Maybe the article should be called “10 Questions and considerations to finding the magical number, or more specifically, value worth playing” but please read on.
This is a controversial article to write and I expect people to totally disagree, which is cool. If you have other ideas, please share, this is all about community. I write these articles to evoke thought so I hope the time I spend on stuff like this is helpful.
I’ve been fortunate enough to travel the country and meet a lot of stellar musicians, bands, managers, and folks in the industry. Inevitably, if you are talking shop with these folks, pay sometimes becomes a conversation piece and for the average cover band, the subject of pay can seem taboo as to not show your cards.
However, I’ve found in my dealings with seasoned bands that understand how networking works, this subject leads to great dialog, teaming, and unity when you share info to help others. It also leads to gigs!
Spoiler alert though, most agree that the common bar gig musician is not getting rich and barely making above minimum wage when you dissect the numbers. Matter of fact, time after time, the average pay per musician is the exact same rate for the typical bar gig across the nation, regardless how great you are.
So, this article is not about “your worth” or anything which might get you on the defensive, rather, it’s about factors that you may consider in your negotiations to 1. Get the gig and 2. Establish a rate and value which is feasible for everyone (venue, people, band..etc).
The good news: Venues are opening their doors again with open arms for artists and bands to play. People are hungry for live entertainment. The environment is still not where it was pre COVID but the fact there are some places to play is a positive.
So back to the question, how much do we charge?
Unfortunately, I’d love to just give you a number but the answer is based on many many factors. Like investments, your evaluation is critical and sometimes it’s about the long-term gains versus the short term quick gains.
So, let’s arm you with some considerations which might help answer your own questions based on your own requirements. This is just a sample list of considerations and questions. You can get as deep as you like in analysis.
Facts: The venue (bar, clubs)
Venues operate to make money, it’s a business and it’s expensive to run. Rarely there will be a venue that says “hey, let’s build a venue so bands can experience great shows and get paid regardless if we make any money” Rather, it’s “let’s be strategic in how we can afford entertainment to increase sales and enhance our business and margins”. Going further, some venues right at this moment are saying “I don’t think we can afford bands because we’re losing money with some of them” (I’m sure you’ve seen the decline across the nation).
Knowing this should immediately trigger the strategic side of you. Let’s do some analyzing!
Do I want to play this venue?
Ok, I was tempted to do an entire flow chart for this article but let’s stick to 10 questions to help generate some decision factors.
Does the venue provide production (sound, lights, backline)? If so, easy gig. However, it is a quality production system? Did you know a bad sound system can be a liability? Regardless of pay, the production could ultimately be a liability that pays negative dividends thanks to social media and live videos. Also, considering production rental costs are high, you may want to factor this as an additional value on top of your pay given an average small PA and lights rental is $500 or more.
What type of built-in crowd does the venue have? This is a critical piece to help get you in the ball park of expectations for budget. However, this requires you visit the venue. Hint: Showing your support for the venue before approaching them is a big deal (trust me). By looking at their pay model (door, cover charge..etc). you can quickly access a working range of budget. As an example, if there is a $5 cover charge and average of 100 people. It’s easy to see there is $500 in reserve. Some venues will do a percentage of that, others will do 100%. $5 a person in attendance is a good number to start at in your calculations, even if there is no cover charge. Don’t shoot the messenger, I’m sure you are worth more but the economy doesn’t work that way. You can put in other factors such as additional funding as a restaurant..etc but I’m keeping it simple.
How many people will we bring to the show? In addition to the built-in crowd, how many fans are you bringing. Consider the calculations as we did earlier in your negotiations but be honest, otherwise, the venue could lose money and then your band is no longer an asset or future gigs may be impacted.
Is it local? What are my operational costs? Local gigs usually provide more fans and much less operational costs. Unless your band is regionally known, expect a reduction in attendance outside a 50 miles radius. With added travel costs, the location of the venue becomes a large factor. You can certainly try and add on the travel expense to your price, however, it’s not a competitive edge if people don’t really know your band and the venue is not reaching out to you. Be smart on this one and look at the long term options of maybe playing the venue to establish the presence for future growth.
Is it a smoke filled venue? Some bands / vocalists don’t want to play that environment and some fans or patrons may not visit. Consider it as a factor.
At this point, you should quickly be able to establish if you want to play the venue. NOTE: This does not necessarily mean the venue wants you to play there. Now, let’s look a little deeper into ourselves and the band.
Why do we play music? I’m pretty sure if you are reading this article, it wasn’t because you planned to make money when you started. You felt something you’ve never felt before. You probably wanted to be famous and expected money would flow. You may have wanted to get that girl or guy because musicians seem cool. Truth is, you probably play because it’s a passion and the most fun thing you can do with your clothes on (or off for that matter). This is a factor to consider at all times. I’ve seen many bands forgo opportunity because of false values they place on themselves… even to the point that they are forgotten because they hardly play anywhere. Don’t play for free.. but don’t miss an opportunity.
What is the band minimum? Only you and your teammates can answer this question. What will get you out of bed or away from watching TV or surfing the web to go out and play? At no point would I suggest “free” unless it’s an asset to your music journey (which there are those times) but it’s your standard you set for yourself and band. Consider your operational costs, what does it cost to get to the venue (gas, food..etc).. make it a factor.
Are we willing to invest? If you are an original band, expect every show to be an investment towards future dividends. If you are a cover band, you may not see things the same way as you may look at playing as a “job”. Regardless how you look at it, you are investing your time, energy, and talent for a reason. Make sure your investment pays dividends whether than is money or just the best time of your life. If it’s not fun, don’t do it. Consider your investment and its dividend as a factor.
Does your band play songs people want to hear? Did you know that most people don’t care if you play the B side to some obscure song which has the most advanced bass and drum lick on earth? Did you know Wagon Wheel will generally ALWAYS work? I’m being silly but your song choices directly effect your profit center as well. Consider this as a factor. Maybe the better question is “Are you playing for yourself or others?”
Does your band provide production? Many clubs do not have proper production. If your production is top tier and ran properly, it can be a factor in your negotiations… but this is generally when you’ve established a show that people come and see.
If you wanted to really get fancy, you could almost assign some values to a calculation based on your own numbers. However, this is looking a value / investment versus just money in hand. It’s a bigger look at the business versus just cash in hand. I hope you can understand the difference, just like investing.
Example Band 1:
Does the venue provide production (sound, lights, backline)? Yes (+$500)
What type of built-in crowd does the venue have? Yes 80 people (+$400)
How many people will we bring to the show? 20 people (+$100)
Is it local? What are my operational costs? Yes (- $50)
Is it a smoke filled venue? No ($0)
$950 in value to band
I hope this article could spawn some different views to paint a picture of value and how you may approach what to charge. Rock on!
I was in Church yesterday and the message touched on something personally I’ve dealt with in my entire music career or life in general. For those that know me, I’m somewhat ambitious, I like to sometimes go against the grain to simply prove something can be done, especially when people say it cannot. It’s just how I’m wired and I’ve always tried to improve things, whether that meant taking apart perfectly working electronics to make it better as kid or in my adult life helping others pursue their journeys in business and music. I really just enjoy the process and seeing folks embrace opportunity to pursue dreams.
This little write up is to share some of the things you may encounter (like i did) in your pursuit of goals and hopefully encourage folks to not let others (specifically who have zero experience) influence you away from your goals and dreams.
The sermon used the movie “42” to display examples and then biblical elements were talked about with recent history..etc. The movie is a good one. It’s all about Jackie Robinson, the first black athlete to play in Major League Baseball. Jackie was given an opportunity to play ball even when the odds were stacked against him… way against him. He took on a huge task to have the courage to pursue his goals and dreams at all costs, even when everyone around him told him it would not work.
Spoiler alert: Jackie changed the world of sports, ending racial segregation in baseball, and becoming an MVP. His talent and uncompromising focus on his goals is an incredible testament to those who pursue excellence.
Ok, what does this have to do with music? Well, in your journey, you’re gonna have people who oppose you, much like Jackie had. At every turn, you’ll probably have someone with their opinion or beliefs ready to cut you down.
I cannot even fathom the burden that Jackie Robinson had, however, I do recognize that one thing will remain the same, unless we change it, people will always have an opinion on your goals and dreams and some actually try to prevent you from succeeding.
I’ll be honest, after the sermon, I was left there thinking how blessed I’ve been. I was able to reflect on my poor decisions as well as ones that ended up good by the grace of God. As a musician and business person though, I related to the struggle of people telling me things like “it’s not doable”, “don’t”, “you can’t”, criticized my activities, or have created false narrative or bad mouth things which I’ve been involved with.
So, you may be reading this and thinking the same thing has happened or is happening to you at this very moment. You might have haters toward your band? Maybe you’ve been told you’ll never be good? Maybe you’ve been told to give up the dream?
Well, rest assured, this is human stuff and it goes back to the since the beginning of time.
So, for what it’s worth, I’ll share my take on what I feel are the top 3 reasons why some people to go down these roads. The good news is, once you can identify the “why”, their opinions may not be all that important after all. By the way, this is about the negative people, the impediments as I like to call them. When and if you find a supporter who has the experience, same values, and commitment, learn as much as possible. Ok, on to the top 3 reasons people sometimes suck.
Jealousy. Seems kinda stupid but yes, if you are doing something musically and others are taking notice, expect to get some haters. Jealousy often reflects insecurity. Successful and happy artists don’t have time to talk badly about other artists because they’re too busy doing awesome things with their music. In our local scene, we really cannot afford to talk badly about each other. In my recent experience, it takes about 5 minutes for the person to find out around these parts. That’s how long it took for me to hear about some folks making a few remarks about a project of mine. We are a small community, word travels very quickly… and really, why would you give a crap what I’m doing. LOL.
Seriously though, here are some hard core facts: We’re all gonna die, we all wish we were better musicians, we all just want to eat, we all just want to have fun and be a part of something bigger than ourselves. It’s pretty simple, support each other. There is no time for jealousy in what we do, we’re all the same, in the same community, and flying on this big rock in space. No need for jealousy, it looks bad.
Fear / Threatened. Yep, in the eyes of some folks, they may be threatened if you actually succeed. They fear that maybe their musical endeavors will somehow be diminished because of your success. This type of thinking is completely backwards. The saying “all ships rise at high tide” applies directly to our music community. When a band becomes successful or even a music community, all in the area will see growth. This reaches all the way down to studios, photographers…etc.
More importantly, if you are setting your goals, do not fear FAILURE. The biggest killer of goals in the internal fear of failure. Remember, surviving mistake = experience. Be prepared to gain a ton of experience in your journey and don’t let others fear impact your ability to give things a shot. There is a reason it’s called WD-40… because water displacement 1 through 39 did not work. Could you imagine if that guy would have stopped at 39? LOL
Frustrated / Unhappy. Some may be frustrated that their own ambitions, drive, or actions are not getting as much ground as yours. These folks’ generally want to try and prevent others from succeeding in some diabolical plan to keep you at their level. Some may be unhappy because they feel their opinion is not being heard or even frustrated that the community is changing without their blessing. Here is the deal though, they have nothing to do with your success. The unhappiness is likely based on not putting their own goals into action.
We’re all gonna get frustrated at some point but putting it off on others makes absolutely no sense. When you do, you look like an ass. LOL
Last bit of advice from an old fat guitar player dude: As far as goals / dreams, it takes guts, passion, like the same passion to breath, and a LOT of work if you want to accomplish what others say is impossible. And the reality is, you may not be up for it. Only you can decide that.
For me, folks like Robert Kiyosaki, John Maxwell, Tim Ferris, and others played some critical roles in my thinking (and still do) which helped me accomplish the little things I have done. The big one I recall prior to starting the internet company and my media company was realizing that the advice I was getting was from people who had no experience in what I was after and the advice was coming from people who had a mindset not of someone willing to create things.
Example, if you go to your friend who has no experience in the music industry and ask him for advice, you’ll get advice but it’s likely the wrong advice and it might put you on the wrong path. Some say bad advice is worst than no advice. Seek those who have accomplished what you’re trying to move towards and ask. I’ve noticed myself that successful people usually don’t hoard information and freely share it.
Hopefully some of this may help as these principles apply to music or anything in life. If you want to record an album, write it down and pursue it, we’ve got some great folks who can record you in the area. If you want to start a band, get out there and network, get on the Wiregrass musicians group and other Facebook groups, go to an open mic and get heard..etc. If you want to start a Reggae band in South Alabama, talk to Ken Kirkland, everyone said it could not be done. Point is, it starts with setting that goal and taking action without worrying about what others think or say. Let the haters hate! Rock on.
Over 3 years ago, something magical happened in the Wiregrass. Musicians of the Wiregrass area gathered at a small upstairs location in Ozark, Al (now known as the VIP room at Live at Harlow’s). It was an invite only party which offered free beer and beverages, a full stage with gear, and nothing in the way of doing what we musicians do… rock face.
The events featured at least 3 bands, but I recall we often had more, up to 6 or maybe 7. It ultimately provided fellowship, networking, the realization as musicians that we’re more alike than we think, and the most fun to be had in the area (it was really fun).
Anyway, I was proud to be a part of those events and whether or not known at the time, it filled a void for me personally and provided some much needed purpose. Those events are what ultimately set the course for what is known as Live at Harlow’s today and the very same rules still apply, 1. have fun, 2. melt face.
Fast forward 3 years… we’ve seen well over 100 performances and had the opportunity to meet some great people, artists, and bands. The mission and purpose still remains intact to provide local musicians and artists with a location to network, showcase, jam, and enjoy creating great memories.
This pro tip is about things I’ve seen or heard in those 3 plus years and sharing some ideas which might assist in your journey. One caveat: These opinions are mine and you may disagree with is certainly cool. I’ve tried to share them from both a venue owner standpoint as well as a musician standpoint given I’ve been fortunate to experience both.
Part 1: The negotiation / getting booked
From day one of opening the doors, I realized the position of venue owner / operator required me looking from a different lens. I was no longer the guy on the other end trying to get booked at the location, I was the guy trying to figure out the logistics and feasibility to getting the band on stage. This required looking at things like keeping the lights on, insurance, safety, licenses, staff, budget…etc. I realized that it’s not cheap and wondered how venues could even stay open frankly. The very first thing I did prior to opening a venue was to call on other venues. I remember distinctly a local venue in the area who supports musicians tell me not to do it or only do it if you are willing to lose money. They proceed to tell me they have not paid themselves for 5 years… and after 3 years, I see why! But this is not about that and I’m just making the statement to share that venues are not the profit centers I once thought of as a young musician. I’m now able to see with metrics both sides of the equation and want to simply share some of my journey and thoughts.
Over these 3 plus years, one thing continues to be both fun and sometimes frustrating. “The negotiation” as I like to call it. I can say I’ve seen a myriad of negotiation styles for booking and I’ve experienced some interesting pitches from bands /artists. For some, the negotiation of getting booked seems like pulling teeth. For some, they don’t even understand it is a negotiation and make ridiculous demands. For others, they just want to be a part of what is happening which is cool.
My intent here is not to make a guide to booking or negotiation but to share some quick tips to consider from a venue perspective and to hopefully lead to a better success in your booking and relationships with venues. Let’s get started with some quick tips!
Quick Tip 1: Research the venue. Go online and look at pictures, read about it, find out what makes them tick prior to contact.
Quick Tip 2: Visit the venue you want to play. This will pay dividends in your discussion.
Sure, there are more things you can do prior to contacting the venue to be booked but failure to do at least one of those can really set the tone negatively in your approach.
All that being said, if I were to summarize my experience, it seems like there are 2 primary categories of band negotiation styles:
Band 1: All about the money
Band 2: All about the opportunity
Both are important to success and I’m not saying one or the other is not needed…but… it’s my personal opinion that the order in which you get to them is most important.
Example dialog to make a point:
Band 1 (All about the money): “Hey, my band wants to play there. We’re real good and we know our value. How many people do you have at the venue? For us to play there, we need XXXXX money”
Band 2 (All about the opportunity): “Good afternoon, we absolutely love your venue. I was there last weekend to see “Phil Lenz and the Road Warriors”, man they rocked and the sound was amazing. I think our band would be a great fit for your venue. You can check out videos of us here. We would love to see if it’s feasible to see if we can play at your venue. Thanks for your time!”
Put yourself in the venues shoes now for a moment. Let’s analyze the opportunities missed or perceptions which could arise:
Band 1: “Hey, my band wants to play there”
Pending who you are talking to at the venue, just the word “Hey” in this example could be seen as disrespectful followed by “my band wants to play there” doesn’t really make the venue want to “learn more”. The fact they even use “there” is a lack of addressing where they want to play.
We’re real good and we know our value.
As a venue owner, I don’t think I’ve ever heard someone say “we suck” so just saying you are good does not necessarily add to the conversation rather opens the door to venues getting an impression of arrogance. As for the value statement, it’s important for a band to have standards but the timing of it probably isn’t good in the first paragraph of contact.
How many people do you have at the venue?
Something like this usually confirms the initial perception, this band has not even taken the time to research where they want to play. Obviously, their time is more important than the venue staff. Furthermore, venues may simply trash this because the band is now taking their time to try and explain what could have been easily discovered.
For us to play there, we need XXXXX money.
Eventually, the communication should lead to reimbursement of services. However, knowing the venues capabilities, number of patrons, and other income streams is a big factor in how many X’s should be in the statement. Does the venue promote, provide production, have built in crowds? Point on this is, be cautious on your approach, work to make something mutually beneficial if possible so the conversation doesn’t end immediately. Case and point, if someone comes to me and says “We get $2,500 a night”, as much as I would love to make it happen, it’s just not feasible with our size. The conversation just ends and opportunity which could pay other dividends ceases. Additionally, venues talk with each other and know what to expect from bands and their ability to bring patrons so it can feel a bit insulting if you are pushing for way more than the area allows or what you make at other places of similar size / capacity.
Now let’s do a deep dive on band 2
Good afternoon, we absolutely love your venue.
Well thank you! Good afternoon to you as well. How can I help? – those are the words swirling now in the brains of the venue owners
I was there last weekend to see “Phil Lenz and the Road Warriors”, man they rocked and the sound was amazing.
Wow, this band is invested into seeing others and they took the time to come to our venue! They even recognized the hard work we put into our sound!
I think our band would be a great fit for your venue.
They came to see our venue.. check. They support others in the music area…check. Hmm.. I believe them and want to help them.
You can check out videos of us here.
I didn’t even have to search to try and find them! The fact they took the time to produce a great video let’s me know they also are committed to being professional.
We would love to see if it’s feasible to see if we can play at your venue.
Absolutely! I hope we can work together to create an amazing night which will benefit your band! Let’s work together. I hope our venue can make this work!
Thanks for your time!
My pleasure, I appreciate you reaching out.
Of course, I tried to create some polarization but i think it was important to get the point across. Truth is, if Band 1 would simply start with what Band 2 started with, the opportunity could still exist but it’s likely most venues would just hit delete or dismiss and move on to the next band who is looking for an opportunity.
Also, it’s important to note that it’s also a 2 way street with venues. Not all venues understand the relationship and what asset a band brings. One of the quick tips up front was visiting the venue, this is not just to scope out the size but to scope out the operations and maybe just ask the band of their experience of the venue from their perspective. This article was written as a perspective from a venue owner (myself) and where I could see opportunity to craft the pitch (as a musician). However, don’t sell yourself short either and make sure the venue is an asset and not a liability for your band. It’s no fun to play with an owner that doesn’t respect what you bring to the table and sees you simply as a pawn. It can also hurt your brand playing a place that doesn’t market or work to get crowds (regardless as much as you wanted that money or “don’t care because you are getting paid”). For me, I look at long term investments with venues and will gladly take a reduction up front if it’s building opportunity and will pay consistent dividends down the road.
I end with these thoughts:
Success comes to those who communicate and partner with others without attitude. Teamwork makes the dream work.
Bands / Venues typically want the same thing. Work to make it feasible so you get to play, make some spending cash, and do what you love
Don’t forget why you even play music. Don’t let pride or money prevent you from experiencing an opportunity which could pay other dividends
Be a part of the music community and support others!
Thanks for reading this. I’ve got a whole bunch of other things I’d like to share soon. Rock on and be good to each other.
It happens more often than you might think. Especially when you’re playing at a new venue. Maybe they had booked a different band that cancelled at the last second and you’re filling in. Maybe you’re playing on a Monday, or the venue down the street has a huge sold-out show. Or the venue forgot you were coming, or…or…or…
Every nightmare scenario you can think of can actually happen. Sometimes when I’m talking with someone I’ll get the question: “What’s your one piece of advice for musicians just starting out?” It’s a legit question. Usually I’ve spouted out some kind of “Do it because you love it” or “Just don’t quit” type of responses, which are kinda lame. Now I finally feel like I have a legit answer. What’s my piece of advice for musicians starting out? “Learn how to play to an empty room.”
You are probably thinking, “Damn, Ken. That’s the most depressing shit I’ve ever heard.” But wait, there is a real art to it. Not just the performance itself, but the mindset you need before, during, and after a gig like that. Especially if you end up playing several of them back to back. And yeah, that happens too.
If you’re reading this there’s a pretty good chance you’re familiar with at least one of my bands, MidLife Crisis or Giants Among Men. You should know that we work hard to perfect our music and try to blow peoples minds when we play. But we have played to empty rooms. Lots of them. We have played rooms where no one has clapped. You know what? Once, we actually played to a huge room where we had the one lone slow-clapper in the back. Like you see in the movies. Clap…clap…clap…clap. That ACTUALLY happened. I actually turned to my bandmate right when it happened and asked, “Did that seriously just happen?”
I admit, after I got back home that night I was devastated. It is difficult to put out that much energy on stage and have zero response to it. To have the one fan walk out during your set to have a cigarette and leave you there alone with no one but the bartenders, band wives, and your bandmates. If you’re like me, your head might start going in a downward spiral. “They don’t care, why should I care?” “Maybe I suck and I don’t know it.” You’re on stage, you’re pissed off, maybe you start to get a little depressed, so you start to play all half-assed.
Stop that. You stop that shit right now. You know why? Because you’re better than that. Because you decided to go out and do this because music makes you happy, so if the room is empty, you play for yourself because you love these freaking songs. (If you don’t love your songs, then play better freaking songs.) Play some covers you love. Go to your freaking happy place. Look at your bandmates. You like them too. You love playing together. This night is for you guys. A chance to sit back with good sound and a cool light show with no pressure other than to just rock out, have a blast, and maybe get a few free beers. Crack jokes. Talk to the two people out there. Ask them questions. Dedicate every song to them. Have conversations with them between songs from up on stage. Laugh! It’s a funny situation! Have a shot of whiskey and play because you love the tone of your bass. Or your guitar. Or whatever. You love to play, so PLAY dammit!
Because someone IS watching. Maybe it is just the sound guy. Maybe it’s the bartender. Maybe it’s your bandmate. But someone is watching you. You can either be cool with everyone and have a blast or act all pissed off and play a crappy show. I’ve seen it. I’ve been there. I’ve seen bands up on stage pissed off and not giving a shit. And you know what? It’s an instant turn off. Now even if I like the songs, I think, “Wow, those guys are assholes. Look at that dude’s face. He’s so pissed off.” That does not make me want to come and talk to you and it does not make me want to tell my friends about you.
I cannot tell you how many times we have played in front of three or four people who have then told us how special they felt and what an amazing night it was for them. How unexpected it was. How much fun they had. In some cases they’ve turned into our most active fans. In other cases that bartender went to bat for us and the next time we played that venue it was a kick-ass show that pulled a ton of people. In yet another case, that sound guy was so excited that they suggested to all their friends that they follow us on Facebook. Or stayed in touch with us so they could do our sound again at another venue.
Learn to play to an empty room. And play amazingly (if that’s actually a word). You will be happy to have learned that skill. Because there is only one thing harder than playing to an empty room, playing to a packed one. But that’s another conversation all together.
With all the money we spend on guitars, effects, amps, and more guitars it’s hard to imagine how a little piece of plastic that costs almost nothing can make such a noticeable difference in your playing. And up until right now you probably didn’t even realized it. But the truth is your pick is the bridge between you and your guitar. It’s an extension of your fingers and what’s more important than that?
When you first start playing it’s different because at that point who really cares. But after a few months or years of practice you may come to find that a simple pick change can improve or at least alter your playing literally overnight. So for today’s Pro Tip we will compare the various pick options and hopefully you’ll find one better suited to you than the one you’re using now.
The playability and tone of a particular pick basically depends on 5 factors. Thickness, hardness, texture, size/shape and material.
1. Thickness
Guitar picks come in 1 of 4 general gauges. Thin, medium, heavy and extra heavy with the actual thickness/mm of the gauges varying. Depending on the manufacturer these ranges can vary considerably. But don’t worry about the exact numbers just yet. Let’s start first by comparing thin vs thick.
Thin picks are typically better for brighter tones (because their striking surface accentuates high frequencies), tighter dynamic range (because their flexibility limits the volume that can be achieved, which works especially well for recording) and acoustic guitar strumming (partly because of the tighter dynamic range but also because it adds more clarity to the individual notes in the chord).
Thick picks are typically better for mellower tones (because the weight and rounder edges emphasize more bass and less treble), a wider dynamic range (because they offer greater control over volume and attack), electric lead guitar (because they allow for more speed and accuracy during fast solos) and heavy distorted sounds (because they offer more clarity and separation between note. And even if heavier picks happen to suit your style of play, the downside is that they require more finger strength and dexterity to control. So consider that as well when choosing your gauge.
2. Hardness
Even if a particular pick is on the thinner side, if it’s made from a HARDER material you’ll find that the added stiffness offers performance characteristics resembling that of thicker picks and vice versa. Thick but softer picks typically have performance qualities closer to that of most thinner picks. Make sense?
3. Texture
The more textured the surface of the pick the more friction will exist between the pick and your fingers and the easier it will be to grip. Especially when you’re sweaty. The same goes for softer picks. For the most part more grip is a good thing for everyone. But there MAY or MAY NOT be a trade off because texture also affects how the pick rolls off the strings. Smooth slippery picks produce cleaner, natural tone and rough picks will add more grit and color to the tone. Smooth round edges will have a warmer, more purer tone, while sharp edges will have a stronger attack and brighter sound.
4. Size and Shape
With smaller picks there’s less distance between your hands and the strings making it easier to use different hand techniques like palm muting and fingerpicking. Of course “small” is a totally relative term depending on the size of your hands. Perhaps the best advice is to find a pick big enough to fit your hands… but NO bigger. Now, moving on to shape. You can find all kinds or weird pick shapes if you look hard enough (sharkfin picks being the most famous example) but in almost all cases you are better off sticking to a common, standard triangular teardrop shape.
5. Materials
The final and most important factor of all. The material of the pick is what ultimately determines the stiffness, texture, and overall performance so let’s check out our options.
Throughout history, musicians have tried making picks out of almost everything imaginable and the best material of all came from the shell of the Atlantic Hawksbill Turtle and was known simply as “tortoiseshell“. Starting in the early 1900’s plastic picks designed to emulate tortoiseshell slowly gained in popularity up until the early 70’s when the Atlantic Hawksbill became endangered and plastics took over entirely. The 3 most popular plastics are nylon (which is typically softer with a textured grip, and is best suited for lightweight flexible picks), celluloid (which is stiffer with a smoother slicker texture compared to nylon) and acetal (aka Tortex, Dunlop’s popular line which has a textured grittiness that closely mimics the feel of tortoiseshell).
Now finally, what picks do I recommend? I don’t. I’m a bass player lol! No seriously, I’d love to give you a straight answer but as I’m sure you know you can only learn so much from pure information and you can’t know for sure which pick you’ll pick until you try picking with them all. Since picks are practically free anyway just buy assortment pack of different gauges and different materials. Try them out at home on your own time. That way you can take as long as you need to figure out what you like and what you don’t.
So there you go. Hopefully this post has answered all your questions and helped you find the perfect pick for whatever style music you play!
My band, the G.O.A.M.F.T. is, well, the greatest band of all MF time. We’re so awesome, in fact, that bands on the same bill as us never ask my group to play another show with them because they know they just can’t keep up. We just end up embarrassing them with our insanely badass songs and wild, passionate stage presence. If you want to get on our level (which honestly is impossible) here are some tips that will transform you into the band nobody wants to play with ever again.
1. Never Do Your Own Promotion Most promoters who book G.O.A.M.F.T want us to spend weeks advertising the show online, inviting people, and doing all sorts of other lame BS. Why should musicians have to promote? I’m not a promoter. I’m the lead singer and lead guitarist of the sickest band in America right now, bro! If the venue can’t figure out a way to get people in the door, that’s on them! Musicians are musicians, and that’s all you need to succeed. Venues and bookers will ask us not to play shows in the area for a few weeks before the show, and we say we won’t. But here’s a little secret, we always do. They say it’s important to make sure to get the best crowd. They’re just looking after themselves. They can’t tell us what to do. Who cares if the other bands asked you to do the same? You have to get your music out there. Your band is way more important than any one gig, so you don’t really need to keep your word when bands ask you to block out a date. The real music fans out there, and the truly cool venues in biggest cities, don’t care about how many people you draw, it’s all about the music. Besides, caring about draw makes you a sellout.
2. Don’t Coordinate Marketing Efforts with Other Bands I don’t want to have to reach out to the other bands either. What could I possibly talk to them about? Sure, we could share each other’s music over our respective social media accounts so the fans will be excited about the whole bill, and coordinating posts can be helpful, but that’s nerd stuff. My social followers only care about us, not someone else. I’m an artist anyway. I’m just above all that.
3. Load In Last Minute Most venues will have a load-in time (a time when the lesser bands drop off their gear backstage and do their soundcheck). If your band is half as amazing as G.O.A.M.F.T the other bands probably aren’t going to mind if you load in after the show starts. They know they’re only there to warm up the crowd. We’re the main attraction. When the G.O.A.M.F.T set up, we take our sweet ass time. We have a very specific sound, and it takes time to dial it in. We don’t really think about the audience or the other bands when we’re doing this. When we’re onstage, it’s our stage.
4. Skip Soundcheck The problem with soundcheck is that soundchecking is boring! Why should I have to show up hours before the show even starts? We just do ours before our set. Sure, it might interrupt the flow of the show, but it’s a small price to pay to see the G.O.A.M.F.T. Soundchecks are for chumps.
5. Miss the Other Bands’ Sets First off, let me say that you’re under no obligation to watch the other bands. I’m sorry that I don’t want to watch your weak band. I didn’t agree to watch anyone, and I’m on a tour with new support acts every night. How could I possibly have enough interest in them all? I do, however, expect you to watch my band. You guys could learn a lot, and I’ll be upset if I don’t see you cheering for us in the crowd.
6. Drink… a Lot Get drunk. It’s what rock stars do, and if you’re going to play a rock-star set, then it’s probably a great idea to do a bunch of shots while you’re hanging out backstage. I mean, Slash was constantly wasted, and he could really rip it! Your bandmates will understand that if you start making mistakes it’s because of the alcohol, not you, and they’ll be cool with it.
7. Hit on All the Women If a girl is hanging out with the band, she’s probably just there to sell merch or is someone’s girlfriend. There’s really no need to talk to her unless you want to hit on her, which is why she’s really there. And if that woman is in the band, even if she’s the lead singer, she probably isn’t the band leader or the person who does the booking. Women aren’t real musicians anyway.
8. Ignore Sound Engineers The people who run sound at shows are just musician wannabes. They don’t know what you want or need. Sure, they may get a clearer representation of what the audience is hearing, but they’re dumb, and you don’t need to listen to them. If they give you an attitude, don’t be afraid to get confrontational. They have no power, and you’ll probably never see them again. I’ve been told many so times that my 100-watt Marshall stack is “way too loud for this venue.” You wanna know what that makes me think? That if you don’t like a tinnitus-inducing rock show, you shouldn’t have come to see the G.O.A.M.F.T. Your show should be as loud as you can possibly make it. If your amp sounds good in your practice space, it’ll sound good anywhere!
9. Forget Your Filter Onstage What I love to do onstage is tease the other bands a bit and point out what I didn’t like about their sets. It’s good for them because it shows them how they need to improve. It’s all in good fun, and they always understand. It’s a win-win because it not only improves their act, but it also makes us look great to the audience. If someone in your band (it’s always the bass player) messes up his or her part, feel free to yell at him or her onstage. If you don’t call that person out, how is he gonna learn, right?
10. Don’t Tip the Bartender Everyone knows you’re a struggling musician, so if you decide you don’t want to tip your bartenders, I’m sure they’ll understand. They got to see your band for free, so they kind of owe you when you really think about it.
Alright, that’s all the knowledge I’m going to let you in on for now. You do all these things, and you won’t even need to practice to become an enormous international megastar. Oh, and you’re welcome
At a live show, music lovers get to taste music in a whole different way. It is an epic experience for both the musicians and the fans which allow them to connect through the performance. Whether you are an amateur or you have done it so many times before, it is vital to learn how you can make your performance even more epic. Here are the top tips on how to give your fans a mind blowing show.
Keep Your Sound In Check When it comes to a live performance, sound is everything. Doing sound checks is vital if you want everything to go smoothly. Try not to choke the microphone while performing. It may look cool but it will affect the quality of your sound. For the same reason, do not point it to the monitor either (feedback). Also, ensure that your sound is good by having a sound guy at the far back to let you know when you are not loud enough (or too loud).
Forget About The Small Mishaps Your performance does not have to be perfect. At some point, someone in the band might hit the wrong note or go off beat for a second or two. The probability of your audience noticing the mistake is pretty slim unless you choose to make a big deal out of it. Avoid trying to fix it on stage or fussing over it.
Don’t Stop The Music While the audience is having a good time at the performance, nothing kills the mood like getting confused between songs. Avoid the extended periods of silence by planning your performance before hand. This will definitely avoid the awkward pauses while you and your band members discuss which song to play next.
Tune silently Tuning your instruments on stage with the volume up screams inexperienced or unprofessional. It’s annoying and completely takes all momentum out of the show while folks listen to various tones of dissonance coming from your instrument. Grab a tuner that allows you to mute your instrument and have the vocalist talk to the crowd while you tune silently.
Don’t Skip Rehearsals Practice definitely makes perfect. Rehearsing enables you to create a good act. This then gives you the confidence to perform on stage. What’s more, going over your performance allows you to be ready for any surprises and ensures a well-coordinated concert with your band.
Engage With Your Audience A live performance is a chance for your fans to connect with you. For this reason, when performing live, ensure that you make eye contact. This is as opposed to focusing too much on your music instrument. Some musicians will also choose to say a few words before a song which is also a good idea. Try smiling more at your audience as it will generate positive energy.
Be Unique Give your audience a memorable performance by finding a way to be exclusive. Create an act in your performance that sets you aside from all the other live bands. Do not be afraid to go to the extreme as long as it makes your fans happy.
Always Aim To Give The Best Performance Have someone record a video performance and analyze it. This will allow you to identify areas that will need an upgrade. You can also have a professional evaluate your performance and let you know what you can change. Take criticism from your fans and non-fans positively and use it to improve your live shows.
Be Confident And Let Loose Let yourself go on stage and give your audience all you got. Your confidence and enthusiasm will be felt by the crowd, making your performance very lively. Also, keep in mind that every show is equally important. For this reason, be lively at every show, and you will definitely gain more followers. Confidence will get people to love your show whether or not you thought you were good enough.
Be Yourself Do not be afraid to let everyone know who you are and how you feel through your music performance. Being honest on stage with yourself and with your audience and they will love you for it. Be proud of your work and deliver your message clearly to your audience through the music and you will get lost in the music.
And finally, don’t forget to relax before going out on stage. While some musicians will choose to have a drink before the show, it might help with the stage fright but not guaranteed to make you sound good. A lot of performers will experience fear before going on stages which is completely normal. Try to move past this and embrace whatever fear you have while on stage. In many cases despite being really nervous, musicians will still give a great show.
Engaging with your audience while you are performing live will allow you to connect with them on a deeper level. It’s like giving them an open invitation to your world while performing on stage. The more engaged your audience is with your performance, the more energy there is from the crowd. You and your band can work off this energy to give an even more incredible performance. It can also make the environment less stressful, allowing you and your band to enjoy the overall performance while you’re on stage.
How to Engage with your Audience? Glad you asked! When performing live on stage, it’s easy to get lost in your music. When this happens, you might forget about the audience entirely. Here’s what you can do so that doesn’t happen:
1. Make Eye Contact with your Audience Now I’m not saying that you have to make eye contact with every individual person in the crowd, which is practically impossible depending how big of an audience you have watching. What I’m trying to say is don’t forget to look away from your instrument and look at the crowd once in a while. To the people in the crowd, that would be enough engagement to reconnect them with your performance because you are acknowledging the fact that they are there. From their point of view, it may also look like you’re looking straight at them. Create the illusion that you can see every single person in the crowd even if you can’t.
2. Communicate with your Audience Before you perform, introduce yourselves right in the beginning and start engaging with the crowd. When transitioning to your next songs, don’t just go straight in and start playing, conversate with the audience. I’ll talk about this more in the next section, but don’t forget to use those small breaks in between songs to engage with your audience and reconnect with them.
Find ways to allow your audience to perform with you. Maybe invite them to sing along if you are performing a song that everyone in the crowd knows. Even as simple as having your audience clapping along to the beat will make them feel like they are a part of the magic that is happening on stage. And the last thing you should never forget is to thank your audience for coming to your show at the end of your performance. They could’ve spent their time anywhere else, but they chose to watch you perform so the least you can do is thank them for their support. Now, this leads us to our next tip, the Art of Stage Banter.
Stage Banter is when you talk to your audience whether it be at the beginning of your performance, in between songs during transitions, or even at the closing of your performance. Having good stage banter when performing live can really set you apart from different performers. It helps establish a relationship with your audience while also building a level of trust with them. You will also show your audience that you care about them. When you stage banter, here are some things you should keep in mind:
1. Have a Solid Introduction Make sure you introduce yourself and your band right from the beginning so everyone in the crowd knows who you are. Let them know where you’re from and give them some background information about you and your band. Try to talk about something that is relatable to everyone in the crowd. Maybe something about the city that you’re all in or something about the venue that you’re performing at. Being able to relate to the crowd, in the beginning, can set your performance on the right track.
2. Be Confident This will all come with experience, but try your best to sound confident. Whenever you stage banter, don’t be hesitant. The more hesitant you sound, the less natural you sound and you may find yourself in a very uncomfortable situation, for both your band and the audience. If appropriate, think about using big body movements to get the crowd’s attention. Don’t forget to make eye contact with the crowd and have good posture while you speak. Remember that what you say while you’re on stage is just as important as the music you perform. Choose your words carefully and be confident when you talk. And don’t forget to be yourself. Don’t try to be anyone else and learn how to be confident in the person you are. This will overall help you look more confident during your stage bantering while making you sound natural and unforced.
3. Keep it Nice and Short Talking and engaging with the crowd can be very effective at making your performance more entertaining for everyone. However, it can be a problem if you let it go on for too long. Instead of telling the entire backstory of your band or songs in between transitions, just bring up important key details.
For your Band: Where your band is from How long you’ve been together A “short” funny story Other “short” stories that are relatable
For your Songs (Transitioning in between songs) A “short” description of what your song is about Who or what the song is dedicated to The reason why you wrote the song If covering a song, talk about the reasons why you like the song
Try to not to let it drag on for too long. If you can get your message across in fewer words, then go for it. people want to know about your entire backstory, you can save it for after the performance when you mingle.
