WARNING: This article is a perspective piece and has the capability to trigger some folks. This article shares insights from a completely different hobby/profession for evaluation and is not intended to discourage anyone from pursuing their goals or dreams, but rather to remind us why we engage in these activities in the first place.
The dream
There’s something beautifully absurd about both golf and music—two pursuits where people willingly spend thousands of dollars and countless hours chasing dreams of being famous that statistically have about the same likelihood as being struck by lightning while holding the winning lottery ticket.
The Sweet Swing of Encouragement
Meet Dave. Dave just hit a beautiful drive down the fairway of the 7th hole at his local municipal course. The ball sailed through the air with unexpected grace, landing softly and rolling to a perfect position.
“Damn, Dave! That was professional quality right there,” his buddy Mike exclaimed.
Something changed in Dave at that moment. That single compliment—probably just Mike’s way of saying “nice shot” with extra enthusiasm—planted a seed.
This scene plays out similarly in homes across America. Jessica strums the final chord of “Wonderwall” on her starter guitar, and her roommate nods appreciatively, “You should totally play open mic night!”
Investment Season
The following week, Dave walks into Academy Sports with a glint in his eye. His ancient hand-me-down clubs suddenly seemed inadequate for a man of his newly discovered talent. Two hours and $1,200 later, Dave emerges with a shiny new driver that promises an extra 15 yards and “improved forgiveness.” He adds a $40 sleeve of premium balls—because professionals use the best.
Meanwhile, Jessica is scrolling through guitar center online. Her $200 starter guitar clearly cannot capture the nuances of her developing technique. A $1,500 Taylor guitar enters her life, along with a $300 amplifier, because you never know when you might need to plug in.
Practice Makes Perfect (or at least Better)
Dave now spends every Saturday morning at the driving range. His wife notices his absences but says nothing as he drops $25 per session to hit balls. He downloads swing analysis apps ($9.99/month) and subscribes to Golf Digest ($24.99/year). He watches YouTube videos of Tiger Woods and tries to emulate that perfect swing.
Jessica finds herself declining social invitations to practice her songs. She enrolls in guitar lessons ($100/month) and buys a Ed Sheeran loop pedal ($299) because she knows she will need it. She listens to John Mayer interviews about his creative process while commuting to work because she plans to write a banger over the weekend.
The Local Circuit
Six months later, Dave enters his first local tournament. The $75 entry fee seems reasonable for the opportunity to test his skills. He doesn’t place in the top ten, but he does receive compliments on a tricky par save on the 12th hole. The smattering of applause when he sinks a 15-footer is intoxicating.
Jessica performs at her first open mic night. She doesn’t get paid, but the bar owner mentions that if she develops a following, they might discuss a future gig. Three people approach her afterward to say they enjoyed her performance. One asks if she’s on Spotify. She is clearly headed for the big time.
Doubling Down
Dave is now spending $250 monthly on his golf habit between green fees, range sessions, and the occasional lesson. He joins a golf club with a $3,000 initiation fee and $200 monthly dues because “that’s where connections happen.” His handicap is dropping, and he’s consistently the best player in his friend group.
Jessica buys a $800 microphone, a $600 interface, and $200 recording software because she can record just as good as the studios and she plans to be an independent artist. She spends hours recording covers for YouTube and Instagram, gaining 230 followers. She ends up getting a couple gigs at restaurants and gets paid $100 to entertain folks while they consume the “all you can eat wings” special, receiving applause for her rendition of cumbersome.
The Dream
Dave watches the Masters and sees himself in those pristine green fairways. People in his club say he could “go pro if he started younger.” He’s now in his mid-thirties but starts researching senior tours. At night, he calculates how much he needs to practice to reach professional status, ignoring the fact that most PGA Tour players have been playing since they could walk. Dave is obsessed with proving something, it’s no longer about fun.
Jessica streams the Grammys, imagining herself on that stage. Her coworkers tell her she’s “wasting her talent” at her day job and she is looking to quit and do this full time. She starts looking into how to get her music on streaming platforms, dreams about being discovered, and spends nights considering whether she should move to Nashville or Los Angeles. Jessica is obsessed with proving something, it is no longer about fun.
The Reality Check
Let’s look at some numbers:
There are approximately 25 million golfers in the United States. Of those, only about 125 are full-time players on the PGA Tour in any given year. That’s a success rate of 0.0005%.
Similarly, there are millions of musicians in the U.S. Of those, perhaps a few hundred achieve the “household name” status that most aspiring musicians dream about—a similar microscopic percentage. There are over 100,000 songs put on Spotify in a single day from musicians.
The average amateur golfer spends between $2,000 and $10,000 per year on their hobby. Professional-track golfers often spend upwards of $100,000 annually on coaching, travel, and tournament fees before they earn a single dollar.
Musicians face similar economics: instruments, recording equipment, merchandise production, travel expenses, and marketing often cost tens of thousands before any meaningful revenue arrives.
Despite the odds, Dave and Jessica have something to prove and take offense to reality. Admittedly, I admire people with passion that go the extra distance, as long as they are competent in the odds.
So, Why Do We Do It?
So why do millions continue these seemingly irrational pursuits?
Because that pure moment—when the club face meets the ball perfectly and you watch it soar exactly where you intended, or when your fingers find those chords and your voice hits that note and the room falls silent in appreciation—is transcendent, addictive, and ultimately… it makes us feel important and is fun.
These pursuits offer something increasingly rare: the opportunity to be completely present. When you’re lining up a putt or performing a song, nothing else matters. There’s no email to check, no social media to scroll. Just you and the moment and it is intoxicating, especially when others can be a part of it.
They also provide community. The golf foursome that meets every Saturday morning isn’t just playing a game; they’re sharing life. The musicians who gather for jam sessions or contribute to a community aren’t just people, they’re family which share common bonds.
The Take Away
What starts as “play” often transforms into “work” which changes the dynamic greatly. The joy of hitting a good shot becomes overshadowed by frustration when you can’t replicate it consistently. The thrill of creating music gets buried under the pressure to “make it.”
Dave and Jessica both started because they found something that brought them joy. But somewhere along the way, the joy became secondary to validation or to prove something.
The irony is that most professional golfers and musicians will tell you the same thing: the process has to be the reward. Tiger Woods didn’t become Tiger Woods by obsessing over being Tiger Woods. He became Tiger Woods by loving golf more than anything and putting in the work every day, regardless of outcome.
So by all means, buy the new driver if it makes you happy. Invest in that guitar if it inspires you to play more. Enter tournaments. Play open mics and spend money doing it if it makes you happy. Chase improvement.
But don’t forget to smile and enjoy the journey. Keeping it fun and remembering why you did it in the first place will often breed more success.
I’m not suggesting to ever give up on dreams, rather embrace it for what it is and don’t forget why you started the journey.
Once you figure out you don’t need to prove anything and it’s ok to actually enjoy things without being famous, you may find the pressure goes away and the future just happens without the stress you put on yourself.
I hope our community produces a household name in music or golf, but I don’t want anyone to turn what was enjoyable into something so serious that it creates stress and negative feelings about what once brought joy.
That’s why they call it “playing golf” and “playing music”. Let’s get to playing folks but most importantly, having fun.
I had started on this article a while back. It was a painful article to write to be honest. I wanted to hit delete many times as this article started outlining some real pain in the industry which would frankly not be accepted well by musicians (and I didn’t want someone shooting the messenger).
It reminded me of my own success and failure with original music but ultimately started to make me a bit depressed for the future generations looking to become successful recording artists. The information and stats kept leading to the same question, “How on earth can someone beat the odds?”
Although I’ve rewritten to include only a few sobering stats, my intent, as always, is to share some experience and hopefully provide some information to help others make smart decisions.
Please note: this article is not intended to be gloom and doom but exposing some realities for those who may be interested in pursuing this life.
Let’s talk about original bands. Some are loved, some are hated. I’ve had the great opportunity to be in original bands that toured across the southeast in the early 90’s. In my mind, I still remember them as the “good ol days” but even over 30 years ago, being in an original band was difficult and there was still a lot of love and hate. I think people loved us though.. i think?
Fast forward today, everyone is still opinionated (probably more due to social media) and we’re in a world with over 100,000 songs a day published to Spotify (Jan 2024). Even back in the day, there was a network of folks who would burn cassettes / cd’s and if you were in the know, you had opportunities to get your music heard through those underground channels or performances (when clubs used to book original bands). I always remember a guy who would load me up with tapes when we did shows in Orlando. The underground music scene was alive and well.
Ironically, now bands and artists have the unprecedented ability to put their music worldwide, yet it seems harder than ever to be found due to the sheer volume placed online.
In hopes to resolve that, bands and artists are forced to spend money to even be seen or heard through paid promotions, tour buy-ons, or other marketing strategies. Even the labels themselves have used paid promotions and fake streams to kick start an artist or band. It’s not an uncommon practice and just reenforces the challenges in the industry.
The sobering thought that you released a hit song today and so did over 99,000 other people is a hard pill to swallow, but it happens every single day and growing. Worse, when coupled with people being overwhelmed with other solicitations such as memes and videos and the average human attention span of 8.25 seconds (which is less than the attention span of a goldfish – 9 sec), it’s discouraging at best.
The ugly truth is as an original artist, you’ve selected something which is saturated, and the laws of supply and demand are in full swing. Those desires to be heard, become rich and famous, doing what you love while paying rent quickly become extremely difficult to make happen in a cut throat industry. There is a reason many top artists came from wealthy families.
To add to the sobering state of things, it was discovered that 0.2 percent of artists are “mega” stars, 0.9 percent are mainstream, 1.4 percent are mid-sized, 6.8 percent are “developing” and the whopping 90.7 percent are wholly undiscovered in a study next big sound did.
90.7% UNDISCOVERED???
Getting booked as an undiscovered artist, you don’t want to know those odds.
Geez, thanks for the buzz kill!
Don’t lose hope though. Please continue reading.
Although I don’t have a solution to all the world’s music problems, I would offer a change in mindset may be warranted.
Mindset change #1: maybe we are NOT in the music business anymore and we need to accept that music itself is just a conduit to something bigger.
The music business: the business of selling recordings.
If you’ve not looked around, folks don’t sell albums much anymore. Sales are mostly singles and those are generally streamed. RIAA equates 1500 streams of a track equals one album sale (10 songs). The math can get difficult pending where it’s streamed but it can quickly give you an idea that nobody is getting rich on streams. Spotify is paying $0.003–$0.005 per stream and apple generally does $.01 per stream (not including splits).
How can an artist’s live on that? (many don’t. many, by their own words have become t-shirt salesmen to survive)
Even the traditional record deal doesn’t exist anymore with the introduction the 360 deal in the early 2000’s due to declining revenue of album sales. The days of large advances rarely exist (unless you have millions of followers) and the 360 deal is going to take a piece of anything you put your likeness on.
Point is, selling records is hardly enough to survive on and record label recognize the need for other revenue streams from the artist. This is also an indicator why many artists from the past are now touring.
So what has the industry become?
In simple terms, THE ENTERTAINMENT BUSINESS. That’s embodies selling an experience, media, brand, and something that gets people LOOKING at you.
I say LOOKING at you because people expect to connect with your brand visually now more than ever.
Unlike decades ago, a hit song these days must have some form of media to enhance it to get a look. It doesn’t mean you have to put big budget video on everything (although it helps) but it does mean you have greater odds of a 10 second video view than a link to SoundCloud or Spotify with your latest hit.
Mindset change #2: We must be SEEN to be heard.
I suggest bands shift their mindset on not just music but embrace and invest in their most powerful tool in their arsenal, their ability to connect with people and share their story and experiences. At the end of the day, people are not sold just on a song but the person, band, or artist singing it and their story that makes them unique. There has been many an artist developed strictly from viral videos (that had no previous musical experience). The number of followers indicated potential sales from that brand and labels jumped on it.
People love a good story. What makes you tick? What makes you interesting? Videos that share some insight and maybe a behind the scenes or day in the life will likely engage more with an audience than a simple link to a song.
What else can I do?
Be a good human and connect with people. Whether online or in person, get out to other music events, support other bands and the community. I learned early on that the music industry is smaller than you can imagine. Your reputation and ability to network while treating people well is just as important than the product you create.
What else?
Have a deep understanding of connection within performances. Even with AI at our doorstep writing decent songs in less than a minute, nothing is going to replace the power and raw energy of artists conveying their story and looking people in the eye and sharing a moment collectively. Invest in those opportunities.
The thing is, as an original band, you’ve selected one of the most fulling things in life which is creating art and sharing your gift and message through music. It’s truly amazing when you see others singing your songs. There is no better feeling when people embrace your art. It’s better than the best drug and likely why there are so many attempting it as a career.
Mindset #3: Be real with yourself
When I look at those sobering stats apply this to my own original projects through the decades, was I really ever discovered?
Statistically, NO.
Did I feel like I was doing something huge, of course. But if I were to be real to myself, I was just one of thousands of bands doing the same thing. Being more real, I didn’t hustle as much as I should of because there was this overarching thought that eventually “someone will see us”. In today’s world, you’ve got to either do something really stupid to be put on TikTok or make something so engaging that people can’t look away.
So, did I just waste a decade of my life pursuing original music?
ABSOLUTELY NOT.
Those were some of the best times of my life. The memories of those times are priceless to me. My bandmates still joke about stuff that happened back in the day.
And that’s where I want to conclude this article and focus everyone’s attention.
The music business / entertainment business is hard but rewarding at times. Even when the odds are stacked against you, making music is magical. Regardless of if someone “makes it” (i.e. able to pay bills and rent) or struggling on the road to get someone to listen to their material, making original music is about the journey. Although talent, hard work, strategy, funding, hustle, and lots of luck factor into getting to the top, nothing can replace the journey and connecting with folks in the process.
Being original in life is hard when faced with what society deems popular, important, or a standard..etc. The ironic thing is many times, to get to the popularity point that folks dream about, it requires not being original, but I digress.
So, what actually matters? After writing the article, I am reminded this stuff isn’t a race and none of us are curing cancer, although some of us take things WAY to seriously. It’s music, it’s fun, it’s a journey. Remember why you write songs and play in a band in the first place. It’s the most fun you can have with your clothes on. Although the odds are stacked against everyone in this industry, be smart, know the landscape, know yourself, and let your story be heard.
If you are doing the original thing, I salute you for your dedication and wish you all the success you are looking for. Rock on.
Many musicians may not realize it, but every time they perform live, the venue hosting the event is required to pay fees for any cover music played. These fees are mandated by Performance Royalty Organizations (PROs) such as the American Society of Composers, Authors, and Publishers (ASCAP), Broadcast Music, Inc. (BMI), and SESAC. While these organizations aim to ensure fair compensation for music creators, there are growing concerns about their impact on small businesses that sporadically host live entertainment.
The Purpose of PROs
PROs were established to safeguard the intellectual property rights of music creators, ensuring they receive compensation whenever their music is publicly performed. These organizations collect licensing fees from businesses and organizations that use music in their establishments, such as restaurants, bars, clubs, and live music venues. These fees are then distributed to the songwriters, composers, and publishers based on various factors like the frequency of performances and the size of the audience. They represent millions of musical works and serve as intermediaries between music creators and businesses that use music in their operations. Their role is not only to collect and distribute royalties but also to monitor public performances, enforce licensing agreements, and advocate for the rights of their members.
And for the record, I like that idea. I love the idea that hardworking songwriters are reimbursed for their talents. However, in my experience, none of the great songwriters I know have made a dime unless they manually enter in a performance. Let’s be real, there are no PROs in the crowd writing on a notepad the songs that are being performed, and therefore there is no accountability towards who should get paid. There is nobody checking… period. I’m not all that smart, but if there is nobody checking, how does the money get distributed properly? It doesn’t. BMI has recently provided an online option for performers to account for performances of their material, which seems like a start in the right direction. However, I’ve personally already seen this abused by an individual in the community that didn’t even have a song and said they performed at one of our locations. BMI paid them because there is no accountability. This means that now there is another level of fraud on the horizon taking away from songwriters. It’s just bad.
Hurting Small Businesses? And More Importantly, Musicians?
While the mission of PROs is to ensure fair compensation for music creators, the fees and licensing requirements they impose can present challenges for small businesses, particularly those with limited resources that host live entertainment only occasionally. Rather than options to pay the statutory rates per song performed by the artists, a yearly fee is created based on factors of the size of the business, if people dance, how many TVs, do they have karaoke?, how about a jukebox?, dance floor?, total capacity… etc. Each one of those factors will determine the amount the venue will need to pay. Mind you, not just one, but several PROs. Sure, it’s the cost of doing business, however, when you are dealing with spending thousands so you can have a guy or gal play an acoustic on a Thursday night, small businesses start to wonder if live music is worth the expense. There are actually venues which now stipulate if you report to the PROs, you are not invited to play (just heard that last night… CRAZY!)
Furthermore, understanding and complying with the licensing requirements set forth by PROs can be complex and time-consuming for small business owners. The process often involves navigating through a maze of legal jargon and paperwork, which can be overwhelming for those without legal expertise or dedicated administrative staff. Failure to obtain the necessary licenses or comply with PRO regulations can expose small businesses to legal risks, including lawsuits and financial penalties. PROs are like a mafia and aggressively pursue businesses that use music without proper authorization, regardless of whether the infringement was intentional or inadvertent. This in itself is enough to scare venues into not doing live music. It’s no joke, check out the articles below.
So here is my concern. If the amount of money being paid to PROs is not reimbursed somehow through the live music being performed, venues will stop doing live music. If the PRO’s continue to use threat tactics to venues, this encourages the decline of live music. All in all, these things impacts the musician’s ability to have a job as well as the songwriter’s ability to make money when live music is no longer affordable. Everyone loses.
I suppose that’s the cost of doing business with live music and if it were not already bad enough for bands and musicians, expect a “fee” to be taken from the band in the future. I could easily see a venue trying to offset the payment of the band with some sort of fee.. which doesn’t sound good to me as a musician, or maybe the venue just can’t afford to pay as much because of the fees.
I don’t know what the future holds, but I’m not a fan of the money grab with zero accountability and the money not going to the right people. Not a fan of fees based on the full potential capacity…etc. I think Congress should look into this a bit deeper and maybe rewrite some of the rules regarding the abstract fees.
The other frustrating thing is most venues don’t pay it; they just ignore it and hope to not get sued. I can’t in good faith do that, but likely the venue you are supporting with live music does not pay any licensing. If you are a songwriter and want to be on the side of the PROs, you probably shouldn’t be playing those places, but who am I kidding, this stuff only matters when money comes out of your pocket. LOL.
In crafting this article, I want to make it clear from the outset that this is, above all, an opinion. It reflects my personal views, shaped by my conversations with numerous fellow venue owners over the past four years. That said, I’m always open to hearing diverse perspectives from others who own a venue. If you have a different take, I encourage you to share it. We’re all here to learn from one another.
So, why write this article in the first place? In a word: purpose. I aim to assist aspiring musicians and bands on their journey by sharing insights that may save them time, headaches, and offer lessons learned from my own mistakes and in this case, my experience I’ve seen as a venue owner. Successful bands make venues successful and I believe we need to revive what live music is about before venues give up on it.
Now, let’s dive into the crux of the matter: what makes a band successful from a venue owner’s perspective? To keep things concise, I’ve distilled this down to 5 easy things that I believe can significantly contribute to a band’s success. These are not revolutionary ideas and probably some you are doing them. If so, rock on. However, if not, these are for your consideration.
Familiarity with the Venue and visiting it
Effective booking is closely tied to being aware of where you wish to perform. When bands submit their work via email for consideration at our venue (almost daily), it’s noticeable when they have not taken the time to even look at the venue, what we offer, or our purpose. Of course, we understand that some may be templated emails (not effective) or they are just fishing for work and hoping bulk submissions will land a gig but overall, do they really want to play a venue they know nothing about? Did the email actually help or hurt their reputation? In most cases, it hurts them. It shows lack of investment and in general, venues don’t respond to things readily available on their websites and get tired of answering the same questions.
Live at Harlow’s fortunately still responds to the emails as we get them because it’s important to us but it’s likely because we are also musicians and we get little response as well via email solicitations. We know how it feels! (time to change the way we communicate as musicians!).
If email has not been effective (EPK in the email?), there is a more effective option for those who are in the area of the venue. What is it? Visiting the venue you want to play.
Visiting the venue and personally connecting with staff goes a long way in building rapport. After all, a physical connection beats a string of emails any day. If you are a local band and not doing this, you are missing a great opportunity.
I vividly recall a band from Andalusia that came to see a show. Their presence left an impression because it showcased their investment in time and effort. They took the time to come see what the venue was about, likely to see if they wanted to actually play the venue (smart) rather than just sending an email.
In the process, they connected with other fellow musicians and bands in the scene.
Local bands, take the time to visit venues and become part of the “scene”. It will opens door and foster valuable networks, an asset that will surely pay dividends. I can’t stress this enough.
Song Selection for the Audience
Playing your personal favorites, obscure B-sides, or attempting to tackle an entire album may not engage the crowd as you’d hope. Song choice is pivotal and popular songs connect with people, making them sing, dance, and feel a connection.
Time and time again, I see bands perform their personal favorite and they lose the crowd every time. Was it worth it? From a venue perspective no. From a crowd perspective, no.
As an example, take my own band The Rock Mob. We meticulously curated our setlist by referencing Billboard charts, streaming services, and other resources. As a result, most every song we play resonates with our audience. It’s a simple formula that pays dividends in more ways than you can imagine. No more arguing over if Krokus will go over in a crowd! if it was not in the top 20, it probably won’t go as good as we expected. LOL.
It’s important to note that a popular hit song will get you 80% of the way in terms of engagement but don’t underestimate the importance of performing it well. Straying into songs that surpass your band’s abilities won’t leave a favorable impression.
We all know that one karaoke singer who attempts an impossible song, and it usually ends terribly. Please, don’t be that musician. Stick to your strengths and choose songs that your band can confidently deliver.
Entertainment Factor
Talent is undoubtedly essential, but it’s just one aspect of being a successful band or musician. The stage is your platform, and you’re an entertainer as much as a musician. To quote Ken Kirkland’s favorite statement, “people hear with their eyes.”
A technically flawless performance can still fall flat if the band members are glued to their instruments, phones, or tablets, disengaging from the crowd.
To gauge your success, look at your audience. If they’re seated or absorbed in their phones, you might have missed the mark. Music is about sharing and having fun, so let loose, rock out, and connect with your audience. Embrace the inner rockstar within you; it’s what people expect and appreciate. Smiles are contagious, and there’s no harm in enjoying yourself onstage.
5. Be Genuine, Humble, and Kind:
Common sense but I want to emphasize the importance of being a good person. Some of the most successful bands I’ve seen have risen to the top because they’re genuinely great humans. They steer clear of drama, support everyone around them, and don’t flaunt themselves as the best in the area. They value the connections they make with people and venues, and their fan bases continue to grow as a result. It’s a simple formula: talk to your fans, let them know they matter, and thank them for their support.
6. Promote and sell product
A band’s role is to entertain but most importantly, make a venue money to pay for you.
Contrary to popular belief, most live music venues have little margins to even pay for a band. The expenses to run a venue is high and frankly why many live music venues have closed or no longer book bands.
Breaking it down, it’s simple: the more you sell products and encourage your fans and spectators to buy products, the more the venue will value you and the more valuable you become. As a musician, we tend to value ourselves on how much money, practice, time, and equipment we bring to the table. Matter of fact, we demand venues to pay us because of all that hard work and investment. Unfortunately though, none of that matters to a venue. It just doesn’t. As an example, a solo artist or duo that brings 2x the amount of people to a show buying product is more valuable than a full band with pink floyds laser light show that brings 10 people. It’s ugly, but it’s the truth and something which should encourage all bands rather than upset them. Up the sales game and be on target to grow your real value from a venue perspective, or not… but don’t get mad at the venue for your growth or for them doing what is good for their business (please).
In closing, venues want bands to succeed because successful bands mean successful venues. In today’s music industry, understanding your role and collaborating effectively with venues can pave the way for mutual success. I can personally attest to many bands who have taken on these exact mindsets and have expanded from small shows with ok attendance to large shows with amazing attendance and a large fan base. Rock and roll may be about rebellion but business and growth is about being smart and understanding the landscape and where you fit. I hope these opinions will provide some perspective and serve you on your path to rock ‘n’ roll success. Rock on!
Come visit us at Live at Harlow’s, we’ve got Live Music showcases throughout each month.
Recently, I posted a picture that shared comments from Adam Levine regarding cover bands. Although you can’t trust everything you see on the internet, the image and content did spark some mixed feelings.
I’ve always been one who intentionally tries to explore different avenues of thinking outside what most would consider “the norm.” It’s been part of my business strategies ever since I read the book “Rich Dad, Poor Dad.”
That book taught me that the way you think has a lot to do with the opportunities you can get, as opposed to just going with the same thought processes as most everyone. Has that thought process worked out every time? Not at all. However, in all cases, it’s provided me insight into opportunities, missed opportunities, and a whole lot of experience that I couldn’t see for myself without going against the grain and purposefully thinking differently.
So, considering Adam and his comments, let’s break it down and try to glean opportunity from it, regardless if he is right or wrong.
Do I agree with Adam’s dumb-ass comments? Not really. But will I use it as fuel and food for thought? Absolutely.
“Just because you’ve learned an instrument and started a band doesn’t mean you should get paid for it.” But you pay a plumber for their services, so why wouldn’t you pay a musician? A plumber provides a necessary service that not everyone can do.”
Adam’s comment seems to be based on the thought process that anyone and everyone can become a musician and that it’s a commodity. While it’s true that there are more musicians than plumbers (making most plumbers more valuable), the thought process is one of ignorance and is likely based on not being in touch with the real world. Whether you’re a plumber or a musician, the opportunity for payment comes from effective marketing or providing an exceptional product. If you suck as a plumber, don’t expect to get paid.
Point is, if the product you’re selling or marketing, regardless of what it is, doesn’t fulfill a need, it becomes hard to sell, which tends to be less valuable.
Adam’s comment, though dumb, helps me remember that I need to identify the market I wish to sell to and effectively market to them. And most importantly, not settle for good enough to secure those paying gigs. The failure to position my band where our service “is needed” is on me.
“When there are four different bands playing “Don’t Stop Believin'” within a two-block radius, what makes you think you’re providing a special service?”
Adam’s comment completely misses the point of what cover bands are all about – playing songs that people want to hear and connecting in a live, real-time music environment.
However, using his comments as fuel, what would make a band special? I’d start by saying that if there are four bands in the area playing the same songs, those are probably very popular songs, and I’d congratulate you for playing what people want to hear. That’s step 1 to being a successful cover band, song choice.
As for the song “Don’t Stop Believin’,” it’s one of the greatest songs ever recorded – which, by the way, has 1.6 billion streams compared to your biggest song “Lost Stars” at 327 million, so suck it, Adam.
Anyway, if you’re aiming to be special, I’d propose it’s a combination of various factors, such as
Your performance (how well you play those songs),
Your visuals (light show, appearance, attire, stage setup),
Your connection with the audience
Your energy
Your song list
Your attitude
Your willingness to partner with others
“A jukebox is a cheaper form of the same entertainment.”
Believe it or not, I think he is partially right. A jukebox is not only cheaper, but it also pays venues and is, frankly, an adversary to live music. Most jukeboxes generate revenue ranging from hundreds to thousands of dollars per month for venues. Is it the same entertainment? No, Adam. You dumb ass.
There is no substitute for the energy and engagement of a live band performing songs. However, many venues are opting for this route because live entertainment is either too expensive or not generating enough income to support it. (Fellow musicians, we got to fix this).
The opportunity: Create a band that engages the audience more than a DJ, karaoke, or jukebox ever could. Recognize that you’re competing with cheaper options but deliver an experience that convinces the venue that your band and live music reign supreme and are worth the investment. BTW, this also means musicians, you need to attend live shows in the area (yes, I’m talking to you, the guy in the band who never seems to attend other people’s shows or has never even been to a performance at the venue where you want to play – LOL).
“No one forced you into playing music, so you’re not allowed to complain about working conditions until you provide a musical product that large numbers of people want to consume.”
I’ll agree with some of this. You’re exactly where you want to be. If you don’t want to perform at a location due to working conditions or any other reason, then don’t. However, whether a large number of people or a small number of people consume your product, do it well and enjoy the journey, because, Adam, you’re still a dumb ass. Music is about having fun and being part of something bigger than your own self.
“You’re not special.”
Adam, lick my nuts. My mom told me I’m special, so I am. Truth is, Adam’s words carry no weight. Personal validation trumps external opinions. Each of us have the opportunity to create something different or special.
I hope you enjoyed reading the article. The main point of this article is that business is about identifying opportunities and acting on them. It’s about trying to adopt a different perspective (whether positive or negative) and seizing opportunities.
I’ll conclude with this: I recently mentored a band on “business”. The group believed that business was solely about “making money” and chose not to perform at a festival due to the pay. While I respect their decision, I feel this was a critical error regarding how real business works. Worse, I encounter this mindset quite often when speaking to bands and they wonder why they have little growth.
It’s crucial to contemplate the opportunity before defaulting to responses like “not enough money” or “we’re more valuable.” because in this instance, they missed a fantastic opportunity to perform at a festival that draws thousands of “customers.” I explained to them that money is a byproduct of seizing opportunities and that, in this case, they prioritized money over opportunity, which ultimately would deliver money at a higher rate of return due to having a pedigree (perception or whatever word you want to use for doing what other bands have not had the chance to do).
When doing the math, at their current rate, the band would need to perform 50 shows to reach the number of people they could have reached with just one festival show. Be wise and always be on the lookout for opportunities. They are not always easily visible which requires doing a little deeper looking.
Last, Adam, even if you didn’t say those comments, you’re still a dumb ass in my book based on the comments that you have said in the past. It’s cover bands that keep live music in venues and your paychecks coming through the performances of material. Thanks for reading and rock on!
I’ve been working with Artificial intelligence (AI) in my real job for a amount of time. I’m amazed at how far it’s come but also a bit concerned about it’s role in future art creation, to include music. For instance, it’s not going to be an issue for someone to click a button and generate a hit song or promotion video with just text prompts. Can’t sing, AI will do that as well for you. With that much power, it would seem as if anyone can be an artist and creativity would be based on randomization when the content is pulled from the AI resource library. Anyway, it will be interesting to see how AI could devalue the hard work of real artist as it’s already happening now with images and NFT’s. The entertainment side will be more important than ever from my foxhole.
So, for fun, I wanted to get the AI take on some musician tips. This article was NOT written by me and even the image on the header was created by AI. It was not edited by me and is the exact text generated by AI when I asked it to create some Musician Tips. I kind of agree with the AI and but don’t know about Michael Jackson singing in a toilet. Enjoy!
Setting a Goal
To accomplish anything, you need to set a goal.
If you’re an aspiring musician, it’s important to define the problem before trying to solve it. Be specific: What is your goal? Don’t say “I want to be successful.” Instead, be specific about what type of success you want (i.e., sales records, online streams). The more clear and specific your goals are, the easier they will be to achieve.
Don’t worry about what other people’s goals are; focus on setting your own personal ones—and make sure they’re ambitious but realistic!
Practice, Practicing, Keep Practicing
Practice, practice, practice. It’s the key to success. Just ask any successful musician (which is likely anyone reading this). The thing about practicing is that it’s important to get in the habit of doing it and keep doing it, but don’t overdo it! You don’t want to be practicing so much that you start hating music or your instrument or whatever else you might be playing. Practice should be fun – if you’re not having fun while practicing then there’s something wrong with your attitude toward the craft itself and how much patience and dedication you’ve put into honing what skills you have (or want).
Practice is like any other skill: if you want to get better at something then practice regularly until those skills become second nature. You may think that some things come naturally when they shouldn’t—like walking up stairs without falling on your face—but these kinds of tasks require constant reinforcement through repetition until muscle memory kicks in and does most of the work for us (i.e., getting up those steps).
You don’t need someone else around all day long telling them what notes are next; just do some research online beforehand so as not make mistakes like missing notes during performances.”
Music is an art, and art requires passion.
Music is an art.
Art requires passion.
Music is a form of self-expression.
Music is a form of communication.
Music is a form of entertainment (and sometimes even education).
Music can also be used as therapy, which means that it’s not just for your ears anymore!
Don’t forget to take breaks
The best part about being a musician is that you get to make music. The worst part about being a musician is that you have to make music all the time.
If you want your songs to be good, and if you want people to enjoy them, then it’s important that your creative juices are flowing and your mind is fresh when putting together new material. That said, don’t overwork yourself in an attempt to get everything done as quickly as possible—you’ll only end up exhausted and unsatisfied with what comes out of it all at the end (and even then, odds are pretty good nobody will care). You need breaks from working on anything creative in order for it to actually be good!
Be Inspired
Inspiration is a great thing to have and can come from many sources. You can look to other musicians, artists, or even people in your life for inspiration. Perhaps it’s a friend who has achieved their dream of becoming a successful artist, or maybe it’s your own life experiences that have helped motivate you to pursue your passion.
You can also find inspiration from nature and from the music that moves you! If there are certain songs that make you feel like they were written just for you – those are probably ones worth listening to more often (or even writing yourself).
A Musician should always follow his passion (AI seems to think there is only one gender)
Musicians should always follow their passion. Passion is the key to success, and no one knows this better than musicians. If you follow your passions, you will be successful in whatever you do. It doesn’t matter if it pays well or even if you are good at it—the most important thing is that you love what you do!
Think of all the famous musicians who have achieved incredible success without having any formal training whatsoever: John Lennon couldn’t read music; Steven Tyler was kicked out of his high school band because he couldn’t play guitar; Kurt Cobain taught himself how to play guitar out of frustration at not being able to find a teacher who could teach him what he wanted; Bruce Springsteen dropped out of college after one semester because he was too busy practicing with his band The Castiles; Prince got signed by Warner Brothers despite them knowing nothing about him or his work; Bob Dylan had never played an instrument until he joined The Byrds on stage one day as an acoustic guitar player (he also knew nothing about folk music); Michael Jackson used to sing into an empty toilet bowl so people could hear him over the sound of flushing toilets coming from behind closed doors when they were really loud! All these great artists started out as amateurs with no formal training and became some of history’s greatest talents simply by following their passions and doing what they loved doing every day until they reached their goal!
Conclusion (written by AI as well)
At the end of the day, music is a passion. It’s something that you should do because you love it and want to share that joy with others. These are just a few things I’ve found useful as a musician, but if there’s anything else we’d like to add please let us know!
My conclusion (written by me)
We’re screwed. LOL! Hope everyone has a great new year and regardless if AI takes over, remember the reason for the season and the reason you ever got into music. It’s because it’s the most fun ever!
