Music Shows

(For the purpose of this article I’m going to make a couple of assumptions before I go any further. They are that you have a little bit of vocal or musical instrument knowledge and that you additionally have a fledgling network of companions and contacts)

Starting up a band is a eminently interesting time in a artists life. There is a fine balance of nervous anticipation and the fear of the unknown that follows the whole process.

A band has a diverse dynamic than working as a solo artist. There are other people involved, other personalities, other strengths and weaknesses in character and abilities and because of this it’s really vital that you have several things worked out before you start looking for band members.

1. Have a nice idea of your own strengths and weaknesses

The performer members that you want to get will need to be around the same level of competence as you are. The main reason for this is that you may all grow together rather than have one or two performers carrying anyone else. This kind of player imbalance causes doubt in the group and doubt is one of the major killers of bands.

2. Know beforehand how the performer is going to be run

Is the band going to be run by you or the whole group? The personal ity types of the musicians that you select will need to be agreeable to the way the band is going to be run.

3. What instrumentation is the band having in its lineup?

This is mainly determined by the type(s) of music that you want to play but having an idea of what artists you are looking for will be of excellent stimulate.

It’s now time to hunt down some performer members

4. Ask your network of companions and/or contacts

This is always a wonderful place to start. Ask everybody that you know or come into contact with. If you don’t have much of a circle of friends and/or contacts this will be a great chance to wide n it. This is one of the reasons why networking in the industry is so vital, for chances such as this.

Having a artist referred to you has a much better chance of working than one that comes from an advertisement. This leads me onto my next point.

5. Post an advertisement

Having said that I’ve had made some excellent contacts from musicians enquiring from a ‘muso wanted’ ad. The key to effective ads is that they need to be concise, to the point, not too lengthy and put in places where musicians are considerably prefer ly to see it and read it prefer in a music shop, a Regional music magazine or a music classifieds website.

A sample ‘ performer wanted’ advertisement can read something like this:

BASS PLAYER WANTED

To join folk/rock band

Influences include

Ben Harper, Jack Johnson, Counting Crows

Some experience prefer red

Own gear and transport essential

Interested?? Give me a call

Corey – (put home and/or cell telephone  number here)

As you could see, the ad is apparent in its intention.

It apparent ly states the performer wanted, the type of music the performer is playing, what the music may sound prefer and that the performer has some experience behind it. Make sure you have a apparent contact name and phone numbers (if you want to include an email address as well that’s cool).

Don’t put in stuff prefer ‘work waiting’ or ‘no time has been ters please’. You may judge those sort of things yourself when an interested musician contacts you.

Once you have done that the waiting game begins.

Most people would say the first thing to do is to find a name for the band. Lets start from there s club we??

The auditions are over, you have found your bass player and you all seem to get along really well. The excitement is in the air and you have had your 1st performer bonding celebration.

Now its time to start your musical journey together.

Personally, I think that finding a performer name is THE hardest decision that the performer will ever have to make and as a result one of the most necessary decisions as well.

A band name is a extraordinarily important part of the artists identity. It’s the 1st point of contact a punter has with the band.

Does this conversation sound familiar to you?

Them: “Hey, I saw this cool performer last night. You gotta check them out”

You: “Cool, what was the name of the band?”

Them: “Ummmmmm……. I do not know”.

Arrrrrgh!!!! I get that all the time.

I can’t remember how a lot of times individuals have raved about a performer to me but can’t tell me the name when I ask them. Right there is the has been ted chance for a band. It frustrates me no end.

This is a perfect example of how extremely important a band name is.

The band name is the 1st thing that a punter will recall. They will not address the band by the names of the individuals in it when they talk to their companions (unless they are personal companions of yours) they will address the band by its name.

The optimum way to find a band name is through sheer persistance. Locating a band name that’s agreeable by everybody isn’t an easy task.

Here are some performer name get together suggestions:

1. Get every member to write down their personal list of potential performer names

This can be the 1st task that the band could do collectively. performance a date for the 1st band meeting and amidst now and then do that task.

2. Make brainstorming band names the topic of your 1st ever band meeting

When everybody gets together put all of the lists out on the table and go through each one keeping to one side the names that’strike a chord’ (sorry about the pun) with all of you and getting rid of the rest.

As a group try brainstorming some ideas. This is a amazing way to start formulating what the performer is all about, what its image is etc, etc.

3. Start a competition among all your friends /family/anyone else via email

This is a exceptional way to start compiling the beginnings of your performers email list. List all of your companions /family/anyone else that you want to include and their email addresses and compile them all into one mailing group. Send out an email outlining the competition and be ready for the tips to come flooding in.

It’s necessary to have a cut off date for the competition (perhaps by your first band meeting) and to have a prize on offer. Of course the prize is totally up to you.

Make sure that when you do find a band name that you announce it through your email group. You’ve just started email promotion of your band.

Whatever you do have fun with the process and do not let the quest to find a performer name override the other things that you’ve to do such as writing tunes and finding rehearsal space.

I guarantee that once you have agreed on a band name you will all collectively breathe a immense sigh of relief. The hardest part of the journey has been achieved.

Music, in any form, whether vocal or instrumental, classical or modern is the perfect form of entertainment as well as relaxing. Locating a person in this whole expansive  world, who has been untouched by the effect and magic of music is al most next to impossible. All multimedia gizmos have the provision of playing music. But quite frequently, what’s music for one person, may be noise for his neighbour. In such a situation, surround sound headphones are the perfect way to find pleasure in your music fully in the absence of disturb ing those around you.
Surround sound headphones are diverse from other headphones because they give a realistic feel to the music and bring the effect of live music. This three dimensional effect is achieved by separating the front, rear and central speakers. It expands the quality, and shuts out all disturb ances while you are enjoying the music. The perfect advantage of these headphones is that you may listen to and find pleasure in your music even with the volume turned up to the maximum, in the absence of disturb ing your family members and neighbours.
The effect of the surround sound headphones is as good as listening to music using speakers. Surround sound headphones cover the entire outer ear area and the curve of the ear, and this feature makes it much better than ordinary headphones. One may use these headphones with any music system, computer and even the television. The person gets all the perks of hearing everything in the absence of any external noise or disturb ance.
These headphones may also be used to watch movies in private and even while playing games on your games console. Surround sound headphones are based on the sound decoding technology. This is responsible for giving tremendous clarity in what you hear. User who have used these headphones have said that listening to music using these is as good as listening to a live orchestra with all the artists standing beside you.
Dennis Jaylon is a renowned business writer who has years of experience in writing technical reviews, product descriptions and product feature analysis of technical gizmos. He has won appreciation especially for enlightening individuals about the latest communication gizmos…the headphones

Around the pubs and venues in the UK there are still a lot of performers playing for only a few pounds to demanding listenerss who at the same time request Chuck Berry and the Arctic Monkeys. Keeping all these diverse individuals in the listeners happy is never easy, but not impossible either. With good stage craft and clever of songs at a specific Club, a good band may make everyone happy.
The organization of these performers is extraordinary. They must find like minded artists that are committed. Then they must find somewhere to practice. This isn’t easy as most can’t do this at home. If you are fortunate to have a house large enough, it is un like ly you may get round the neighbours, as it is so loud! It can’t be turned down as everything must be as loud as the drums. A band frequently hires a room to practice, at wonderful fee to themselves.
A band must also invest literally thousands on equipment. PA, lighting, guitars, drums etc.
The next hurdle is transport. For some reason most drummers can’t drive! Cars are frequently inadequate as you would need a fleet of about 5 for your gig, exceedingly expensive on the fuel, and impractical. Most performers have to hire or buy a van, again at wonderful fee to themselves.
When they have finally rehearsed all there material over weeks or months, they are ready to performance live. It’s an exciting day, one of wonder, excitement and slight fear. You turn up to the Club to find one man and his dog. And that man is exceedingly drunk, wants to be your manager, and giving you all the worth of his ‘wisdom’ in the music game! The landlord is also drunk, and you can’t work out if he likes you or not.
You get poorly paid, if you get paid at all, and return home frequently out of pocket.
Nonetheless the real rock heroes come back for more. They find the perfect Club s, gain a reputation, and performance at some wonderful places. Sure they still have bad gigs, but the good ones make up for it. They make it look so easy, but it isn’t.
The Half Monty have had there share of ups and downs. They have been ripped of at gigs, played in the most dodgy Club s, and heckled to death. But they are still here, bigger and better than ever having learnt from their early days.
So recall, when you see a local/regional band advertised at a pub or venue, go see them and support them. It isn’t easy for the lads and lasses. Perhaps buy them a beer following the concert if you really enjoyed it. , for these are the true heroes of rock.

We spent months preparing for the Gemini Soul tour, booking performances in Phoenix, Hollywood, Fresno, Santa Cruz and Orange County.  all of us  covered it all: a publicist, advertising, free ticket give-aways, flyers, posters, performance listings, postcards.  all of us  tried holding a charity benefit.  all of us  tried having an opening  band.  all of us  tried free promotional performances at colleges.  all of us  tried passing out free admission cards on the street. And still only a scattering of individuals came to each show.
The individuals who did attend always raved about the music, as did the doormen, the bartenders, the venue managers. ” You are the perfect band I have ever seen performance here, and I have heard a lot of bands,” has been a typical response. So where has been everyone?
Live music in the America is dying. Several decades ago, a band may count on regular venue dates. Unknown jazz performers may “do the circuit” and make at least some resources. Not anymore. I talked to the manager of a two-thousand seat theater. She said everyone in the industry is talking about how difficult it has become to fill Club s, and speculated that individuals have a lot of entertainment choices at home — the Internet, iPods, cable television, Netflix — that there is less incentive to go out on the town. Fewer individuals are willing to take a opening  on unknown music. As a consequence, a lot of Clubs can’t afford to pay performers and expect you to performance for ideas — which is fine to get a career going, but how may you sustain that?
Live music as viable entertainment hangs on in some ways. Me’Shell Ndegeocello, thank goodness, may draw a large crowd on a Monday night to San Francisco’s The Independent. Festivals and cruises still feature performers (although they are increasingly interested in artists with national reputations – which begs the question, how does one get a national reputation?). But if skill ed guitarists like Mick Fleetwood (co-founder of one of the most successful performers of all time, Fleetwood Mac) may fill only half of that two-thousand seat Club, and if Yoshi’s resorts to giving away free tickets to Lee Ritenour’s second show, where does that leave us?
Have  all of us  become too accustomed to music at the press of a button, day and night, and worse yet, a lot of of us now expect it for free? Radiohead released their latest CD  On-line and asked buyers to select how much to pay. Only 38  percent of those who downloaded the CD  paid anything. The rest — an unbelievable 62  percent — felt they should get the album for free! [Forbes.com] Because of the band’s stature, they still made a considerable amount of resources on the sales, but at those percentages, a four-person band selling only 10,000 CDs at an average of $8 apiece would make just $30,400. That amounts to less than $8,000 per person, not including any deduction for production costs.
I recently located a dozen inter-connected English-language websites based in Russia selling my music as well as music by big-name artist s, unauthorized, for download for less than $1 per CD. If most artists can’t make resources performing and can’t even make resources from CD  sales On-line, how will our culture be able to nurture and sustain the next wave of artist s? like climate vary,  all of us  will glibly go about thinking little is wrong (or at least a lot of of us will) until it is too late.  all of us  will have chopped down the tree that nurtured our music and gave it life.

Most individuals would say the 1st thing to do is to find a name for the band. Lets start from there s club we??
The auditions are over, you’ve found your bass player and you all seem to get along really well. The excitement is in the air and you’ve had your 1st band bonding celebration.
Now its time to start your musical journey together.
Personally, I think that locating a band name is THE hardest decision that the band will ever have to make and therefore one of the most important decisions as well.
A band name is a exceedingly important part of the performers identity. It’s the 1st point of contact a punter has with the band.
Does this conversation sound familiar to you?
Them: “Hey, I saw this cool band last night. You gotta check them out”
You: “Cool, what has been the name of the band?”
Them: “Ummmmmm……. I don’t know”.
Arrrrrgh!!!! I get that all the time.
I can’t recall how a lot of times individuals have raved about a band to me but can’t tell me the name when I ask them. Right there is the has been ted opening  for a band. It frustrates me no end.
This is a perfect example of how extremely important a band name is.
The band name is the 1st thing that a punter will recall. They will not address the band by the names of the individuals in it when they talk to their friends (unless they are individual friends of yours) they will address the band by its name.
The perfect way to find a band name is through sheer persistance. Locating a band name that’s agreeable by everyone isn’t an easy task.
Here are some band name party suggestions:
1. Get every member to write down their personal list of potential band names
This may be the 1st task that the band may do collectively. session a date for the 1st band meeting and amidst now and then do that task.
2. Make brainstorming band names the topic of your 1st ever band meeting
When everyone gets together put all of the lists out on the table and go through each one keeping to one side the names that ’strike a chord’ (sorry about the pun) with all of you and getting rid of the rest.
As a group try brainstorming some ideas. This is a wonderful way to start formulating what the band is all about, what its image is etc, etc.
3. Create a competition among all your friends /family/anyone else via email
This is a wonderful way to start compiling the beginnings of your performers email list. List all of your friends /family/anyone else that you want to include and their email addresses and compile them all into one mailing group. Send out an email outlining the competition and be ready for the ideas to come flooding in.
It’s important to have a cut off date for the competition (perhaps by your 1st band meeting) and to have a prize on offer. Of course the prize is totally up to you.
Ensure that when you do find a band name that you announce it through your email group. You’ve just started email promotion of your band.
Whatever you do have fun with the process and don’t let the quest to find a band name override the other things that you’ve to do such as writing songs and locating rehearsal space.
I guarantee that once you’ve agreed on a band name you’ll all collectively breathe a very large sigh of relief. The hardest part of the journey has been achieved.

To most artist s, the enduring image of an artist manager is a caricature of a heavy-set, unkempt slob of a man, stuffed into a 2-sizes-too-small, off-the-rack department seller suit, chomping on a cheap smelly cigar while sliding a gr easy hand unceremoniously into the back pocket of a starving artist. Doubtlessly, somewhere in the vast landscape of the music universe, such malice exists. The vast majority of artist managers, however, are a motley collection of well-meaning, hardworking, selfless individuals struggling to make the dreams of an individual they believe in come true.
For the legion of dedicated unbelievers out there, this is an article that attempts to shed light on the true worth of an artist manager. Following are 8 reasons why a band or artist needs a good manager:
1. Career Guidance – It’s frequently extremely difficult for artists to step back from the day-to-day activities and see the large picture (you know – the old ‘forest-for-the-trees’ thing). A knowledgeable manager may see how everything in the large picture fits together, and may help the artist navigate through the frequently -confusing maze of activities that seem unrelated yet are all part of a massive jigsaw puzzle. The manager offers career guidance and helps to session the overall game plan for the artist and the artist s’ team to follow.
2. Cheerleading – Even though listeners are the main cheerleaders for an artist, an individual has to communicate the same enthusiasm to the music business community. An artist manager will trumpet the artist’s message to record labels, booking agents,  promoters, media person nel, venue bookers, independent retail accounts, etc., in order to keep them all engaged and enthusiastic.
3. Prestige – According to most record industry professionals, there is something to be said about an artist that has a manager. The logic is that if an artist is good enough to attract management, there must be something of worth present. In fact, most major labels refuse to sign an artist unless they have solid team (manager, attorney and publicist) in place. An artist in the absence of management is just too much drama! Labels would rather deal with an individual who knows how the music business works and may make decisions on a non-emotional basis.
4. Buffer – A manager may act as an effective screening buffer amidst the artist and individuals that want to do business with the artist. This buffer tends to attract legitimate industry players while at the same time scaring away scam artist s. There are no scarier words to a scam artist than “please talk to my manager”.
5. Time management – There simply isn’t enough time in the day to do everything that needs to be done in order to further the career of an artist. In amidst writing songs, conducting interviews, designing artwork for CD ’s and merchandise, managing a mailing list, filling out copyright paperwork, rehearsing with the band, hiring and firing artist s, updating band websites and MySpace.com profiles, getting pictures taken, shooting and editing DVD’s and YouTube videos, sending out packages and/or updating EPK’s, researching, repairing and buying equipment, etc., there isn’t time to also craft a master game plan, solicit potential sponsorship partners, handle licensing requests, reach out to industry gatekeepers, attend industry networking get togethers, harass labels for tour support, and so on. Some tasks may be delegated to the band while others may be handled by the manager.
6. Accountability – Part of a manager’s job is to hold individuals accountable. What happens when the financial tour support that has been promised by the label fails to materialize? Or the check from the booking agent bounces? Or the FOH engineer at the show is MIA? Or the licensee fails to sign and return the contract but is using the artist’s songs anyway? Or the beer in the tour van vanishes? Somebody has to keep individuals honest, and that’s most appropriately the manager’s job.
7. Good Cop / Bad Cop – Need to fire the bass player but don’t want to create an enemy? Let the manager performance bad cop and do the firing. Need to re-negotiate your contract and request more of a promotion budget? Let the manager performance good cop and keep a positive spin on the proceedings. There are plenty of opening s when the artist and manager may trade off playing good cop / bad cop.
8. Sounding board – A manager, even though basic ally an “honorary member of the band”, is frequently on the outside looking in. Managers frequently see things diverse ly than the artist, and may frequently offer diverse perspectives, insights and determinations to problems the artist is encountering. Running ideas by a knowledgeable manager prior to making decisions frequently allows for good ideas to become better and bad ideas to be removed altogether from the to-do list.
So, there you’ve it! 8 good reasons why an artist needs a manager. Having said all this, however, it is important to note that having a bad manager is worse than having no manager at all. a lot of wannabe managers think they may just “wing-it” with an artist, and continue to operate with the “lets-record-a-3-song-demo-and-shop-it-for-a-record-deal” mentality, even though the music industry continues to undergo meaningful vary s. New business models are emerging, and only those managers that stay at the leading edge of the learning curve will create successful strategies and offer meaningful counsel to their clients.

The rewards of creating music range from the deep satisfaction of writing a new song to the glowing pride of a successful performance. These feelings bolster our confidence, but do little to compensate for the financial investment frequently tied to making music. While selling your music via CDs and downloads is a good start, you should also think about investing in band merchandise to  encourage  your band and cover the fee of instruments, rehearsal spaces, recording equipment and more.
In a Rolling Stone article (7/04), Dashboard Confessional’s Chris Carrabba spoke about the importance of merchandise: “Merch sales are what kept us going. Even now, we’re still not making our living from playing the shows. Merch is where  all of us  make our profit.” In that same story, John may er commented on merchandise sales and the current state of the recording industry: ” You are not making that much resources off records anymore, so until individuals may figure out how to make a re-writable Hanes Beefy-T, merch is one of the last bastions of individuality, commerce and style that an artist has left.”
Echoing those sentiments, Amanda Palmer of The Dresden Dolls told N Public Relations (1/17/07): “We make al most no resources off our recordings themselves.” To earn a steady income, N Public Relations interviewer Chris Arnold noted that “The Dresden Dolls may take in more than $1,000 a night selling merchandise, which makes the ‘merch table’ a major source of income why they are on the road.”
While generating resources is the most undeniable worth of band merchandise, the valuable impressions made from exposure to potential listeners is just as important. Arming your current fan base with a fashionable marketing tool will only help to  encourage  your band and raise your profile. To this end, artists should take wonderful care in creating logos and images that accurately reflects their sound and image while appealing to consumers. For inspiration, turn to Threadless.com for a expansive  range of arresting designs. If you don’t have the skills to create the design, try cutting costs by recruiting a graphic arts student to handle the project for you.
Once the perfect design is approved, identify the medium that will give you the most important return. A quick Google search found a wealth of companies dedicated to meeting the merchandise needs of independent artist s. Here are just a few of the deals out there: 100 printed t shirts for $405 at WeNeedMerch.com,
500 1″ buttons for $100 at BusyBeaver.net, 250 5.5″ x 1.42″ stickers for $25 at StickerGuy.com and 100 posters for $175 at BandWear.com.
Selling your band merchandise may be done at live shows or On-line via your Web site. Create links at social music websites like Echoboost.com to draw more traffic and use gain payment services, such as PayPal, to handle the monetary transactions. Email fan venue members when new products become available and try offer ing special packages, bundling your CDs or downloads with t shirts, buttons and/or stickers to drive sales and spread the word about your music.
You should n’t let costs drain your passion for music. Put your music to work for you with your own merchandise and keep making the music you love.

If your band is in rehearsals, either preparing for gigging, or practising new songs to add to your repertoire, the opening s are you’ll have to hire a rehearsal room. The costs of hiring a room may soon mount up if you don’t organize your time effectively. You may be has been ting time and resources going around in circles, with a growing frustration that your band does not seem to be making any progress.
The answer is to session a Schedule for your rehearsals. in the absence of a schedule it is difficult to monitor progress if in fact any is made. Disorganized rehearsals may soon turn into chaos, with everyone throwing in ideas and playing diverse things at the same time. The rehearsal isn’t the time for your guitarist to hone his right hand tapping skills, or your drummer to perfect his lightning fast paradiddles, it is valuable time for working together as a band, and should be used as such. band members should have their personal private schedules for practising instruments and learning new techniques. During a rehearsal you should all be working towards the same goal and making each other sound as good as possible. The rehearsal should never turn into a ’who may performance the loudest’ competition.
What should your schedule consist of?
Set goals for your rehearsal times and WRITE THEM DOWN! You should know which songs you are going to rehearse in advance. If you’ve planned your strategy, you’ll avoid getting stuck in a rut and your time will be used constructively. songs you already know may be perfected and the little nuances worked on, stamping your own identity on cover songs and putting the finishing touches to originals.
You should make a list of ‘finished’ songs, ‘work in progress’ songs, and ‘new ideas’. As each one progresses, move it up into the next category, thereby revising the schedule for your next rehearsal.
I would suggest starting with 2 or 3 songs you are happy and comfortable with, simply to give the band a positive vibe to build on, and then start work on new numbers. session aside a certain amount of time for each song, and then move on! Do not has been te time trying to perfect something that just isn’t working, you may come back to it later or at the next rehearsal. perfect the numbers that do work, and you’ll see positive determinations as your repertoire builds up considerably.
Always take regular breaks. Coming back to a number that has been n’t going too well with fresh ears may frequently be all it needs to make a distinct improvement. If that does not help, there’s no point in flogging a dead horse, so move it to the bottom of the list or think about dropping the song altogether and concentrating on another one.
Work on band dynamics and expression, i.e. fast, slow, loud, and quiet. Get your fills as tight and as fluent as possible. What you are working on is that elusive ‘feel’ that’s the club mark of a good band. Everybody should not only be playing his/her own instrument, but also actively listening to the rest of the band.
Tape your rehearsal. You don’t need any fancy recording equipment - a easy tape deck and mic will be sufficient. The idea is simply for the band to be able to listen to their endeavors following wards. Listening to a song while you are not playing means you may listen more subjectively and discuss the merits. Take notes while you listen, that way you are already forming the schedule for the next rehearsal.
And finally, recall ; you are in a band! As such, the sum of the parts should be greater than the individual contribution.

You’ve brought together three or four of the perfect artists in town, and they are jamming to your tunes. You’ve spent days and evenings writing and rewriting lyrics, and you’ve been working hard to perfect your sound. Lastly, following a lot of months of practice, you are ready to reap the benefits of your hard work. But how do you begin?
As a new band, the idea of booking your 1st concert may prove to be a daunting task. Nonetheless, it does not have to be. By following these easy steps, you may turn a externally overwhelming process into a productive one.
Making sure that the members of the band are all on the same page is an essential 1st step in the booking process. Agree on a number of performances per month that everyone will play. Put together a session of your perfect songs and make a demo. Your demo should not include full-length songs ; a few short snippets of your strongest material will showcase your band’s strengths and will sell your band to potential Clubs with little or no endeavor. With your demo, include a photo of the band, a short statement about the music or genre that the band plays, and your contact information, including the band’s website. Decide what Clubs you are interested in playing and how much you’ll charge them for playing, if anything. Getting these details out of the way early will create good communication among the band members, thus avoiding misunderstandings in the future.
Next, do your research. Scope out the local/regional scene; find out who your competition is, which performers performance where, what Clubs cater to your specific sound, and who your target listeners is. Talk to seasoned local/regional acts; frequently times, your fellow artists will be your perfect sources of information. Getting to know your competition, your listeners and your local/regional scene will prove to be an indispensable tool when you are selling yourself to venue owners and booking agents. also, be open to anything. Limiting yourself to venues and bars will hinder your opening s of booking your band. Locate out about open-mic evenings in your area, offer to open for other performers for free and find out about local/regional fairs and festivals where your band may get some exposure.
When you are out and about checking out potential Club s, ask for the names of the individuals responsible for booking performers at that location. Get their contact information and keep track. Use all of your contacts and, when calling them, be brief and to the point. Ask them If the y have time to talk, and if not, when it would be a good time to contact them. Ask for permission before submitting your demo. Be persistent, but not pushy, and realize that it will take some time to get that job. Once you do get the gig, be sure to discuss payment, if any, as well as what you’ll need to bring as opposed to what the Club will offer. Be professional and be honest.
With determination, a little know-how, and some clever self-promotion, you may land that 1st concert and be on your way to success in no time.