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The Real Reason Why Bands Play the Same Old Tired Covers

I was in an excellent cover band back in the late 90s that played all over North Jersey. We pushed it with some unusual covers from known bands, did lots of stuff that was popular at the time too, but we definitely mixed in some deeper cuts, stuff you wouldn't normally hear, but from the same artists. When we did that, three people in the back would jump up and cheer and the rest would have blank looks on their faces and go for a beer. I called it the "Homer Simpson Complex" after the episode where Bachman Turner Overdrive befriended Homer, but at their live shows all Homer wanted to hear were the choruses to "Takin' Care of Business" and "Ain't Seen Nothin' Yet". He would boo even the rest of the songs, and when they announced that they were going to play a new song, he would scream "Play Takin' Care of Business!!" They yelled back, "But Homer, we just played that", and he waved his fist and yelled back "PLAY IT!" So they played the song over and over again to the delight of the Homer Simpsons in the crowd.

I have come to discover that there are a lot of Homer Simpsons out there. They want to hear songs over and over again that, if I had the choice, would prefer never to hear again if I live to be 120. So anyway, we started hearing complaints from booking agents and club owners that we played old, out of date music from the 60s and 70s and we needed to update our set. This is despite the fact that 75 or 80% of our set was made up of music that was on the radio at the time. We'd throw in "Good Times, Bad Times", "Day Tripper" and a few others like that...but that was too much. I thought it was the perfect mix to keep both the audience and ourselves happy. I was wrong. The band's happiness is unimportant if you want to gig steadily. Keep pumping out "Takin' Care of Business" and the Homers of the world will be happy and your band will continue to play the circuit. On the other hand you will wish you had chosen some other way to put a few bucks in your pocket.
Yeah, I was young during the "great alternative scare" of the early 90s - a time when young people supposedly wanted to hear non-commercial stuff. Well I don't know how many times I'd put on some new album by some cool new band only to have some cool "alterna-kid" complain "put on something I've heard of!" If these 18 year olds who thing they like variety and alternatives can't stand what hasn't been shoved down their throats, what hope do general audiences in regular bars have?
I also have done the all originals route and been told we weren't as "original" as the Nirvana cover band that opened for us. Whay? not 'cause we sucked that bad, but because people want to hear what they like, and what they like is what they know.
 
My cover band has a fair bit of push and pull when it comes to song selection. Keep in mind all of us are 45-55. Here are summaries of the mindsets from individual band mates:

doesn't want to do songs they just don't like
doesn't want to do songs that are or were overplayed (ie: no Mustang Sally, Brown Eyed Girl)
doesn't want to do songs with "uncomfortable" lyrics (ie: songs featuring party drinking or drug using, songs written from a man's perspective and we have a woman singer, etc)
doesn't want to do songs with repetitive lyrics
doesn't want to do iconic songs unless we can do them exactly the same as the popular studio version, and as well (ie: no Beatles, no Stevie Wonder, no Michael Jackson)
doesn't want to do any "A" side songs - if you suggest one they will say "how about this "B" side song by the same artist instead
doesn't want to do songs that were hugely popular for a brief period (ie: Happy, Forget You)

I appreciate their feelings but the cumulative effect of these constraints is to really limit the band to a narrow band of songs, many of which don't get the crowd going.

Me? I want to do what ever consistently gets the women dancing, because women dancing gets men dancing, and people dancing become thirsty people, who buy drinks, which make the owner of the venue happy. It's a compromise you get with any band with multiple members and no specific band leader.
 
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When you're playing a bar, there are worse things than having the customers go buy beer ;-)

I meant that as a way of saying that they appeared disinterested. They may have used our playing of a Pearl Jam song that wasn't on the radio as a good time to go take a whiz too. When I see a band and they're killing it, I can't peel myself away. Not for a beer, and only to hit the head if it's an emergency. When people are bored they look for excuses to be somewhere else. I actually had one of the bartenders tell me that he liked our originals and he wanted to know if we were selling CDs. We didn't play an original the whole night. He was referring to some Black Crows song that wasn't "Hard to Handle", or some Pearl Jam song that wasn't "Jeremy".
 
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Do you really believe that in a room full of 21-35 year olds that 'Brown Eyed Girl' will get them dancing moreso than 'All About that Bass', 'Gangnam Style', or 'Happy'?

I do weddings, where people will specifically request songs. My wedding clients are around the same age as most club goers, and nobody requests those tired old covers, unless it's for one of their parents or grandparents. I'm sure they would dance to 'Mustang Sally' at a bar, but they sure don't ask for it when they are shelling out thousands for a special day.
I'll preface this by saying we're almost exclusively a wedding band; we generally only accept on average one gig per month by band choice, we book exclusively in Wisconsin, Iowa, Minnesota and Illinois, and we're true weekend warriors all whose day jobs is what feeds our families.

In response, post #1 is not at all our experience. I would say more than 50% of the time, the sort of wrongly frowned on "unholy trilogy" of tunes, Brown Eyed, Sweet Home and Mustang, get requested after about an hour or two without fail, and almost exclusively by kids the bride and groom's age. Hell, it happened this past Saturday night at a Hockey Fundraiser we played. Brown Eyed and Mustang got requested around 10pm. And it's probably the most packed the dance floor gets all night. There has in the past 5 years or so we've seen, a resurgence of the younger crowd's appreciation for classic rock. Otherwise I don't know how we get so many wedding dance requests to play. Way more than we'd ever accept.

We always have to seem to learn 2-3 new songs each wedding as requested by the bride and groom, usually for the first dance or father daughter dance, but sometimes, just to learn a song. Some are top 40 tunes or pop classics not in our repertoire, others are of the "Rainbow Connection" variety. Many of those find their way into our setlists at subsequent gigs and ranging from country, to "All of me" by John Legend (Tunes like Rainbow Connection, though die an appropriate death after their one and only performance). At weddings it's not just a roomful of 21-25 year olds. It's an equal if not majority of 40-80 year olds (especially at weddings), and we're just not in the business of driving out the 40-80 year olds by the end of the first set, which I've seen DJs and bands do at wedding dances where I've been a guest, through a combination of too loud, too "top 40'ish" or kind of out there stuff. But that's not what good wedding and corporate bands do, especially if they want to keep working. I'll take some of Jive's advice to heart - it is always good to have stuff at weddings for the younger crowd, and learning some of what he suggests is a good idea, and it keeps things fresh. If they want more top 40 tunes all night, though, then I politely tell them we're probably not the band they want. Sure, we'll play Cha Cha Slide and Cupid Shuffle and Rhiana and Beyonce on our breaks through the IPOD, but we know we couldn't do them justice given our configuration, so we don't play those.

I 100% disagree with the preaching aspect of post #1, however, that if bands don't constantly learn new and fresh material, they're all lazy. It's about the audience, not the band.
 
doesn't want to do songs they just don't like
doesn't want to do songs that are or were overplayed (ie: no Mustang Sally, Brown Eyed Girl)
doesn't want to do songs with "uncomfortable" lyrics (ie: songs featuring party drinking or drug using, songs written from a man's perspective and we have a woman singer, etc)
doesn't want to do songs with repetitive lyrics
doesn't want to do iconic songs unless we can do them exactly the same as the popular studio version, and as well (ie: no Beatles, no Stevie Wonder, no Michael Jackson)
doesn't want to do any "A" side songs - if you suggest one they will say "how about this "B" side song by the same artist instead
doesn't want to do songs that were hugely popular for a brief period (ie: Happy, Forget You)
Great summary of what people don't want to play. But if you did follow this list it would be great, it would allow you to tear down at 9:15 as you will have played the 3 songs that remain and be done. I've said in other for a that if people start drawing lines in the sand over what they'll play, you end up with a pretty short list real fast - even shorter once you eliminate anything not on THAT list that the singer/guitarist/keyboardist can't do.
 
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I agree with everything you say except this: it is the people HIRING the bands that determine what gets put in front of their audiences, not the bands and most of them either think/know their audiences want old crap or that's what they like - you'd be surprized how many bookers book what they like with no regards to what their audiences' like or ar willing to pay to see. I've said elsewhere that several community theatres my old Elvis band played in stopped booking us (or letting us book the theatre) because they changed booking agents and the new ones didn't like Elvis. This was in theatres we had filled on numerous occasions with quicker and more slaes each time we played so it wasn't that they didn't like US they just didn't have any business sense or vision. Similarly, most bar owners are old guys so they don't want to hire the young guys doing originals or contemporary music because it ain't the baby boomer music they listen to.

It is a catch 22, which is why I don't think its completely irrelevant to this discussion about cover bands being lazy. Pandering to an older audience does guarantee their continued patronage, but may limit your future if you don't include something more contemporary. I'm not suggesting anything too crazy; the classic rock station here in LA, KLOS now plays Nirvana and early Green Day because, let's face it, that stuff is 25 years old now. Thrown in a cover of something written in last 30 years and you can try to appeal to both younger AND older audiences. You just have to work at it a little, which is harder than just playing the standards out of a book you bought at GC.
If cover bands are concerned about the future of their business, or the future of rock music in general, they better start thinking of new ways to keep an audience.
Example: For my second wedding we hired a DJ for the music who exclusively used digital music. He had a live wireless feed to his iTunes account so if he didn't having something on tap, he could go get it and play it in minutes. I had that guy play some mellow Opeth tunes during dinner and some Black Sabbath towards the end of the night. Meanwhile my wife got her "Baby's Got Back" and whatever else she wanted. I never would have hired a live band because in my mind, all they will know are tired standards, and watching a live band play music I don't care about doesn't mean anything to me. Get off your backsides or be replaced by guys like the one that did my wedding.

Don't get me started about booking agents/promoters. From what I can tell they don't give two #%$&s who they are book with who or when. My metal band keeps getting lumped in with some pretty light weight stuff. Once in a great while it pays off, but not often.
 
We're definitely struggling with that as a band. We do vintage R&B covers: Ray Charles, Sam Cooke, Stax, Motown, et al. The leader is the primary vocalist. He prefers more obscure B sides and rarities, and eschews doing what he calls "obvious songs." For the most part, we are doing fine with the process and I believe it's important for him to lead. Also, I think there are too many good songs to cover to fuss over a song that doesn't have unanimous or near unanimous band agreement. But personally, I would add about 10% more "obvious songs" because I think it's good to give audiences something to relate to. I think a ratio of 70% rarities to 30% "obvious songs" seems about right to me. But again, I believe it's even more important to let the leader lead. Fortunately, I couldn't be happier with the guys as people. That makes everything work better.

I do think the OP made a great point about moving beyond the bare minimum and learning the nuances. For example, what distinguishes a wretched cover of Sweet Home Alabama from a decent cover of it, is getting all the little nuances that distinguish each verse. I still really really dislike the song, but hearing a band do something other than flog those same three chords for 5 minutes makes it somewhat more tolerable.
 
There are new artists out there who do put out material that deviates from the cookie cutter.

I try to put on Sirius Alt Nation and XM-U in the car.

alt-J, St. Vincent, Banks...
Unfortunately, I can't seem to get my daughters to let me leave those stations on. So I put on the stations they prefer. Song after song comes on and I'll ask them: "Are these guys any good?"
And it's either "Nah", "Not really", or "I don't know." So I ask "you want me to leave it on or change it?"
"I don't care"
So I put on some classic rock or New Wave and they roll their eyes.

I can't speak to all kids, but mine don't have a passion for music that is out now. I don't think they have a passion for any particular band/artist where they dig what's out now and can't wait for the next release.

I've exposed them to just about every style of music. The can bear just about anything (except metal and country).

I feel bad for them.
 
It is a catch 22, which is why I don't think its completely irrelevant to this discussion about cover bands being lazy. Pandering to an older audience does guarantee their continued patronage, but may limit your future if you don't include something more contemporary.
I totally agree again, but like you say it's a catch 22 - I've bemoaned the fact that bands have to play the same old crap for year and am always trying to update the music bands play - but there is a reason we play what we do and the OP/OT is that it's the musicians that are lazy, not the audiences/bar owners.
To the guy who is in a Wedding band - that is great for variety - it almost guarantees you will have to learn new stuff as it is generally young people who have big weddings - but that is a really small market and hard to break in to, most of us playing for cash are forced to do it in bars.
 
Here's a thought - How many commercials have you seen that feature music from the 60's and 70's? I've seen quite a few, considerably more than commercials featuring modern rock or alternative tunes. It seems the soundtrack of commercials is more often either rap/hip hop or something like Hendrix, Stones, Who, etc. Heck, how many times has the Youngblood's "Get Together" been used for a commercial soundtrack? Now I'm not saying that the music of commercials is the greatest music, but I am saying that those who choose the music for commercials have done considerable research into finding out what music resonates and connects with people, and they choose accordingly.

And here's an interesting question: Among the modern rock acts - Who do think will be well known, household names in 50-60 years? Will any of them have the instant recognition and impact 50 years from now that the Stones, the Who, Hendrix, The Beatles, the Kinks, The Beach Boys, Led Zepplin, The Allman Brothers, etc, have now? Or, when you mention them in 50 years will the response be "Who?" (as in who is that, not the band).

My cover band consistently gets requests for Mustang Sally, Sweet Home Alabama, Honky Tonk Woman, etc. Guess what - the audience (you know, those people who are ultimately responsible for you getting the money you are receiving, if any) ask for it - they get it.
 
Don't get me started about booking agents/promoters. From what I can tell they don't give two #%$&s who they are book with who or when. My metal band keeps getting lumped in with some pretty light weight stuff. Once in a great while it pays off, but not often.
Around here, the booking agents (Real Booking Agencies) are very much in tune with their clients needs. They want Top40 Variety old and new. Period! You wanna get booked, get with the program or play in empty bars for gas money.
 
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In response, post #1 is not at all our experience. I would say more than 50% of the time, the sort of wrongly frowned on "unholy trilogy" of tunes, Brown Eyed, Sweet Home and Mustang, get requested after about an hour or two without fail, and almost exclusively by kids the bride and groom's age. Hell, it happened this past Saturday night at a Hockey Fundraiser we played. Brown Eyed and Mustang got requested around 10pm. And it's probably the most packed the dance floor gets all night. There has in the past 5 years or so we've seen, a resurgence of the younger crowd's appreciation for classic rock. Otherwise I don't know how we get so many wedding dance requests to play. Way more than we'd ever accept.
I've been playing for 40+ years. When someone tells me they've never gotten a request for Brown Eyed Girl, Sweet Home Alabama or Mustang Sally, I just don't believe them. I've played in Top 40/Disco (as it was called in the '70's), Hard Rock, Traditional Blues, Classic Country and Metal Bands. I've only played in one band that didn't do at least one of the three songs. I've NEVER seen Mustang Sally not go over and I don't believe that it would empty out a club. If your band can't rock Mustang Sally, your band sucks, not the song. Go listen to Wilson Pickett and get schooled. Also, there is a difference between a song that sucks and a song you are tired of playing.
 
I've been playing for 40+ years. When someone tells me they've never gotten a request for Brown Eyed Girl, Sweet Home Alabama or Mustang Sally, I just don't believe them. I've playing in Top 40/Disco (as it was called in the '70's), Hard Rock, Blues, Classic Country and Metal Bands. I've only played in one band that didn't do at least one of the three songs. I've NEVER seen Mustang Sally not go over and I don't believe that it would empty out a club. If your band can't rock Mustang Sally, your band sucks, not the song. Go listen to Wilson Pickett and get schooled. Also, there is a difference between a song that sucks and a song you are tired of playing.
Right On!
 
I've been playing for 40+ years. When someone tells me they've never gotten a request for Brown Eyed Girl, Sweet Home Alabama or Mustang Sally, I just don't believe them. I've playing in Top 40/Disco (as it was called in the '70's), Hard Rock, Blues, Classic Country and Metal Bands. I've only played in one band that didn't do at least one of the three songs. I've NEVER seen Mustang Sally not go over and I don't believe that it would empty out a club. If your band can't rock Mustang Sally, your band sucks, not the song. Go listen to Wilson Pickett and get schooled. Also, there is a difference between a song that sucks and a song you are tired of playing.

As God is my witness, I have never once had anyone request Mustang Sally, Sweet Home Alabama or Brown Eyed Girl, and I can't believe anyone in my audience wants to hear Mustang Sally at all, because I would expect them not to know it.

Sweet Home Alabama, of course would go over, but every cover band in this town who isn't us already plays it, and I did get a guy last week who said, "do you know any Van Morrison," so that is ALMOST a request for Brown Eyed Girl.

I told him the rest of my band isn't cool enough to do "Tupelo Honey," because I've always wanted to do it. He laughed. He is coming to our next show, because he liked all the other stuff, but I wish we could do a Van Morrison for him.

I happen to LOVE Van Morrison.
 
Which is why I switched from straight on classic rock covers to country (outlaw, bro, new, whatever). Same formula, but new to me. I'm sure when I get tired of playing Wagon Wheel, I'll switch genres again.
My old originals band covered Wagon wheel before was made commercial by that hoody blowfish guy. At the timer Old Crow medicine show was not known and most people thought it was a song we wrote...Wish.
 
Around here, the booking agents (Real Booking Agencies) are very much in tune with their clients needs. They want Top40 Variety old and new. Period! You wanna get booked, get with the program or play in empty bars for gas money.

Who's top 40? That's the problem isn't it? These bands are playing "Top 40" from 40 years ago because they can't wrap their heads around anything on the radio now. They're buried themselves in nostalgia and are killing themselves in the long run. When that audience fades away, what's going to be left? My generation doesn't want to go see cover bands because we've been alienated by the selection of tired music, and my kids certainly won't care.
Short term gains for long term extinction is how I see it.