Earning a Crust: A Sound Guide for the Jobbing Musician

EARNING A CRUST

A SOUND GUIDE FOR THE JOBBING MUSICIAN

So you've learnt to play your instrument, written a bunch of songs, got the band together, done the rehearsals and realised everything is great but you're all skint.

How do you get out of the garage, onto the local circuit and become recognised for your playing ability?

No matter which side of the musical fence you hang from, performing and writing original songs or just doing covers, it's a tough environment to work in. If you are a singer, musician or a writer waiting for that big break, how do you make ends meet in the meantime?

PLAYING FOR PROFIT

So you are a musician and you need to earn a living. The reality is that you might not begin earning an income from your trade until your band becomes successful or at least signs a recording contract. How do you survive in the interim? What ways are there for you to earn some cash without totally compromising your vocation? The obvious choice would be from playing music, but how do you make money from playing music?

As an individual musician, you will most likely choose one or other route into the business. One is to write and perform your own original material and the other is to cover other artist's songs. Musicians who play for cover bands are predominately playing versions of previously or currently successful songs either live or to backing tracks in pubs, bars and social clubs. Original bands usually perform their own original compositions in specialist clubs and bars, colleges and university student unions. The main difference is that performing in a covers band usually pays decent money, while new original bands are quite often faced with a 'pay-to-play' dilemma where the artists themselves bear the brunt of any expenses encountered, such as venue hire, PA hire, publicity material and security etc. In the short term, original bands will be lucky to break even but can make a profit once they begin to attract an audience themselves.

Musicians who play in an original band have performed paid cover band work in order to supplement their income, but it is generally considered to be below a certain level of esteem that they would never consider crossing. Musicians with a genuine talent have also been 'spotted' in a covers band and have been invited to join highly successful original acts. There are no rules but it is usually a very straightforward decision for most musicians. Some original bands are resigned to an all or nothing situation where the only chance of success will come from a series of career developments culminating with a recording contract. At this stage, live performance becomes an integral part of a much bigger picture. Musicians who play in cover bands tend to get into a routine of regular work with regular income.

For the serious musician it might seem like you are selling out by resorting to playing somebody else's song in the local pub, but it makes a lot of sense and might be a more attractive proposition to getting a part time or full time job in a factory or office. One thing's for certain, you will improve your technical ability as a musician as well as gaining experience from continually performing live. Some pub gigs can prove to be an excellent grounding place and you'll never fear getting on stage again, no matter how big the audience is.

HOW TO GET GIGS

If you start out and you're in a band that plays its own stuff, someone is going to have to take the lead. Select the most likely person between you who is going to be able to convince the venue management that your band is worth putting on. The same applies to cover bands, solo artists, duo's, whoever. The actual process is pretty much the same; the difference is what the venue might require. Original bands might have to supply a CD while a covers band might just need to explain what type of music they play. You might choose to use an agent to do the bookings for you, especially if you do covers. If you're doing your own stuff and you're getting somewhere, the same situation applies; you will need a booking agent to get you into the better venues. If you decide that getting gigs by phoning around venues and being on someone else's bill is all well and good, great. But you might want something more and the best way forward here is to promote your own night.

PROMOTING YOUR OWN NIGHTS

One financially viable way to try and make a profit from an original band gig is to start your own night; promoting it and financing it yourself. At first this should usually be done in conjunction with one or several other similar acts (depending upon the size of the venue) to minimise overheads and risk, but also to generate an audience. Unless you do this in an area where nothing is happening, it will be difficult to get people through the door without assistance. If this is something you think you can do, see our Sound Guide, "Live Gig Promotion" for further details.

PLAYING COVERS

If you do consider playing covers, don't presume that it is an easy option, competition for gigs is just as fierce and the standard of cover acts on Merseyside is very highly regarded. Preparation is everything. You have to be realistic as regards your own ability, and be prepared to do a lot of work to get onto the circuit. If you think it's below you just copying someone else's song, you can always give it your own personal touch and still be original. It is vitally important that you are adequately prepared and ready to undertake the work that you are trying to secure.

PUBS AND BARS - HOW DO YOU GET THE WORK?

In a pub or bar that provides live music the type of act is crucial. As no entrance charge is levied your audience is more likely to come and go as they please. A manager is looking to the act to keep the audience in i.e. people will enter the venue, be attracted by the music that the act is performing and stay until finish and hopefully spend all of their money whilst they listen. Perhaps more importantly than attracting an audience to a venue the pub manager is worried that the wrong act will actually drive people out. Breaking a new artist on the scene can often be very difficult. Once you decide that your act is ready, start analysing the market place that you wish to break in to. In a particular area you will find that one pub or bar will emerge as being the most popular. Target that venue first, if you can get a gig there, then the other pubs in the area will be more likely to give you a chance as well.

Visit the venue and observe the bands that play there, try to engage with them, and get as much information as you can. You'll find, the more established acts/bands will be more likely to pass on necessary information, such as the mangers name, when it is best to contact him/her, how much to charge etc. Speak with the bar staff, try to get as many clues as to what the current situation is as possible.

OTHER ALTERNATIVES

You may have decided that the covers thing is a non-starter. It's too low for you to stoop and you couldn't handle being seen doing it. Well that's fair enough, but remember, you are still playing music, it's a lot of fun and it can fit in well with other commitments. The only other remaining alternative should now become obvious. It's time to consider doing a real J.O.B.

You can sail close to the wind here and feel that you haven't completely sold out by getting work in a studio, a retail outlet, (records or instruments), a venue, or a bar or café that is quite cool in your estimation. Remember, you've normally got the day to yourself and if you spend it watching daytime tv, you've no right to moan if you haven't got any money. Some further details on the alternatives that you might consider.

Music Related

Session Work - Easy to say, but you'll find that good musicians are hard to find and if you are any good with your instrument, you will get work. Opportunities always arise; you just have to be aware. Let people know that you are up for it; one thing will lead to another. If you do get your chance, make sure you arrive on time, impress them with your professionalism and leave. Session work is very difficult to break into but if the guy that normally does it is busy then your name could be the next one on the list.

Tour work - Like session work these jobs tend to come from word of mouth or recommendation, alternatively look through the trade press, (NME at www.nme.com/ or Stage at www.thestage.co.uk/ ) or by keeping your ear very close to the ground. If you are committed to your own band you are going to have to manage this carefully.

Teaching - There are numerous technical and theoretical based music and music technology training courses available throughout Merseyside. Contact the institutions and enquire if they need part-time tutors or assistants, some might require that you have a teaching or other relevant qualification. This is reasonably well-paid work but can often be evenings or night school classes and this may clash.

Teach from home - advertise in the local press, fliers, and postcards in shop windows, contact the record and musical instrument shops and ask them to put your details on display for lessons. Again this can be quite well paid and as flexible as you want it to be.

Sound Recording Studios - A great place if you can get in. Jobs are scarce, but they exist. They tend to be either administrative, (answering the phone) or general dogsbody, (making the tea), but if you can play, you'll see what's going on and you might even get the opportunity to do the odd session.

Your Own Gear - If you have access to some sound recording or P.A. equipment (your own band's equipment or studio facilities perhaps) you might consider hiring this out 2/3 days a week? A small rig is always in demand and you could use the studio facilities in a wide range of ways to generate income: consider making 'backing tracks' for other musicians, jingles for the local radio stations, demo's, use your initiative.

Non Musical jobs

Venue - There are lots of live venues around that need to be staffed. Fair enough, it's bar work, but it's somewhere where you might go yourself of an evening anyway. You get to see the acts for free and meet other musicians.

Café/bar - Similar to venue work, but can be done during the day. This way, if you are a jobbing musician, it's extra money.

Courier or other delivery work - this can be very flexible and therefore fit in well with your band commitments.

Music shop/retailer - you might be able to find part-time work in a musical instrument shop either in sales or in repairs or in your local record store. Once again, great places to meet other musicians.

At the end of the day, you have to make your own mind up, prioritise what it is you are trying to achieve. You really only have to earn enough money in order to survive but to give your all to an aspiring musical career requires incredible commitment and these kind of sacrifices may have to be made. There isn't a quick fix or an easy solution to this, it has got to come from within, you must decide yourself where the compromises can and have to be made.

If none of the above suggestions are of any use, it's probably best to stay at home and let your mother look after you. You could make it as a musician nevertheless but watch out, you might still be there when you're 36, single and still moaning that you haven't got any money.

Further Information

www.Agents-UK.com. Association of Great Britain. www.agents-uk.com Database of agencies in the UK.

BBC: One Music Guides. www.bbc.co.uk/radio1/onemusic/

Gigs Unlimited. Here you'll find all the latest Press Releases, Interviews, Tours and anything else they think is worth knowing. If you have anything interesting you would like to see email them over your info to features@gigs-unlimited.co.uk including your name, contact details and any images which are relevant, and if they think it is suitable, they will add it to the site. www.gigs-unlimited.co.uk/

Music Week Directory. Music Week is the trade publication for the UK Music Industry. Each year it publishes a directory listing thousands of useful contacts in every area of the business. It's free to subscribers, so your local library may have a copy. www.musicweek.com. T: 01858 438816

Further Reading

Musician's Resource (Getting Your Act Together): Gwendolyn Freed

How to Succeed in the Music Business: Allan Dann, John Underwood

Behind the Glass, Top Record Producers Tell How They Craft the Hits: Howard Massey

The Guerilla Guide to the Music Business: Sarah Davis, David Laing

Going Pro, Developing a Professional Career in the Music Industry: Kenny Kerner

Career Opportunities in the Music Industry: Shelly Field

How to Get a Job in the Music and Recording Industry: Keith Hatschek

Working Musicians: Bruce Pollock

Local Agents

Alan Deni Entertainments.T: 0151 924 8589

S M C Entertainment. PO Box 101, Liverpool, L13 7JQ.

T: 0151 281 2255 F: 0151 281 2256

MDA Ltd

Units 8-15, The Arts Village

Henry Street

Liverpool L1 5BS

info@mmda.org.uk

www.mmda.org.uk

Tel:0151 707 4550

Fax:0151 709 3824


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