Put me on the Door?

Hi there,

I've said 'Put me on the door?' many times myself and it seems such a small ask, doesn't it? Please just write my name on that precious piece of paper - the one in possession of the door biatch - so that I don't have to pay to get in the club. There was one period of my life and career that I wore as a badge of honour the fact that I never paid to get into any gig I wanted to go to. It was my selfish 20-somethings and I felt that my industry somehow owed me that.

I'd like to think that passing years have made me wiser and less selfish but truthfully, it has been my experience on the 'other' side of the velvet rope that has really made me think differently. When you ask for free entry to a gig, who is really paying the price?

I am now often the promoter of the shows I perform in. The promoter is the person at whose feet the financial responsibility ultimately falls. Depending on the deal, too few tickets sold can directly hit the promoter in the hip pocket. Venues are less willing to take financial risk nowadays, so will often offer 'door deals'. That means a promoter gets paid only by receiving a percentage of the ticket prices and out of that, must pay the band, possibly the sound system and engineer, promotional costs and any other expenses. Obviously in this situation, any tickets given away are tickets that can't be sold to help the promoter make costs. 

When you're an indie artist putting on your own gig, you're a promoter whether you like it or not. If all your friends and family ask to be 'put on the door', what chance have you got to break even let alone actually get paid for your work? For an indie gig I promoted at The Basement a few years ago, I worked out that even with a house almost full of paying punters, if I included all the hours I had spent working towards this event, my hourly rate would make even a Nike factory worker blush! 

I once invited an agent to see a show I was in, and I offered to put him on the door. He said he would be happy to come and see my gig but insisted on paying his way. His belief was that it was our duty to support each other in this industry and always paying to see gigs was one way to stop live music being devalued. That was the first time I had heard this particular point of view, and I eventually adopted it as my own.

So, is all this to say that no smart businessperson would ever give away tickets? Not at all! Recently I was working with an international act in their first time to tour in Australia. One of the venues for this act was only half sold, two days out from the show date. In this case, the act's promoter had negotiated a guaranteed fee, so the financial risk lay with the venue itself this time. As part of the deal, the venue had offered the promoter a small number of 'comps' which they had duly given to various industry folk - but they found they needed more freebies than were offered. Obviously the venue would prefer to sell than give them away so they decided to cross their arms and refuse to give the promoters any additional free tickets. But in this case, that is exactly what the venue should have done. In fact, they should have been giving away tickets with gusto! A full room is in everybody's interest. A full house creates the illusion of success - it's more exciting for the artist and even audience members prefer the atmosphere of a well attended show. Giving away unsold tickets is such common practice (I was lucky enough to see Pink at the Entertainment Centre as a result of this strategy) that it has a name - it's called 'Papering the House', and it is an art. Don't do it too early and risk losing last minute sales - and when you do do it, be discreet so that paying audience, media and reviewers don't suspect!

The bottom line is that giving away tickets directly affects someone's bottom line one way or another. We all know there is no such thing as a free lunch - we need to also realise there is no such thing as a free gig!

All the best for Christmas and a safe and successful 2016,
Amanda

5 Reasons you SHOULD Sing Covers

Hi there,

I know, last blog I said there were 5 Good Reasons NOT to Sing Covers...but a record does have two sides, right?!

1. Practising your Craft: Being an original artist is, ah, an art! But it is also a craft. Singers with good breath control, pitch, delivery and range can highlight their art much more effectively and regular gigs make a fertile training ground. Sure you can do regular original gigs but in the early stages of your career, there are more cover gigs around and they are likely to pay much better too. The Rolling Stones were a Blues cover bands before they gave us true satisfaction. And having to sing other people's songs, written for their style and ranges, will really stretch your technical abilities. 

2. Walking the walk: As well as the actual singing, cover gigs will perfect all the other skills that go into becoming a great live performer like stagecraft and connecting with audiences. Whether you're being a cool indie chick or channelling Madonna, the skills are part of the same showbag.

3. Making the Contacts: The music game is the music game and there are many players including agents and venue owners you will be able to cultivate while doing cover gigs.

4. Learning from the Hits: Performing other people's songs to audiences night after night gives you an insight into what songs 'work' and why. Valuable info you can feed into your own songwriting.

5. Making Money from Music: I never forget a conversation I had at a party after being introduced to a fellow independent artist. He asked me what my day job was. I told him I sang in covers bands and the look of horror on his face was unforgettable - he didn't hold back in expressing shock and contempt at my choice of income. I returned the question and he told me he was a painter. OK, so he was an all round artistic type that managed to make a living from his artistry, good for him. I wondered if it were landscapes of Picasso-esque stylistic masterpieces and so I asked him what he painted. He answered 'houses. sometimes fences, mainly walls'. Oh.

Music is a wonderful job and whether they are my masterpieces or someone else's, I can't think of a 'job' I'd rather do.

I've just joined a soul/funk/blues/motown/swing band called Red Light Orchestra. I wonder what narrow pop pathway I would still be on if I hadn't had the experience of singing covers like this. Because what you can't learn about soul from Al Green and the gang, cats, well it ain't worth knowing!

See you next time,
Cheers,
Amanda

Just learn to sing man!

Hi there,

I think I have the best job in the world but the problem with doing something that looks like so much fun (it is) is that people think it's only fun and that it's easy (it really isn't). 'The Voice' judges on TV gabber on a lot about the importance of singers 'telling a story' and 'making a connection'. As important as that stuff is, they don't seem to talk much about technique and the practical side of learning to actually sing properly. I have heard gigging singers say, 'I've never had a singing lesson' - well don't boast about it! Lack of training, at the minimum, usually means a voice that will blow out after only two gigs in a row...let alone lack of breath control and weak projection. 

If you had a natural flair for a volley and a mean backhand and were aiming for the professional circuit, wouldn't you get a tennis coach pronto? There probably exists the rare warbler whose voice is so good that training can't improve it - but I'm yet to hear them. Now you may tell me about a guy called Bob Dylan - never had a singing lesson. I would say, as a singer, Bob makes a mighty fine storyteller. And you may tell a story better than Hans Christian Anderson, but that does not a singer make! 

I can't help but get personally offended when people get up on the professional stage without a lesson behind them (I am a Cancerian so I do take most things personally!) You think so little of this pursuit that you're not willing to put everything into it? It's an art, sure, but it's also a craft - please respect it and get thyself to a singing teacher!
See you next time!

How to get the Clap

Hi there,

'Grease' at Taronga Zoo Twilight Series 2013

I was lucky enough to do a gig recently to an audience of over a thousand enthusiastic people. It was on a huge stage with all the lighting and sound set-up you'd expect from a well-produced live music event and a great time was had by all - both sides of the stage. Throughout the entire event the crowd went wild - applause and cheering could be heard for miles.

I did another gig recently to an audience of about 50 people. There was no stage and no lighting. People had to say 'excuse me' to walk in front of us - to get to the bathrooms. Throughout the entire event the crowd went mild - you could hear tumbleweed rolling down the main street.

So what's happened to clapping peeps? The latter style of gig can be bread and butter to many professional musos and I've noticed more and more recently that clapping is a dying art at such shows. Now you may be thinking, people aren't clapping because they aren't enjoying the music. That's the first conclusion I jump to - and I can tell you it's no good for the fragile artistic ego. But then almost without fail, something strange happens after the final song. People from the audience come up to offer their compliments on the performance and press us for more! Ah, so you loved what we did but remained silent in that traditional space left between songs to show your appreciation? 

My theory is that if the venue doesn't show respect for its performers - by offering a proper performance space - then an audience responds accordingly. An audience seems to need cues to do their job properly - and those cues include lighting and a pedestal on which to view their performers. Ideally far away from the toilet door.

The more venues shove performers in the corner on a piece of carpet, the less impact their performances will have. And the more we'll hear venue managers say that live music just 'doesn't work'. And then we'll all be listening to the sound of one hand clapping. 

See you next time,

Amanda

Four Extra Inches? Always Say Yes

Hi there,

A muso friend receives an email offering a too-good-to-be-true career opportunity. What is she to do? My advice is 'just say yes!'. What if it is actually the real deal? You're going to say no because it's too good? When an unknown Madonna got offered her first record deal, did she say 'Nah, that's exactly what I want but it seems way too good to be true so I'll pass thanks!'

I got a strangely-worded email a few years ago asking if my band and I would like to come to Malaysia as guests of a world-famous cognac company, to perform as part of their publicity campaign. It would entail being treated like rockstars, staying in luxurious accommodations, doing gigs in Kuala Lumpur and Penang. Oh, and how much would you like to be paid for the privilege? And did I mention we need you here in a week? The email lacked punctuation and had no signature at the bottom - it certainly didn't look corporate. What was being offered was almost dream-like. I had a little laugh when I received it, but instead of pressing the 'delete' button I employed the 'R.Fukert' attitude and replied. I came up with a figure I thought would be pretty generous on their part and promptly forgot about it and went on with my real life. 

The next day I received the paperwork to sign, including the generous figure I had proposed - really! Of course I got the contracts checked out and then we all had to scramble for visas and re-organise our lives for the next couple of weeks. But that trip still goes down as one of the most rockstar experiences of my life. As well as everything they had promised, they put on a huge press conference, with us as the star attractions. I did a photo spread for Malaysian 'Cosmopolitan' magazine and there were larger than life size banners of my face in the centre of the city. Sitting down one tropical evening - with drinks provided by the sponsor of course - I had an interesting conversation with our host. He was the one who had sent me that initial email. He asked me if Australian bands were perhaps not very internet savvy - a very large percentage of the emails he had sent to bands apparently went ignored. I'm sure it was because the bands had assumed the email was of the same ilk as those offering 'up to four extra inches'.

So now my credo is, 'just say yes - until you have to either sign something or pay any money'. Of course you have to be careful if it involves contracts or cash, but until then...why not go with the flow and see if it leads to an exotic rockstar experience? 

Cheers,
Amanda

How to Get on the Radio, Part 1

Hi there,
Having worked with 100s of indie artists through PopTarts, and the independent release of three singles and two albums of my own, I often get asked for advice on what to do with an album once it's recorded. This is the first of a series of blogs that will hopefully give you some ideas. And please add any of your own ideas to the comments - it's all about community!

OK, you've poured your sweat, tears and bank balance into the creation of an original recording. You feel drained yet proud. Now the hard work begins - you actually have to sell the thing!

Radio is an important slice of your promotional pie. If you are a self-funded independent artist, there are still plenty of avenues open to you. Commercial radio in Australia (don't pack up and  move, it's even harder in other countries!) is a very hard nut to crack for everyone, particularly indies. Nothing is impossible though and I will cover the options for commercial radio in another blog. But I wanted to start with something a little easier to achieve.

Community Radio Wants You

I've been a community broadcaster myself (2MCR, 2SER and TVS in Sydney) so I'll start there.

Community radio stations are largely run by volunteers, are not-for-profit and encourage community participation. Part of their charter is actually to promote the local arts - that means you! Community radio stations often have solid, dedicated listener bases and with enough of a groundswell, community radio airplay could even help lead to commercial radio play.

One of your best friends should become the CBAA or the Community Broadcasting Association of Australia - the national body looking after 270+ community radio and TV stations throughout the country.

The CBAA have wonderful government-subsidised programs for indie artists. One is called:

'AMRAP' - CD Mailout


Amrap charges a small fee to distribute ‘radio ready’ CDs by Australian artists to community radio stations around the country. The good folk at Amrap actually listen to your CD and work out which stations are likely to play your style and distribute it accordingly. If you have a hip-hop record you want to promote with a tour through the East Coast, they will send out your CD to only those radio stations in the Eastern states who play hip-hop. Even though you pay a certain amount for this service, it is still cheaper and hugely more efficient than buying the padded bags and sending out CDs yourself. And their contact databases are comprehensive and up-to-date.


I've used this service quite a few times and managed to cultivate some fabulous community radio airplay and contacts as a result. Like anything in this indie game, the more work and time you are willing to put in, the more benefit you get. Amrap give you an invaluable report which includes contact info of all the radio stations to which they've distributed your CD. Use this to follow up!


When hosting and producing my own radio and TV shows I always appreciated artists getting in touch with me personally, keeping me in the loop with their upcoming gigs and releases, being available for phoner or in-person interviews and generally helping me provide interesting content for my shows. Never pester, but definitely get in touch. Community broadcasters are waaaay more accessible than their commercial counterparts. They will probably love hearing from you.

Amrap do mailouts every month but they are no longer a well-kept secret, so get in touch with them in plenty of time before you are ready to promote - they are popular! Their website is here.

Next week: How to get your music on the Digital Catalogue used by Community Radio.

Songwriting - Therapeutic or Tedious?

Hi there,


I've decided this is the year I finish the first draft of my novel. As a result, I've been reading a lot of how-to books on the subject to help nudge me along. Every single one so far has said that most writers don't actually enjoy writing. They enjoy having written, the satisfaction of finishing a piece of creative work. But the laborious process of getting the words in the right order is often plain frustrating.


I am hoping that learning more about writing fiction will also help me improve my songwriting. I've got to admit, those days when I'm wrangling rhymes and slaving over syllables can be more about exasperation than inspiration...but oh how I love having written!  So can you compare lyric writing and writing a book? Let's see, I'm going for 85,000 words for my novel - a song for me will be more like 150. But of course you have to consider rhyme and singability for song words too. And then there's that pesky music to go with the words.


A piece of advice that seems to be consistent in these 'Dummies Guide to Writing your Novel' type tomes is to allow yourself to write freely. It really helps to silence your internal judge at least for the first draft. So this week one of my goals will be to write a quick pop song. Get it out in one go without agonising over adjectives and getting vexed over verses. No editing. No refining. No censoring. Muzzle that inner critic and let the fun begin!

Time to Pop the Cherry

Hi there,

I find it pretty intimidating playing brand new songs to someone for the first time. It’s one week until my first original gig of the year – where I’ve committed to perform some brand new songs destined for Album no 3...

It was a bit easier for me in the past when I mostly co-wrote songs. Like a trouble shared is a trouble halved, so the blame for a dodgy verse structure or naff lyric is not entirely your fault when more than one person has authored a song. This time, as part of the whole ‘do something that scares you’ routine, I’ve decide to write the whole bloody album by myself. The audience at Lizotte’s next week won’t hear entirely virginal songs, however – they will have been heard first, of course, by my fabulous accompanist.

I thought I’d try to make his job easier by recording rough demos of the songs I’ve written so far. A bit of midi drums and even a bass line, to give him the vibe man.  After his first listen (while I watched my knuckles turn white in another room), he said he didn’t ‘quite get’ one of the new tunes. But that one is supposed to be my Goldfrapp-esque dancefloor hit! He said it sounded like monkeys had played the drums in the opening. Things took a turn for the even worse when he started talking about my show tune. SHOW TUNE!? Oh you mean the sultry tear-jerking blues number? Oh dear. Things thankfully did improve when the songs were stripped back to the vocals and chords and his arranging skills were added on top.  Percussion-loving simians have now been banished and Minnelli-like melodrama has melted away.

Note to self: do not under any circumstances attempt to be a music producer. Don’t give up your night job!

Before You Die, You Gotta Play This Gig

Hi there,
Reverbnation just published the results of a survey on the venues where most artists want to perform. Top of the heap in New York? Madison Square Garden. Number one in LA? Whiskey a Go Go. Top dog in London? Wembley Stadium. No surprises there.

That would be that place in Sydney? It's not necessarily the biggest venue that holds the most appeal for everyone. For me, it was always The Basement - Sydney's iconic Circular Quay venue. It's dark but classy. It's the kind of place you could turn up and always know you'll see really good live music. Audiences know that and so artists on that stage always seem to be treated with respect. If Prince is coming to town with his stadium tour, he'll make sure he has time for a secret gig at The Basement. 

I have seen countless gigs at The Basement and I had always dreamed of playing there myself one day. I remember one night, quite a few years ago hanging out after watching a show there. Another singer girlfriend and I knew some of the guys in the band so we stayed on with them playing pool, after the rest of the audience had gone home.  

After quite a few drinks, my friend and I decided to explore. We snuck away from the rest of the group with a cigarette lighter showing our path through the now darkened stage area. With mischievous grins to each other (because I wasn't the only one who had always wanted to be on that stage) we opened the door to the backstage area. We marvelled at this cavern of gig posters and outrageous graffiti. After a few excited moments in the artists' den we decide that since we'd gone this far...we spotted the hole in the wall that led to the actual stage and giggling like schoolgirls, rushed each other to go through to the other side. When we got there we paused for a few moments in revered silence then jumped up and down (I believe there was some tap dancing and other Young Talent Time-style choreography) with absolute glee. We had been on the Basement stage!!
The Basement may well always be at the top of my heap. By the way, yes I did get to legitimately perform there - in fact I'm lucky enough to do so regularly, and on each occasion I still relive a bit of the thrill of that very first time.