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Low drama hobby bands - share your tips

Because we don't live in a world where all our problems are either/or.

Sometimes the solution is to compromise, because everyone is likely going to be giving up a little piece of what they want in order to make the situation workable for all. Not all problems involve bandmates unwilling to work toward a resolution.

But yes, in the extreme case where someone's behaving like a six-year-old and having a tantrum, you need to let them go.

As far as a partnership agreement goes, to me that signals a level of self-importance at the hobby level that I would want nothing to do with.

If hobby bands make money, they're sure not making enough to warrant that sort of preparation, and I've never in my life been asked to sign onto such an agreement. I've been in lots of bands.

So that would seem extreme and would also indicate to me that whoever is proposing it has aspirations around money that they may not be fully upfront about and that are at best unrealistic. It's also a good indication that I'll be pushed to do work for money that I'm not interested in doing, because it shows me that money is the most important thing to that person. Been there, done that, not interested in playing in 110* weather outside because someone is offering the band $1000, and I don't care how much pressure you put on me to play that show. Find someone else. There's someone else who will do that gig.

That is fine for others, maybe, but I don't have unrealistic expectations surrounding the earning potential of a hobby band. Here's how hobby bands work: Four people in the band means a four way split of the take. If someone's doing an inordinate amount of extra work, split out an agreed upon percentage and compensate that person, then split the rest four ways. Anything beyond that is overkill.

That "band"/project collapsed shortly after I exited. The guy leading it (and his partnership agreement) didnt know how to select thr right players or have a talk to achieve his vision .

Anything that's not paying my mortgage is a hobby to me, even if it makes money.
 
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It sounds like you started out as a hobby band (get together once a week to play music never intending to gig) and then turned into a bar band. Makes a good point for everyone agreeing up front about what they want out of the musical collaboration.

Nah.... we're definitely not a bar band. We've done three gigs in the last three months and prior to that we'd be lucky to do two a year..... and the average punter would be lucky to know half our setlist.

It's not that we set out to forge a setlist of "obscure" songs because we think it's cool, it's just that everyone put forwards songs they wanted to play without any thought for if a bar crowd would like it or not. It has meant being able to play any song just because you like it. It's actually quite liberating compared the the average bar band that just wants to gig.
 
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- Find people which are in the same mindset: discuss the goal and rules before even trying to play
- Be cool with all other people involved. Sometimes life dictate things that can change rehearsal hours, day. Be kind and comprehensive with aleas and people
- Be happy to be there and play with them, smile and enjoy the moment
- Avoid politics and religions debate: you're here for the music.
 
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Nah.... we're definitely not a bar band. We've done three gigs in the last three months and prior to that we'd be lucky to do two a year..... and the average punter would be lucky to know half our setlist.

It's not that we set out to forge a setlist of "obscure" songs because we think it's cool, it's just that everyone put forwards songs they wanted to play without any thought for if a bar crowd would like it or not. It has meant being able to play any song just because you like it. It's actually quite liberating compared the the average bar band that just wants to gig.
It's cool that you get to gig at all with a setlist of obscure songs. For sure a band that just wants to gig (a lot) almost always has to make considerable compromises in their song choice integrity.
 
It's cool that you get to gig at all with a setlist of obscure songs

I know. To a certain extent I expected venues to say "we'd like to have you back but you need to play more popular songs" to which we would have said.... "thanks, but we'd rather not". As it is we've always gotten invites back and more often than not have to knock back offers due to some members having full social calendars.
 
I know. To a certain extent I expected venues to say "we'd like to have you back but you need to play more popular songs" to which we would have said.... "thanks, but we'd rather not". As it is we've always gotten invites back and more often than not have to knock back offers due to some members having full social calendars.
I would only expect to hear that if you weren't keeping your audience entertained. A lot of what people think audiences want is actually quite boring to a lot of folks because everyone plays it. This depends to some degree on how obscure your "obscure" songs actually are.

I have a BL who characterizes his band as "deeptracks" when nothing we play is deep. At all. It's all hits/popular stuff that other bands don't play, or old stuff from the golden days of AOR radio that might not have been top 40 but everyone knows anyway. For example, we play most of one side of Dark Side of the Moon. No way is any of that what I would call "deeptracks" but he likes to call it that. To me, deep tracks are the songs on the record that everyone skipped over because they sucked.

That band is the most successful cover band I'm in right now.

If your "obscure" stuff is similar to this, it's quite probably a good recipe for success.
 
Well, this is some read with some 'interesting' situations.
Where do some of these people come from.

My problems seem to be to around a compatible and interesting set and the fact that one frontman is so busy, I can hardly book him.
 
I would only expect to hear that if you weren't keeping your audience entertained. A lot of what people think audiences want is actually quite boring to a lot of folks because everyone plays it. This depends to some degree on how obscure your "obscure" songs actually are.

I have a BL who characterizes his band as "deeptracks" when nothing we play is deep. At all. It's all hits/popular stuff that other bands don't play, or old stuff from the golden days of AOR radio that might not have been top 40 but everyone knows anyway. For example, we play most of one side of Dark Side of the Moon. No way is any of that what I would call "deeptracks" but he likes to call it that. To me, deep tracks are the songs on the record that everyone skipped over because they sucked.

That band is the most successful cover band I'm in right now.

If your "obscure" stuff is similar to this, it's quite probably a good recipe for success.

Indeed, I enjoy putting a set together that is musical and dancey, and sometimes its good to surprise people. You know how well you've done that by that dancing ..and applause.
This is why I engage with the booker to see how their event vision compares to mine. If it is too far apart, then don't take the date and the best venues have someone with vision...even if that is built up off of what the drinks sales are.

I leave top 40 to the other bands who are all playing the same sets.
 
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Basically I would consider myself an advanced hobbyist, having played in a number of bands in my 20's and ending up as a roadie for big name act for about 6 months. That experience led me to focus on my day job and music as a sideline (completely setting it aside for about 10 years or so in my 30's). Having been volunteered by my wife to join a small band at a boat club in my 40's reactivated the interest and I've been playing in small bands ever since, private parties, etc...
Now in my 60's we have a pretty active music scene in our area and having put together "jam" bands for neighborhood events made connections in the local scene. Having a PA from the boat club years makes it easy to support an event and living in a beach community there's always an excuse for a party with live music. COVID kind of knocked things flat for a bit and I'm hoping for a break this summer.
First thing I'd say is find some folks that share your musical interests, second would be to be open to new things... Our audience age ranges tend to range from 7 - 70, so a good mix is helpful. I was never a country fan, but audiences like country so we keep a few in the mix. I saw a few remarks on mixes, in my experience audiences like songs they know and can move to. We keep to familiar tunes without trying to be a cover band, Mustang Sally, Born to be wild, Margaritaville, Brown eyed girl, and we have a sax player so it expands our options -like the Stones Miss you. Our first local beach party folks were joking with the play Free Bird chant, so we did and it went over so well every year we close that party with it. You just have to see what works...
Keep your set simple and learn it, you can expand it later - but a short well played set will go over much better than a badly played longer one. Find a good front person, if you're doing vocal music you need someone that can sing... They are around, you just have to find them. It's even better if the singer has good stage presence, to engage the audience, if not someone in the band is going to need to fil that role. Lastly I wouldn't worry about payment until you have a couple of sets down pat and are getting good audience response and support.
If we do anything for money it's usually a benefit of some sort... Bands are built on relationships, and even in no money "volunteer" bands there are personality conflicts and the occasional mini drama's - it's just part of the deal. But when it works it's a lot of fun.

Cheers and good luck...

One other thing, a few of the guys I play with are in other bands that do paying gigs and I need to be cognizant of their schedules. But it really makes a difference to have band with decent players. I try to keep a number of lineups so we can make things work if someone is busy.
 
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I just started playing (gasp) guitar in a "hobby band" after not being in a band for over 20 years.
The bass player is in the same boat, and we practice at his house. We hit it off really good even though I'm a decade younger.
I think that is a very important aspect.
We have a couple original songs already, which kinda surprises me. Unfortunately, I know that almost anyone else who joins us is going to be hard-pressed unless they're on the same page. The only saving grace has been to completely ignore the bar band stuff and focus on writing original riffs/songs. We had a "steady" drummer, but he lives 45 minutes away from us, and I believe he may not see it as being worth his time. That's OK... in a situation like this I can't blame anyone for losing interest.
So... the bassist decided to invite another drummer to play with us yesterday. I don't know if there was any discussion with the previous guy, so I don't know if this was temporary - especially given the fact that this new guy is getting knee surgery in a few days. Weird. Anyways... it was obvious that I and this new drummer aren't going to hit it off. I could tell the minute I met him... he almost ignored me when I said "good morning" and introduced myself. His demeanor was slightly arrogant which comes with the territory of being a drummer in a rural area. He's in gigging bands etc.
Not as good as our original drummer either, which didn't help...
...and within an hour he's sitting on the throne telling us about song arrangements.
Man, what a drag.
He even made a few smirks and other "unpleasing" faces. Dude, get over yourself.
Ugh.
I hope the original drummer comes back, but even no drummer is better than dealing with someone you know that you'll end up disliking.

Thanks for letting me vent.
 
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The biggest asset we have as a band is to not let adversity bother us, and not pick fights over anything, really. I think it all comes down to personality.

We've had constant personnel upheaval, gigs cancelled last minute, clubs pay us less than we agreed, rival bands (who we didn't even want to be rivals) do some petty stuff, and "promoters" try to badmouth us, everything you can imagine.

But what good is it going to do us to melt down over any of it? Tomorrow is a new day, next weekend is a new gig. As long as we love sharing a stage with each other, we keep making progress.

We have a group of people who are capable of shrugging things off. In the modern music business, you will take a hundred more punches than you will ever have the chance to throw. If you don't want to get hit, why did you get in the ring?
 
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....

We've had constant personnel upheaval, gigs cancelled last minute, clubs pay us less than we agreed, rival bands (who we didn't even want to be rivals) do some petty stuff, and "promoters" try to badmouth us, everything you can imagine.

any idea why you would be treated this poorly.
Some last minute cancellations are just bad comms and diary management but maybe 1 a year tops, but the rest are red flags, ime.
 
I hope the original drummer comes back, but even no drummer is better than dealing with someone you know that you'll end up disliking.

You could always provide your own drums.
For over 10 years I have used a cajon with kick and snare pedals to provide some drums in groups where a drummer was not available. While I prefer to play with a good drummer having just kick and snare can be better than a not-so-good drummer.
A couple of years ago I moved to a digital format using two KT10 kick pedals and a TM-1 drum module. I now have a lot more options with 16 different "kits". I keep the kick on all options and on the snare pedal I can switch it to closed hi-hats, tambourine, cow bell or any other sound I want to import and use.

The TM-1 is in the middle and is perfect for this scenario as it has foot switches just like effects pedals.
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And this is the old Woodskin Cajon. It actually gives a pretty decent kick and snare sound when mic-ed up well.
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