During our drive to the Acorn Theater, Mike Gentry and I were chatting about the aspects that need to be in place for art to take off.
We both agreed the importance of the 10,000 hours of practice, but Mike added how there is another aspect, a “cool factor” that can’t be measured. “It’s a intangible thing, but you know it when it clicks,” he said.
Billy Corgan describes finding this hybrid of styles that meshed into the Siamese Dream sound in the 90s:
As a guitar player, I wanted to find something to frame what I was doing in…I took snippets of things of things, like the lyricism of Bob Dylan with the riffs of Black Sabbath and the atmosphere of Love and Rockets…” Corgan uses the magic word, “clicking” in his description of the evolution of the band: “It took about a year of experimentation, good gigs bad gigs, driving around the Midwest, until we saw this clicking point.”
It’s easy to dismiss “the clicking point” as the superficial hipster effect, what’s cool to be the flavor of the moment; but there’s a distinction between the actual moment when the art is getting to a uniqueness.
The clicking point. You know it when you hear it, see it, feel it. You have to put the 10,000 hours in to your craft, but you also have to be experimenting to find that special, elusive thing.
When making and promoting our art, we often feel like we are throwing darts at a dartboard, even the wall and hoping to hit a dartboard.
It’s like this equation:
A + B = ?
A = Music
B = promoting it
? = Whatever happens! (luck, fate, or random!)
I like how songwriter Billy Mann presents a different equation here:
Mann’s idea:
A + X = predetermined outcome.
The predetermined outcome should be something we can control, something we really value, something about the way we want to live. And this can apply to our moments in business.
It might be as simple as:
A = get a meeting with a publisher
Predetermined outcome = I want to represent my music well and share a positive message
X = Being an active listener, sharing my song, but not conforming my music.
Sure, there isn’t a guarantee for “make a lot of money” with this equation, but there isn’t a guarantee anyways.
So focus on what you control. We often find what makes us happy when we define the predetermined outcome, and let X lead us there.
Tips for Musicians Working for Tips!
Nashville performer Jennifer Sullivan shared a great post about working the tip jar: http://www.digitalmusicnews.com/2015/11/16/how-i-make-50-an-hour-or-more-on-tips/
This topic is so important for new musicians playing the bar/restaurant scene. I’ll add a few points:
While it’s acceptable in Nashville to walk around the room with the tip jar, musicians won’t be able to do that in most regions. In the Midwest, restaurant owners will not allow for that! That’s an action that will ensure a musician will not get asked back to play.
However, I recommend musicians bring their own stool and their own tip jar, and leave it pretty close to the microphone or stage area so you can acknowledge with a smile or nod when someone leaves a tip. People are more likely to tip if they will get acknowledged by the performer for doing so.
I’d also advise musicians to be considerate that some restaurant owners might not appreciate hearing the request for tips in the microphone. When I got my start at 22 at a restaurant, I didn’t know what to say between songs, so I’d often say the cliche, “Don’t forget to tip your bartender and musician!” The legendary owner came up to me and said, “Don’t say that. Everyone knows to tip! Let’s keep it classy.” It was an important lesson to find a more unique voice between songs. Again, I recognize the rules on Broadway are different. On Broadway, you have to work that tip jar with fury, for the folks bar hop and it’s the only income being made! It’s important for new musicians to recognize the different implied rules for different gigs.
Still, the fact remains, the tip jar is essential to surviving the bar/restaurant scene anywhere. One longtime performer told me that if someone asks for a request you don’t know, make other suggestions in that style or era. Ask the person’s name before they walk away, and give them a shout out at the end of the song.
Folks asking for “happy birthday” requests gets old, but I’ll play a drinking song after 20 seconds of “happy birthday” and mention my favorite drink the bartender makes at end of the song. Treat every opportunity as a way to be unique.
You’ll notice in the photo that I’ll have a sign saying, “Leave a tip, take a CD!” While origianl music shows really need a merch sales person and clear prices, bar gigs are different. Any sale you make is good at the bar gig, and it’s really to encourage interaction, hopefully build a fan or two.
I’ve noticed that I’ve made close to the same in tips and sales this year after 119 gigs then I did two years ago playing 200+ gigs. It’s difficult to make exact conclusions why, but I think part of it is that sign saying, “Leave a tip, take a CD!”
Thanks for sharing your tips, Jennifer. Break a leg at the gigs!
Before leaving for my gig travels to Ohio last weekend, I noticed I only had two Burning the Boats CDs left. I wondered their fate, who would be the kind supporters of music that buy the last ones?
Ashley, the booking manager/bartender at Taffy’s was one of them. (The unsung heroes are in the little corners of the music industry. Thanks, Ashley!)
The other last one was sold to Claudia the Crazy Cat.
After my set at Six String Concerts, Claudia came up to me at the merch table bought all my merch, and asked me to sign my CDs. Claudia said, “You can sign them to Claudia the Crazy Cat! That’s what my friends call me!”
Claudia shared some unique stories about her love of live music, and Six String Concerts series, which is celebrating its 28th season!
I signed the CDs and waited for her to take them from me. One of the volunteers at Six Strings, whispered in my ear, “Mike, she’s blind.” Claudia was waiting for me to put the CDs in her hands. I didn’t notice her walking cane, leaning against the table.
CDs sales are ending, but I’m happy to know one of the last Burning the Boats is in Claudia’s hands. It’s you crazy, music-loving cats that make these travels worth it.
Diana Jones at Six String Concerts, photo credit Jim Grigsby
Setlists: Nov 13 & 14, 2015 – Columbus & Eaton, Ohio
Looking for a recording of a new song from a show? Download the music deal ($15 for 20 songs) at my Bandcamp site!
Nov 13, 2015 – WCBE 90.5 FM, Columbus OH
Damn Fine Day
Burning Bright
A World That’s Bigger
Nov. 13, 2015 – Six Sting Concerts at Columbus Performing Arts Center.
Columbus, OH with Diana Jones
Damn Fine Day
Only the Rain Knows Why
A World That’s Bigger
Ohio (Neil Young)
Burning Bright
Do You Know Your Fears by Name?
Ghostwriter
Nov. 14, 2015 – Taffy’s
Eaton, OH with Pilot Rouge
Damn Fine Day
Don’t Mess Around with Jim (Croce)
Drift Away (Dobie Gray)
One Way Road
Ohio (Neil Young)
Drake rant/Going Home > It Ain’t Me Babe (Dylan)
A World That’s Bigger
Only the Rain Knows Why
Ring of Fire > Such Great Heights > Ring of Fire
Mahagony
American Girl (Petty)
Ghostwriter
