues if you can't deliver what the built in crowds demand. Don't play dance songs to a listening crowd; don't play listening songs to a crowd that wants to dance. Find the places where your repertoire will go over best – would a vegetarian go to a steak house for dinner?

On a similar note, in the same way a champion boxer needs to be punched out of the ring and into retirement, bands always seem to be the last ones to want to look in the mirror for an honest self-assessment when the glory days are gone. An example: a band I refer to as "The Unarmed Cowboys" because they no longer draw...one week after opening a show in front of 1500 at the Hampton Beach Casino, they played to 15 at a bar in Gloucester, and then went back two more times to play for just the bartenders. I wish I was making this up - painful is not the word. Just because at one point in time you used to draw big crowds, you cannot honestly expect big money and great gigs when you no longer can bring anyone to see you. As I said about your high school waist size...I used to fit into size 28 jeans…that means nothing to my size 32 waist. If you can only sell 50 tickets, play a room that holds 45. Hey, I'm just the messenger.

 #6: ASK! Information is out there.

When waitresses and bartenders say, "I put in for this night because you guys were playing," it's validating, as this is a great indication of how well you are doing in the eyes of management.

You also can learn a thing or two about the other bands who play in the same clubs by asking the employees - you don't have to play the same songs, but studying the ones who draw well and what makes them successful can only help. Some people like to have smoke blown up their ass. Personally, I never did. If what we are doing doesn’t sound good or isn’t working, I want to know. The new song you’re trying, or the wrong band member singing it, well, you want as many real opinions as you can and then weigh them out. The opinion of the crowd is important, since they are the one’s paying for your night’s work. Asking anonymous crowd members, “What part of the show do you think we need to work on?” can point you in the right direction more often than not. Sure, everyone has an opinion and not all are on point, but at least you can get ideas of what you can tweak.

 #7: Do your homework before accepting a show!

When you get to the venue and find that the sound system is inadequate, or doesn’t exist…you find that there is no stage…you discover in the middle of the first set that the place has a reputation for fistfights but not enough bouncers…you realize after accepting the gig that you and the owner never really did settle on a price and now he has amnesia…the horrible load in is even worse when loading out in the dark at 2AM… I’m certainly not perfect. Whenever I realize that I forgot to ask an important question, I tell the band, “Gentlemen, I have shirked my duty…” as I prepare for a verbal flogging.

 #8: Find other bands to play with if you can't draw enough people for shows: build your following by winning over people who follow other bands.

Granted, you can't do this sort of thing just anywhere. But some club owners don't care if a trained monkey with a squeeze box is standing on stage; they just want to count the money at the end of the night, and don't care how many bands are on the bill. If you can't sell out a place by yourself, it wouldn't be a great idea to fail in the eyes of management, because they will see you as a band who can't get it done. But by pairing up with another band, you increase the odds of a sell out, and will also gain exposure from playing for people who likely wouldn't have been there if not for the other band. Pretty soon, neither band will need the other, but the networking will have been very valuable.

 #9 Advertise!!

You don't have to take out an expensive ad to get people in the door; you don't need anything more than a message, and there are plenty of places to show it. Design something quick and easy, either print it at home or take it to a local copy center or print shop, and hang it in any public place located near the venue. Do the same in the area where your band hails from. Start a Facebook group where your fans can find out more about the band and upcoming shows - it's FREE! Music fans are everywhere; word of mouth is still the best way to get them in the door. Facebook is a great place for band advertising. However, posting a gig notice three days before the show does not constitute proper planning. Do not, under the penalty of death or worse, expect the club to bring the crowd for you with their social media postings, either. At the end of the night, don’t be in a position for you and the owner to be pointing fingers at each other as to why no one showed up.

 #10: Pay attention to those who come to see you, and what they comment about.

Listen to what the people say! If what you're doing is yielding less than positive results, don't be afraid to tweak things based on what the word on the street tells you. Ask your musician friends for the truth - fake praise will get you nowhere. The crowd sees what you can’t, and there are more of them than you.

 #11: Get out and see other bands!

There are too many musicians who don't go see other bands. Yeah, I know, life gets in the way of a good time. Many people who went to the same clubs religiously every week no longer can get out much unless they're playing. I know...we were young then, but we aren't now, and it was so much better then than it is now. Bull. There isn't a single musician that I know or play with who was better 20 years ago than they are now. Sound systems are much better, and nobody is drunk to the point where they can barely play. Most clubs are set up better now than they ever were, and nobody is spending two hours putting makeup on and doing their hair like they did in the 80’s - not just the bands, but the crowd! Right now, everything is easier about live music than it was then. Yeah, getting out of the house might be a challenge, but c'mon, support those who support you!

 #12: Know when NOT to play.

Every band has a right amount, too much, or too little when it comes to how frequent the gigs are. When you play, and how often you play, are both very important. There are weekends to play, and there are weekends that you have to be in the right spot to expect a crowd. First two and last two weekends of the year…the warmth of my home is far more inviting, and the same amount of people will be in my living room as one of my gigs - everyone is broke from the holidays. Weekend shows in early January - if your football team is good, their playoff games will probably be on weekend nights. Early May, know when the proms are happening – parents don’t go go to bars or clubs when their kids are at the prom. Between Memorial Day and Labor Day? Book near water, as beaches and lakes are where the crowds are. Father’s Day weekend? Around New England, Bike Week means that your gig might be sparsely attended if you aren’t in Laconia, NH. April and May, September to November, book like a fiend.

I realize that some musicians like to play concerts while others use gigs like an ATM for quick and consistent cash. Obviously, if you space out your shows with both distance and time, you will draw better. If you play four shows within a 10-mile radius inside a month, you will have hits and misses with less chance of a home run. The choice is yours, but remember, if you play a show to a light crowd, that’s one more reason for a club to lose faith in you.

 #13: Hire a soundman to do sound for every show - consider them a member of the band.

When you go see a band and don’t like the way they sound - feedback, too loud, too muddy, can’t hear the vocals - that is a band at the mercy of a soundman who doesn’t have an investment in the product. Like guitarists, plumbers, and lawyers, some sound engineers are better than others. Find one who makes the band sound good, and give them every date you book. They will adjust your stage volume, give tips on EQing your sound, and put you in a position to sound as good as possible. Just think...all that rehearsing, all that preparing, only to come undone because of poor house sound. Never give people a reason not to come see you.

#14: Contracts...“Thou shalt always cover thy ass...”

So you’re all set for a big gig on Saturday night. Your Facebook invite has 120 people coming, there’s been a huge buzz all month in anticipation, and rehearsals have the band in prime shape. Oh, wait...there’s a playoff game on Saturday night at 8? The above scenario has happened to every band I have ever known. If you’re “lucky”, they’ll cancel you...if you aren’t, they won’t, and hundreds of people will be screaming, “NO MORE BAND!” as you try playing. Even worse is when they make you wait until after the game is over to start playing - no one cares about you if the home team loses. Actually, all three scenarios are bad for the band. If they cancel you, then you lose a night’s pay. However, if you have a contract stipulating “Rain or Shine” or something equally applicable, you have some leverage. You don’t necessarily have to hold them to full payment even if they cancel your show, but you can definitely force a quick rebooking as opposed to losing your turn and waiting months for a another opportunity. But the big thing is that you have it in writing; there is no mystery as to what they owe you in payment and amenities. The contract always trumps an owner with situational amnesia.

Final thoughts… Maybe none of this helps...maybe you think I'm all about money. To that, I ask, "How valuable is your time?" I also ask, "If a club can advertise live music featuring your band, why are you not entitled to be compensated fairly?" I'm about fairness, plain and simply, and for both band and club. We have to do what we can to bring a crowd and keep them coming back. It is not solely up to the venue. Succeeding is about preparing; it’s about learning from your mistakes; it’s knowing who you can form relationships with, or uneasy alliances if that’s as far as you want to take it. Me, I’m just a weekend warrior who learned a thing or two from getting screwed harder than a lug nut by an air ratchet. I just do not believe that you can book shows with reckless abandon, anywhere and anytime, and be successful over the long haul.

Regardless, remember the most important factor: How many people your band can bring is what matters, end of story. However...there will come those shows where it will pay to have your aunts and uncles on speed dial.