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On the Topic of Playing Music for a Living
By Paul Allodi
Chicago, IL
I’m still trying to do that! Just kidding but not. Its a tough road out there and your level of success can vary from month to month and year to year. There are many levels of success in this business as well- from local coffee house gigs to fancy restaurants to the bigger clubs in your immediate area and beyond. You really have to know what level of success you desire. Is it enough to just play once in a while or weekend warrior style? Do you desire more than that- playing 4-6 times a week to make your bills but doing what you love? Writing and recording and ultimately selling your original music? Touring regionally or nationwide or even internationally?
It can all be done if you want it.
The old saying “Be careful what you ask for, you just might get it!” comes to mind. I have proffered many inspirational sayings over the years, passing them on to myriad open mic-ers, wanna be song writers, karaoke queens as well as established local artists, when they ask me “How do I get a gig?” or something similar.
Phrase That Pays #1: “If you don’t ask, you don’t get.” It is truly as simple as that, at least in my mind. And it works at whatever level you are at or desire to be at. If you never figure out where you want to play and who to ask about it and go and ASK that person for the gig, you will NEVER get it. Granted: If you ask, you still may not get what you want but you’ve opened the door for future contact and negotiation.
Then, generally, it comes down to persistence, your personality and business style. You make your case for why the venue should have you (but don’t promise what you can’t deliver) and then you ask for a reasonable (or slightly higher!) compensation. After that, you settle on a a deal for the gig. Don’t be afraid to ask for what you feel you are worth. Be sure to consider all costs of the gig when figuring your rate (promotional materials, equipment rental, transportation, etc). Know what is essential to the show and what luxuries are. Do you REALLY need the tambourine player or the extra lights? I have been successful partly because of the fact that I pay attention to the needs of each venue or event and am able to adjust my product to fit the need and budget- solo, duo, trio? Up to 10 players if they want it! Female singer? Sax player? Percussion instead of drum kit? Big lights and sound or P.A. on a stick with a floodlight? All of these aspects can be used to up sell a gig or negotiate down to a deal. If you work in concert with any agents, be sure they know your options regarding equipment, band members, road crew, etc.
Double check all contracts!
Phrase That Pays #2: “You are only worth whatever you can convince someone to pay you!”
You may ask, “What if he doesn’t offer me a gig?” Then you find out why, correct the problem if you can (or want to) and ask again. And then you keep on asking often enough to keep you in his mind but not too often so as to aggravate him or jeopardize the deal! Bottom line is that eventually he will either give you the gig to get you off his back or tell you to go away, in which case you can proceed to work on another viable opportunity. Don’t waste time on a prospect that is not interested.
Phrase That Pays #3: There are plenty of places to play… EVERYWHERE!
It has been a constant effort and a labor of love to keep the ball rolling, as I have, for 15 years, full-time. 5 gigs a week, 50 weeks a year. I love playing (most of the time!) and though I haven’t pursued some of the other aspects of the business as aggressively as I might have- recording, merchandising, licensing and publishing to name a few, I have been able to pay my bills including a mortgage and keep my van running.
I may not be getting rich but I am not starving, either. Plus, I know many others who, over the years, have taken hope and inspiration from the fact that I am still out there doing it at 49 years old.
Additionally, I have taken great pride in the accomplishments of others like Dave Tamkin, Kevin Mileski, Arthur Lee, Scottish McMillan who were supporters of my Open Mic Nights back in the early days. I hope I helped them grow and prosper in some small way and that I have passed on the torch of music on, as well. It is my hope that these words may continue to help others as they pursue their dream down The Wayward Path of this crazy business, too.
Paul Allodi
alowd@aol.com
www.myspace.com/paulallodi
Allodi Recommendations:
I’ve always been partial to Green Eggs and Ham by Dr. Seuss (Of Horton Hears A Who runs a close second) Great life lessons. Guess I need to vist the library more often!
My favorite piece of gear would have to be my Boomerang Phrase Sampler- my ever dependable, wrist-saving back up guitarist! Honestly, as a solo acoustic player, I can hardly imagine doing a gig without it.
One thing I can’t live on the road without is… CONTACT- Friends and family (cell phone, social network pages, texting, emails, etc.)
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Jul 29, 2010
Listen to what the man says! I’m lucky to be able to call him a good friend, and I’ve been incredibly fortunate to ride shotgun on many of Paul’s gigs over the last 10 years. This article should prove for once and for all that he gives everything he has to audiences onstage and off; though I’d like to discuss two points a bit further…
The PHRASE THAT PAYS #2 is accurate because so many people come into the performing arts are either overvaluing their talents or completely underselling them. If your act can consistently bring a fresh crowd into a venue to buy drinks, food, or service, your act has value. If your act can make the regulars stick around an extra hour (or an extra round or two), your act has value. This value can and should be parlayed into a guaranteed amount paid to the band with bonus percentages paid for reaching/exceeding certain goals. Otherwise, it is perfectly appropriate for the act to be solely paid via a separate cover charge or an overall percentage of the venue’s take during your performance. Also, be realistic to your fee in relation to the size of a venue. A typical coffee shop doesn’t have the size or daily revenue of a good sized nightclub. A good night for the operators of a coffeehouse may be several hundred dollars while the nightclub operator expects several thousand dollars in that same time frame. In other words, a guarantee might not be in the budget, and you’ll need to count more on merchandise (CD’s, etc.) and the kindness of strangers (tips) to make money. That said, there are a lot of nightclubs looking only for bands of hobbyists with large families, who are happy to perform for a pizza and a couple of pitchers of beer…
PHRASE THAT PAYS #3 is also crucial. Paul and I have played inside a supermarket, on a stage constructed across 3 lanes at a bowling alley, at the Dinosaur exhibit inside Navy Pier, under a gazebo in front of the library in Bloomingdale, as strolling unplugged musicians at a comfort food restaurant, in the bedding department of a luxury furniture store, in the courtyard of a shopping center mere feet from cars whizzing through a traffic-laden intersection, and in the cafeteria of an alternative high school to entertain students and teachers before the start of their Spring Break. Paul has made this phrase pay many times for me, personally. Be open to the idea that most locations only benefit with live music. Paul has been very successful at showing people the added value of live music and working with available budgets so that client and musician(s) are happy with the results. The bonus is that both sides get a memorable tale to tell about the event. I promise you that one of your best and most memorable gigs is likely to come from a place you would never expect to find live music. Approach with an open mind, not an empty one.
In addition to being talented and knowledgeable, Paul is one of the nicest and most helpful people you’ll find in the suburban music scene. Paul’s article took years to research, hours to write, and minutes to share. I wish all readers great success in the pursuit of their musical dreams, and encourage others to share your results as Paul’s done here. Happy gigging!
Words of wisdom from a man I know personally and who is a real electric gypsy. Paul has managed to make a name for himself here in the Chicago area based on years of hard work and perseverence. He’s a walking encyclopedia of every song ever written. Beats working in a cubicle farm.
Great words from a great man. Paul Has not only always been a great friend to my family and played with my father for years. But he has really inspired me in my personal musical journey. Seeing someone capitalize upon there talents and there passions is the real American dream come true. Thanks to Pauls good reference i was accepted into Columbia College for Music Production downtown Chicago and i aspire to one day be stable in the music industry myself. On whatever level. Whether it be running a home studio or being a full fledged National touring Recording Artist. And like Larry Said, It beats working in a cubicle farm anyday.