Showing posts with label Band. Show all posts
Showing posts with label Band. Show all posts
Wednesday, November 25, 2015
Monday, January 27, 2014
Antiseen Hires New Drummer
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| Antiseen brings in some fresh blood to the team |
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| The Antiseen lineup for 2014 and beyond |
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| The Gooch gets in touch with his inner ape |
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| Bringin' the heat to the inaugural rehearsal |
Sunday, February 24, 2013
Botswana Has A Metal Scene That Can Melt Jonah Hex's Stare
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| "The Time to Kill is Now (Trooper), 2010" Frank Marshall. Courtesy of Rooke Gallery. |
When we got an email from Dawes of the infamous punk band Black Vomit Soda, we knew we had to investigate more and find out about these righteous dudes on the other side of the earth. Seeing the great photos of some of the Botswana metal fans is inspiring and clues us in that maybe our metal scene could use a dose of adrenalin. They have something great cookin'!
View post on The Guardian UK
"In the remorseless Kalahari heat, leather is not the most obvious choice of attire. But to a dedicated band of Batswana metalheads, it's the only way to dress. The country's heavy metal scene, imported from neighbouring South Africa, may be niche but its fans are passionate about their style. Dressed from head to toe in black leather, sporting cowboy boots, hats and exaggerated props, they draw some curious looks on the dusty streets.
"People think that we are rough, evil creatures, but [metal] teaches us to be free with expression, to do things on our own," said Vulture, the vocalist of the band Overthrust. He says there is a long way to go before the genre is considered mainstream, but that audiences have grown steadily in the past decade.
TKB, bassist for the band Skinflint, which is based in the capital of Botswana, Gaborone, says they are becoming a more familiar sight. "The culture doesn't accept heavy metal fans, the people all look at you, but nowadays even the young boys know that this person is a metalhead."
Botswana got its first heavy metal band, Metal Orizon, in the early 1990s. The group are still writing music and performing live today.
Their drummer, Selaelo, said the dress code was an important part of the act. "[Around] 1998 the unusual rock star outfit caused a lot of curiosity among hostile members of the public. This curiosity from non-rock lovers, I would say, brought more attention to the metalheads. Now that they had more attention, the rockers took [it] a step further by acting and posing in public. It was now more of a fashion, or the 'in thing' for those who loved the subculture."
Selaelo added: "Some say our music is just noise and some perceive us as violent people … but that has not dampened our spirits. We will continue to show our worth in society and to follow our hearts for the love of metal."
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| 'Dead Demon Rider 1, 2010'. Photograph: Frank Marshall. Courtesy of Rooke Gallery |
There's not much airplay for metal in Botswana, with only one radio show that broadcasts for 50 minutes a week on national radio. Fans keep up to date through word of mouth, swapping tapes and social networks.
Though attendance at concerts is small in comparison to the west, the scene has slowly built a steady fan base. To date, no western heavy metal act has performed in Botswana, and no Botswana metal act has performed outside the region.
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| Jonah Hex can't even stare down anyone this hard |
But vocalist Stux Daemon said traditional culture was harder to integrate. "You are going to try to use your surroundings to influence your music, your thoughts and your songwriting, but [Setswana culture] is not something we focus on," he said.
The images are currently on display at the Rooke Gallery in Johannesburg
• This article was amended on 11 February 2013. The first paragraph referred to the metalheads as Botswanan. The main term for the people of Botswana is Batswana. This has been corrected.
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| "Death, 2010" Frank Marshall. Courtesy of Rooke Gallery. |
Friday, January 18, 2013
Corrections House, New Super Group To Know About
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| New project called Corrections House, featuring members of EyeHateGod, Nachmystium, Yakuza and Neurosis |
"Corrections House is a metal supergroup featuring Scott Kelly (Neurosis), Mike IX Williams (Eyehategod), Sanford Parker (Nachtmystium), and Bruce Lamont (Yakuza/Bloodiest). Here's the first track they're sharing, "Hoax the System", which will be released on a limited 7" on Parker and Lamont's War Crime Recordings label, backed by the track "Grin With a Purpose"."
Corrections House Tour Dates:
01-21 Brooklyn, NY - Saint Vitus Bar
01-22 Boston, MA - Great Scott
01-23 New Haven, CT - BAR
01-24 Washington, DC - DC9
01-25 Baltimore, MD - Metro Gallery
01-26 Richmond, VA - Strange Matter
01-27 Raleigh, NC - Kings Barcade
01-28 Gainesville, FL - The Atlantic
01-30 Miami, FL - Churchill’s
01-31 Tampa, FL - Crowbar
02-01 Atlanta, GA - 529
02-02 Birmingham, AL - Bottletree
02-05 Baton Rouge, LA - Spanish Moon
02-06 New Orleans, LA - Siberia
02-07 Houston, TX - Walter's Downtown
02-08 San Antonio, TX - Korova
02-09 Austin, TX - Red 7
02-10 Dallas, TX - Bryan Street Tavern
02-11 Norman, OK - Opolis
02-12 Fort Smith, AR - Hero’s
02-13 Omaha, NE - Slowdown
02-15 Denver, CO - Moon Room
Tuesday, September 11, 2012
Welcome to Rusty Knuckles Music, Carolina Still
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| Welcome to Rusty Knuckles Music - Carolina Still, photo by Shane Deruise © 2012 |
There are many forms of music that make the body move and gyrate to the sounds around them, but few resonate with southern Americana culture the way Carolina Still does. Their grass roots sound is infectious and worn in from years of playing a variety of music styles. We are damn proud to be working with the fellas and stoked they will be recording the new album with J.B. Beverley and Buck Thrailkill over at Rebel Roots Studio. If you are looking for Americana story tellers that will give you a shit eatin' grin within a few minutes look no further. Welcome to the team fellas!
"Carolina Still is an acoustic band with a new sound and an old-time feel.
They will take you down on the farm, out into the tobacco fields, and
down a dirt road with a trunk full of 'shine; you never know where they
might take you. One thing's for sure, you will be schooled in southern
American culture after listening to their music.
They blend musical styles such as old-time, bluegrass,
country, blues, rockabilly, punk, and many more. Their sound is deeply
rooted in traditional music but is delivered with a more progressive
edge and a great amount of energy.
The musicians that create this sound are: singer/songwriter,
banjo picker, & guitarist J. Alan Casey. Adam Jones on the upright
bass. Robert Norman on vocals, guitar, and fiddle, and Billy Smith on
vocals and drums."
Monday, August 20, 2012
Jay Berndt & The Orphans, New Projects and Big Time Talent
Fortune has been on our side many a time and we clearly know when opportunity knocks. Getting to work with some amazingly talented individuals is no easy feat and we work hard to keep the torch lit. One of the of the most talented hombres in the Rusty Knuckles Music camp, is none other than Jay Berndt and fortune has indeed been smiling on him as of late.
Jay Berndt & The Orphans is his newest project and from what we have been hearing trickle down the pipe, the songs are going to open many a new door and have lured in quite the menagerie of characters. Ever heard of a talent roster called the E Street Band? Yep, we kinda thought you might have. Well, one member of the horn section by the name of Curt Ramm has already signed on to lay down some notes and there may be more in the works.
Here is the full line up of Jay Berndt & The Orphans
Jay Berndt - Lead Vocals & Guitar
Ara Ghajanian - Bass
Mike Lopes - Drums
Mike Rakusin - Piano/Organ/Sax/backing vox
Mike DiBiase - Guitar/piano/backing vox
Jay Berndt & The Orphans is his newest project and from what we have been hearing trickle down the pipe, the songs are going to open many a new door and have lured in quite the menagerie of characters. Ever heard of a talent roster called the E Street Band? Yep, we kinda thought you might have. Well, one member of the horn section by the name of Curt Ramm has already signed on to lay down some notes and there may be more in the works.
Here is the full line up of Jay Berndt & The Orphans
Jay Berndt - Lead Vocals & Guitar
Ara Ghajanian - Bass
Mike Lopes - Drums
Mike Rakusin - Piano/Organ/Sax/backing vox
Mike DiBiase - Guitar/piano/backing vox
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| Jay Berndt & The Orphans kick drum head ready for the stage |
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| Jay Berndt was made for the stage |
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| Jay Berndt - Sad Bastard Songs |
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| Jay Berndt - Sings Waylon For Jessica |
Wednesday, August 15, 2012
Is Artists.MTV, Trying To Reinvent Music Platform, From Mashable.com
Alright, hold the phone, is this gonna actually work? Ok, we don't want to come off as pessimistic, but is MTV really trying to get back into music programming, by creating a new music discovery platform directly related to social media? Will be quite interested to see how all of this unfolds as there are a plethora of companies vying to be the dominating force in social networking when it comes to the music industry.
One aspect that is quite compelling and worth the research is for upcoming bands to be only a few clicks away from much larger acts, as you can create your own band page within the site. These close encounters could really help to gain exposure for the multitudes of bands looking for their big break or for fans to find them through simply cruising the site.
Go to original article on Mashable.com
Dive into Artists.MTV and request an invite
"When you hear a new band and you want to know more about them, the first place you go is probably Google. But searching for them yields a glut of disconnected information. You want to hear their music. You want to see if they use social media. Maybe you want to see them on tour or actually buy something to support them. And you never know if you’re going to find that all in one place.
Official band websites are often lacking, and fail to link between different platforms. You need a hub — something that connects things like Twitter, Bandcamp, and Soundcloud in on place. You specifically don’t want to have to conduct multiple Google searches just to find out if this band even uses those services.
This is a problem for both casual and diehard music fans, and that’s where Viacom thinks it has a big solution. That solution is Artists.MTV, a service which Viacom hopes will be artist-driven and which will replace artist pages on MTV.com beginning today.
Dermot McCormack, EVP of Digital for Viacom Music & Logo Group, believes that this solution specifically addresses what he calls the “post-Myspace world.”
“No one had stepped into that space to provide quality, trusted information around the artists you love, curated in a loving way,” he said. “We saw a need in the space and we thought we had the brand, the assets, and the temperament to do it.”
More than simply revamping the artist page — which in the past would have been controlled, owned, and managed by MTV — the new platform offers artists the opportunity to claim their page, or in the case of independent or emerging bands to create their own. From there, they are offered customization options, including the ability to create a Facebook Timeline-like cover photo.
Perhaps most impressive is that Artists.MTV is more than just an opportunity for bands to play in MTV’s sandbox. If you’re an established artist with MTV content to your name, it appears on your artist page. For artists with a long history tied to MTV, there’s even content from the early days, like this 1984 footage of a very young Madonna. Some early video content is being digitized for the first time ever.
But if a band has never had any MTV exposure, it can still sign up and populate its page with its own content. This is an important development for MTV. In conversation with McCormack, he consistently talked about MTV’s need to empower and give back to artists. The best way to do that is to make the platform open to anyone, which they’ve done. They’ve populated the database with one million artists, some of which they worked with in advance, like Band of Horses, to get their page populated. Others, from huge artists like Lady Gaga to smaller, independent acts will have the opportunity to “claim” their page starting on Sept. 6.
Down the line, there are various opportunities for artists to make money off their page, which is huge. While anyone will have the opportunity to promote their music via iTunes, Bandcamp, or any other vendor of their choosing, there will also be an ad revenue share for artists once the platform exits its beta period. While details of this have yet to be made available, this means artists will have the opportunity to make money directly via their MTV page — a very important step toward the empowerment that McCormack touted.
In order for that to be a success, both artists and fans will need to adopt the platform as a go-to music option. MTV appears to be ready for them. Whether or not they are willing to accept MTV as the middleman between them is what remains to be seen."
One aspect that is quite compelling and worth the research is for upcoming bands to be only a few clicks away from much larger acts, as you can create your own band page within the site. These close encounters could really help to gain exposure for the multitudes of bands looking for their big break or for fans to find them through simply cruising the site.
Go to original article on Mashable.com
Dive into Artists.MTV and request an invite
"When you hear a new band and you want to know more about them, the first place you go is probably Google. But searching for them yields a glut of disconnected information. You want to hear their music. You want to see if they use social media. Maybe you want to see them on tour or actually buy something to support them. And you never know if you’re going to find that all in one place.
Official band websites are often lacking, and fail to link between different platforms. You need a hub — something that connects things like Twitter, Bandcamp, and Soundcloud in on place. You specifically don’t want to have to conduct multiple Google searches just to find out if this band even uses those services.
This is a problem for both casual and diehard music fans, and that’s where Viacom thinks it has a big solution. That solution is Artists.MTV, a service which Viacom hopes will be artist-driven and which will replace artist pages on MTV.com beginning today.
Dermot McCormack, EVP of Digital for Viacom Music & Logo Group, believes that this solution specifically addresses what he calls the “post-Myspace world.”
“No one had stepped into that space to provide quality, trusted information around the artists you love, curated in a loving way,” he said. “We saw a need in the space and we thought we had the brand, the assets, and the temperament to do it.”
More than simply revamping the artist page — which in the past would have been controlled, owned, and managed by MTV — the new platform offers artists the opportunity to claim their page, or in the case of independent or emerging bands to create their own. From there, they are offered customization options, including the ability to create a Facebook Timeline-like cover photo.
Perhaps most impressive is that Artists.MTV is more than just an opportunity for bands to play in MTV’s sandbox. If you’re an established artist with MTV content to your name, it appears on your artist page. For artists with a long history tied to MTV, there’s even content from the early days, like this 1984 footage of a very young Madonna. Some early video content is being digitized for the first time ever.
But if a band has never had any MTV exposure, it can still sign up and populate its page with its own content. This is an important development for MTV. In conversation with McCormack, he consistently talked about MTV’s need to empower and give back to artists. The best way to do that is to make the platform open to anyone, which they’ve done. They’ve populated the database with one million artists, some of which they worked with in advance, like Band of Horses, to get their page populated. Others, from huge artists like Lady Gaga to smaller, independent acts will have the opportunity to “claim” their page starting on Sept. 6.
Down the line, there are various opportunities for artists to make money off their page, which is huge. While anyone will have the opportunity to promote their music via iTunes, Bandcamp, or any other vendor of their choosing, there will also be an ad revenue share for artists once the platform exits its beta period. While details of this have yet to be made available, this means artists will have the opportunity to make money directly via their MTV page — a very important step toward the empowerment that McCormack touted.
In order for that to be a success, both artists and fans will need to adopt the platform as a go-to music option. MTV appears to be ready for them. Whether or not they are willing to accept MTV as the middleman between them is what remains to be seen."
Why Local Bands Don't Get Signed, From MetalHolic.com
How often do you go into a venue to see some act play and stand in amazement thinking on how great a particular band is. They could be on fire that particular show and melt faces and then poof, nothing. This happens more than you think as many fans tend to forget what they did five minutes ago, let alone go online or chase down a band to help support them.
The package, as we refer to the artist’s business plan or presentation, has to be ready to go and that is the artist’s responsibility to get there. It doesn’t fall on anyone’s shoulders to make this happen except for you. There is no excuse, what with all the free info out on the internet in books and magazines, that an artist can’t figure out the basics of the business, create a presentation and become attractive to the people who can help them get to the next level. Until that happens, it’s hard to get a manager, booking agent or anyone else to be excited about making 0% of 0% because the artist has created absolutely no demand for themselves. The money isn’t available in the industry for developmental deals as it was say 15-years ago. Thus the artist’s chances of getting signed on with professional representations are slimmer if they don’t present an attractive market value. Here are a few of the reasons that artists intentionally shoot themselves in the proverbial foot. This is by no means a comprehensive list, just some very obvious points.
One huge notion to remember is that if you just had a thirty minute set, there are 23:30:00 hours left for that 24 hour time period. Now is the time to go and really build your fan base. I don't think we will ever see the likes of a band such as the Beatles again. The world wide hysteria, the young kids screaming with excitement by the millions. Well, maybe a few boy bands can do this, but in our specific genres of dirty rock n' roll, real country and punk, it is just not the norm.
If you really want to make a difference and be heard it takes a lot more than just writing great songs. You have to cultivate who you are as an individual relating to your music and sell yourself. Yep, we said it, sell yourself. Fans don't want pussies, they want the dream. They want to live vicariously through the words, the music and most of all the artist. Is there any other reason why individuals are put on pedestals? Take a look at all the Waylon, Pantera, Metallica, Hank Williams, etc. tattoos. Fans want to emulate their hero's. So buckle down, man up and make your career happen. History is written by the winners.
Think on the topics below and see what you can do to further your career. The world is waiting...
Think on the topics below and see what you can do to further your career. The world is waiting...
11 Reasons Why Local Bands Don't Get Signed
"Dealing with the local music scene these days is very challenging for management, booking, promotion companies and record labels. To be able to get any artist to the next level requires being able to take the package and sell it to the public or other entertainment professionals or companies. Unfortunately, too often the product is rarely worth buying or even helping to promote further. Bands and artists tend to have this notion that, “Without the music you have nothing,” when dealing with industry professionals. While this is true to an extent, it’s not the whole story. In the industry, we can hire songwriters that have a proven track record, hire musicians to record it and make our own successful bands that we own completely and can control. We don’t need local artists with attitudes, little work ethic or strive not be productive in furthering their own careers. We all do what we love for a reason. It’s not always about being successful but for the satisfaction for seeing someone achieve their dreams so we keep diving into the murky waters of local musicians to find those that are worth partnering with.
The package, as we refer to the artist’s business plan or presentation, has to be ready to go and that is the artist’s responsibility to get there. It doesn’t fall on anyone’s shoulders to make this happen except for you. There is no excuse, what with all the free info out on the internet in books and magazines, that an artist can’t figure out the basics of the business, create a presentation and become attractive to the people who can help them get to the next level. Until that happens, it’s hard to get a manager, booking agent or anyone else to be excited about making 0% of 0% because the artist has created absolutely no demand for themselves. The money isn’t available in the industry for developmental deals as it was say 15-years ago. Thus the artist’s chances of getting signed on with professional representations are slimmer if they don’t present an attractive market value. Here are a few of the reasons that artists intentionally shoot themselves in the proverbial foot. This is by no means a comprehensive list, just some very obvious points.
- Not Booking Enough Shows: Most bands/artists want others to do this for them but in truth and reality, the artist should be booking their own shows until they are gigging at least 80-dates a year regionally and making money doing it. Why would anyone in the industry want to waste time booking a band that isn’t willing to do it themselves, does not understand the basics of promotion and end up making a small percentage of absolutely nothing for their work? There are no short cuts here. Pick up the phone and dial for dollars.
- Poor Promotion: Most artists spend very little time and effort promoting and usually post a gig once or twice on some form of social media expecting people to see it and show up on such short notice. This is absolutely pathetic. Especially in a band with several members, usually only one person promotes it. In no way shape or form is this acceptable, nor will anyone in the industry look kindly on an artist that does this. You don’t deserve to get paid at all if this is how you sell your band. Believe it or not, we all look at this and notice how well people promote themselves. Also, social media sites are not the only form or promotion needed. You still need flyers, advertisements and many other forms of creative promotion. It is not everyone else’s job to do all your promotion. When you are looking for opportunities with your gigs and no one shows up for your shows, you lose on many levels and miss out on opportunities.
- Misuse Of Social Media: If all you do is complain about the venues, management or any other form of the music business, you are signing your death warrant. Again, people in the industry and your peers see this and who would want to book you back at a venue or assist your band if this is your level of professionalism. You are a business, act like it. Grow up and quit using your bands page to complain. If you want to do that, do it in private where we can’t see it. This is common sense that seems to have escaped many artists.
- Wasting Time Goofing Off On Facebook: If you have time to post a million personal things on Facebook but don’t promote your show then you aren’t serious about this business. Stop spending time goofing off and start making things happen for your music. Facebook is a great networking tool when used right. The excuse, “I am so busy,” is quite weak when we can see your profile. This goes for both sides of the business, not just artists.
- Not Getting Back To People: When you approach someone and ask for their advice, services or whatever else and say, “I’ll get back to you,” then do it. The usual excuse again is, “Sorry, I was so sick” or “I have been so busy” but again we can see your social media so if you are well enough or have time to do that, you are well enough to practice a common courtesy and get back in touch with people, regardless of the outcome you decide on. This applies to getting back to people on booking a show, a meeting, or any other situation involving your band, music or related promotions. It is also basic good business manners.
- Not Doing Your Research: Approaching people about services they don’t even offer. This happens all of the time. You see a business name and just assume at what they do but don’t even research the company. You are wasting everyone’s time and showing how lazy and unprofessional you are.
- Not Accepting Gigs Because You Don’t Have The Money: “Sorry we don’t have the money to drive that far,” is a ridiculous excuse for a local or regional booking. You don’t have the money to drive to open a new market but you do have money to buy beer, party with your friends, buy drugs, go camping or visit someone three states away. Again, your Facebook page gives this all away. If you do not want to play a show for specific reasons, then politely decline, thus hopefully leaving the door open for future shows. If you aren’t able to be dedicated to your vision and dream by planning in advance and having a band fund for specific use: gear, travel, other expenses then don’t even bother approaching anyone. You can’t build a solid fan base if you aren’t playing out.
- Not Having An Appropriate Press Kit: Everyone has been doing this long enough to know you need one. No matter if you are a band, solo artist or musician looking for extra work. Everyone should have an electronic press kit (EPK) and/or hard copy press kit. Sending someone to Facebook, Myspace, Reverbnation, YouTube or other social music site, while a plus, is not a replacement for a professional media kit. If you don’t have one, you do not show serious business regard for your own career so why should anyone in the industry.
- Sending One Line Emails Saying You Need Representation: Again if you don’t have a press kit and you can’t take the time to compose a proper business letter and introduction about yourself or your band, don’t even bother. All you are doing is showing how lazy you really are. Be professional, always.
- Only Being Able To Play Weekends: We are all looking for bands than can tour, not just play every now and then. It’s hard to break a new market and build a fan base when you can only play one quarter of the year. Not only that, but you are competing with so many other bands for these bookings when weeknights are so much easier to get. This is why people with families often get passed by. It’s too hard to coordinate everything. We all make choices in life and once you decide to get married and have kids more often than not you aren’t able to be on the road enough. This does not apply to everyone, as many do have support systems in place to allow for travel. If you are serious about your career, have this support system in place. No one makes any money if you can’t play so they won’t sign you. It may not be fair but everyone involved has to pay their bills so why would anyone sign a band that can’t make them money? It’s not about the music when it comes to getting signed, it’s about people earning a living.
- Expecting To Work Without A Contract: First of all, one of the main rules of the music business is…always get a contract, so why you would you even consider asking someone to work with you without one? Why would a smart business owner work relentlessly to help you further your career just so you can walk away with the success they brought you? If another agency comes along and offers you a deal and you choose to go with them, without a contract featuring a ‘buy-out clause’ your former manager or agent is screwed and may be liable for future booking, promotions or business deals being worked for your project. The standard industry rap goes that the “industry and music business” people are the ones that screw over the artists but I know from experience that artists are fabulous about breaching contracts because they do not want to pay someone. Our courts are full of artists being sued by companies for breach of contract so it goes both ways. No one should EVER work without a contract, period. No one should risk his or her business on a promise or handshake agreement. You will get the short end of the stick every time.
After years of doing this and dealing with all types and genres of artists, the most common reason for artists not getting signed is that they are not focused on their end goal. They spend money on things they don’t need such as alcohol, drugs or video games instead of putting it into their careers and business package where it needs to go. To be successful means spending money on your career, missing friends because you are busting your butt working hard, and taking your act on the road into new markets. Don’t expect your team to do it for you, to be focused on you and your career when you can’t even do it for yourselves. This makes no sense what so ever. Again, no one in the industry will get involved with an artist that can’t and won’t work as hard as everyone else.
These are also many of the reasons most artists will be let go by a professional company. More often than not, these reasons make it very, very difficult to promote you and sell your package and product or in general, make anything happen for you. This is a business and the artist needs to treat it like one. Be professional at all times, work hard always and get focused. Quit blaming everyone else for what you are not doing for yourself.
Without having a great package to work with and sell, people just aren’t interested in not being able to make any money. It is the artist’s responsibility to build their business to an appropriate level before expecting or seeking help. Remember this is business and everyone needs to make money, not just the artist.
Good Luck!"
Tuesday, June 12, 2012
How To Fail Miserably In A Band
Word on the street is that you have set out to fail miserably in the ever so promising music career, for which you are dreaming of champagne baths with celebutantes. What, you don't like being called out for asinine things being done, that will hinder your promising career? How dare we call attention to this.
Here is the skinny folks, don't be an idiot when it comes to stage and band etiquette. Case in point, we recently watched a band go about and ruin a show when they wouldn't leave the stage and kept trying to do encores, while also knowing two national acts were waiting to take the stage. This was one of the most amateur things we have seen in a long time. But then of course they only get half the blame, the venue or sound man should have cut them off. The worst part was that the band happened to be playing mostly covers, damn poseurs.
If you stick around long enough or have been around many a band, surely you have seen things go down in which you just have to shake your head and laugh. With that being said, read on below to the great write up posted on Dying Scene. It outlines quite a few key points that any rookie should use as lesson 101 for being in a band.
Here is also a major rule from our end, you meet the same folks on the way up as you do on the way down. Be out going and friendly as most folks in the music industry are lifers and have the memory of elephants. If you act like an dick you will always be remembered for that. When it then becomes time to be remembered for future gigs, in the famous words from the greatest super spy ever, Austin Powers, "that plane has sailed."
See original post on Dying Scene
"When I was a young whippersnapper just starting out in punk bands, I had truly no idea how to be in a band. Oh sure, I knew enough guitar to play punk, and I could sing reasonably on key, but I had no idea the social complexities that were involved in being in a band. These 13 or 14 tips are designed to help those just starting out, but jaded dinosaurs like myself might also find some remedial usefulness as well.
1. Know your role
In any band there are usually one or two people who are in charge of everything. These people handle all of the mundane business/booking/promotion/non-music tasks that need to be handled to keep a band running smoothly. They are indispensable. If this is your role in the band: congratulations. You have accepted a difficult, time consuming and thankless job, and it may well spoil your love of music.
If this isn’t you: the best way to help most of the time is to keep your mouth shut and chip in when the money is needed. If you aren’t helping to book the shows or get the merch printed, the van serviced, and studio time booked, then you have forfeited your right to complain about any of these things. If you don’t like the way it’s being done, pitch in and do it yourself. If you committed to playing a show, then you just need to suck it up and play the show, even if you are on the morning shift at Starbucks the next day. Having to get up early the next day is not a valid excuse to bail at the last minute. Nut up, play the show, drink too much, and be tired and hungover for one lousy day out of your life.
2. Never cancel at the last minute
Sometimes having to cancel a show is unavoidable, but truly unavoidable reasons are usually known well in advance. Sickness and injury are generally not valid last minute reasons to cancel. I’ve seen Fat Mike play a whole set laying down on a couch (threw out his back), and I’ve seen Thrice play Warped acoustically because their drummer threw out his back. (What is it with backs?) They could have canceled the shows and no one would have held it against them, but they didn’t, because they know the rules.
Cancelling shows at the last minute is poison for a smaller, newer band. The calculus works like this: each time the band cancels a show at the last minute, that’s one less promoter who will work with them. Eventually you run out of promoters who will take the chance of booking your band. In my experience it’s the same guy who always bails out on shows that always complains “we never play shows anymore”. Don’t be that guy.
3. Promote Promote Promote
If you are one of the local bands on the bill, YOU are responsible for getting people out to the show. Do yourself and all the other bands a favor and promote the hell out of the show. You can cash in the accumulated karma the next time you are on the road.
4. Thou shalt not “pay-to-play”. Ever
“Pay to play” (or “ticket sales deal”, as it’s euphemistically called), is a policy most prevalent in the Los Angeles area. This is when the venue requires you to sell a set number of tickets for a certain price in order to play the gig. Usually the money is required to be paid before you are allowed to take the stage. I shouldn’t need to explain why this business model is garbage. Your band already spends enough time and money writing and recording music, touring, rehearsing, and promoting. You shouldn’t also be responsible for keeping venues in business. Any reputable promoter or venue will never ask you to pay-to-play. Don’t worry about the bigger shows for now. Just keep plugging away at the house shows and smaller bars, and eventually you will be asked to support a legitimate larger show at a bigger venue.
You don’t need any gig, and especially not the ones you have to pay for. You aren’t going to get “discovered” by playing that Unwritten Law show that they want you to sell sixty tickets for ten bucks apiece to play. You are in a punk band. Nobody signs punk bands that aren’t already well-known and touring on their own.
5. Show up on time
I admittedly have a tough time with this, but I try to at least be “musician punctual” – within ten minutes of a scheduled time. For rehearsals, punctuality is often overlooked but it is critically important. Nothing breeds resentment like three or four guys who have made the time to rehearse and showed up on time, waiting around for the singer to show up.
Always show up on time to gigs. If load-in is at seven, be there at seven, even if you end up waiting around until eight. NOBODY likes the band that shows up at 9:45pm for their 10pm slot and loads in through the crowd. For that matter, it is also your responsibility, if you don’t have a damned good reason not to, to stay for THE ENTIRE SHOW. You usually won’t get paid if you don’t, and it’s just common courtesy.
6. Get your shit up on stage and off the stage efficiently
Nothing says “oblivious n00b” like setting up or breaking down the drums on stage. Don’t stand on stage after your set and have a five minute conversation with your friends. Grab a piece of gear and move it off. Be a mensch and grab a piece of the next band’s gear to bring up on stage on your way back. You can cool down / shoot the shit / have that shot after your band’s stuff is stowed backstage. The bar isn’t going to run out of booze.
7. Always leave them wanting more
Keep your set short and to the point. You aren’t the headliner. No one is going to like you more if you play those three extra songs they’ve never heard before and don’t give two shits about. If you haven’t won them over in the first twenty minutes, you aren’t going to in fifty minutes. This is punk rock. Thirty five minutes is more than enough.
7a. NEVER EVER EVER NEVER take an encore if you aren’t the headliner
This is the very apex of douchebaggery. It causes the whole show to run behind and pisses off the other bands, the promoter, and even the bartender. Never piss off the bartender.
8. Never piss off the bartender
If you piss off the bartender, you aren’t playing that venue again, no matter how many heads you brought in. So don’t do it
9. Everyone is responsible for moving all the gear
Oh, you’re a singer? Great, you are now also the drum roadie. You’re a guitar player? Now you also get to haul the 4-ton SVTII bass head and 8×10 ampeg cab sometimes. Everyone pitches in. There’s no I in TEAM.
10. Watch at least a few songs of the other bands, and try to remember their names so you can thank them
Especially at less-well attended shows. You will appreciate the courtesy being returned.
11. Tip your bartender
Yes, even if you paid for the drinks with drink tickets. This is America. We tip here. This is also especially important if you ever want to play that venue again.
12. Do an idiot check at the end of the night
Preferably two. The driver/reasonably sober person should do a thorough check to make sure nothing was forgotten. It really sucks to get to Salt Lake City and realize the kick pedal was left at the gig last night in Denver. While everyone should be on the lookout for forgotten gear, each member is ultimately responsible for making sure all his gear made it into the van. So even though the drummer got WASTED and didn’t even help load the van because he was passed out in it, it’s his responsibility to go to the Salt Lake City Guitar Center and buy a new pedal.
13. Touring bands get paid first
They drove the farthest, they spent the most money on gas, and they aren’t sleeping in their own beds tonight. They get paid firstest and mostest, always.
You probably won’t ever make any money with your punk band, but by following these common-sense guidelines, you can at least be a well-respected band that gets asked to play lots of good shows. At the end of the day, that’s what this whole thing is about."
Here is the skinny folks, don't be an idiot when it comes to stage and band etiquette. Case in point, we recently watched a band go about and ruin a show when they wouldn't leave the stage and kept trying to do encores, while also knowing two national acts were waiting to take the stage. This was one of the most amateur things we have seen in a long time. But then of course they only get half the blame, the venue or sound man should have cut them off. The worst part was that the band happened to be playing mostly covers, damn poseurs.
If you stick around long enough or have been around many a band, surely you have seen things go down in which you just have to shake your head and laugh. With that being said, read on below to the great write up posted on Dying Scene. It outlines quite a few key points that any rookie should use as lesson 101 for being in a band.
Here is also a major rule from our end, you meet the same folks on the way up as you do on the way down. Be out going and friendly as most folks in the music industry are lifers and have the memory of elephants. If you act like an dick you will always be remembered for that. When it then becomes time to be remembered for future gigs, in the famous words from the greatest super spy ever, Austin Powers, "that plane has sailed."
See original post on Dying Scene
"When I was a young whippersnapper just starting out in punk bands, I had truly no idea how to be in a band. Oh sure, I knew enough guitar to play punk, and I could sing reasonably on key, but I had no idea the social complexities that were involved in being in a band. These 13 or 14 tips are designed to help those just starting out, but jaded dinosaurs like myself might also find some remedial usefulness as well.
1. Know your role
In any band there are usually one or two people who are in charge of everything. These people handle all of the mundane business/booking/promotion/non-music tasks that need to be handled to keep a band running smoothly. They are indispensable. If this is your role in the band: congratulations. You have accepted a difficult, time consuming and thankless job, and it may well spoil your love of music.
If this isn’t you: the best way to help most of the time is to keep your mouth shut and chip in when the money is needed. If you aren’t helping to book the shows or get the merch printed, the van serviced, and studio time booked, then you have forfeited your right to complain about any of these things. If you don’t like the way it’s being done, pitch in and do it yourself. If you committed to playing a show, then you just need to suck it up and play the show, even if you are on the morning shift at Starbucks the next day. Having to get up early the next day is not a valid excuse to bail at the last minute. Nut up, play the show, drink too much, and be tired and hungover for one lousy day out of your life.
2. Never cancel at the last minute
Sometimes having to cancel a show is unavoidable, but truly unavoidable reasons are usually known well in advance. Sickness and injury are generally not valid last minute reasons to cancel. I’ve seen Fat Mike play a whole set laying down on a couch (threw out his back), and I’ve seen Thrice play Warped acoustically because their drummer threw out his back. (What is it with backs?) They could have canceled the shows and no one would have held it against them, but they didn’t, because they know the rules.
Cancelling shows at the last minute is poison for a smaller, newer band. The calculus works like this: each time the band cancels a show at the last minute, that’s one less promoter who will work with them. Eventually you run out of promoters who will take the chance of booking your band. In my experience it’s the same guy who always bails out on shows that always complains “we never play shows anymore”. Don’t be that guy.
 |
| Need more lessons, Jack Black gives plenty in School Of Rock |
If you are one of the local bands on the bill, YOU are responsible for getting people out to the show. Do yourself and all the other bands a favor and promote the hell out of the show. You can cash in the accumulated karma the next time you are on the road.
4. Thou shalt not “pay-to-play”. Ever
“Pay to play” (or “ticket sales deal”, as it’s euphemistically called), is a policy most prevalent in the Los Angeles area. This is when the venue requires you to sell a set number of tickets for a certain price in order to play the gig. Usually the money is required to be paid before you are allowed to take the stage. I shouldn’t need to explain why this business model is garbage. Your band already spends enough time and money writing and recording music, touring, rehearsing, and promoting. You shouldn’t also be responsible for keeping venues in business. Any reputable promoter or venue will never ask you to pay-to-play. Don’t worry about the bigger shows for now. Just keep plugging away at the house shows and smaller bars, and eventually you will be asked to support a legitimate larger show at a bigger venue.
You don’t need any gig, and especially not the ones you have to pay for. You aren’t going to get “discovered” by playing that Unwritten Law show that they want you to sell sixty tickets for ten bucks apiece to play. You are in a punk band. Nobody signs punk bands that aren’t already well-known and touring on their own.
5. Show up on time
I admittedly have a tough time with this, but I try to at least be “musician punctual” – within ten minutes of a scheduled time. For rehearsals, punctuality is often overlooked but it is critically important. Nothing breeds resentment like three or four guys who have made the time to rehearse and showed up on time, waiting around for the singer to show up.
Always show up on time to gigs. If load-in is at seven, be there at seven, even if you end up waiting around until eight. NOBODY likes the band that shows up at 9:45pm for their 10pm slot and loads in through the crowd. For that matter, it is also your responsibility, if you don’t have a damned good reason not to, to stay for THE ENTIRE SHOW. You usually won’t get paid if you don’t, and it’s just common courtesy.
6. Get your shit up on stage and off the stage efficiently
Nothing says “oblivious n00b” like setting up or breaking down the drums on stage. Don’t stand on stage after your set and have a five minute conversation with your friends. Grab a piece of gear and move it off. Be a mensch and grab a piece of the next band’s gear to bring up on stage on your way back. You can cool down / shoot the shit / have that shot after your band’s stuff is stowed backstage. The bar isn’t going to run out of booze.
7. Always leave them wanting more
Keep your set short and to the point. You aren’t the headliner. No one is going to like you more if you play those three extra songs they’ve never heard before and don’t give two shits about. If you haven’t won them over in the first twenty minutes, you aren’t going to in fifty minutes. This is punk rock. Thirty five minutes is more than enough.
7a. NEVER EVER EVER NEVER take an encore if you aren’t the headliner
This is the very apex of douchebaggery. It causes the whole show to run behind and pisses off the other bands, the promoter, and even the bartender. Never piss off the bartender.
8. Never piss off the bartender
If you piss off the bartender, you aren’t playing that venue again, no matter how many heads you brought in. So don’t do it
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side ..." -Hunter S. Thompson
Oh, you’re a singer? Great, you are now also the drum roadie. You’re a guitar player? Now you also get to haul the 4-ton SVTII bass head and 8×10 ampeg cab sometimes. Everyone pitches in. There’s no I in TEAM.
10. Watch at least a few songs of the other bands, and try to remember their names so you can thank them
Especially at less-well attended shows. You will appreciate the courtesy being returned.
11. Tip your bartender
Yes, even if you paid for the drinks with drink tickets. This is America. We tip here. This is also especially important if you ever want to play that venue again.
12. Do an idiot check at the end of the night
Preferably two. The driver/reasonably sober person should do a thorough check to make sure nothing was forgotten. It really sucks to get to Salt Lake City and realize the kick pedal was left at the gig last night in Denver. While everyone should be on the lookout for forgotten gear, each member is ultimately responsible for making sure all his gear made it into the van. So even though the drummer got WASTED and didn’t even help load the van because he was passed out in it, it’s his responsibility to go to the Salt Lake City Guitar Center and buy a new pedal.
13. Touring bands get paid first
They drove the farthest, they spent the most money on gas, and they aren’t sleeping in their own beds tonight. They get paid firstest and mostest, always.
You probably won’t ever make any money with your punk band, but by following these common-sense guidelines, you can at least be a well-respected band that gets asked to play lots of good shows. At the end of the day, that’s what this whole thing is about."
