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How to Succeed as an Original Band

New thought spurred by a conversation with a music producer legend:

Conform to be non-conformist.

Original artists get caught up in, as my friend said above about Zoey D, following their own muse, the beat of their own drum. Do that from the start and you lose.

What makes a scene in any place is the similarity of sound from a range of bands, and each sort of copying the other. As that music catches on, then those bands go back to their "root" and distinguish themselves more. When all the "scenes" evolved, they all even didn't stray too much from the popular music of the day. Even in the NYC punk scene in the '70s.

The Beatles and Stones all started in about the same place, and all performed the same R&B and skiffle tunes. As both bands grew in popularity, they began to move in two totally different musical directions. Dave Grohl is a perfect example. He was more then talented enough to lead a band of his own from day one. But he heard a sound in Kurt Cobain and the Seattle grunge so he "conformed". With Nirvana he became huge. When Kurt died, he was then able to go back to his root and Foofighters was born. That is clearly not grunge. And not really pop at the time either. He non-conformed.

Even popular music now, all the rising artists sound in many ways like the biggest artists, conforming. After an album or hit or two, they branch off.

On your local scene, go see original bands that really have a following. See what they sound like. Then go see a local cover band or two, and see what they are playing. Write and perform stuff that sits right between those two. Conform to the music that draws in your area. Then, as people notice you, start to head in your ultimate direction, just not all at once.
 
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Never a good enough reason to give money to an artist in my opinion.

see, I said I'd go see her...

It's a tough sell to get me to go out to a show AND have me pay to get in anymore.

no matter who it is.

One day, when visual media bores her, you and I can sit her down and teach her the ropes of music. No more of those bad Beatles covers or oddly timed singing slow stuff. However, tell her I said hello and that if she actually wants a full band, I'll be happy to oblige....

Hahaha, yeah I actually met her at a vegan deal that my sister drug me to, believe it or not. Met her and spoke pleasantly briefly, but then ran into her at this studio in Houston, and we remebered being at the vegan party (she's like allergic to soy, milk, eggs, and gluten, iirc - my sister is also a vegan) and we talked for about a half-hour in the lounge, and she's pretty funny. A lot more focused than her onscreen persona, from what I gathered. But I don't have her phone number or anything like that. I can't just hit her up and be like, 'Okay, me and Tom Richards were talking about you on an internet website, and we think that we've got your new direction...', hahaha!!

If she didn't have the acting career she'd probably be listening to you now....

That's entirely possible, but that's a huuuuge 'IF' at this point; between all those movies and that TV show she's got now, I'm sure she's moving units based on that. And hipster chicks in college who think that listening to 'challenging' music somehow makes them more intellectual and interesting??
 
New thought spurred by a conversation with a music producer legend:

Conform to be non-conformist.

Original artists get caught up in, as my friend said above about Zoey D, following their own muse, the beat of their own drum. Do that from the start and you lose.

What makes a scene in any place is the similarity of sound from a range of bands, and each sort of copying the other. As that music catches on, then those bands go back to their "root" and distinguish themselves more. When all the "scenes" evolved, they all even didn't stray too much from the popular music of the day. Even in the NYC punk scene in the '70s.

The Beatles and Stones all started in about the same place, and all performed the same R&B and skiffle tunes. As both bands grew in popularity, they began to move in two totally different musical directions. Dave Grohl is a perfect example. He was more then talented enough to lead a band of his own from day one. But he heard a sound in Kurt Cobain and the Seattle grunge so he "conformed". With Nirvana he became huge. When Kurt died, he was then able to go back to his root and Foofighters was born. That is clearly not grunge. And not really pop at the time either. He non-conformed.

Even popular music now, all the rising artists sound in many ways like the biggest artists, conforming. After an album or hit or two, they branch off.

On your local scene, go see original bands that really have a following. See what they sound like. Then go see a local cover band or two, and see what they are playing. Write and perform stuff that sits right between those two. Conform to the music that draws in your area. Then, as people notice you, start to head in your ultimate direction, just not all at once.

see, I relate to, how in high school and college, everyone I was jamming with wanted to be like 'Deftones crossed with KORN crossed with Kraftwerk crossed with Queen!!'. Or whatever, you know. Everyone was into detuning their guitars and being heavy with weird noises ...but they were so caught up in being 'different' that they neglected a really important aspect : songcraft.

And then, yeah, those were the same people who were 'expresing their individuality' by dressing just like each other, wearing similar piercings/tattoos, and listening to the exact same music as everyone else who wears that uniform.

see, I like good pop songs -the Beatles, Ronettes 'Be My Baby', Beach Boys 'Good Vibrations', stuff like that. And I like bluesy riff rock, like Humble Pie, the Stones, etc. Neil Young, in all his guises, has been a huge influence. And I like groove music. That was MY root, and I went back to that. And i feel it's served me well enough.

and I'm not ashamed to admit it. It's okay if super-avant-garde artists think my band sounds like Bad Company; I took that as a compliment!! I LOVE Bad Company - Movin' On, Rock Steady, Ready For Love, Run With The Pack, seagull...Boz Burrell with Simon Kirke = ROCK SOLID. That bass on Feel Like Makin' Love is STILL killer after all these years. Plus, Paul Rodgers can SANG his ass off.

I love Lynyrd Skynyrd, too. I don't even understand why people bash them, except out of ignorance. and Jealousy.

I wish I could write an anthem like Sweet Home Alabama. Plus, Ed King is a sweetheart.
 
TRichardsbass -

This is a great thread. Its been a while since I've tuned in. I thought I'd ramble a couple thoughts from a independent original artist about perseverance. As most band are, we were very naïve when we started. We thought once people heard our tunes our home town would be ours. 4 years and an album later we are still far from successful. Truth is, independent bands do not have the luxury of a advertising and marketing budget. Its hard to let people know about you. We've had to learn that the journey is slow process and to focus on the short term goals instead of the finish line. I don't have answers but I DO know being a original band isn't for the faint of heart. We feel sorry for ourselves as much as we pat ourselves on the back. None the less, our formula for perseverance is remain positive, love each other, and continue learning more and more musically.

As always, I'd love for any of you to check our tunes and share any and all thoughts. Here is the link: http://psychobillycadillac.bandcamp.com/. Spotify users you can find us there too. We're everywhere google, iTunes, etc.

Stay positive out there.


Listened to your music, liked what I heard. Keep it up!

And good luck in the future.........

sf
 
New thought spurred by a conversation with a music producer legend:

Conform to be non-conformist.

Original artists get caught up in, as my friend said above about Zoey D, following their own muse, the beat of their own drum. Do that from the start and you lose.

What makes a scene in any place is the similarity of sound from a range of bands, and each sort of copying the other. As that music catches on, then those bands go back to their "root" and distinguish themselves more. When all the "scenes" evolved, they all even didn't stray too much from the popular music of the day. Even in the NYC punk scene in the '70s.

The Beatles and Stones all started in about the same place, and all performed the same R&B and skiffle tunes. As both bands grew in popularity, they began to move in two totally different musical directions. Dave Grohl is a perfect example. He was more then talented enough to lead a band of his own from day one. But he heard a sound in Kurt Cobain and the Seattle grunge so he "conformed". With Nirvana he became huge. When Kurt died, he was then able to go back to his root and Foofighters was born. That is clearly not grunge. And not really pop at the time either. He non-conformed.

Even artists, conforming. After an album or hit or two, they branch off.

And also, that's why many artists have side-projects or second bands. Mike Patton being an example that has been referenced, but I also like to use Weiland as someone whose solo albums reveal a vastly different portrait than his work in the rock bands. The songs on 12 Bar Blues would never have worked in the stp context. But they're brilliant on that album.

Neil Young, however, can do whatever he wants. dude seems to transcend any genre, and it all comes out like him.
 
I think the biggest issue for many original bands is that they forget its all about the audience. Period. Doesn't matter how f'in' talented you are, if you don't appeal to an audience then you will just be patting yourself on the back in your basement.

There is a killer talented band by me, Karmic Juggernaut. Link Removed

The most talented and educated musicians I know. They do local gigs, but the audience is limited. These guys are blazing their own way, but I think long term that this will always be a project that requires a day job.

When it comes to an original band and gigs, you have to have a draw, which means you have to build an audience, which means you must appeal to an audience, and that audience must want to see you AND spend money while watching.

If your friends tell you you are great, ignore it. If your "frenemies" tell you you suck, ignore half of it. If the only peeps at your show are dudes, ask your chick friends why. If you can't get a chick to want to be with you after a show, rethink the project.

My two pennies today.
 
Hello everyone!

Its been a bit since I posted something. Well, I had a conversation today that just really got the old noggin' rattling.

Original, in a band context, does not mean special, unique or even different. It merely means you are doing songs you/the band/someone wrote that are not covers of currently popular or previously popular songs typically found on the radio/Pandora/Spotify. Original doesn't even mean it has to be something new or some freaky genre bending music no one else has ever done. Original means you are performing YOUR songs. That is it.

You can be an original band and throw in a few covers into a performance (typically no more then two per set or three a show) but they have to be done in your style, not as an attempt to sound true to the well known recorded version of it.

Since few original acts have a catalog deep enough to do more then a good set, nor have a fan base big enough to warrant it, especially at the beginning, most original band shows are multi-act and have set lengths from 30 minutes to an hour max. Its just the way it is. Unless your fan base is large, and your music is really ear candy, you will always do shows where you are opening for a larger act or you have smaller acts opening for you.

But original still only means you are doing your stuff.

And being in a cover band means you are doing only popular or tribute music, as true to the original as possible, and typically two to three sets a night. Of course you can throw in the one or two simple originals of your own, but never more. The fans/crowd didn't come to hear it, and they won't really like it unless it is sooo close to something popular. Being a cover band does not mean that you can't do covers of off the wall stuff and artists (Brian Eno and Laurie Anderson come to mind) but you probably won't get much work covering their stuff. But trying to be unique or different, or "original" will definitely not work for a cover band.

So, if all you write and record are songs that sound like Bruce Springsteen, or the Ramones, as long as they aren't actually Springsteen or Ramones songs, you are still an original band.
 
I found myself back into an originals band after I swore them off. It kind of happened by accident when I stumbled upon an ad for a band looking for a bassist.

The ad read like my formers bandleaders new band, turns out it was. I'm a new bassist now and happy as punch we are reunited again.
After taking nearly a year off I am refueled and happy to pursue the music and gig opportunities for this band. I landed a good one for the end of January so its back in the saddle for me.
 
12+ years of gigging with original bands; it can all be summed up in few but long points;

members that want band to get big must be aware that band comes first, everything else comes second. Working ethics is a must, regular rehearsals are no1. Set goals. Now, goal is not "let's gig", gigs are at first just tools to get bend exposure, so is internet etc. It's sometimes smarter to spend a year rehearsing regularly then just play gigs for the sake of gigs. Don't hit the stage until band is a uniform living, breathing tight machine. And that takes time, patience and dedication. With policy as rigid as this, you'll easily eliminate weak links in the band, and by that i mean members who aren't really into working hard. You see the problem is that many of us try to avoid conflicts and give to much to people who use us. So problem is that sometimes band members are not so into firing that member (members) that don't do their job, won't practice, are bad and hold the band down. Usual excuse is "oh, no if we fire her/him, how are we going to find another drummer/guitarist/key/voc..etc", but reality is that band suffers more with members that are holding it down and are unproductive links in a chain. It's better to have 2 man band that works hard (even if it's something ridiculous like heavy metal band that only has drummer and vocals) and practices and is out on a hunt for serious members than having a band that has slackers. seroiusly, you can practice today without "important" instruments. heck, have someone make tracks/type them on something like guitar pro, and reharse with the rest of the band to it. it's simple, it's easy and there is NO excuse for not working. If you are the only band member that wants to work, fire everyone, practice at home, write your music, and look for better members. EVERYONE IS REPLACEABLE -> work and friendship should be like church and state - SEPARATED. :D

You need a product. Products are in first place songs and then shows and to some extent story and image. To get all of that you need a product -> songs (music). Creativity comes from playing and working. Shift reh. spaces, try different instruments, gear, listen to a bunch of different music, but never stop playing cos you don't have inspiration. You create by playing. Now, to get all of that you need to play a lot with your band. So you should really dedicate yourself (and rest of the members also) to rehearsing a lot. AND REGULARLY. For me it's about minimum 4 rehearsals a week + 1hour at least of home practicing every day. Polish those songs, you should know every single note from first to last beat, and you should know to play every song perfectly. That is VERY important. Point is, if band plays songs really well it can translate it's music better to audience and can also focus on many other things during a gig like communication with the audience, making a real show and not looking like a bunch of statues onstage. Know songs perfectly and stage fright will be gone more or less.

Record everything. Every rehearsal, every gig. Listen to it, try to find what sounds off, where are the mistakes and what translates to audible songs and what is gibberish. what is fluid and what sounds crappy. Analyse, think, be critical. go through every detail with band members, point out everything and be open. try to fix issues with work, tasks and goals. "this sounds off, let's try it like this" ... "you are having trouble with this part, let's rehearse it a few more times and then see how it sounds." ... "this part sounds too hard, we all need to practice it at home better, everybody, practice this at home and be ready for the next rehearsal"
Also, it is really important to have all of the band's songs written down, notes or tabs, doesn't matter, whatever members can read. Spread it out on a drawing board when rehearsing. That way everyone know what she/he needs to play and what others are playing. Productivity will go off the charts. If someone slacks, either warn them or if they ignore that, fire them. zero tolerance for ********. replacement will come if the band is working hard.

Good thing that i found out is making the drummer use a metronome on rehearsals AT LEAST. That makes the band play tighter, clears up the sound and really shows you where the problems in performance of the members are. It's a miracle tool, really. If drummer refuses for stupid reasons like "metronome sucks out the soul of the song, great dummers don't use them", just know that drummers can be replaced very easily. rythm machines, typed tracks etc. how hard is it to type in drums and play them on cellphone? :D But before taking extreme measures, small issues can be resolved empirically. Try this, ask him/her to record one song on rehearsal with metronome and the same one without. Thing is that bad drummers hate metronome cos it is distracting to those who don't listen to song, just listen to themselves when playing. That's the worst thing musician can do, and that's what bad drummers (and other bad musicans) do all the time. Rhythm is as important as intonation.

Now that we got that, it's time to get the other part - marketing :)

Thing is that today you have all these amazing tools at your hands, it's a musicians paradise. Youtube, facebook, soundcloud etc etc. Question is how to use them to promote your band. There are many answers to that questions here and in may social marketing books and guides, that can be really useful. So i'll just point out a few concrete things and ideas you can't find in those;
- expand your base by preparing audience before gigs; try to get to talk to venue's DJ's (if it's a club, bar etc) few weeks /days before playing there, give them your songs, ask them if they could play your stuff from time to time, that's really great to get audience to get a tiny bit familiar with your songs.

-hand out promo material before/during/after gigs - get creative, reward those front row dancers/moshers/lighter holders, try something cool, get ideas, just don't make it blank

-get someone to take pics of your show, entry level DSLR cameras cost pennies today and there are gazillion of wananbe photographers that would like to take pics of you. pick out the best. Get those photos on your band's facebook page ASAP, make audience find you on facebook and tag themselves, reward them. example, "find us on FB, see the pics, tag yourself and we will pick a lucky person who has tagged her/himself and send ..... promo/merch/CD...". that will expand your reach. Get a list, write down those rewarded fans on it and next time you gig at the same place, contact them, get them a free pass, and stick it on their facebook wall. They will get free stuff, and you will get instant promotion machine.

-get to know the audience after gig, shake hands, smile, get to know them, don't ask how did they like you, thank them for being there, hand out promo, smile, be thankful, approachable and nice.

-FB/youtube/socialnetworks need material, give it to them. Make videos, reviews of your gear, writing process, rehearsals, whatever.

-Develop an image. example when someone says Iron Maiden, you think of eddie, steve harris's galloping bass, melodic fills. They found out what was unique in their band and then thy started to build on that. Image should not be just made up, it should be a highlight of things that make your band unique, build it on that. Your music and playing should be the foundation on which you build your band's image.

- Don't settle for poopy gigs, if something looks bad, avoid it but keep in mind that sometimes good promotion and reaching audience beats money in the early stages of the band's life.

-If things go bad , keep a positive attitude, and remeber, it's not talented that make, it's persistent that make it big. Talent means s*** without work and not giving up. Show turns to train wreck, smile, play and do your best to get through.

Remember that even if you, your band and your family and firends think your band sounds good that it does not mean that it really is good. Don't settle for good enough, strive for best.

You follow these points, you'll have better chance. Thing is that's not the easy way. It's hardest way but it's the right way. Things don't come easy, you gootta work work work and sometimes all of that work can seem like it was all for nothing, but if you bite it hard and work your way, all of that work will be rewarded sooner or latter.

feel free to correct me if i'm wrong. i would appreciate that
 
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+ daily job is good thing, but if you want both a daily job and a serious band, forget everything else. Or you are lucky and have really supporting people around you.

+ today it's all about singles and ep's. each song has a music video / or at least lyrics video. embrace the tech!
 
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If you've been gigging in original bands for 10 years and we don't know who you are, you didn't make it, so your opinion is of no more value that any other on TB.
Most of the musicians I've known who did make it in original bands started as cover bands or musicians in cover bands and worked in original material.
I agree that original bands have to present untested material. Here's the trick. If it doesn't go over, stop playing it. Problem solved.
There is much more about performance quality, marketing ability, and a bit of luck (only a bit) than there is to the quality of the music.
 
The key to keep yourself financially afloat while you are trying to make it in the music industry is to get a freaking JOB!!! I know I said the dirty "J" word but the reality is this world revolves around $$ and if you got no dough than you'll always be crashing in your homies dirty couch.

I'm a music educator and professional musician in Los Angeles and when I meet folks and they ask, "What do you do?" I always say music educator or teacher because people respect the role of the teacher but if I were to say "musician" folks would always seem to think that I'm broke because being a musician is taboo in our culture meaning you got no JOB.

And in most cases that latter is true most musicians are broke because they're artists and they don't want to subject themselves to a 9 to 5 JOB. Baloney!!

You're job doesn't need to be a boring desk job it can very well be a music related job. We got responsibilities in this world and we need to show the world that musicians are not "music parasites" mooching of the system and others. Let's change this cliche of the taboo broke musician to the world and take hold of our future.

Unless you like being broke.
 
Hey gang, some great posts. Today's little ditty from a show this weekend in my area:

Don't let your parents be your manager(s)/agents unless that is what they do now for a real living and have done it successfully.

Young lady here on the Jersey shore, has talent and potential. Parents booked a 500 seat venue for her CD release event/party. Including the old red carpet with backdrop, and had a meet and greet and even a VIP offering. Now I don't know who paid what or how well it did, but by all accounts it was a success.

So what does a person who has been asked to help her out tell me this weekend? Her momma/manager booked her to perform at the local bowling alley. Talk about one step forward and sixteen back! No reputable agent or manager would ever have let this happen at this stage. Personally, the CD release party was a big and bold move, seeing how many of us have done it for years and never basically booked and entire theater for our release. And, it set a standard that the artist now really does have to live up to. Booking a venue like they did signals that the artist and team feel that they have "arrived" and are going to make an impact. So that means that all upcoming gigs should be at clubs of note or fame, or venues that have been known to host those of fame or who became famous after playing there. A local bowling alley certainly is NOT that.

Rookie mistake by parent trying to be manager. My friend, who they reached out to and has over 30 years in the biz doing A&R and worked with Gene Simmons among others was about to scream when he heard what momma manager did. Momma M didn't even think to ask the consultant, who they hired, my friend, before booking the gig. In a matter of 48 hours this artist has gone from having a bit of momentum to basically stopped in their tracks. I have actually been summoned by my friend to attempt to get through to momma manager, since I have a connection through my step-daughter.

There are lots of stupind other things that play into this, but suffice it to say that if you aren't around this day in and day out, and you ask for help, then listen to them. This would be the second artist in less then 5 years who had huge potential, but having mommy and daddy as the managers pretty much will destroy any musical career they may have had.

So, if you think you are ready, and you have the resources, hire a true pro. (I currently have a bit of room in my portfolio.) If you don't have the resources, DO NOT USE FAMILY MEMBERS AS MANAGERS OR AGENTS IF THAT IS NOT WHAT THEY DO AS A PROFESSION OR FOR A LIVING!

This was a real travesty to see, as they easily spent a good $5K on this event and went all out. They may as well have just given the money to charity, as it would have done more good for the artist and everyone else.
 
12+ years of gigging with original bands; it can all be summed up in few but long points;

members that want band to get big must be aware that band comes first, everything else comes second. Working ethics is a must, regular rehearsals are no1. Set goals. Now, goal is not "let's gig", gigs are at first just tools to get bend exposure, so is internet etc. It's sometimes smarter to spend a year rehearsing regularly then just play gigs for the sake of gigs. Don't hit the stage until band is a uniform living, breathing tight machine. And that takes time, patience and dedication. With policy as rigid as this, you'll easily eliminate weak links in the band, and by that i mean members who aren't really into working hard. You see the problem is that many of us try to avoid conflicts and give to much to people who use us. So problem is that sometimes band members are not so into firing that member (members) that don't do their job, won't practice, are bad and hold the band down. Usual excuse is "oh, no if we fire her/him, how are we going to find another drummer/guitarist/key/voc..etc", but reality is that band suffers more with members that are holding it down and are unproductive links in a chain. It's better to have 2 man band that works hard (even if it's something ridiculous like heavy metal band that only has drummer and vocals) and practices and is out on a hunt for serious members than having a band that has slackers. seroiusly, you can practice today without "important" instruments. heck, have someone make tracks/type them on something like guitar pro, and reharse with the rest of the band to it. it's simple, it's easy and there is NO excuse for not working. If you are the only band member that wants to work, fire everyone, practice at home, write your music, and look for better members. EVERYONE IS REPLACEABLE -> work and friendship should be like church and state - SEPARATED. :D

You need a product. Products are in first place songs and then shows and to some extent story and image. To get all of that you need a product -> songs (music). Creativity comes from playing and working. Shift reh. spaces, try different instruments, gear, listen to a bunch of different music, but never stop playing cos you don't have inspiration. You create by playing. Now, to get all of that you need to play a lot with your band. So you should really dedicate yourself (and rest of the members also) to rehearsing a lot. AND REGULARLY. For me it's about minimum 4 rehearsals a week + 1hour at least of home practicing every day. Polish those songs, you should know every single note from first to last beat, and you should know to play every song perfectly. That is VERY important. Point is, if band plays songs really well it can translate it's music better to audience and can also focus on many other things during a gig like communication with the audience, making a real show and not looking like a bunch of statues onstage. Know songs perfectly and stage fright will be gone more or less.

Record everything. Every rehearsal, every gig. Listen to it, try to find what sounds off, where are the mistakes and what translates to audible songs and what is gibberish. what is fluid and what sounds crappy. Analyse, think, be critical. go through every detail with band members, point out everything and be open. try to fix issues with work, tasks and goals. "this sounds off, let's try it like this" ... "you are having trouble with this part, let's rehearse it a few more times and then see how it sounds." ... "this part sounds too hard, we all need to practice it at home better, everybody, practice this at home and be ready for the next rehearsal"
Also, it is really important to have all of the band's songs written down, notes or tabs, doesn't matter, whatever members can read. Spread it out on a drawing board when rehearsing. That way everyone know what she/he needs to play and what others are playing. Productivity will go off the charts. If someone slacks, either warn them or if they ignore that, fire them. zero tolerance for ********. replacement will come if the band is working hard.

Good thing that i found out is making the drummer use a metronome on rehearsals AT LEAST. That makes the band play tighter, clears up the sound and really shows you where the problems in performance of the members are. It's a miracle tool, really. If drummer refuses for stupid reasons like "metronome sucks out the soul of the song, great dummers don't use them", just know that drummers can be replaced very easily. rythm machines, typed tracks etc. how hard is it to type in drums and play them on cellphone? :D But before taking extreme measures, small issues can be resolved empirically. Try this, ask him/her to record one song on rehearsal with metronome and the same one without. Thing is that bad drummers hate metronome cos it is distracting to those who don't listen to song, just listen to themselves when playing. That's the worst thing musician can do, and that's what bad drummers (and other bad musicans) do all the time. Rhythm is as important as intonation.

Now that we got that, it's time to get the other part - marketing :)

Thing is that today you have all these amazing tools at your hands, it's a musicians paradise. Youtube, facebook, soundcloud etc etc. Question is how to use them to promote your band. There are many answers to that questions here and in may social marketing books and guides, that can be really useful. So i'll just point out a few concrete things and ideas you can't find in those;
- expand your base by preparing audience before gigs; try to get to talk to venue's DJ's (if it's a club, bar etc) few weeks /days before playing there, give them your songs, ask them if they could play your stuff from time to time, that's really great to get audience to get a tiny bit familiar with your songs.

-hand out promo material before/during/after gigs - get creative, reward those front row dancers/moshers/lighter holders, try something cool, get ideas, just don't make it blank

-get someone to take pics of your show, entry level DSLR cameras cost pennies today and there are gazillion of wananbe photographers that would like to take pics of you. pick out the best. Get those photos on your band's facebook page ASAP, make audience find you on facebook and tag themselves, reward them. example, "find us on FB, see the pics, tag yourself and we will pick a lucky person who has tagged her/himself and send ..... promo/merch/CD...". that will expand your reach. Get a list, write down those rewarded fans on it and next time you gig at the same place, contact them, get them a free pass, and stick it on their facebook wall. They will get free stuff, and you will get instant promotion machine.

-get to know the audience after gig, shake hands, smile, get to know them, don't ask how did they like you, thank them for being there, hand out promo, smile, be thankful, approachable and nice.

-FB/youtube/socialnetworks need material, give it to them. Make videos, reviews of your gear, writing process, rehearsals, whatever.

-Develop an image. example when someone says Iron Maiden, you think of eddie, steve harris's galloping bass, melodic fills. They found out what was unique in their band and then thy started to build on that. Image should not be just made up, it should be a highlight of things that make your band unique, build it on that. Your music and playing should be the foundation on which you build your band's image.

- Don't settle for ****** gigs, if something looks bad, avoid it but keep in mind that sometimes good promotion and reaching audience beats money in the early stages of the band's life.

-If things go bad , keep a positive attitude, and remeber, it's not talented that make, it's persistent that make it big. Talent means s*** without work and not giving up. Show turns to train wreck, smile, play and do your best to get through.

Remember that even if you, your band and your family and firends think your band sounds good that it does not mean that it really is good. Don't settle for good enough, strive for best.

You follow these points, you'll have better chance. Thing is that's not the easy way. It's hardest way but it's the right way. Things don't come easy, you gootta work work work and sometimes all of that work can seem like it was all for nothing, but if you bite it hard and work your way, all of that work will be rewarded sooner or latter.

feel free to correct me if i'm wrong. i would appreciate that

I agree with most of what you said except for replacing a drummer with a machine or backing tracks. I think the biggest reason for having a drummer play to a click would be for programmed stage lighting and backing tracks. A good drummer shouldn't have an issue with keeping excellent time. If he/she does, they're not at a pro level of playing. My opinion, anyway.
 
Okay, new lesson, or old one, but comes tangentially from the event I wrote about yesterday.

IF YOU DO NOT BRAND YOURSELF, AND YOU DO NOT CHOOSE A MUSICAL PATH/DIRECTION/GENRE, THEN YOU WILL EITHER BE IGNORED OR SOMEONE ELSE WILL BRAND YOU!

This is a no brainer. Especially for original bands. Send a press kit with six songs each with different styles (jazz, blues, rock, hip hop, country, etc.) and you will never get the booking or gig. Because they can't match you to any show they may have and can't use you to complement any particular act. Same goes for showcases and materials sent to managers/agents/record labels. Big misconception is that you need to show how versatile you are. WRONG! Jack of all, master of NONE! And that is how this biz and the powers to be will see you. You don't want to send an invitation to someone who works exclusively with say heavy metal artists and then do a showcase of new age material. Get it?

I just reviewed some materials related to the performance of the artist I talked about yesterday. She came to the show and performed looking like an up and coming country star, had a band that looked like a bunch of lumbersexual hipsters, and sang songs that were nearly in every genre and style, and many also sounded like current pop. Contrast that to a lot of her solo stuff online to date that is definitely more Taylor Swifty country pop. One very influential artist manager in the audience left the show early, with no comment. A very bad sign. This is a guy who normally will rave on someone who has potential, and will at least give an opinion one way or the other. In this case, nada, nothing.

If you are punk, be punk. If you are country, be country. Wanna be the next GaGa? Great, but don't show up looking and sounding like Reba McIntyre!

Everything you do has to be COHERENT. Anything less means career doom and death to success.
 
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One thing that i think every original band needs is a gimmicky (for a lack of a better term) thing that everyone remembers when they think of your band.

Pantera - Dimes red/pink beard and excessive use of his floyd bar
Michael Jackson - incredible dance moves
Blink 182 - heavily tattooed but not bikies
Eddie Van Halen - that ugly frankenstrat
Deep Purple - Richie blackmores smugness

all these things help people remember you for something other than your music. Dont like panteras music, fine, but you wont forget that awesome 2 foot long red beard anytime soon. These things keep people coming back to it, and eventually they may like it.

I remember seeing a photo of limp Bizkit playing live. Everyone looks like normal guys, then there was wes borland... covered in body paint, crazy masks on, wearing parachute pants and all that. because of that, i ended up going back and listening (and purchasing) many limp bizkit Cds. Yeah they're a guilty pleasure of mine but non the less...it made them another fan long after they hit their peak.

this is limp bizkit, fairly regular looking guys.

limp_bizkit.jpg


and this is wes....looking waaaaaay differant to everyone else

13-06-09_RiP_Limp_Bizkit_Wes_Borland_2.jpg
 
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hahaha i was about to offer advice as if my band was super successful but then i realized how much further we have to go. and from that realization comes some grand advice IMOP: don't get full of yourself.
im in a band with some friends from high school, myself and the guitarist are 21, lead singer/mando is 20, and our drum/keys player is 19. were doing pretty well for our first year, playing all over our city having a blast with all sorts of people at our shows. were actually opening for smash mouth next month! im super excited about it and sometimes it makes me feel as if we have it made and we can do nothing wrong now. i have to catch myself when i think that because it makes me realize how much we have to do still, i.e.: our guitarist isnt the best, we drink a little much sometimes, we dont record as often as we should etc. etc.

TL;DR: dont stop working hard just because youve had that first ridiculously fun and addictive (and kinda sexual sometimes) taste of success.
 

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