“It’s ok to license your music.”
41. There are more opinions out there than just Pitchfork’s. If they give your album a 5.2 or don’t review it at all, that doesn’t mean there aren’t other people, even critics, out there who will love it. Don’t let one website determine your self-worth as a band.
42. It’s ok to license your music. There will forever be other bands/critics/anonymous blog commenters/possibly Patrick Stickles shunning you for “selling out,” but it’s a tired argument in this day and age, and, truth is, you deserve to make enough money to pay your rent.
43.(Unless you’re terrible, then just stop doing this and get a real job, hippie.)
44. There will probably be a trip-hop revival sooner or later, right? This could be cool or awful. Don’t blow it.
45. Saxophones don’t have to be smooth, you know. They can be cold and alienating, like the first Roxy Music record. They can simultaneously be head-nodding and brutal like James Chance’s no wave disco. You bought that thing, now fuck with it.
46. Get tougher, in general. There are still a lot of songs getting written explicitly about benign sunny days. Let’s cool it with those.
47. Did y’all take a vow not to write funny songs or something? Most of the stuff that isn’t crazy serious and earnest lately has seemed super vague, bordering on blank. Wits out. Tongues snugly in cheek. Ever listened to an Elvis Costello record? How about the Television Personalities? The Kinks?
48. Playing instruments on a stage isn’t all there is to a performance. It’s got to rise to the level of a show. There are different ways to put one on, but just playing instruments, even quite well, isn’t enough.
49. As lame as it sounds, consider taking a lesson on your instrument. There are some really great, cool teachers here in the city, and it never hurts anyone to learn a few new tricks—least of all the people forced to listen to you lifelessly playing the same few chords or that one plodding, shitty drum-fill you resort to all the time.
50. If you’re some local singer-songwriter we’ve never heard of, sorry, but we don’t want to be your Facebook friend, even if you tell us you really liked that one piece we wrote about the Decemberists or whatever.
This is so awesome I’m linking to it from my venue’s booking info page. Thank you.
I was expecting a list filled with snark and ironic posturing, but this was a fantastic surprise. Thank you, L Magazine.
I think this article is very helpful. I’ve actually had the pleasure to book with Andy and I can say as an artist that I def appreciate when both parties respect each others hard work. The music world is tough.
@Natural: Whoa, whoa, whoa, there’s certainly *some* snark and ironic posturing in there! Thanks for the nice words, and for reading, obviously.
You too, M. Romeo.
my kids are in a (fucking awesome) band in nyc and their manager posted this on facebook. i’m a magazine writer and editor, and the piece makes me wanna hire you guys. nice work.
some things never really change though eh? How about T-shirts are they in or out now? Or how about postering?…I did a bunch of that as well..in crapy weather once upon a time..
@Ninths: As per #57, yes, t-shirts are still a-ok by us. And postering! A total oversight on our part — postering would definitely be nice touch, like a reenactment of a scene from Singles or something.
@Clint Willis: Oh, that’s really very nice of you to say. Glad you like your kids’ music. Though to be safe, I feel I should refer you (and them) to #38.
Thanks for reading, everyone.
It seems like the “advice” from Captured Tracks really only applies to them.
#23. Go ahead and ask. I’ve been to dozens of shows where there vocals vanish. I felt sorry for a band from Scotland who had good 3 & 4-part harmonies and the venue messed up the vocals. Sometimes there’s too much riding on making a good impression. Feedback is good. More is better. Don’t be afraid.
As someone who does PR work for one of the venues in town (as well as freelance for a lot of musicians) I can not tell you how dead on this article is. Heck, I even learned a new thing or two. Thank you for this!
@Doug Kresse: I am willing to bet that asking the crowd how it sounds will not in 90% of shows make the sound any better. If the sound-person hasn’t figured the bands’ sound out on their own, they probably won’t and just aren’t that good at their job and/or are having technical problems. If they happen to be missing something crucial about the sound of the band, go tell them discreetly. It’s insulting to call them out from the stage and won’t yield the results you hoped for.
This is a bunch of bullshit:
Check that guy, ask him if MySpace didn’t help.
MySpace is still in the top 10 Social networking sites, beating out Google+, according to Nielsen:
(Scroll down to the chart were MySpace is mentioned.)
MySpace is #16 on Seomoz:
And is in the Top 7 trending brands on Twitter:
According to Google’s own stats, MySpace is still in the top 100 sites worldwide, ahead of Tumblr & HuffPo. Surprisingly, Reddit is nowhere in sight:
Just looking at that list and counting Social networking sites, MySpace comes in at number 5.
And it’s still beating out Tumblr & Google+ according to CommScore:
MySpace TV is also mentioned postively in these articles:
Tom, is that you?
Most of the tips in here are pretty spot on, and should be pretty obvious to any musician who lives in the city and has played at least a handful of gigs.
With that said, there are a couple of tips that contradict other tips you make.
1 – “play as many shows as possible every day of the week.” The fact is unless you’re on a decent bill with bands that are in a “scene” you are trying to get in, and there’s actually going to be people there, most likely you’re not going to get any real “exposure.” In other words, Mike and other buzz bloggers will most likely not be at Trash Bar on a Tuesday, let alone a more DIY spot like Death By Audio or Party Expo, and especially won’t come if it’s a bunch of bands who they’ve never heard of (or been tipped off to), and more-so the case when all of the bands are completely different, did little to no promo, and the bands have little musicianship, fanbase, etc.
On top of that, as many venue bookers and promoters will tell you, if you don’t bring people to your shows, they’re not going to want to book you again, even at the DIY venues these days (esp the Todd P associated ones). There are so many bands and venues in the city, shows to see, let alone things to do, and on top of that, most people (who are not avid live-music attendees), don’t see more than 2-4 shows (even small ones) a month. So if you send your friends invites 10 times a month for them to see you play your exact same set on a Monday night at 11pm, most likely they will not come (and thus venues will not be as likely to book you as much).
2 – “license your music.” So at one point you say that you should license your music, which you neglect to mention means enabling large corporations to play your music when selling their product or during their tv shows, in order for them to either associate your sound with their product (i.e. indie cred with cars). While you do in fact make money from this (although you most likely won’t be able to do this without some prior relative success), your art will forever be associated with something that either has nothing to do with it, or worse, is against your/your artistic ethos and values.
At the same time, you write that you are sick of vague tongue-in-cheek lyrics, and songs about bland sunny days (or something like that), and that you’re more interested in bands taking a tougher tone, which I think you meant to say, “talking about actual emotions, events, society, politics, the world, your experiences,” as opposed to fluff.
So are you looking for bands to write songs about the juxtaposition of the relative misfortunes and economic outlook of 20-somethings with college degrees against, the misfortunes of the people whose neighborhood’s are being gentrified and are actually living at below poverty levels, to then go ahead and license their song off to Bank of America for their new commercial, while this very same institution’s actions were clearly responsible for a lot of the economic and social injustice that their song is supposed to highlight?
My personal opinion is do what Steve Albini says and don’t look at music as a way to make money, because it will diminish your message, artistic creativity, your ability to go against the grain, and more importantly, put money in the hands of organizations whose interests are completely against yours.
Ooh wee. good advice I plan to use. Not all of it but some of it. Thank you contributors.