My blog is a place where I can tell you a bit more about me, the venues I have played and other things I have found or done in my life’s travels!
You can read in more detail about how a gig went, how great (or bad) the venue was and if anything new or exciting happened as a result of my playing somewhere!
I will also tell you about any new updates and releases I may be making or thinking about, things I have done, and quite possibly just the odd rant about things now and then.
For those trying to make their living as live musicians in these days of streaming music, there may seem to be a dwindling number of opportunities. However, there are opportunities in places that few think to look. Touring musicians, in particular, may be able to fill in dates on their tours with some of them, since as we all know, on a tour, if you are not playing, you are paying. In may of these places, you can offer workshops and/or lessons as well as performances. This series of installments on this blog are about those hidden and semi-hidden opportunities.
We’ll begin with:
Facilities for seniors can mean Residential or Day facilities. We’ll begin with Day facilities, sometimes called “Senior Centers”, which offer drop-in activities, such as gym and swimming, counseling and health support, art, crafts, and music, life-long learning classes, and sometimes meal service. There is also what is called “Adult Day Care” for adults with physical or mental issues. There is usually an activity director, and since the Senior Centers are often run by the city they have a budget to spend on performances of various sorts, though not a large one. This also means that the city probably can tell you whom to contact at each Senior Center.
The first tier of residential facilities is often called “Independent Living”. These are often, but not always resort-like, sometimes having condos,or cottages with common dining and activities areas. The residents are usually self-sufficient, and may do some of the planning, though there is usually an activities director. A performer may find themselves in the dining area, or on a regular stage. Of all the possibilities, these are the ones that will feel the most like a regular performance anywhere. Sun City, for example, has a full auditorium, with people acting as stage hands and sound personnel.
Second tier would be “Assisted Living” for people who require some kind of support, but are still fairly independent. There will be an Activities Director here who will arrange performance and other events several times a week. These could also include classes and workshops, but you’ll want even performances to be pretty interactive.
“Nursing Homes”, the third tier, are people who require a great deal of support, and have not got a lot of mobility. The Activities Director will probably arrange to have performance events in a central gathering place like a dining room or lounge, and the residents who often be in wheelchairs, so there will be attendants in your audience as well. There is also “Memory Care” or “Memory Unit” in many Nursing Home settings for those with Alzheimer’s, Dementia, and other mental health issues. They will have strict supervision and their ability to interact will be very limited. Your performance will be much more basic, and many in your audience will not respond, and may even fall asleep.
Finally, there are the “End of Life” care facilities, and hospice. Music is still very important to these residents, and your concerts will often be beside a bed. These can be among the most rewarding of playing situations, but they are not to everyone’s taste or ability. But … A study in the Journal of Advanced Nursing found that listening to music can reduce chronic pain up to 21%, and reduce depression by up to 25%. Other studies have linked music to lowering blood pressure and anxiety in hospital patients. If you can do this, you will be performing a great service to those for whom you play.
What to play:
Your performance may include one or more of these:
Activity Directors often prefer that your performance be tied to holidays or special occasions. For example, Christmas, Halloween, Fourth of July, May Day, Valentine’s Day, etc. Every day is some kind of holiday. Google it before you plan your performance. You’ll want to give your listeners a sense of continuity from their formerly private lives. Entertainment makes the transition to living in a retirement community more pleasant for all residents. For some residents who seek greater social interaction and mental stimulation, the ready availability of quality entertainment can be a deciding factor when selecting a retirement community.
A lot of people who are currently residents in facilities like those described above, are people who grew up singing in folk clubs and coffee houses, parties, in the hallways at school, even with the television (Remember “Follow the bouncing ball!”?) If you play songs from about the 30s to 60s, you’re pretty sure to have audience members singing with you. Smile a lot, talk to your audience, let them sing (In fact, invite them to do so.) Interaction is the most important thing in these performances.
Because I’m going to be the opening act in April for someone I have long admired, I decided to do a thorough investigation of what it means to be the opening act. I have opened for friends, in the past, and occasionally for people whose name and music I didn’t know, but it was small venues, or other lesser-known acts, and so there was not much pressure. But this time it will be a veteran, whose name is very well known, and I want to get it right. (I’ll give you more details at the end of this.)
So first, a definition. This is straight from Wikipedia:
“The opening act’s performance serves to “warm up” the audience, making it appropriately excited and enthusiastic for the headliner. An opening act, warm-up act, or supporting act is an entertainment act (musical, comedic, or otherwise), that performs at a concert before the featured act, or “headliner”. Rarely, an opening act may perform again at the end of the event, or perform with the featured act after both have had a set to themselves.”
OK. Well, there’s no one in the audience whose enthusiasm for the headliner could be greater than my own, so that will be easy. I will probably mention a few times how grateful I am for the opportunity, for a wide variety of reasons. Not the least of these is that I get to play for his audience, and potentially, add them to my audience. Not only fans, but press, and booking contacts could be amongst the people for whom I will have the opportunity to play.
However, I’m aware there are some risks here, and I know there are some rules for avoiding them. I checked online (Because that’s what one does these days), and here’s what I found.
There may not be a formal arrangement for you to roll up your sleeves and help promote the show, but get on board and do what you can. Announce the show on your website, social networking sites and via your mailing list. Be sure to include info about the headliners in the promotion you do to your existing fans.
Contacting the local press and radio may also be helpful, but consider checking with the show promoter before you do that. They may have plans for reaching out to the local media, and you don’t want to step on their toes and confuse the message. Generally speaking, the larger the show, the larger promotion machine behind it, so do check before making the media calls.
When the headlining musicians, their management, agent or the show promoter asks you to be somewhere at a certain time, be there. Yes, even if you know if absolutely everyone else involved in the show is going to be late and you’re going to be spending a lot of time standing around waiting. If something happens that is going to delay you – getting lost on the way to venue, flat tire, forgotten instrument, etc, etc, etc. – call someone and let them know. Even if they treat you like you’re giving them T.M.I., better to err on the side of being thorough and showing that you respect your scheduled set, than to bank on the fact that everyone will be cool with you rolling in when you can.
In most cases, sound-check starts with the headliners and finishes with the first opening act. The reason for that is partially a practical one – the first opener will take the stage first, of course, so when they sound-check last, the stage is set up with their gear so the show is ready to start.
However, the reason is also partially hierarchy. Allowing the headliners to get the first crack at sound-check means they can kind of take their time and sound-check until they feel good about their set. Sometimes, this means the headliners end up taking up ALL the sound-check time – or most of it – and that of course means the opening act gets little or no time to check their own sound and get comfortable with the stage/acoustics.
For an opener, that can cause some serious stress, but your best bet is to grin and bear it rather than kicking up a fuss. Sure, it would be great if the headliners made sure everyone got a pop at a sound-check, but it IS their show and their prerogative to take the time.
Before you assume that you’ll be setting up a merch table the night of the show, discuss it with whoever booked you for the gig. Sometimes, headliners (or their reps) frown on support bands selling their merch because any money thrown your way is money not spent on the headliners’ merch. That may rub the wrong way – especially if the headliners are making big bucks for the show while you’re getting a pittance – but you’re kind of bound to the rules set by the people who invited you to play the show. Have a discussion about this before the night of the show.
Even if it feels like the audience is eating it up and you’re having a great time on stage, wrap up your set when you’re supposed to. When you run over, you take time away from the headliners. It’s important that they get their full set – or if they don’t, that it is not your fault. Remember, the headliners are who the audience is REALLY there to see, so just be glad you made some new fans and promise them a longer set in the future.
Unless there is a valid reason why you have to play and dash – you’ve got a plane to catch, a 14 hour drive home, an illness or something along those lines – don’t skip out before the headliners play their set. Yes, even if they are not your favorite band, stick around and watch them play.
Say a quick “thank you” to everyone who helped you land this opportunity and everyone who helped the show run smoothly. From the headliners and their reps to the venue manager and sound engineer, a quick “thank you” goes a long way.
So here’s the scoop: In April. I will open for Michael Martin Murphey at a concert at the LBJ Ranch. The concert is a fundraiser for the LBJ Museum of San Marcos Permanent Endowment Fund and includes a barbecue. I was honored to be asked to do this, in no small part because, back when you used to need a written copy of your song in order to register a copyright with the Library of Congress, I used to transcribe Mr. Murphey’s songs. I did the transcriptions for his first album, and several times had to start songs over because I forgot what I was supposed to be doing and just sat there listening and enjoying. So I’m excited to be part of one of his shows, and I may even get to sing harmony on a few of those songs. Keeping my fingers crossed about that. Details will show up on my website and social media outlets in the near future.
And for your entertainment, here is Mary Chapin Carpenter’s take on all this:
Let me admit, right here at the beginning, that I have a certain amount of ambivalence where artistic competitions are concerned, so we can get that out of the way. Nevertheless, there they are, and here I am, so I’m going to try and be as open-minded as I can.
Also, I’m going to limit myself to the songwriting competitions I have encountered or know by reputation, as opposed to all the contests out there. That should eliminate the ones that are simply scams for someone to use songwriters’ dreams against them. It may eliminate some perfectly honorable ones as well. If so, I apologize for the inconvenience.
We can start with the ones that are part of a music festival, just another activity on the weekend’s agenda. Kerrville Folk Festival, here in Kerrville, TX, looms large among these, Founded by Rod Kennedy and currently presided over by Dalis Allen, NewFolk is one of the oldest continuous contests. Also in Texas, in Richardson, is the Wildflower Festival which includes another song competition. Though not as old, it is much respected in its own right. Telluride Troubador is another venerable competition, which along with the Rocky Mountain Folks Festival occur in Lyons, CO during the summer months. Tucson Folk Festival takes place in Tucson, AZ in May, Dave Carter Memorial Songwriting Contest at the Sisters Folk Festival occurs each summer in Oregon, Woody Guthrie, Calgary Folk Festival, Great River Folk Festival, CT Folk Grassy Hill Songwriting Competition, South Florida folk Festival, Susanne Milsaps Memorial Songwriter Showcase at the Inter-Mountain Acoustic Music Association Festival, Falcon Ridge Emerging Artist Showcase, which is not technically a competition, but they do poll the audience to see whom they would like to return.
Of the competitions that are not connected to a festival, but are still songwriting competitions, as opposed to Battles of the Bands, there are several. The BW Stevenson Contest at Poor David’s Pub in Dallas, The Rose Garden Cafe songwriting contest in Massachusetts, Susquehanna Folk Music Society in Maryland, and Songwriters Serenade in central Texas to name a few.
And then there are the giant national and even international competitions. John Lennon Song Contest, which is now so big it is run in stages, International Songwriting Competition, Billboard Song Contest, Great American Songwriting Contest, NSAI Competition, USA Songwriting Competition, Unisong International Songwriting Competition, Eurovision Song Contest and the UK Songwriting Contest.
Most of these contests cost between $25 – $35 to enter per song, or sometimes per 2 songs. Kerrville costs $25 for a two-song entry, John Lennon is $30 per song. A few of the contests are free to enter, but a caveat goes with the free-entry ones: Read the fine print before you sign. Most festivals require a performance component (which means the writers have to get themselves to the festival — though they usually get in free) in order to choose winners, but Songwriters groups usually don’t.
Winning a song contest where you are performing can be life-changing, or have no effect whatever on your career. Exposure at a folk festival is no small thing. It can make booking gigs a lot easier, if you do a good job onstage. The opposite is also true. If you are not up to the occasion, it can harm your standing in the community. I even went so far as to hire an acting coach before one competition, and it really did help. And , of course, practicing can never hurt you. If you are “In it to win it”, then of course, you want to bring your “A” game. just like you would to any gig (Right?). Dress and behave professionally, don’t drink and drive, and be friendly to your audience. Be careful with introductions, ie. not too long. For one thing, there is someone running things with a schedule in mind.
On the other hand, just being part of the contest can do the same, even if you don’t win the contest. You would have displayed your great songs in the best possible light, and there are so many people in the audience — and onstage with you doing the same — that will be interested in your music. I’ve lost count of the number of times when someone walked up afterwards to tell me how much they appreciated my songs, even when I didn’t win the contest. Be friendly when that happens. Fans are important, even if you’re disappointed in the outcome of the competition. And I have witnessed a group of songwriters who all participated in a song competition one year who are now friends for life.
For those contests where the writer doesn’t have to perform, the important thing is to give the judges a good recording of the song. Notice I didn’t say fully-produced or anything like it. The simpler, the better is what I’ve heard from many judges. But clear sound, and a short simple (instrumental) introduction, if any, are essential. So is leaving out the lengthy guitar solo. Again, put your best professional foot forward. This is also true for the big, national or international contests.
As for the TV contests, they have been, for the most part. about singing ability and “star quality” rather than about songwriting. Grammy winner, Sam Smith has stated that he thinks they are actually bad for songwriters, though he himself has performed his own song on one of them. He says he wants to be judged on the basis of the song, not just on his voice. I myself have never been tempted by them, though I know two people who have. One described her experience as “demeaning”, and the other, I believe, was somewhat successful. She is, however, an excellent singer, and the show was The Voice.
There is a new show being promoted that would feature songs and songwriters. It would be titled “Songland”. Adam Levine, of Maroon5 and The Voice, and Dave Stewart, Grammy-winning songwriter, are involved, and here’s what the blog, Saving Country Music has to say about it:
The show wants to feature “everyday people” and their compelling back stories as they try to pitch songs that eventually could become huge hits. Also involved in the show would be big-time producers and artists as a song goes through the pitch process.
So perhaps this would be a better TV vehicle for songwriters interested in TV exposure.
Speaking of exposure, it’s time for a word about winning and losing. I’ve won a few prizes and I have also been totally ignored, so I know that they both carry an emotional impact. Winning can be a wonderful shot in the arm for a performer’s ability to book gigs in prestigious venues — though that does wear off. Losing can be a discouraging disappointment, no matter how many friends and fans you make in the process. A good thing to remember is that winning a contest is not the reason you wrote the song. Also, judging songs, or any other art form, is a very subjective thing, affected by all sorts of extraneous factors. Don’t take it personally, and you’ll survive to write another day.
You’ve waited for months for this night!
It’s your CD release party, Master’s recital, debut performance, big-deal conference showcase, month-long tour or something equally important. You definitely want to be at your best, and your vocal performance to be as flawless as you can make it. And on the morning of the “day of”, you wake up, and — uh oh……
You sound like this:
What do you do?
I live in Austin, Texas, the Allergy Capital of the Universe! (No, really!) Here, it’s always allergy season. Allergies are a way of life. But I sing and talk for a living. I’ve had friends who were forced to cancel their CD release parties because of allergies, and could thereafter never get that all-important momentum going again. I myself have been known to skip shows in the middle of a tour, because I had no voice. In fact, part of that tour was a competition of performing songwriters, and I watched the judges write me off as soon as I opened my mouth. Sucks.
So in December 2014, I became part of a Christmas caroling group which has been in operation in Austin for 20 years. They now had more work than they could handle, and were starting a second group, which included me, to take the overflow. Before too long, we had a dozen shows all through December. We learned 30 or so of the nearly 50 songs that the original group had in their repertoire. We rehearsed once a month starting in May, and then once, or even twice a week in October and November to get ready. And during that last push, I suddenly remembered CEDAR SEASON!!!! (Put a lot of fear in your voice when you read those words).
It’s not real cedar. It’s called mountain cedar. No actual mountains, but it doesn’t really matter, because it’s actually a form of juniper — or at least that’s what I’ve been told. Whatever it is, in December the trees “get busy”, resulting in yellow pollen in the air, on your clothes, on your car, everywhere. If you want oxygen at all, you’re going to breathe it. And lots of immune systems don’t like it.
Cedar season is accompanied by mold season, and other unidentified allergens, so if you escape one, another is bound to get you.
I’m pleased to report that, after my initial panic, I did make it through December, never canceling for even one of the gigs. And did a few others besides the caroling ones. I was not entirely unscathed, so I’ll be looking in the comments for other ideas, but after all that work, both on my part and on the part of the woman who heads up this endeavor, I was damned if I was going to waste it.
Here’s what I did:
Far and away, the most effective thing I did was this: I started warming up the minute I was out of bed, and I kept it up all day. I used to be afraid to do that, because I thought I would blow out my voice before the show, but I tried it this time and it totally worked! By the time I had warmed up a little at a time, I was able to sing. It wasn’t my very best voice, but it was the best I could do at that moment, and it worked.
I got a steroid shot that did help clear it up faster, when I was being assaulted by allergens. But you can only do that once a year. It didn’t keep it from happening at all. Good theory, but, no.
I cancelled all unnecessary talking on the day of a performance if my voice was fragile. For me, it feels like talking is harder on my voice than singing, so I tried really hard not to do any talking all day. (For me, that’s REALLY hard. I deserve an award!)
See? Much better. (Oh wait. That isn’t me….)
These ideas came from Mady Kaye, Art Kidd, Clare McLeod, Brenda Freed, and my mother (the “stop talking” one).
It was the announcement from CNN that first got my attention really. I was listening to them talk about it on the CDBaby DIY Musicians Podcast (and if you are an Indie musician, you should be listening to this too! Find it on iTunes or go subscribe at http://cdbabypodcast.com/) while I was running one morning Here’s a quote from the actual story:
“Interviews with college-age music fans suggest that more and more are choosing to stream music instead of downloading it. After all, why pay for music when you can summon almost any song you want, at any time, for free?”
The CNN article points out that music streaming sites such as Pandora and Spotify are becoming increasingly popular — mainly because of the price-tag, but each service offers its own particular advantage over outright ownership of music. In fact, the whole idea of what “ownership” means is changing.
My reaction to all that was, basically, “uh-oh”. Because not that long ago, I was listening to these same people discussing the fact that David Lowry, of the band Cracker, had posted his statement of royalties from Pandora, and it was pretty shockingly small, given the number of plays. He also posted his statements from satellite (Sirius) and terrestrial radio stations.
The Pandora payout lost the comparison by a huge margin. Here’s a look at the statements he posted:
So , if these streaming services are becoming popular to the point where they are displacing buying the CDs, or even the single songs, the average independent songwriter is about to experience a significant drop in income (I say it that way, because one of the things I learned while researching this post was that independent songwriters are paid at a different rate than corporate entities by the streaming services.)
Up until recently, while it wasn’t easy to make one’s living from music, it was possible, for some more than others, I’ll admit. The best way to monetize your music, as it ever was, and maybe ever will be, is by live appearances. And selling ones own music at those live appearances. Despite the fact that there are hundreds, if not thousands of marketing strategies out there that claim to have “the answer” to how to market music, the truth is, few have been able to do it without at least playing live locally.
To put it in the words of a recent post on the streaming situation by one of the more successful songwriters in Austin, TX, Raina Rose:
“The 20th century was the only time in the history of music where some musicians got very well paid for their work.”
She follows that with: “Those days are over”
Ms. Rose’s post was prompted by the commotion caused by Taylor Swift’s announcement a week or so ago about how she was pulling all her music, including her newly-released album, “1989”from Spotify, one of the lowest paying of the bunch. Taylor Swift had this to say about her decision:
“All I can say is that music is changing so quickly, and the landscape of the music industry itself is changing so quickly, that everything new, like Spotify, all feels to me a bit like a grand experiment,” Swift told Yahoo.“I’m not willing to contribute my life’s work to an experiment that I don’t feel fairly compensates the writers, producers, artists, and creators of this music.”
And she added, “Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for.”
I couldn’t agree more.
In this decision, she was joined by Nigel Godrich, of Cracker (and some others). Said Mr. Godrich:
“We’re off of Spotify. Can’t do that no more, man. Small, meaningless rebellion. The reason is that new artists get paid f**k-all with this model. It’s an equation that just doesn’t work. Plus, people are scared to speak up or not take part, as they are told they will lose invaluable exposure if they don’t play ball. Meanwhile, millions of streams gets them a few thousand dollars. Not like radio at all. If you have a massive catalogue—a major label, for example—then you’re quids in. It’s money for old rope. But making new recorded music needs funding. Some records can be made in a laptop, but some need musicians and skilled technicians. These things cost money. Pink Floyd’s catalogue has already generated billions of dollars for someone (not necessarily the band), so putting it on a streaming site makes total sense. But if people had been listening to Spotify instead of buying records in 1973, I doubt very much if “Dark Side” would have been made. It would just be too expensive.
“However, Spotify needs the new artists to be on the system to guarantee new subscribers and lock down the “new landscape.” This is how they figure they’ll make money in the future. But the model pays pittance to the new artist right now, an inconvenient fact which will keep surfacing.”
British pop singer, Ed Sheeran, has said that he sees the services more as a discovery mechanism, which would certainly be true of Pandora, which doesn’t let the user choose which music they will listen to.
Russ Mitchell of the LA Times agrees, saying:
“His argument falls in line with recent data from audience measurement service Nielsen that showed that those who pay for streaming services are about twice as likely to buy a CD or download an album than those who freeload on advertising-supported outlets.”
However, on Spotify, the user can create their own playlists, excluding any music that user is not familiar with. Discovery falls by the wayside. And also, on Spotify, there are two tiers, a premium tier with certain advantages having to do with quantity and, I believe, quality of streaming, and a free tier. Which is what the CNN article was talking about when they asked “Why pay, if you can get it for free?”
I try not to be cynical. I’ve been trying all my life. But I couldn’t help but notice how many “column inches” were being devoted to Taylor Swift and her decision. Part of me wanted to agree with her. But part of me was also thinking “Wow! She certainly generated a LOT of public attention!” (I know. Shame on me.)
But then I saw this yesterday from Billy Bragg:
“What a shame that Taylor Swift’s principled stand against those who would give her music away for free has turned out to be nothing more than a corporate power play. On pulling her music from Spotify recently, she made a big issue of the fact that the majority of the streaming service’s users listen to her tracks for nothing rather than signing up to the subscription service.
“These worthy sentiments have been somewhat undermined by Swift making her new album and back catalogue available on Google’s new Music Key streaming service…..which also offers listeners a free service alongside a premium subscription tier.
“If Ms Swift was truly concerned about perpetuating the perception that music has no value and should be free, she should be removing her material from You Tube, not cozying up to it. The de facto biggest streaming service in the world, with all the content available free, You Tube is the greatest threat to any commercially based streaming service.
Google is going after Spotify and Taylor Swift has just chosen sides. That’s her prerogative as a savvy businesswoman – but please don’t try to sell this corporate power play to us as some sort of altruistic gesture in solidarity with struggling music makers.”
And I thought that I was being cynical! In fairness, I must mention the following, from a different article:
“However, a statement released by Swift’s spokesperson to NME reveals that Swift has not joined forces with the new initiative. It reads: “Taylor Swift has had absolutely no discussion or agreement of any kind with Google’s new music streaming service.”
Tune in tomorrow for the next episode of our continuing saga …..
All of which brings me back to that disturbing conversation on the CDBaby podcast about how more people were streaming than buying music. To my (sort of) relief the CNN article ended with this:
“The music fan never ceases to surprise me. If you told me five years ago there would be a boom in the sale of vinyl records I would have laughed. But people are buying them, and I think there are some people that will continue to buy music [and not just stream it].”
And thank goodness, people have still been buying my own CDs – though, for the most part, I have to be there to sell them … at live shows.