• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

Things Publicans Don't Get

As a guy who does solo gigs.............

Even though the logistics can be quite simple in terms of setup and sound reinforcement, I find performing solo to be harder than performing with a band.
- You're entertaining a room of people alone, by yourself. It's a lot harder than you think. If you don't believe me, I welcome anyone to give it a try and see how it easy it is. I bet some of you are freaking out at just the thought of having to do that. As a solo musician, you alone are responsible for getting the attention of the folks in the room, entertaining them, getting them to stay and consume more. It's much easier when that is split among band members. IME, it takes a combination of skill and personality to pull it off, otherwise you're in for a very long night (even if it's just a 30 minute set).
- You always have to be on because there is no-one to fall back on when you're off. If your voice isn't feeling well, you don't have another band member to push additional songs onto. If your guitar playing is off, there's no bass player or drummer to get you back into the groove. If you are off, the whole show is off. But in a band, if one person is off, others can pick up the slack.
- If you're using backing tracks, they don't just come out of nowhere. Someone has to create them, and often it's the musician. The time and effort used to create and implement them can be significant and tedious. Even if the tracks are bought, borrowed, or stolen, you still need to implement them. And often that requires practicing with them so you don't mess up when using them. Quite honestly, I find using tracks nerve-wracking. If I make a mistake with a band, I can usually count on the band to cover for me and no-one in the audience notices anything. With a track, if I miss a single beat, I could wind up in a trainwreck with no way to fix it other than to kill the track (which is another embarrassment).
- You're keeping up with multiple things at once, all by yourself. When you're going solo, you're singing and playing an instrument while also covering sound. If you are using tracks that are not press and play, you'll need to be aware of those too. You'll also being doing front man/hype man/emcee duties, which means to be effective that you'll also need to pay attention to the audience while you are singing, playing, running sound, running tracks, etc.. You're probably also your own promoter and booking agent as well. Since there is no band, there's nobody to share in these duties.
- Solo acts are lonely experiences unless you know alot of people in the crowd. With a band, you have bandmates to commiserate with before/after the show, and during breaks. But for a soloist, you're usually alone for those things. Tiresome for an extrovert like me, but probably not so much for an introvert who looks forward to those alone times.
 
As a business owner, as well as a musician, let me say that I put as much time, effort, and resources to start my business as I did to be a competent musician. I may not have spent years wood-shedding business like I did with music, but I did spend years working to be able to get the financial backbone, business acumen, and subject matter expertise to start a business. The time, effort and resources to start a business is worth every bit as much as a musician's time, effort, and resources spent to be able to perform competently.
 
This.

I play resort beach bars in the Caribbean. My competition is the 'guy on a boat with a guitar' that will play on an open mic night for free, open mic nights being a favorite ruse by Caribe bar owners to avoid paying professionals (with actual acts/experience/equipment).

When I told them how much I want to get paid their immediate response was 'Why should I pay you when I can get musicians for free?'. When I replied 'because I'll bring in more customers' the response is usually 'they all say that'.

Since such bars are largely transient/seasonal I can understand their reluctance to drop money for a night they really don't know will be profitable or not. I solved the issue by pinning my pay on the number of customers, i.e. $X times number of customers (I always make 'X' roughly the per person cost for couple drinks/beers).

We'd both go around at the end of the 1st set and take a customer count. If just a few customers show up the owner/manager is out nothing (no risk). If a lot show up we both make money. A win/win situation. Of course it's now up to me to 'market' the gig, get people there but I have a good reputation so a few posts on the clubs social media site, local flyers and word of mouth generally fills the place.

I've lost count of the number of times I've been approached by bands asking for $1500 to $2000 or more for a gig saying they have a great following and will pack the place. When i say that i need to put on a cover charge for that price they always agree and reiterate that they'll pack the place.

When i say "in that case I'll give you a guarentee of $500 and you can have the entire door. If you pull in over 150 people at only $10 a head you're in front". Suddenly they aren't so sure of packing the place and don't want to take the risk. I can count on one hand the number of bands that were willing to take the risk.

Just about every band wants the venue to take the entire financial risk.
 
This is something formally trained drummers learn early on. A high school percussionist usually has better dynamic control than the average rock band drummer.
As a former, formally trained drummer, now turned bassist, I couldn't agree more. I cringe when playing with basement hack drummers. If you can't play with volume control, and stay on time coming out of a fill, then go take lessons.
 
This is true. I was talking to the manager of what used to be the live music rock venue in Townsville. He told me point blank that moving the 4 dining tables in the bistro to accommodate a band would cost him in excess of $2000 in meal takings. Can't argue with the fiscal logic of that, but if he could see the disappointment and lament on faces of the people who hear this anecdote, I'd like to think that a bit, ok a lot, less profit in one area in order to appeal to an extra potential audience will pay dividends later and if not dividends, then atmosphere and general well-being that a "bloody good night" brings to the venue and the staff and the punters. Sure there's plenty of retirees and young families in your bistro, but nobody's having a good time, especially the staff.

Wait, wait, wait....

Townsville?

That sounds like a default sim city name for people who were too lazy to pick one on their own
 
We solved every one of these volume problems with an excellent set of e-drums. It's expensive to get a good set that feels like playing real drums, but imo they're worth every penny. The sound is so much more consistent. The drummer complained for a bit, but then his church started requiring him to use them and now he's getting on board. It's a perfect mix every time.
 
  • Like
Reactions: BAG
Publicans wonder why the band doesn't have 20 clever ways to remind the audience to run to the bar and tank up on premium drinks, or to tip your serving staff liberally, thank you very much. Publicans wonder why half the band's songs aren't centered on ideas like "whisky is good" and "beer makes life go round." Publicans wonder why the band stops playing for long silent intervals that make the audience flee the dance floor and sneak outside for smokes of this and that instead of ordering another round of brew. And so on and so forth. TalkBass needs to start a new Forum to help get us slaggards up to speed. :banghead:
 

Latest posts