HOW SINGER/SONGWRITERS CAN SAVE $100K RIGHT NOW – TODAY!

$100 K. I thought that would get everyone’s attention. And it’s the first thing I say when I meet with young singer/songwriters and their parents as we start the educational process of moving up from the basic performance skills of singing their own songs and playing guitar or piano to the rarefied air of the art of entertaining. That’s what I do these days as a live music performance coach.

Usually, the teenager has spent a few years mastering those skills and his or her parents are dutifully impressed enough to begin to support (and finance) the next steps in their aspiring offspring’s musical career. But I almost always find that once the passable performance plateau is reached, the student assumes (and somehow has convinced the parents) that the next goals are to record and release and album, make a video or two, and then go on tour.

That’s where I step in and save them the $100K (for now) and the time spent doing all of those things too soon. First, we need to discover IF the son or daughter is ready for those things or not. My experience is not.

Let’s start by doing the math behind the $100K figure.

ALBUM: To do things right as far as creating a well-produced album of 12 songs (assuming the songs are ready to be recorded at all): $25K. Yes, you can do it cheaper, but if you’re not going to do it well, why do it at all? Then there is the matter of the sales, marketing, promotion, advertising, publicity, etc. (which can run into the hundreds of thousands of dollars). But for the sake of argument, we’ll go low budget here: $25K.

So there’s $50K right there. The track record for professional marketing, promotion, sales and publicity people working a new artist with no fan base and only $25K is spotty at best. So since you have no fan base, the album goes nowhere. Money down a rat hole.

VIDEO: Pretty much the same deal. You can do it cheaply, but why? Do it professionally and correctly or else it’s a total waste of time and money. One relatively inexpensive professional video: $25K. I know because I recently was asked to keep track of budding artist’s video costs for her parents. Since there was no fan base, nothing happened.

TOURING: Given that the young artist has no fan base in his or her hometown, let alone regionally or nationally, the only hope is a buyout as third/fourth/fifth on a bill with some friends headlining. The cost of that buyout, once you include travel and lodging at any level, food, gear, band, crew, whatever – let’s call it another $25K. Don’t think so? Have you budgeted any tours recently at the level we’re talking about here? I have. That’s a fair number to do a four-week tour as a buyout with no income. And at then end of the day, you’re an unfamiliar artist performing your unfamiliar songs to an unfamiliar audience. How do you think that’s going to work out?

So there’s your $100K. Now it must be pretty obvious that there’s no sense in spending all that money when you’re just starting out. What’s the potential ROI? Easy answer: None. Here’s why.

YOU’RE NOT READY. The precursor to making an album and a video and going out on tour isn’t the fact that you have written your own songs and that you have some modicum of experience of singing and playing from a open-mic night stage for your family and friends. The mandatory thing you need to accomplish first is to learn how to not just perform for an audience, but to ENTERTAIN an audience. Just standing center stage behind a stationary mic stand and singing your mid-tempo songs, one at a time, is NOT ENTERTAINING.

If, instead, the artist were to spend the time (and a lot less money) to learn the craft and art of entertaining an audience from a stage on a regular basis, many things would/could/should happen. First of all, gradually the singer/songwriter would learn which songs work and which ones don’t just from audience response. That would make it way easier to decide which songs to record.

Then the subsequent lessons taught and learned about how to enter a stage, how to move around, and how to use visuals and your physical presence to convey emotion in the delivery of your songs will all go a long way toward deciding how to look, act and behave when it comes time to invest in the making of a video of the song that gets the best response.

But mostly, the knowledge and experience of being able to genuinely entertain an audience of complete strangers will prepare you for the proper time when you leave your comfortable hometown crowd and be called upon to do so on a nightly basis for people who couldn’t care less about you or your hometown crowd.

In fact, if you’re successful in the pursuit of knowing how to entertain an audience and draw ever-increasing numbers of ticket buyers to your shows, perhaps the parents won’t have to shell out the $100K after all. There are plenty of record companies, managers, agents, attorneys, promoters, publicists, and all other forms of artist support out there looking for promising successful singer/songwriters. But they aren’t just looking for talent – there’s talent everywhere. They’re looking for ENTERTAINMENT and for artists who have worked hard to attain those goals. Those are the attributes you need to have to attract the attention of the industry.

Oh, did I mention that none of this can be accomplished in a weekend or a month and maybe not even a year? It takes consistent, concentrated effort to achieve all of this. And just as you probably had instruction in learning how to play guitar and piano and to sing properly and write songs, you’re going to need instruction from a live performance coach in order to get up to the next level – that of an ENTERTAINER! Be sure to find a coach who’s going to save you $100K right off the bat. Go to my website – www.diditmusic.com – to learn more.

THE MUSIC BUSINESS RUNS ON SUSHI – BUT ARE YOU DOING IT RIGHT?

Back in the early ‘80s, Island Records founder Chris Blackwell, after signing Irish-rockers U2, decided to stay ahead of some imaginary country-of-origin curve and signed Japanese art/punk rock band Plastics (or The Plastics). As Island was at the time distributed by Warners, I was assigned to accompany the band on their maiden tour of America to facilitate promotional activities.

The best thing about the tour was that we would entertain radio and press at very nice Japanese restaurants in America where the band would order dishes not on the menu that defied description and pronunciation. Outside of the major markets, however, we would have to sublimate on just the sushi and sashimi on the menu. But as a result, I learned a lot from the band about the etiquette and procedure for properly ordering and eating sushi.

Fast forward to a sushi restaurant the other night (before a show, naturally) where I realized that, for all of the sushi consumption that keeps the music biz running on a daily basis, most of my colleagues are not aware of the correct ways in which one orders and consumes sushi. In fact, most of the others at the dinner admitted that they were only copying something they saw someone else do years ago, which wasn’t necessarily correct. Therefore, as an apparent altruistic public service, allow me to pass on a few major points about sushi given to me in the nicest possible manner by the members of The Plastics.

CAVEAT: A full comprehension of Japanese dining etiquette and the extensive nomenclature surrounding the art of sushi are way beyond the scope of this blog. But it’s kind of like publishing – if you know anything at all, you know more than 90% of anyone else in the music business.

First of all, some DEFINITIONS are in order: the word sushi refers to the sticky, vinegary rice that serves as the basis of the cuisine and which, by the way, is considered to be more important than the fish. Here are some things we call sushi which aren’t: a sushi roll is maki; a hand roll is temaki; a strip of sushi rice with a piece of fish stuck on top is nigiri; and strips of fish without the sushi rice is sashimi – OK, you probably knew the last one.

NOTE: The sushi bar is for ordering sushi only. If you or someone in your party would prefer teriyaki, tempura, edamame, or the like, sit at a table.

 As you’ll be eating with your hands, begin by wiping your fingers with the provided warm, wet towel. (If a wet towel is not offered, the place might be a little suspect. Move to a table and order the teriyaki.) After the hand cleaning, put the towel aside. Never apply it to your face (or anywhere else you might think to use a wet towel).

Greet the chef and, if he speaks English, ask what he recommends. Do not talk to the chef during preparation or dining. Never offer or attempt to hand money to the chef as a tip. Afterwards you may offer to buy two shots of sake – one for each of you. And if you have the occasion, compliment the chef on the rice. Again, it’s all about the rice.

Pour only a small amount of soy sauce in the small cup and add to it as needed. Never leave soy sauce in the cup at the end of the meal – bad manners.

Do not mix wasabi in with the soy sauce, unless you’re eating sashimi. BTW, real wasabi is an expensive vegetable found only in Japan. What you’re getting is horseradish dyed green to look like wasabi. The chef has already put the correct amount of real wasabi in the sushi. Do not add anymore unless you really HAVE to. It insults the chef when you do. If you MUST add more wasabi, use your chopsticks to pick up the smallest dab and brush it on top of the fish – never the rice. Same thing with the soy sauce – only a brush on the fish at the very most. Do not dip or soak. Bad, bad, bad.

EATING SUSHI

Lift the sushi (actually nigiri) between your thumb and middle finger. In a deft manner that requires some practice beforehand, turn the nigiri upside down in a counterclockwise motion (sorry – it may seem as if I’m making this stuff up – I’m not!). Lightly brush only the fish in the soy sauce – never the rice. Never shake any soy sauce off of the fish; in fact, never shake sushi for any reason. Any item with sauce or other ingredients already on the top, i.e., eel (unagi), should not be turned over and brushed with any soy sauce at all.

Place the sushi upside down in your mouth so the fish is directly on the tongue. Savor it on the tongue for a moment before chewing or gulping or whatever it is that you do with your sushi once it’s in your mouth.

Do not bite or cut off half of the serving; eat the whole thing. If sushi sizes are generally too big for you, ask your chef to prepare smaller versions for you. The exception is the hand roll, of course, that you have to eat in several bites. Hand rolls are generally more of a fast food, take out item in Japan.

Eat a piece of the ginger between mouthfuls – it cleans the palate. It can be picked up with chopsticks or your fingers. Never mix the ginger with anything or put it in your mouth with other food.

Do not order more than you can eat. Eat everything – never waste food that you have put on your plate.

Miso soup is meant to be consumed after the meal as a way to help settle the food. Ask for it after the sushi, but before the check. If no spoon is provided, pick up the bowl with both hands and bring it to your mouth. Slurping your soup is encouraged – it shows you’re enjoying it. Honest.

More recent etiquette says leave your cellphone shut off in your purse or pocket. No posting food photos or checking email. Rude!

With the exception of sashimi, all sushi is to be eaten with the fingers. For everything else, there are CHOPSTICKS. There’s way too much information about the care and handling of chopsticks to even begin to list here. Safe to say there are a few basic rules that, if followed correctly, you’ll never get called out at any location where they only speak English and take dollars.

  • Do not rub chopsticks together to remove splinters. Do not play your favorite drumbeat with them. Do not wave them around or point them at anyone or anything including the food. Do not pass food to anyone using chopsticks. Do not suck sauce off the ends. Do not nibble on them or use them for any other activity. Do not cross your chopsticks – unless it’s your objective to show everyone the symbol of death.
  • The “secret” of using chopsticks is to only move the top one. Do not hold them in your hand using all five fingers. That’s all I can tell you – you’re on your own from there. Like any skill, it takes practice, which would be best done in the comfort and privacy of your own home before you try it out in public. I’m still working on it.
  • You are allowed to use your chopsticks to tear apart larger pieces of food, although you should never stab your food with a chopstick. It’s not a knife or a fork.
  • When not in use, place your chopsticks to the right of your serving area, preferably with the tips on the provided rest and NEVER point them in anyone’s direction.
  • Putting the chopsticks on top of your bowl or plate indicates that you’re done and the server will remove everything immediately. You’ll want to avoid that.
  • When the meal is completed and if you were provided with disposable chopsticks, place them back inside the paper wrapper as best you can and leave them to the right of your plate.

Now you’re ready for your big coming out sushi dinner. Enjoy!

PLASTICS TOUR FUN FACT: When the band arrived and the tour began, one minor problem surfaced – the band spoke little to no English and my Japanese was, of course, non-existent. I bought Berlitz Japanese/English dictionaries for everyone, but that didn’t work. Somehow in the back and forth though, we discovered that both the lead singer and I had studied and remembered enough high school French to carry on a decent conversation. So we spent the rest of the tour communicating in bad French. For press and radio interviews, I would translate the question into some basic French and the singer would discuss it with the band in Japanese, of course, and come back to me in French; whereupon I would try and interpret it as best I could back to the writer or DJ. Most of the time I just made it up.

STINGER: Halfway into the tour, the lead singer approached me, acting very nervous, and in broken French pointed out that the band members eat Japanese food back home all the time and, while in America, they would rather experience some American cuisine. Well, duh. I apologized profusely and from there on out, it was my turn to do the ordering.

TEN MUSIC BIZ PREDICTIONS, HOPES & DREAMS FOR 2017

Here’s to all of these things coming true in 2017 so that there might be a happy and fruitful 2018!

1. Return of Real Songs

Millennials will come out of their collective fog and realize that what passes for pop music these days – well-produced, pleasant, beat-driven, formula, lyrically repetitive, singsongy, non-melodic music – are not really songs. Real songs – narrative stories with beginnings, middles and ends (as well as the clever bridges) – will stage a comeback, and real songwriters and performers will breathe a collective sigh of relief.

2. Mic Technique Revolution

A superstar singer will set an example on proper microphone technique for the rest of the pop and rock entertainment world by taking the mic out of and away from his or her mouth, allowing us to not only finally see the singers’ facial expressions but to also prevent them from popping their p’s. This epiphany will not spill over into the rap world.

3. Live Performance is Everything

Concert promoters, club bookers and agents will refuse to sign or book any act that isn’t any good at entertaining an audience in a live performance situation. The result? Only artists who have developed an entertaining live show will be allowed to perform. That will bring ticket-buying audiences back into venues and no more pay for play. It will also require artists to learn how to entertain instead of just singing and playing at the same time.

4. Who’s your agent?

As live performance revenue becomes the gold standard for music artists, booking agencies will become the most influential aspect of artists’ careers, surpassing record companies and managers in that respect. Again, an artist’s live show will be the centerpiece of their careers.

5. Local Radio Plays Local Music

Terrestrial local radio stations will regain control over the music they play from their national conglomerate home offices. Music fans will have some sway in what gets played on local radio though real-time mobile apps linked directly to the local radio station studios. The rising tide of listenership will raise all advertising rates boats. Win/win.

6. Performance Royalties from Radio

Congress will expand current performance payments made by radio stations to writers and composers to include master rights holders and, hence, the performers (as it is in the rest of the world except mainly North Korea, Iran and China – great company we keep, huh?). When this long-overdue slight is righted, American master rights holders and performers can then additionally start collecting those performance royalties that are currently being collected (but not paid out) to US-based artists from 75 other nations around the world. All in all, it will mean millions of dollars in windfall to the American music creative community from both here and abroad.

7. Better Streaming Rates

The Constitutional right to a regulated and fair compensation for writers, composers and performers will be enforced on digital streaming companies and extended to all future but currently unknown methods of an audience enjoying an artist’s creative endeavors.

8. Music As Merch

CDs and downloads will be officially relegated to the merch table, websites and indie stores, as artists and record companies finally concede that streaming is the preferable (and more profitable) way of buying music for instant and daily consumption.

9. Record Companies Evolve

Record companies (still the best source of funding, marketing and promotion of an artist’s music career ambitions) will rightfully continue with their 360 deals, but will divert attention away from music sales and focus more on the revenue that can be generated (and commissioned) from live performances, publishing and merchandising (which now includes CDs and downloads). The strength of an artist’s live show will weigh in larger than before in evaluating label signings.

10. New Artists Breakthough on Indie Labels

Indie labels will continue to be the grass roots discovery and nurturing ground for new and developing artists. Many will offer all the services of a major by utilizing third-party independent marketing and promotion companies such as The Artist Cooperative.

We can all dream, can’t we?

QUICK LIVE PERFORMANCE QUIZ

There are a lot of things we all know (or think we know) about the ins and outs of live performance, since most of us have been dealing with it professionally for years. But do we? Take the Quick Live Performance Quiz and see! We’ll start with some stuff most of us already know:

IT’S FAIRLY COMMON KNOWLEDGE THAT…  

…developing a great live show and building a live show fan base are essential to entice the attention of a manager, agent, record company or investor these days. If you don’t have a great live act to back up your music, the odds are decidedly against you.

…the ability to sing and play your songs at the same time is a craft that can be taught and learned by rote. But to entertain? That is an art, and it can only be realized by taking the learned craft up one level into experimental rehearsal.

…the first two things a performer needs to do in order to win over an audience are the same two things you need to do when meeting people for the first time. Make eye contact and smile – and do so frequently during the entire time you’re on stage.

…when a performer is uncomfortable on stage, the audience is uncomfortable as well.

…most recorded songs should be moved up a key or two for live performances in order to project more emotion.

BUT DID YOU KNOW THAT…

…90% of singer/songwriters make 90% of their income from live performances? The rest generally comes from publishing and merch, particularly if you look at music sales as merch. And you should.

…most members of an audience make up their minds whether they like you or not within the first ten seconds you enter the stage, even before you get to the microphone?

…your “snazzy” outfit, jewelry, hair style and even showing skin can work against the effectiveness of your performance?

…most live performers today are blocking out a third of their visual communication with their audiences by bad mic technique?

a set list needs to be constructed according to feel, beat and tone, with a pattern to attract, entice, hold and excite an audience? And that a set of four songs may be a wholly different list of songs than a set of eight?

WHAT IF I TOLD YOU THAT…

…there are three ways to entertain an audience musically (melody, lyrics and rhythm) and you should aim for at least two of the three with every song?

…in addition to planning a set so that everything goes right, a performing artist should have a secondary plan for when everything goes wrong?

…the logos and wild colors on your wardrobe, instruments, amplifiers, and backdrop can provide unnecessary distractions to the audience?

…a note-for-note duplication of the recorded versions of your songs may not be best suited for live performance?

…a visual representation of your name on stage helps the audience remember you?

AND DID YOU REALIZE THAT…

performing artists need to commit their songs and patter to memory so that they will stop thinking about themselves and start thinking about entertaining the audience?

…when all of the songs in a set are performed from the same place on a stage, they all seem to sound the same to an audience?

…what happens between the last note of one song and the first note of the next is as important as the songs themselves?

practicing is not the same as rehearsing?

…how a performer exits the stage is almost as important as the entrance?

AND FINALLY…

…probably 90% of the audience knows nothing about how music is created, played or performed. Therefore, since the audience doesn’t know a verse from a chorus from a bridge, you as the performing artist have to visually let them know when you’re transitioning from one to another.

…an effective way to get the attention of an audience is to briefly get very soft or really loud.

familiarity should dictate set length. If the audience is completely familiar with you and your songs, you should play for at least an hour; however if they don’t know you or your songs, you should play no more than a half hour TOPS.

…an audience member will be more likely to buy your music after the show if the song that really moved them during the set is available at the merch table.

…a performing artist should do things on stage that the audience could never do or would never think of doing anywhere, let alone in front of other people.

How’d you do?

15 – 20: Come on. You’ve done this before.

10 – 15: A little refresher course might be in order.

5 – 10: You need a good Live Performance Coach.

0 – 5:  You need a great Live Performance Coach.

A Live Performance Coach is aware of all of these things and more. All the more reason for musicians and performing artists to work with one before embarking on a stage career. More next month.

 

A SUCCESSFUL MUSIC INDUSTRY PANEL DISCUSSION – SERIOUSLY!

Anyone who has spent any amount of time in the music industry has been subjected to (or participated in) an inordinate number of pointless panel discussions. A lot of my jaundiced view stems from the experience that the people who populate panels are doing so more for the prestige and notoriety of proselytizing to the converted than actually saying anything meaningful. Let’s get real: anyone who knows anything about how to get ahead in this business is not about to reveal it to a room full of competitors. Actually, while the panels are going on, the real business is being carried out in the adjacent hallways, or at lunch, or in the hotel lobby bar. Enough said about that.

But after all these years of spending time on both sides of the dais, I recently witnessed a panel situation that actually worked! In reality, I was more than a witness; I was one of the panelists, although that certainly wasn’t the reason it worked. Never in my experience have I been involved in anything so well planned, so well produced, so well done. It was put together by the organizers of the House of Blues Music Forward Foundation’s Bringing Down The House program. It was held earlier last month, not just here in LA at the Live Nation studios in Hollywood, but also Skyped to House of Blues clubs in seven other US cities where similar events were being held. Bringing Down The House is a national program sponsored by the HOB Foundation where local high school-aged artists and bands compete for the chance to perform on stage at their local House of Blues in a special evening performance. This year, they decided to take it one giant step further and incorporate a series of Saturday morning educational panel discussions covering virtually every aspect of pursuing music as a career.

My panel’s subject matter covered everything from songwriting to home studios to label A&R to performing rights organizations, for which real experts had been invited. Then there were the “kitchen sink” topics, which had apparently been left for me to address. The questions came fast and furious from a panel moderator, but the best stuff came from the high schoolers themselves, not only in the LA studio but also from kids in each of the participating cities in a kind of Face Time, real-time, large-screen situation. How refreshing to find a crowd of young, talented musicians and performers who seemed to be soaking up everything we had to say. A rare audience indeed. Read on!

HOB post panel shot

Continue reading…

THE SIGHT VS. SOUND PERFORMANCE THEORY – WHAT YOU SEE IS NOT NECESSARILY WHAT YOU GET

“Believe half of what you see, son, and none of what you hear.” – “I Heard It Through The Grapevine” by Norman Whitfield and Barrett Strong

In the course of the last 40 years or so, I’ve attended perhaps 5,000 musical performances of every genre and circumstance imaginable; from audiences of six to those of 60,000; from solo performers to large orchestras. In almost every one of them, I’ve been somewhat appalled by the reactions and impressions taken away by many of the audience members as to the relative value of the performances. Far too many times, I’ve found, the general public has little to no idea as to the quality of the songs or musicianship, but are way more impressed by their visual acumen. I’m not talking about staging or lights or smoke machines, but rather how the confidence exuded by the performers, their appearance and stage presence, trumped even the most obvious less-than-stellar renditions of the artists’ material.

My consternation led me to formulate my Sight/Sound Performance Ratio to which I’ve assigned a somewhat arbitrary 90%/10% (if only for the shock value of the statement), which means I believe that an audience rates a performance based on 90% of what they see vs. 10% of what they hear, whether they realize it or not. This is not meant as an assault on the intelligence of the concert-going public. It is a well-documented natural tendency of humans to evaluate (and believe) what they see long before surmising what they hear, as evidenced by the Norman Whitfield/Barrett Strong lyric above.

Until recently, I have not seriously avowed my audio/visual theory, as I’ve had no real backup for my statistic; it’s based on nothing but my own experience. But then I came upon two published studies which supported it, if only obliquely. The first is from Malcolm Gladwell’s widely read 2005 book Blink, and the second from a Harvard doctoral thesis on classical piano competitions, neither of which is nearly as boring as it sounds. Read on; you’ll be glad you did. Continue reading…

A BOOMER’S TEN CONCERT RULES FOR THE NEW MILLENNIUM

“People today are still living off the table scraps of the sixties.” – Bob Dylan

 

Ah, once again, a toast to the good old days of Baby Boomer music – back in the previous millennium when artists only had to churn out two great and ten good rock or pop songs and then their record company would handily foist those songs, 12 at a time, onto the waiting general public sponge through an all-too-willing radio station arrangement and a voluminous 9am-midnight record store.

That was the machinery that then allowed the artist to tour, virtually at will, to play all sorts of dumps and dives (and later the lawn seating general admission heat fests) at any time of the year that they so chose. Everyone had to put up with the long lines, the late sets, the uncomfortable (if available) seating, the bad food, watered down drinks, dark and scary distant parking – because we loved the music and we were all in it together. We needed to see and hear our favorite artists, live and in person, and we would go to any lengths to get there. It was a red badge of courage to detail to friends, family and co-workers the ordeal one had to go through to get tickets, fight the crowds, and stand for hours on end to catch the show. After all, the artist wouldn’t be back in town for at least another year or so, depending on how long it took to write and record the next album, which we were already craving. Continue reading…