Emily White, an intern at NPR, wrote the article "I Never Owned Any Music to Begin With", explaining she has 11,000+ songs in her iTunes library by has only paid for 15 CDs in her life. While she states that seh supports bands through concert tickets and t-shirts, she admits that her generation probably won't be buying
This triggered a thoughtful, well-written post from David Lowery at The Trichordist. In it, he talks about the heavy burden that artist friends of his had to bear due to financial hardship, eventually leading to their suicides. Wow, heavy stuff.
He then goes on to clearly explain the immorality of piracy quite well, although the extended metaphor for the internet as a neighborhood that is built around theft fell a little flat with me.
While I agree that piracy is immoral. I don't think the morality angle will make much of a dent in people's behavior. It's preaching to the choir. Saying something is immoral doesn't make people any less likely to do it, especially if the systematic structures in place make it easier to be immoral than moral.
For many people, piracy doesn't feel like a crime and so their moral intuition doesn't interpret the behavior that way. The band doesn't have "less MP3s" to parcel out to fans, so it's simple for someone to rationalize "It's only a couple cents the band isn't getting." Even when we know with certainty that driving above the speed limit increases traffic deaths, virtually everyone speeds at least a little. "Because come on!", people rationalize, "I'm just going a few over and I'm already late for the concert!"
Think about how much easier to click "download all" than it is to:
-Decide how much you actually want to hear the band.
-Look at your music budget and determine if you've got the $9.99 for the album.
-Weigh the moral implications of how much the download hurts the band / label.
Most people won't spend too much time on a band. There's an infinite number of songs to listen to on the internet and a casual fan won't spend too long with one before moving on to find a band that better connects with them. Only medium to strong fans will go through the purchase process.
Yes, it's a bummer.
But piracy isn't going anywhere.
The icecaps have already melted on planet music.
Adapt to the new planet or fail.
***
I DO NOT CONDONE PIRACY. I AM ONLY EXPLAINING WHY THINGS ARE THE WAY THEY ARE.
***
6/13/12
Will "The Hunger" Consume You?
I've yet to meet an artist who was immune to The Hunger. It strikes artists young and old, established and amatuer.
This is about The Hunger for success and recognition we feel when we're at the end of our ropes.
It will consume you if you don't manage it.
The Hunger manifests itself in different ways among different artists. Some turn the urge inward, others lash outward. I've seen it through:
The Hunger is a scary beast to confront.
Thankfully, there are ways to help:
What are some ways you've seen The Hunger manifest itself, either in yourself or others?
This is about The Hunger for success and recognition we feel when we're at the end of our ropes.
It will consume you if you don't manage it.
The Hunger manifests itself in different ways among different artists. Some turn the urge inward, others lash outward. I've seen it through:
-Burnout
Watching a talented artist give into despairation and repress their innate artistic nature is a sad march. Some give up art altogether, others
-Bitterness
Some artists will go out of their way to denigrate others and put down new musicians. Everyone began out crappy and it's only through sustained effort that we become good. But bitter artists can serve up steaming bowls of negativity chili nonstop until new artists are full of negativity themselves.
-Drugs
We all know someone who deals with chemicals instead of their stress. What a waste.
-Starting a Predatory Business
This one I find especially irritating. Washed out musicians starting "pay to play" promotional companies or bogus "managers" who skim small bands without doing any work are all too common. They tend to like the phrase "exposure". Yes, it is clearly a sustainable business model to take advantage of inexperienced artists since that is one market that will never disappear. But that doesn't make taking advantage of others right.
The Hunger is a scary beast to confront.
Thankfully, there are ways to help:
-Side Projects
Creativity comes from assembling disparate sources of inspiration. Take a break from anything that remotely resembles your current project to work on an entirely new skill set. If you're a singer songwriter, start working on a standup comedy routine. If you're a painter, start learning how to breakdance. Everything is connected to the creative mind. Sometimes all you need is the right spark to jump start your main project.
-Structured Hiatus
You're pushing too hard to allow your mind to wander and make the connections needed to make great music. Choose an exact period of time, say a month, where you don't even so much as look at your instrument. Having to wait for your deadline to get back to your instrument will make you value it more.
If you're as addicted to music as I suspect, you'll soon begin longing to play again and with that renewed passion comes ideas.
-Change Teams
Some people are toxic to the creative process.
Is someone saying "no" to every new idea? Too much negativity and stonewalling could be choking creativity.
Saying "yes" to everything is just as fatal. Hearing "no" shows us what people value and without this feedback, we can't refine our art. Sometime we need negativity.
You can't run without balance.
Sometimes it sucks kicking someone off the team, but being stuck unproductive and unhappy is even worse.
-Change Strategies
If you're not getting the results you want, it's counter productive to keep doing the same thing.
-Stop Working For Free / Cheap
If you've got lots of work but are still struggling, maybe you'er not charging enough. Of course you'll have less customers, but you'll also have more money and time to focus on doing more fulfilling work. The one fatal pricing error is pricing yourself too low to keep making art.
-Day Job
As romantic as becoming a full time artist right away is, being able to pay rent will severly impact your art whether you like it or not. Having at least one steady source of income gives you much more freedom to explore your art without having to worry about profitability before creativity.
I'll be posting more on this topic soon.This is only a start for such a huge topic.
-Find a Positive Mentor / Peer Group
We become those around us.
If you're surrounded by naysayers, sloths, or haters you're probably one as well.
Scour craigslist, forums, blogs, and friends for meetup groups for artists like you. If there isn't one, start one. Plan on once-a-month coffee / bar meetups, promote a little to attract initial attendees, and trim out negative individuals from the group. Having positive support from peers will keep the negative energy from metastasizing into The Hunger.
What are some ways you've seen The Hunger manifest itself, either in yourself or others?
5/29/12
The One Fatal Pricing Error
It's no secret that every artist wants to be able to make a living of their art.
Yet it's also no secret that many developing artists are reluctant to raise prices, especially since the idea of fan backlash like this can be terrifying for an artist to even imagine.
Let's talk about Price-o-phobia.
Price-o-phobia a highly prevalent, ambition-killing fear of raising prices that prevents people from getting paid what they are actually worth. Artists are highly succeptable since, unlike a hot dog stand at a state fair, there's no easy guideline for what the generally acceptable price would be for their work.
The first step is figuring out the underlying causes of our Price-o-phobia.
There's a tangle of roots often feeding this fear:
-"I only spent X on materials, there's no way I would charge someone more than 2X!"
-"If I raise prices, I might not sell every piece. It's safer to keep prices low so I'll move pieces."
-"It's not that great. I can't charge that much."
-"It's vulgar to raise prices for my work. I couldn't do that to my fans!"
-'What if my fans rebel and I lose everything I've worked for?"
These are quite common fears amongst artists and musicians alike. Some fears are productive, like being afraid to jump off a thirty story building into a pit of rusty spikes. Other fears, like being afraid to eat food, are clearly counter productive. Price-o-phobia falls into the latter category.
Let's unpack some of these fears.
"I only spent X on materials, there's no way I would charge someone more than 2X!"
Materials aren't the only consideration. Your time and musical talent have value that is just as real as the materials involved. Lawyers and doctors charge for their time and effort because what they do requires special skills that not many possess. As an artist, you should be no different.
"If I raise prices, I might not sell every piece. It's safer to keep prices low so I'll move pieces."
Everybody loves a deal. Sure, I'd love Kobe ribeye steak for $5 too, but prices like that would cause the restaurant to go out of business in months if not weeks. Now nobody gets steaks anymore. Not. Cool.
"It's not that great. I can't charge that much."
a) Sometimes modesty is a virture. Sometimes modesty is a vice. If you're regularly selling pieces, chances are you might be too modest to support yourself.
b) If it's actually not that great, stop reading right now and go practice.
"It's vulgar to raise prices for my work. My fans are my friends!"
Your fans want more art than they want a deal. If that's not true, they're not fans. (Remember, I'm assuming you've got an extraordinary product. If you don't have that, then you should be practicing instead of reading this.)
'What if my fans rebel and I lose everything I've worked for?"
Let's dig deep into this one.
In December 2010, Jack White caught flak from fans for selling his limited edition vinyl on eBay. As the prices rose to eventually reach $510, fans became outraged at this price saying it was "exploitation".
At what price is it exploitive for a fan to pay for a work of art?
Or better yet, how do we know the true value of art?
Jack White explains:
Let's put it another way: If someone loves your art so much they're willing to give you $500 for it, should you let them?
If you actually care about becoming a self-sufficent artist, the answer is clear.
The songs we associate with our first drive in our first car (Groove Armada - Superstylin') or an amazing road trip with friends (Snoop Dogg - Ain't Nuthin but A G Thang), they're the memories that define our lives. Music is a link to our history and our identity.
Creating music is creating love for our fans.
It's your duty to allow your fans to return the favor.
Fans want to support you! If your lucky, some of your fans may have connections that help you book better clubs or tour with bigger bands. Fanastic! Most fans, however, are normal people who just dig your art. Buying art is the one way anyone can help support their favorite artist. When we buy from our favorite artist, we actively say "I love your vision so much that the world is a better place because of your creations. Let me help you on your quest!"
Some fans will complain when you raise prices and that's perfectly ok. You shouldn't always listen to your fans. In fact, fans that care only about price aren't really fans at all.(Provided you're not raising the price waaaaay outside of traditional market value, such as raising prices on a t shirt from $10 to $80. That's a little silly.)
As of May 2012, Jack White's new solo album Blunderbuss hit number on on the Billboard 200. The man makes great art, is it any surprise fans still love his work?
The one fatal pricing error is pricing yourself too low to continue making art.
In order to be a full-time artist, your prices must be high enough to support yourself comfortably. Anything less is unsustainable in the long term. Even if you're moving a million paintings, if you're not capable of keeping the electricity bills paid there's a good chance you'll eventually burn out on art altogether. Ramen every night should be a choice, not the choice.
The only way to get paid what people truly feel your art is worth is to start out high and negotiate price down. If you do price too high, you can always adjust downwards as needed. But fans will never say "Hey, I really liked your show last night. Here's an extra forty bucks because it was worth that." No, they walk away thinking "Wow, what a deal!"
Think about all your sales for last year. What if you had charged as little as 5% more? For an artist, this is an easy task since you set the prices, but you'd have to be really lucky at a traditional job to get a raise of 5% in today's market.
In either case, you won't get a raise if you don't ask.
Your mission, should you choose to accept it, is to make brilliant art. Getting paid what you're worth is vital to this mission.
Yet it's also no secret that many developing artists are reluctant to raise prices, especially since the idea of fan backlash like this can be terrifying for an artist to even imagine.
Let's talk about Price-o-phobia.
Price-o-phobia a highly prevalent, ambition-killing fear of raising prices that prevents people from getting paid what they are actually worth. Artists are highly succeptable since, unlike a hot dog stand at a state fair, there's no easy guideline for what the generally acceptable price would be for their work.
The first step is figuring out the underlying causes of our Price-o-phobia.
There's a tangle of roots often feeding this fear:
-"I only spent X on materials, there's no way I would charge someone more than 2X!"
-"If I raise prices, I might not sell every piece. It's safer to keep prices low so I'll move pieces."
-"It's not that great. I can't charge that much."
-"It's vulgar to raise prices for my work. I couldn't do that to my fans!"
-'What if my fans rebel and I lose everything I've worked for?"
These are quite common fears amongst artists and musicians alike. Some fears are productive, like being afraid to jump off a thirty story building into a pit of rusty spikes. Other fears, like being afraid to eat food, are clearly counter productive. Price-o-phobia falls into the latter category.
Let's unpack some of these fears.
"I only spent X on materials, there's no way I would charge someone more than 2X!"
Materials aren't the only consideration. Your time and musical talent have value that is just as real as the materials involved. Lawyers and doctors charge for their time and effort because what they do requires special skills that not many possess. As an artist, you should be no different.
"If I raise prices, I might not sell every piece. It's safer to keep prices low so I'll move pieces."
Everybody loves a deal. Sure, I'd love Kobe ribeye steak for $5 too, but prices like that would cause the restaurant to go out of business in months if not weeks. Now nobody gets steaks anymore. Not. Cool.
"It's not that great. I can't charge that much."
a) Sometimes modesty is a virture. Sometimes modesty is a vice. If you're regularly selling pieces, chances are you might be too modest to support yourself.
b) If it's actually not that great, stop reading right now and go practice.
"It's vulgar to raise prices for my work. My fans are my friends!"
Your fans want more art than they want a deal. If that's not true, they're not fans. (Remember, I'm assuming you've got an extraordinary product. If you don't have that, then you should be practicing instead of reading this.)
'What if my fans rebel and I lose everything I've worked for?"
Let's dig deep into this one.
In December 2010, Jack White caught flak from fans for selling his limited edition vinyl on eBay. As the prices rose to eventually reach $510, fans became outraged at this price saying it was "exploitation".
At what price is it exploitive for a fan to pay for a work of art?
Or better yet, how do we know the true value of art?
Jack White explains:
"We sell a Wanda Jackson split record for 10 bucks, the eBay flipper turns around and sells it for 300," he explained. "If 300 is what it's worth, then why doesn't Third Man Records sell it for 300? If we sell them for more, the artist gets more, the flipper gets nothing. We're not in the business of making flippers a living. We're in the business of giving fans what they want."Is this exploitation?
Let's put it another way: If someone loves your art so much they're willing to give you $500 for it, should you let them?
If you actually care about becoming a self-sufficent artist, the answer is clear.
The songs we associate with our first drive in our first car (Groove Armada - Superstylin') or an amazing road trip with friends (Snoop Dogg - Ain't Nuthin but A G Thang), they're the memories that define our lives. Music is a link to our history and our identity.
Creating music is creating love for our fans.
It's your duty to allow your fans to return the favor.
Fans want to support you! If your lucky, some of your fans may have connections that help you book better clubs or tour with bigger bands. Fanastic! Most fans, however, are normal people who just dig your art. Buying art is the one way anyone can help support their favorite artist. When we buy from our favorite artist, we actively say "I love your vision so much that the world is a better place because of your creations. Let me help you on your quest!"
Some fans will complain when you raise prices and that's perfectly ok. You shouldn't always listen to your fans. In fact, fans that care only about price aren't really fans at all.(Provided you're not raising the price waaaaay outside of traditional market value, such as raising prices on a t shirt from $10 to $80. That's a little silly.)
As of May 2012, Jack White's new solo album Blunderbuss hit number on on the Billboard 200. The man makes great art, is it any surprise fans still love his work?
The one fatal pricing error is pricing yourself too low to continue making art.
In order to be a full-time artist, your prices must be high enough to support yourself comfortably. Anything less is unsustainable in the long term. Even if you're moving a million paintings, if you're not capable of keeping the electricity bills paid there's a good chance you'll eventually burn out on art altogether. Ramen every night should be a choice, not the choice.
The only way to get paid what people truly feel your art is worth is to start out high and negotiate price down. If you do price too high, you can always adjust downwards as needed. But fans will never say "Hey, I really liked your show last night. Here's an extra forty bucks because it was worth that." No, they walk away thinking "Wow, what a deal!"
Think about all your sales for last year. What if you had charged as little as 5% more? For an artist, this is an easy task since you set the prices, but you'd have to be really lucky at a traditional job to get a raise of 5% in today's market.
In either case, you won't get a raise if you don't ask.
Your mission, should you choose to accept it, is to make brilliant art. Getting paid what you're worth is vital to this mission.
5/17/12
Dare You Bite the Forbidden Fruit of Promotion?
Desipite your relentless hustle, your last release was a flop. With no energy and limited funds left, you begin to accept that there may be nothing else you can do.
A siren song begins to pierce through the static hum of the internet.
Glaring, the offer dares you.
"For $75, This Guy Will Sell you 1,000 Facebook Likes"
Considering how hard we've worked for the Likes you have, this is a pretty fantastic deal. Previous ad campaigns have been measured in Likes and email list sign ups so this seems like a more direct method of getting the results you want.
"But wait, there's more!"
How about buying profiles in bulk?
How would this change your opinion of a local band you've never heard of?
...
With Facebook's initial stock offering coming tomorrow, the $100 billion dollar value of Facebook rests on the value of Likes and the profiles.
But the value of Likes is shaky at best. Pizza Delilcious got a $10 return on 240 likes, so in this case each Like is worth $.04. Not worth it. But if we were to pay the same $240 for the 10,000 fake facebook credentials would we earn $400?
No.
This is a smokescreen. Fake profiles don't buy tickets to your show, nor do they force their friends to listen to your new EP. Only true fans do.
You can't buy loyalty in bulk.
When the cash runs out, the only people left are your true fans. Even with a couple million dollars, the mercenaries will only be as loyal to you as you pay them.
But fans will always be loyal to Motorhead as long as Motorhead is loyal to them.
"Likes" and followers are are only as valuable as the fans behind the numbers.
Integrity, attention and quality are the currency of artists.
Are you investing or spending?
A siren song begins to pierce through the static hum of the internet.
Glaring, the offer dares you.
"For $75, This Guy Will Sell you 1,000 Facebook Likes"
Considering how hard we've worked for the Likes you have, this is a pretty fantastic deal. Previous ad campaigns have been measured in Likes and email list sign ups so this seems like a more direct method of getting the results you want.
"But wait, there's more!"
How about buying profiles in bulk?
BEN ZHAO: Right now on the black market, you can actually buy and sell bundles of Facebook account credentials, tens of dollars or hundreds of dollars for hundreds of thousands of Facebook accounts.So you could buy a legitimate Facebook ad for $240 and get 240 Likes, as Pizza Delicious did. Or you could drop the same amount of cash and get 10,000 "Likes" from fake profiles. Seems simples, but there's much more to this than meets the eye.
CHACE: For example, one company that sells likes showed me this Nashville country singer who was a client. She had a lot of likes. But then I check what city the fans are from, and they were primarily from Cairo.What would you do if you found your your favorite band was buying Likes? How would this change you opinion of the band? Would you still listen to them?
How would this change your opinion of a local band you've never heard of?
...
With Facebook's initial stock offering coming tomorrow, the $100 billion dollar value of Facebook rests on the value of Likes and the profiles.
But the value of Likes is shaky at best. Pizza Delilcious got a $10 return on 240 likes, so in this case each Like is worth $.04. Not worth it. But if we were to pay the same $240 for the 10,000 fake facebook credentials would we earn $400?
No.
This is a smokescreen. Fake profiles don't buy tickets to your show, nor do they force their friends to listen to your new EP. Only true fans do.
You can't buy loyalty in bulk.
When the cash runs out, the only people left are your true fans. Even with a couple million dollars, the mercenaries will only be as loyal to you as you pay them.
But fans will always be loyal to Motorhead as long as Motorhead is loyal to them.
"Likes" and followers are are only as valuable as the fans behind the numbers.
Integrity, attention and quality are the currency of artists.
Are you investing or spending?
5/11/12
Are Contracts Good or Evil?
The media is full of juicy contract dispute stories. Cases such as Chuck D having his royalties syphoned off catch our eye because they're so emotionally charge. (Here's a running list of outstanding court cases artists have filed against their labels.) Being quite skepitcal of the value major labels offer for artists, I know I've contributed to this phenomenon as well.
But we shouldn't dismiss contracts altogether. In fact most of the time I'd say they're largely benficial for the simple fact that they set expectations.
When people aren't sure exactly what you want/offer, they fill in the gaps with their best guesses.
Say you offer to help a young band start their merch table by going through the ordering process and having it ready for their next show. You were smart and got paid up front, right?. Great. So you go to their show, drop the merch off and leave to scamper on your merry way. As you head for the door, the other guitarist grabs you by the shoulder, "Whoa dude, where are you going? You can't leave the table unattended!"
After a short bout of confusion, you realize the other band expects you to run their merch booth from now on. Apparently the phrase "help out with merch" had very different meanings between both parties and now everyone is pissed off.
Had there been a contract, everyone would be happy now.
Contracts are how you make sure everyone gets what they wanted. Or at least it makes sure no one is angry enough to stab you.
When money or (extensive) service changes hands, it's important that both parties understand exactly what they're getting. Sometimes it's ok to just take people at their word, especially for small things like offering to help pass out fliers. But for any substantial deal, it's wise to get at least some writing to add clarity to everyone's desires.
If you get a contract for a big deal like a signing or tour, and you don't understand even one phrase, get a lawyer. Paying a hundred bucks is a whole lot cheaper than losing a lifetime of revenue by giving up your masters. Remember, contracts are about clearly setting expectations. If you don't understand what's being expected of you, don't sign it.
But we shouldn't dismiss contracts altogether. In fact most of the time I'd say they're largely benficial for the simple fact that they set expectations.
When people aren't sure exactly what you want/offer, they fill in the gaps with their best guesses.
Say you offer to help a young band start their merch table by going through the ordering process and having it ready for their next show. You were smart and got paid up front, right?. Great. So you go to their show, drop the merch off and leave to scamper on your merry way. As you head for the door, the other guitarist grabs you by the shoulder, "Whoa dude, where are you going? You can't leave the table unattended!"
After a short bout of confusion, you realize the other band expects you to run their merch booth from now on. Apparently the phrase "help out with merch" had very different meanings between both parties and now everyone is pissed off.
Had there been a contract, everyone would be happy now.
Contracts are how you make sure everyone gets what they wanted. Or at least it makes sure no one is angry enough to stab you.
When money or (extensive) service changes hands, it's important that both parties understand exactly what they're getting. Sometimes it's ok to just take people at their word, especially for small things like offering to help pass out fliers. But for any substantial deal, it's wise to get at least some writing to add clarity to everyone's desires.
If you get a contract for a big deal like a signing or tour, and you don't understand even one phrase, get a lawyer. Paying a hundred bucks is a whole lot cheaper than losing a lifetime of revenue by giving up your masters. Remember, contracts are about clearly setting expectations. If you don't understand what's being expected of you, don't sign it.
5/3/12
Maybe You Shouldn't Tour
"I'm going on tour!"
Those words burst with coolness. The romantic ideal of hitting the road with your best buddies to see the world and play your music strikes a lovely chord in our hearts. And the hearts of our other friends, tied to a their less-creative lives. It'll be a trial, for sure, a marathon. But you'll have the stories of comradery forever.
But beyond the adventure aspect, do you actually have a compelling reason to tour?
Tours cost money. Lots of it.
Every day you spend on the road your band is bleeding cash. Hotels, food, gas, merch and money foregone from missing days at work, everything adds . As nice as it feels to have a day off, a tour day without a show at night means a large hit to your overall cost as you drain your bank account without any show to offset this drain.
You need to think about:
-How big of an audience will we be playing in front of? The logic of touring looks much different when you're opening for a national headline act that pulls 500+ fans than when you'd be touring with another local band from your town.
-Will we be able to play this location again within 6 months to 1 year? The more recognizable you are the more highly you are rewarded and the more "famous" people perceive your band. Since we build our love for music largely through repetition of the hits we love, there's a strong multiplicative effect on the number of times you can expose a fan to your music. Ideally a fan will see you the first time and love your show so much they drag two more friends to the next show. If you won't be able to hit the region in the foreseeable future, you miss out on this huge boost to your fan base.
-How well do the other bands fit your sound? Not all exposure is created equal. You may well be touring with a substantially larger band, but if their fan base probably wouldn't like you than you're wasting your time.
-How much do you expect to make at each tour stop? Are there guarantees for the show or is it based on head count? How many shirts, tickets and CDs do you expect to sling?
-What kind of promotional effort can I put into this tour? Do you have time / energy / talent to put together a marketing push for these shows? Are the towns you'd be visiting friendly to your genre?
-How well is your current lineup of merch selling? Do we need fresh gear? What would you estimate the percentage of people at a show who buy your merch would be?
-Do you have enough merch to last through the week or month that you'll be gone? If we sold everything, what's the most money we could make from merch?
-How much gas will we need? Use google maps and your vans' MPG to estimate. Then figure out the cost.
-How many nights at a hotel / hostel will we need? Do you have any friends / fans who would let you crash at their place? You'd be surprised how helpful fans can be. This'll make a big difference on the overall cost of your tour.
-How much mental energy / sanity do I have to spend? Cash isn't your only limited resource. Being away from home takes a mental toll on everyone. If your bassist is already having a terrible run of luck lately, he'll be more likely to have issues throughout the tour. For your working members, taking time off from work means more stress when they return. Make sure everyone has enough willpower to spend that they won't come after you with a chainsaw before the end of the tour.
-What's your budget? Can your band afford to lose a few grand without breaking a sweat or would that money be better spent on recording a few extra songs on your album?
After all this we're left with the question of "Will we actually make money going on tour?" There's a limit to the number times a business can undertake a large project without any positive return. Simple as that.
In no way am I saying that you shouldn't tour. Far from it. Live shows and merch are becoming the primary means for independent musicians to make cold cash money. And I'm all for traveling, too. It makes you more creative and gives you great perspective on the world. But if the only compelling argument you can make for touring is the adventure, take a roadtrip with your friends instead. It'll be cheaper and much less stressful when you're not carring trailers full of gears and watching a dwindling bank account.
If you're going to tour, make sure it'll feed your band's energy more than it drains it.
Those words burst with coolness. The romantic ideal of hitting the road with your best buddies to see the world and play your music strikes a lovely chord in our hearts. And the hearts of our other friends, tied to a their less-creative lives. It'll be a trial, for sure, a marathon. But you'll have the stories of comradery forever.
But beyond the adventure aspect, do you actually have a compelling reason to tour?
Tours cost money. Lots of it.
Every day you spend on the road your band is bleeding cash. Hotels, food, gas, merch and money foregone from missing days at work, everything adds . As nice as it feels to have a day off, a tour day without a show at night means a large hit to your overall cost as you drain your bank account without any show to offset this drain.
You need to think about:
-How big of an audience will we be playing in front of? The logic of touring looks much different when you're opening for a national headline act that pulls 500+ fans than when you'd be touring with another local band from your town.
-Will we be able to play this location again within 6 months to 1 year? The more recognizable you are the more highly you are rewarded and the more "famous" people perceive your band. Since we build our love for music largely through repetition of the hits we love, there's a strong multiplicative effect on the number of times you can expose a fan to your music. Ideally a fan will see you the first time and love your show so much they drag two more friends to the next show. If you won't be able to hit the region in the foreseeable future, you miss out on this huge boost to your fan base.
-How well do the other bands fit your sound? Not all exposure is created equal. You may well be touring with a substantially larger band, but if their fan base probably wouldn't like you than you're wasting your time.
-How much do you expect to make at each tour stop? Are there guarantees for the show or is it based on head count? How many shirts, tickets and CDs do you expect to sling?
-What kind of promotional effort can I put into this tour? Do you have time / energy / talent to put together a marketing push for these shows? Are the towns you'd be visiting friendly to your genre?
-How well is your current lineup of merch selling? Do we need fresh gear? What would you estimate the percentage of people at a show who buy your merch would be?
-Do you have enough merch to last through the week or month that you'll be gone? If we sold everything, what's the most money we could make from merch?
-How much gas will we need? Use google maps and your vans' MPG to estimate. Then figure out the cost.
-How many nights at a hotel / hostel will we need? Do you have any friends / fans who would let you crash at their place? You'd be surprised how helpful fans can be. This'll make a big difference on the overall cost of your tour.
-How much mental energy / sanity do I have to spend? Cash isn't your only limited resource. Being away from home takes a mental toll on everyone. If your bassist is already having a terrible run of luck lately, he'll be more likely to have issues throughout the tour. For your working members, taking time off from work means more stress when they return. Make sure everyone has enough willpower to spend that they won't come after you with a chainsaw before the end of the tour.
-What's your budget? Can your band afford to lose a few grand without breaking a sweat or would that money be better spent on recording a few extra songs on your album?
After all this we're left with the question of "Will we actually make money going on tour?" There's a limit to the number times a business can undertake a large project without any positive return. Simple as that.
In no way am I saying that you shouldn't tour. Far from it. Live shows and merch are becoming the primary means for independent musicians to make cold cash money. And I'm all for traveling, too. It makes you more creative and gives you great perspective on the world. But if the only compelling argument you can make for touring is the adventure, take a roadtrip with your friends instead. It'll be cheaper and much less stressful when you're not carring trailers full of gears and watching a dwindling bank account.
If you're going to tour, make sure it'll feed your band's energy more than it drains it.
5/1/12
Bob Lefsetz on Music vs. Social Networking
The excellent Bob Lefsetz once again drops some serious knowledge:
One thing Dick Clark had right, about the most people can say about music is it had a good beat and I could dance to it. We know when something impacts us, when we believe it’s great. And when we find something this good, we want to get closer, we want to tell everybody we know. Come on, do you want to screw movie stars because they called you at home or because they’re beautiful and in great flicks?
Social network if you must.
But it’s no substitute for incredible music. At all.
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