7 Ways to Get People to Your Shows (Part 2: Gig Frequency)

Yesterday, I shared seven tips to improve band rehearsals. Today, I’m pondering the second point Ari Herstand made in his article, “7 Reasons No One’s Coming to Your Shows.”

Herstand says, “You play out too damn often!”

This is not a new warning to bands, but it can be perplexing. This point is rarely analyzed fully, and it’s not a black-and-white issue.

Here are seven considerations about how often to gig.

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A. Recognize cover gigs are not the same as original shows.
Cover gigs are not the same as originals shows. If you only play cover gigs, ignore the rule.

Yes, attracting an audience is always important for all gigs, but most cover gigs can’t expect a solo, acoustic musician to bring lots of people five times a month. Also, if you live in a tourist town, then you can play a lot since there are new patrons weekly. If you live in a college town where 21 year olds go out every night to the same bars, then play covers till your fingers bleed.

To those wanting to play original music, do recognize there is a glass-ceiling to what you can accomplish doing cover gigs.

B. Be aware of the type of venue you play.
While I said a bar shouldn’t expect a cover musician to bring a crowd five times a month, some do. (Even coffeehouses!)

Gigs are a business exchange, for both parties. Be aware of the facts about the venue. Is this a place that has a loyal patron base? Is this a brewery that sells food? Is this a sports bar where you are playing in the corner while people stare at 20 flatscreen TVs?

Is the place a good fit for you and your music style? If not…

C. Stop playing venues with unreasonable expectations.
It’s hard to turn down paying work, or a gig opportunity, but stressful situations often diminish our energy, enjoyment, and earnings over time.

D. Be honest about your draw, always.
My friend Nate Dorough, a concert promoter, has shared this many times.

If you only can draw 5-10 people, maybe that’s fine! The promoter might know of a small venue with a showcase night. Being honest helps a venue or promoter find the right fit for you. Exaggerating gets your booking requests ignored after one poorly attended gig.

E. Use a strategy of overplaying, for a while.
If you are starting out, overplaying can be your strategy for a short while; however, you must choose the right type of events where you can get experience, but not at the expense of someone else’s pocketbook (the promoter’s; the venue’s).

Examples: Relays for Life events, house shows, volunteer events, community festivals, tiny venues that let you play for tips, open mic nights…

To those scoffing at playing for free, I see you in the corner. But I’m not talking to you folks with 20, 10, even five years of live performance experience. There is a time and a place to play for experience. You decide if, when, and where.

F. Recognize venues have different booking schedules.
That local bar gig down the street might book for this weekend with a few days notice, but venues have different schedules. Small club shows (100-500 capacity) often need 3-5 months notice. Folk series that do six shows a year might book a year in advance and have a long waiting list. So…

G. Have a calendar and plan one year ahead of time.
It’s almost February in 2014. Wait, you don’t have a rough plan for the entire year by now?

Caroline Aiken shared this tip at a workshop: Have a calendar and plan out your booking goals a year, even two to three years, in advance! Plan in how early to pitch to venues, too.

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Right now, I make my living as a cover musician who plays 200+ gigs a year, many in my home state. I recognize there is a time in my career where this must end if I want to do only original shows.

Both, Nate Dorough and Ari Herstand are advising correctly. The fact remains that it’s more productive to play one sold out show in a town every six months, then many little gigs with sparse attendance in that town.