how to rock

Getting a Gig: The Basics

How to get onstage, and get asked back

By Derek Koch

illustration by Elise Malmberg

Soon after every band is formed, an inevitable and profound question arises: "Uh, dude, like, when are we going to play a show [a.k.a. play a gig, play out, get a show, rock the show, or rock the house with much force]?"

This is a dangerous question, second only to "What do you think of calling the band Gigantic Robots or the SuperPansies?" Getting a manager to take care of these issues is a possibility — but you can also waste a lot of time finding someone who knows what's what. Face it: In the beginning it is all on your shoulders, dude or dude-ette.

The important thing to keep in mind is that getting a gig is actually not rocket science. I am living proof. With no professional managers amongst us, my group of four knuckleheads (I was the first knucklehead) managed to play the 1,100-capacity Metro in Chicago. Not a bad showing. The point is that if you just do the work, you'll be playing your venue of choice before you know it.

Here are some simple tips:

The Venue Food Chain

Go to any city. Ask any musician. For any type of music, you will find that the scene is like an ecosystem (I'm serious, c'mon, stop it). Understanding this ecosystem of venues can help you plot a course to world domination.

I've taken the time to scientifically study and classify venues. No matter where they are, they tend to fall into a few general categories:

Rinky-dink (a.k.a. a hole, a dive, a pit): Clubs qualify for this category if a) they also serve burritos in the room you play in, b) you hit your head on water pipes when standing upright on stage, if there is a stage, or c) you also have to serve drinks in order to play there. Not to be mean, but you should avoid those places. Everyone knows a gig here is shameful, and promoting your appearance at a venue like this will garner only a laugh.

Gritty: Not to be confused with the aforementioned dives, gritty venues (which may, in fact, be identical in appearance to dives) can actually contribute to your street cred.

Minor League: These venues are not trying to be the epicenter of hipness, but the bands that play here are usually solid, and might move to the major leagues someday. Some of these venues are more fun to play at than any other type of club, larger or smaller.

Major League: These are shock-and-awe type places. When you tell people you've got a gig at one of these clubs, they will register a look of disbelief. Note: This is an excellent time to invite them to the show.

Out of Your League: I consider this a very relative category; depending on where you are in your career, it may include venues from the other categories.

Assemble a set list: Based on your personal preferences and the intent of your band, this can be as simple as creating a Top 40 mix tape. I hope it isn't, but if it is, fair enough — I hope performance art is part of your show. (For more practical ideas on set lists, see rightround's tips on shaping your set.)

Name your band: Preferably with a name nobody else is already using. Practice your music and such.

Record a demo: Your product is your music. No recording, no product. Not one you can give to a booking agent, that is. People need to know what you sound like in order to consider giving you a gig. The demo doesn't have to be a fancy, CD-quality production, but it should provide a fairly accurate picture of your band's overall sound, songs, volume, and vibe.

Create a press packet: This can be pretty simple as well — just a one-page description of the band with a picture that doesn't make you look like a gang of dufuses (or is that dufus-i? Hmm, not sure.) Start by looking at rightround's article on the dos and don'ts of press kits. (How much easier do you need it to be?)

Pick your clubs: Select venues that you can a) reasonably hope to play, and b) get at least 20 to 30 people to come to. Remember, the big follows the little — before you start selling out the Ultradome, you'll probably need to pay your dues in respectable but smaller places.

Contact each venue: Get the details in advance, if possible — the booking agent's name and number, where to drop off or send your demo and press packet, and most critical of all, when the booker is around to take calls.

Make the drop, then follow up: Drop off or mail your packets to the clubs you're contacting, and phone them one week later (you should give people enough time to check out your stuff). Do your best to not leave a message, but rather speak to a live human. If you must leave a message, leave only one. Then call back later (either later that day, or later in the week, or the next week) and do not leave a message until you get the guy/gal/power-mad lunatic on the phone.

Persist: When you get the show, rejoice. Now when you call the Knitting Factory you can say, "Well…we have a gig on the 8th, but we could fill in a slot on the 15th?" Important point: The more places you've played, the less risky — and perhaps more attractive — you become to venues. Keep at it.

Call in all your chips: Get people to the show any way you can. I had some friends who played an all-ages show who actually made a circuit of local high schools to distribute free tickets. Push the envelope. Even if the gig is on a Tuesday morning, make sure that the club gets people in the door.

Be on time for sound check: In fact, be on time for everything. Being a hassle doesn't win you points.

Be nice: Jerks and hissys don't make it easy to run a club. Or be a sound engineer. And remember, you aren't Bono yet, so being demanding about dumb stuff just looks silly.

Know your drill, and don't break anything: If you waste time setting up, you'll bum yourself out before you play (by looking useless in front of people you are trying to impress), and you'll inevitably piss off the sound person (not to mention the other bands). The sound person will probably make a snide remark to the booking agent. This is called "bad press," boys and girls. You don't need it.

Say thank you: Does this really need further explanation?

Surround yourself with bands you like: If you like the other bands on the bill, ask them if they want to do another show together. If you can get a show for someone else, they might do the same for you sometime. And you know you'll enjoy the process more, because you like their music.

Call the club back: Wait a week after your gig, then ask for another show at the same place. If your band is good, you weren't too annoying, and people showed up to see you, this should be a much easier process than the first time.

Posted October 2006

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