Gigging - The Book Available now!

Gigging - Everything you need to know about Playing Gigs, from Booking to getting Paid (except how to play your axe)

An essential guide for beginner musicians, those who are new to playing out, and seasoned pros who keep having problems.  The book covers topics such as how to get along with the sound guy, what to do if you think you're being ripped off by a venue, and what you should wear on stage.  There are also many True Gig Stories that describe what happened to bands that did things wrong.  Learn from the mistakes of others and be one step ahead of the rest of the bands in your region.
Buy the book here: www.GiggingBook.com

Flyering / Postering Etiquette

By David Barber
Commotion Music Promotion, Inc.

Your band has a gig coming up, you've printed up stacks of flyers and posters and now you need to get them out there where people will see them. Seems fairly easy, right? You just staple or tape up posters hand out a bunch of flyers and sit back and wait for the crowds to roll in. Right? Sure. Just be careful and avoid a few simple mistakes.

First off, never put up posters for your show at venue A inside venue B. Postering space is limited inside any venue, even the ones that let you tape it up anywhere you want. They aren't going to be excited to see posters advertising a show at another venue. Same goes for flyering. Don't put out free tickets for your upcoming Herman's show on all the tables at your Dove show. Likewise, don't plaster the restroom at the Cricket with posters for your show at the Toad. This kind of behavior is simply discourteous to the venue you do it in and likely will result in them being less inclined to book you there again.

Is there a way around that? Yes. It's usually acceptable to mention your upcoming gigs while you are on stage. It's also acceptable to walk around the room and personally hand your flyers to people you know or have just met, as long as they don't immediately drop them on the floor and walk away. "Put this in your pocket." is a good way to handle it. Also a poster that has been printed up with a month's worth of shows can be safely hung in most venues without fear of pissing anyone off. It's not gonna stay on the wall past your gig in that venue, but if you post it a couple weeks beforehand, it might be helpful.

Along the same lines, it's not cool to flyer outside of most local music venues. Don't put them on all the cars in the parking lot, unless it's for a gig at that venue. Don't hand them out to patrons leaving a venue unless it's for an upcoming gig at that venue. A major exception to this rule is to hand them out as people are leaving a large concert venue. Hang on the sidewalk out in front of the Fillmore or the Pepsi center when a compatible national act is playing and hand out your flyers. It's an excellent way to build your fan base.

Don't run afoul of the law. In many cities it is against the law to put up posters on telephone poles, etc. A few cities even enforce these laws. You can be certain that they will know exactly what band is responsible, by simply reading the poster or coming to the show.

Always bear in mind that your promotional activities can also reflect upon the venue. If you plaster all the cars in front of Herbs with flyers for your show at the Skylark, the management of one place may well call the other to complain. Remember, venue owners and booking people do talk to each other, even while competing. Word can spread quickly, so try not to piss these people off.

What Makes A Good Poster?

By David Barber
Commotion Music Promotion, Inc.

Every band that promotes itself (and if yours doesn't, you're already wasting your time by reading this), has dealt with the problem of posters. Some bands get lucky and discover an artist who is also a band member, friend or relative who will design cool posters for free or cheap. Many bands, though, struggle with this. Even the one's who have a professional graphic artist in their midst sometimes lose perspective and put out posters that, while they are cool or like works of art, are completely worthless when it comes to promoting the gig.

That's the bottom line: The poster's sole purpose is to promote the gig(s). Don't forget that. It doesn't matter how cool the artwork is, if people can't see it or can't read the important details, it's not doing the job.

We have a friend who collects old psychedelic era concert posters. They are expensive, the art is terrific and some are very rare. You know, the ones from The Grateful Dead and Janis Joplin from the late 1960s and early 1970s. Did you ever try to read one of them? Even at full size and up close in good lighting, it's sometimes nearly impossible to read the names of the bands, the venue, and the date. While it's cool to have those as collectors items now, they were nearly worthless at getting the word out about the gig.

Here's our rule of thumb: All the information should be easy to read from at least six feet away in a dark smoky bar. If you can't see the name of the band (or an easily recognized logo), the date and location, what's point?

Now, sometimes you have to decide where the posters will hang before you can make the call. If they are on telephone poles and you're hoping drivers will see them, then there's no point in using any fine print. If they will hang in coffee shops, which are usually well lighted, then maybe you can expect curious patrons to step in closer and read a little more. A short description of the music is a great idea. That way, someone who isn't already familiar with the band could become interested. Potential new fans want to know what kind of music you play, so even if you have to make something up, put it down. Even something as simple as "Rock" will work most of the time and it's way better than nothing. If you can't describe your music, you've got bigger problems. (We'll write an article on that one later) A website address is helpful, too.

When designing a poster, you also need to think about printing. Making full color 11" x 17" copies at Kinkos gets expensive pretty fast. So think about what that same poster would look like at 8.5" x 11" in black & white or black ink on colored paper. Make sure the design will not be ruined by B&W printing. If you're gonna send your posters out in electronic format to venues or street teams out of town, you better expect them to be printed in B&W.

Make A Generic Poster: This will save you lots of time and cash in the long run. Make one cool poster design with a big blank white space at the bottom (about 1/4 to 1/3 of the poster) and have 1,000 of them printed up in full color at a professional print shop You can use them for any gig for years. Just don't put a photo of the band on there unless you're certain nobody will leave the band before you can use them all up. CD cover artwork is perfect for this.

Don't be afraid to experiment. Have fun with your poster design and play around with things. Just remember what it's for and it'll be that much more effective.

Naming Your Band

So, you have a new band, you've been jamming a little have some songs worked up, you're considering playing out or recording, but you're still struggling with what to name the band. We are continually amazed by the creative names that bands come up with. There never seems to be an end to them, however, sometimes a band comes up with something that just leaves us wondering,"What were those guys thinking?"

Here's a few things to consider when naming your band:

A great band name should be short and easy to remember. Common words that every child knows but aren't already associated with music are the best. Examples: Hole, Garbage, The Samples, More Than Medium, and Ocean.

We are a big proponent of naming the band after the leader. Examples: Nina Storey, Wendy Woo, The Jill Watkins Band. These band names have the added bonus that the lead singer can never be fired from the band (without them having to change the name, anyway) but any other band member could concievably be replaced.

Some common mistakes that bands make when naming themselves include:

• Not checking to make sure another band isn't already out there using it. A quick internet search should do the trick, there.
• Using unusual capitalization or punctuation, like: "nGOma" "The FaiL-YeRZ" "P-Nuckle" or "Yo, Flaco!" The reason that this is a problem is that most club owners aren't going to remember correctly and therefore, the signs will read "Ngoma" or "The Failures" or "Pinochle" instead of the correct spelling. These same club owners will have trouble with the advertising they run in the local papers/magazines and on their websites, where those kind of capitalization and punctuation issues can create havoc with a database.
• Names that are just too long: "Eddie Clendening & the Blue Ribbon Boys" is likely to be shortened down to "Eddie Clendening" or just "The Blue Ribbon Boys" when advertising space is at a premium.
• Names that are not easy to spell. If the band leader doesn't make sure to spell his name from the stage at every opportunity and with the booking manager, he's likely to see it posted as "Eddy Klendenning and the Blue Ribbon Boys." Fans trying to find the website will not likely remember if it was "Eddie" or "Eddy" and how many n's are there in "Clendening?" "The Blue Ribbon Boys," though, is a fine name. Our all time best example of a bad band name was the short lived "Scheherazade." Not only was it hard to spell, but nobody could pronounce it either.
• It's OK to make up a new word or use one that isn't well known, but make sure you are consistent with explaining the pronounciation or spelling. "Xiren" (pr. Seerin) and "Marcy Baruch" (pr. bah-ROOSH) struggle with this constantly. It really stinks when you hear a radio personality struggle with pronouncing your name on the air.
• Be wary of names that use uncommon words. "Potempkin Square" (named for a famous location in Moscow) quickly became known in the local scene as "Pumpkin Square" because it was much easier to remember, to spell and was way more amusing.

In the end, if a band is good enough, they can overcome a lousy band name. "The Fabulous Boogienauts" rose to the top of their local scene, but for the first six months nobody got "Boogienauts" spelled correctly.

If you're really stuck, try the old trick of naming the band after the street where you practice, live or like a lot: Examples: Ben Park Drive, Battery Park and Rose Hill Drive. Pet names work pretty good too. "Rosco" is a good example.

There are also ample online resources for naming your band. Just type "band names" into Google and you'll find a variety of sites from band name suggestions and automatic name generators to lists of cool names already taken and online registries to make sure nobody steals yours.

Related articles and podcasts can be found online at RockOnColorado.com

Because You're On Stage!

There's nothing more annoying than watching a band on stage performing that has zero stage presence. It's even worse when the music is really good. You could shut your eyes and enjoy the music, but that's not why you paid the cover charge. If you only wanted to listen, you could just stay home and listen to the CD. There's a reason the band is playing on a stage instead of behind a curtain.

People want to see a show. Not just a bunch of dirty looking hippies jamming their hearts out. Sure, it's fun to jam, but until you're famous, most people don't want to pay just to watch you noodling with your pals. If you want to do that, then do it at home or in the rehearsal space. Don't do it on stage, unless that is your genre. If you went to Prince's 2004 tour you saw a top professional putting on a terrific show. Even if you didn't care about his music, you were entertained. That's the job of any act on any stage: Entertain the audience.

So, how does a new band do this? Some people have a natural charisma. If your act has a front person like that, you're in luck. The rest of you will just have to learn, and sometimes, even if you're the guy with charisma, you'll just have to fake it.

First off, remember that you are there to entertain. It doesn't matter what genre you're playing, country, jazz, rock, hip hop, whatever. The goal is still to entertain, to put on a show. There aren't really any rules, as long as the audience walks away feeling like they had a good time. Here's a few tips that anyone can handle:

• Have fun on stage, or at least pretend to. The audience doesn't know and doesn't care if you are having a bad day. So your wife ran away with your best friend and they took your dog, car and all your money. Put on a smile and pretend that this is the most fun you've had in your entire life. If you can't do that, it may be better to cancel the gig. Believe me, the audience can tell when you are not enjoying yourself on stage. If you are pissed off and angry, they will sense it and unless, you're an in-your-face punk act, it won't go over well. The more you play, the easier this will get, so practice, a lot. The best acts in any region can and will play under all sorts of adverse conditions. The difference between you and them is that they know how to fake having a good time. It's usually well rehearsed between song comments/jokes/banter that gets the crowd participating. Their audience may never know that the lead vocalist is having the worst day of his/her life and neither should yours.
• Dress for success. Do you wear the same clothes on stage that you wear at rehearsal? Don't. Always wear something clean and presentable. At the very least have everyone in the act wear blue jeans and the same color T-shirts. There are a few national acts that don't seem to care about how they look, but they are a very small minority. Even the 70 year old jazz cats playing in the smallest dives in the worst neighborhoods dress up when they play. Something sparkly or eye-catching that you would never be caught dead wearing on the street is perfect for the stage. If you have absolutely no fashion sense, ask a girlfriend, sister or fan. Many women will be thrilled to dress you up. If money is an issue, go to a thrift store, there's always something funky/cool there. If you notice the trends in music fashion you'll see that many new fads start out with something a hot new act bought at a second hand store. Examples: Torn up jeans, The Ragamuffin reggae look that came from Jamaican street urchins, blue jeans were not considered acceptable to wear except at blue collar jobs until Elvis and his contemporaries, started wearing them. Loose fitting pants that are way too big started out as hand me downs from older siblings. Outdated basketball jerseys were a lot cheaper than the ones current teams wear, until hip-hop artists made them became popular. You can start the next music fashion trend.
• Move around. Unless you are stuck behind a drumset or keyboard, you need to move around on stage. This catches the audience's eye and helps keep their attention. If you are a lead vocalist who just stands ramrod straight, you had better blow everyone away, because otherwise they'll be staring at your bass player instead. If you must keep stationary, then move your head, your arms, your booty. The more the better. If your guitar player is taking a solo, step away from the mic and dance a little. It doesn't take much and nobody will make fun of you. If your act has a horn section, ask them to all point their horns in the same direction and move them side to side in unison. Just a little choreography will go a long way. Lead vocalists who look at the crowd and hop up and down in time with the music will commonly see the audience doing the same thing. You know you're on the right track if your audience is on the dance floor. It means they are having fun.
• Play well. Know your material inside-out and upside-down. You shouldn't be looking at your hands when you play out. There are already enough distractions at a live gig. Don't require yourself to focus everything just on getting through the song without messing up. That means lots of practice and rehearsal. Lots and lots. You should be able to play your whole set with your eyes closed. This frees up some of your attention to focus on the audience, pick up on signals from your bandmates, or make your solo even better. It's tough to smile at the hot chicks flashing you their boobs if you are staring at your fretboard. Eye contact goes a very long way and will make the show a more personal experience for every member of the audience you connect with. I know that some bands in recent years have become famous with guitar players that wear their axe slung low around knee level and then hunch over, almost double the whole time they are playing. Not only does that look amateurish (to this author, at least), but it's really bad for your back, too. Most professionals prefer watching someone like B.B. King play with his guitar up high on his chest, his face pointed skyward, eyes closed as he hits exactly the right chords bringing emotion out in the song. B.B. knows his instrument well enough that he almost never needs to look at it in order to play well. With enough practice you can, too. Oh, yeah, and just because you saw your favorite band/player do something on MTV, doesn't mean you should, too. Watch what the old guys do. If they can last for decades, playing hundreds of gigs every year, they must know what they are doing and how to do it in the least painful fashion.

Related articles and podcasts can be found online at RockOnColorado.com

Never Date a Musician

Over the years we've seen countless relationships come and go and we've noticed a trend. It's always a bad idea to date a working musician.

Now, we are generalizing here, there are many musicians who have perfectly good, successful long-term relationships, it's just that these are the exception to the rule.

To women, male rockers have the same mystique and allure that strippers have for men. They're on stage, everyone wants one and almost nobody gets one. Indeed the successful stage musician (of either sex) can take his pick of attractive young women in the crowd. This is part of the problem as we'll explain later.

Relationships with musicians have all the same problems as other people have but some of them are more exaggerated. Here are the main ones:

1. Money: Many musicians are also starving artists. This is more true for younger rockers than older guys because, by the age of 30 most have either reached some level of success, at least enough to make a living, or have given up and taken a day job. Some, however, find ways to eek out a living and never really grow up. Others go from one woman (who is willing to pay their bills) to the next, living homeless in the interim. Many have never held down a day job for long and never want to.
2. Drugs: This has always been a part of rock and roll and probably always will be, but it's always a problem. It's a rare band that is filled with talented guys who keep themselves clean. Drugs are always readily available and are offered up free to band members on a regular basis. If you think your guy is gonna stay clean and sober for a long time, you're probably being naive.
3. Alcohol: Just like drugs, only not quite as illegal, alcohol is always a danger. Drugs and alcohol are obviously problematical in any relationship, but suppose you had to work in a bar every night. Do you think you could keep sober? Most people can't.
4. Infidelity: It doesn't matter how ugly or talentless a musician is, if you put a guitar in his hand and put him on stage, some hot girl will think he's the hottest thing since Sting. This is more of a problem when the band is on the road. We know bands who have a rule: "What happens on the road stays on the road." Kinda like Las Vegas, but it applies even with short trips to Nebraska. This one is the biggest relationship killer, especially if the band tours a lot. Even if he's not cheating, how can either partner know that the other is being faithful? And if the jealous spouse decides she'll just come to every gig to make sure he doesn't stray, that usually causes problems with the rest of the band. It can throw off the delicate dynamic the band has worked so hard to achieve amongst themselves. It's a sure fire recipe for drama. An insecure spouse wont be able to handle the idea that part of her husband's job as a rock-star is to flirt with beautiful young women, in the hopes they will buy CDs and come to more shows. It's part of the gig and even if he's being perfectly faithful, it's hard for many women to watch .

And god forbid if the significant other should decide to embrace the band by becoming their manager. That will almost always spell disaster. A lot of smart, experienced bands have a rule: No wives or girlfriends allowed at gigs.

Many musicians consider themselves artists and as such, they are elitist, thinking they are better or smarter than most people. This commonly leads them to believe they can live differently than most people and it's OK because they are "artists." These guys (and gals) think it's OK to get high a lot and that society owes them something, so they shouldn't have to work normal jobs. There's a high incidence of drug and alcohol abuse, poverty and general bad decision making. How many famous musicians have died of drug over doses? I can tell you that a hundred times more not-famous musicians have met similar fates. And if their "art" is perceived as being rejected, they are also susceptible to suicide.

If you think you can handle all that, and heaps of stunning women throwing themselves at your boyfriend, then by all means go for it. Maybe you'll get lucky and find one that has his shit together, but probably not.

Never Date a Musician!! I can't say it often enough, and no, I honestly don't expect you to believe me, until it's too late. Just please try not to repeat your mistake over and over again.

This is where I usually provide a real life example or two, but rather than tell a specific tale I'll just tell you how it usually goes:

A male musician meets and marries a perfectly good woman at some point before he becomes serious about working in music. Maybe they meet in College or even High School. It's all good until he joins that special band where everything is working out well and the band decides to tour farther away than they can drive in a day trip. The woman he left behind feels resentful that she can't go with him. After all, she has a job and has to support him. Sooner or later on the road the musician is approached by a very hot girl who wants to sleep with him, he cheats on the wife at home and... Well, you can guess how it goes from there.

Need we say more?
This blog and many more are available as Podcasts at: www.rockoncolorado.com/podcasts

Get On/Off the Stage Already!

If you are a local or regional touring act there are basically two kinds of gigs you will play: There's the play all night in the bar/restaurant kind of gig and there's the multi-band showcase, festival or opening act kind of gig. This article is about those gigs where you're at least opening for another act or perhaps playing the same show with three or more other bands.

The venue we work at and the majority of music venues that book original music in this region bring an average of four bands a night to play on any given night. Each band gets 30-45 minutes to play and there's 20-30 minutes between bands. Shows like this make it really important to be able to get on and off stage quickly and efficiently. The reasons behind this are important to keep in mind. If you take too long to get your gear on stage and ready to perform, then your band will likely get cut short. If you play over your time slot or take too long to get off stage, the band playing after you may get cut short. If you're an opening act for a national or bigger local act and they get cut short, their gonna remember that and likely take an opportunity to screw you over down the road. Now sure, your band might be better than any others out there (at least from your perspective) but causing a big show to go off schedule causes headaches for everyone from the guy taking money at the door, to the booking agent, the sound guy and even the bartenders. Yes, the crowd will complain if the band they paid big money to see doesn't get on stage at the expected time. Your band might be awesome but if the other bands all complain to the booking guy and make his life harder and he also hears bad reports from the sound engineer and the bartenders, then how eager is he gonna be to book you back? Most local music communities are fairly small and people talk to each other. If your band gets a reputation for hogging the stage at the expense of others, you're a lot less likely to be invited to play the cool gigs. Don't underestimate the politics of the music scene. They can be as brutal and vicious as a Jr. High school playground.

You were hired to start and end your set at specific times, so be professional and do your best to keep to the schedule.

Ok, now that you're clear on why you need to get on and off the stage quickly, here are some tips to help you do it:

If you're not the opening act, get as much of your gear unpacked and set up off to the side of the stage. Drummers should have all their hardware unpacked and set up, so they can just lift things up onto the stage and place them in position as quickly as possible. That means your cymbals should be out of the bag and on the stands. Guitar players should be ready to haul their amps onto the stage, position them and plug in. That means you should take your time and tune your guitar(s) before getting on stage, so that a last minute tuning check will go much quicker. Vocalists should be warmed up, in costume and ready help carry gear.

If you're not the headliner or closing act, get your gear off the stage first, then break it down. Drummers should haul the pieces off stage and then break them down and pack them up. We know you don't want to risk cracking that new Zildjian cymbal, so be careful and make sure anyone else who touches your gear does the same, but don't dismantle your cymbals and pack them up while still on stage.

Don't run off and have a smoke, piss and flirt before you start moving your gear. You're making life harder for everyone else playing after you, and half the staff as well.

Recruit a couple trustworthy (not too drunk) fans to help. Give them a free CD or put them on the guest list as a reward for helping the band.

Get someone else to sell your merch. There's plenty of time for signing autographs and schmoozing after you get your gear off the stage.



Here's a couple real-life stories:

A local jazz act with full horn section was booked to play a large street fair. The schedule was exceptionally tight with only 10 minutes between acts. That was never enough time for this jazz band who had a well known reputation for routinely taking 30-45 minutes to get onstage. This particular gig went even further south when the sound guy had trouble, causing extra delay. But the band leader didn't help by demanding a full sound check rather than the planned line check and mix on the fly approach. (A line check only checks to make sure everything is hooked up and signals are get through to the soundboard.) By the time the band actually got to play, there was only 10 minutes left in the set. The stage manager insisted on keeping to the schedule and cut the band off after only 2 songs. The huge crowd got ugly and many complaints were registered. Thankfully, there was no violence, but it did cause a very sizable commotion. The Fair organizers ended up so embarrassed by the incident that they booked the same band back the following year on a bigger stage with a longer set time, but made it crystal clear that the band had to get on stage and playing much quicker. They actually did.

A local R&B act with a little too much attitude routinely took 45-60 minutes (sometimes even more!) to get on stage. They would take their sweet time getting on stage, then take too long to finalize the sound check and then go to the green room to change into their costumes. One time, after a delay of more than an hour, the owner of the club had to go in to the green room to get them on stage. Then, of course, they insisted on playing their full set, instead of cutting it short in order to let the headliner get on stage. As a result, the sound engineers and booking guys don't want to work with them anymore and the headliner specifically requested that this band never opens for them again. Since the best sound guys don't want to work with them, either, they call in some second string, less experienced guys to work and the sound is never quite as good.

This blog and many more are available as Podcasts at: www.rockoncolorado.com/podcasts

Making the Most of Low Paying Gigs

By David Barber
RockOnColorado.com

Every band has to take low paying gigs from time to time. It may be a new venue/market where you don't have a following yet, or it's a benefit for a worthy cause that you are pleased to volunteer for, or just one of those nights where very few people show up and the venue doesn't want to pay you. Whatever the situation, you need to make the best of it. Here are a few commonly overlooked things you can do to make that crappy gig a little bit more tolerable.

1. Sell Your Merchandise. Always bring your merch with you to each and every gig, no matter how small or inconsequential the gig may seem. If you don't have any merchandise (CDs, T-shirts, Hats, etc.) You are missing out on an important revenue stream. It does take some cash and time (especially for a good CD) to get merchandise for resale, but it will almost always pay off. Start with a logo. Hire a graphic artist (or ask your family, friends, or even fans if any of them would be interested in helping out the band. You probably know someone already who has the artistic talents you need) and make sure it's done well. Plaster that logo everywhere, on T-shirts, CD inserts, hats, even underwear. Price it at around double what it cost to have them made and you are in business. There are many companies in your area that will gladly help you put your logo on almost anything. Do an Internet search for "promotional items" and you'll see what we mean. We like to deal with Comich, Inc. for the nontraditional items (like calendars, pens, and golf tees) and Red Eagle Design for cool embroidered hats and shirts. But you can always ask other bands in your area where they are getting good deals on their merch. (Prices vary widely, so shop around).
   Denver singer/songwriter Wendy Woo once played a gig at a coffee shop, where there was no cover charge and no pay from the venue. She sold hundreds of dollars worth of merch and turned the gig into a lucrative success.
   Benefits and similar all ages events are terrific for selling merch. Kids who aren't allowed to buy beer will instead spend their money on CDs and T-shirts. We've seen local bands sell out all their merch at nonpaying, all ages theater gigs where they were opening for a national act.
   Don't forget to mention from the stage where in the room CDs are available. As a door guy this author has seen a lot of people leave without buying anything because the band only sold stuff at the end of the night. Fans will ask the door man, the waitresses and bartenders where they can get a CD. If the answer is "I dunno." You're losing a sale.
2. Build your mailing list. It's as easy as a clipboard, paper and pencil. You should always try to build your mailing list at every gig. How often do venue booking managers ask "How many people can you bring in?" If you can reply with "our email list has 7,000 names on it," they may be more interested in booking your act. A mailing list is invaluable to keeping in touch with your fans.
   The best way to get people to sign up is to have a band member walk around the room after each gig or during set breaks and personally invite people to sign up. If that becomes too much hassle for the band, recruit a friend, family member or fan to walk around during the set and ask people to sign up. (If they walk around selling CDs as well, you're gonna sell more of them.)
   Email lists can be a hassle to maintain manually and can land you on spammer lists if you aren't careful. There are many solutions that you can find yourself with a quick search on the Internet. Commotion Music Promotion, Inc. offers bargain priced email list management for bands or any other business.
3. Make an Impression. A great big logo on the bass drum head is a good start. A 6 foot wide banner hung as a backdrop is even better. Nothing frustrates us more than when a friend or colleague tells us about this cool new band they saw recently, but whose name they can't remember. By the end of your set, everyone in the room should know your act's name. Don't be shy. Repeat it at the start and end of every set. Mention that you have merch available, and ask the audience to please sign up on the mailing list. And above all: play your heart out!
   You never know who will be in the room. Even if it's a sparse crowd and there doesn't seem to be much energy there, play like it's a sold out stadium show each and every time. If you're not into it, then learn to fake it. Believe me, there are acts on the road right now who make their living by pretending to have a fantastic time on stage, even when they are deathly ill (Country Dick Montana of the Beat Farmers died while performing on stage after a long and painful bout with cancer.)
   Love.45 used to play hotel gigs in Denver, before they were signed, in order to help them pay for studio time and the cost of mailing out hundreds of promo packs. One night we attended one of these gigs where the crowd was pretty lame. But there was this one guy, in town to visit relatives, who was blown away. So what? It turned out that he worked for a major label and said he would go back home and tell his boss and anyone else who would listen that the band should be signed. Nothing came of that encounter, but you never know.
   The now defunct band Sucker was based in Vail, CO. At one gig they impressed a software exec. who was in town for a snowboarding vacation. The result was enough money to record and video one song that ended up being used in a popular Nintendo game. They even included the video as a bonus in the game.
4. Be Professional. OK, so it's one of your bread and butter gigs where you usually draw a full house, but this night it's half empty because of bad weather, a big playoff game, or something else you can't control. Do NOT let this affect the way you play. Play it just like the house was full. Fake it if you have to, but smile and act like you're having the time of your life. Do NOT get drunk, play sloppy, take long breaks and quit early because you're in a bad mood. Do NOT get mad at the door guy, the booking manager, the opening act, or any of the staff because you didn't get paid as much as usual. Force yourself to smile and say "Thanks." Remember, the venue staff only made half of what they were hoping for, too. It's not always easy, but it's very important. There are bands we won't mention who have worn out their welcome in an entire region due to years of repeated unprofessional behavior. It doesn't matter if you are the best guitar player since Jimi Hendrix. If you act like an asshole or a prima-donna all the time, word will spread and you'll be lucky to get coffeeshop gigs.
   

Most of this stuff is just common sense, but it will help to take your act to the next level if you can deal with the lousy gigs as well as the great ones.

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