This may be the most important topic and most valuable information we can share here on TB. After all, its a moot point whether you play flats or RW, active, or passive, finger style or pick, 4 or 5 string, P or J or etc. ....You get the picture, if you have nowhere to play and no one who will listen. (no gigs or few gigs).
I'm happy to say I am in my 5th decade of being musically active. By musically active, I mean regular paid gigs or other paid playing situations, a well established reputation as a reliable, versatile, musician with a network of pro players who are a phone call away.
This month I have 7 paid gigs on my calendar. This is typical for me. And don't want to sound greedy, but I want more. Steady gigs come and go for various reasons, usually due to business getting slow, sale of venues, or managers that you may have a great relationship, leaving the target venue.
The ways to attempt to book new venues and create new relationships with those that hire live music may vary a bit depending on the type of music, target audience, location and where you happen to fall in the musical and professional "feeding chain". But I encourage everyone to describe their experiences and what has been successful to you, since we all can learn from each other.
What has worked for me:
1. a relationship with established musicians.
2. no commitment to one band. Although I try to be an indispensable asset to any ensemble I happen to be part of.
3. Attending higher level usually jazz jams that I am aware of or invite to. (works with networking)
4. Cold calls to libraries, municipal groups, schools etc. with a need and a budget for live music.
5. Specializing in a genre of music not likely to go out of favor. (I usually play music that was written and popular before I was born). -never lets you feel too old as in some rock/pop situations.
6. Being the best player I can be. which includes reading, preparation, technique, pro attitude etc.
7. Being aware of where live music is happening in my geographic area. Trying to contact the hiring guy and do my best to get him/her to listen to me and hire a duo, trio, or more. This is tough!!!!!
Of these, getting a very welcome phone call from some musician I have worked with in the past, inquiring of me, if I am available to do a gig on a particular date or dates has been the most frequent source of gig dates.
Are music sample demos in any form effective anymore? Websites? etc.?
How do you approach a new restaurant owner or venue manager and not come off as just another newbie who is marginally prepared to actually increase business by performing the right music the right way ?
What works for you guys?
What never works?
How does it happen for you?
I'm happy to say I am in my 5th decade of being musically active. By musically active, I mean regular paid gigs or other paid playing situations, a well established reputation as a reliable, versatile, musician with a network of pro players who are a phone call away.
This month I have 7 paid gigs on my calendar. This is typical for me. And don't want to sound greedy, but I want more. Steady gigs come and go for various reasons, usually due to business getting slow, sale of venues, or managers that you may have a great relationship, leaving the target venue.
The ways to attempt to book new venues and create new relationships with those that hire live music may vary a bit depending on the type of music, target audience, location and where you happen to fall in the musical and professional "feeding chain". But I encourage everyone to describe their experiences and what has been successful to you, since we all can learn from each other.
What has worked for me:
1. a relationship with established musicians.
2. no commitment to one band. Although I try to be an indispensable asset to any ensemble I happen to be part of.
3. Attending higher level usually jazz jams that I am aware of or invite to. (works with networking)
4. Cold calls to libraries, municipal groups, schools etc. with a need and a budget for live music.
5. Specializing in a genre of music not likely to go out of favor. (I usually play music that was written and popular before I was born). -never lets you feel too old as in some rock/pop situations.
6. Being the best player I can be. which includes reading, preparation, technique, pro attitude etc.
7. Being aware of where live music is happening in my geographic area. Trying to contact the hiring guy and do my best to get him/her to listen to me and hire a duo, trio, or more. This is tough!!!!!
Of these, getting a very welcome phone call from some musician I have worked with in the past, inquiring of me, if I am available to do a gig on a particular date or dates has been the most frequent source of gig dates.
Are music sample demos in any form effective anymore? Websites? etc.?
How do you approach a new restaurant owner or venue manager and not come off as just another newbie who is marginally prepared to actually increase business by performing the right music the right way ?
What works for you guys?
What never works?
How does it happen for you?
