The internet has tremendously altered the way musicians interact with fans, vendors, potential labels, and other bands and artists.  It has opened up avenues for streaming music to the world, selling merchandise online, and live video feeds for the people that can’t be at the show.  The Internet has allowed otherwise dopey garage bands to become overnight sensations (well, almost overnight).  The availability and unrestricted views into the lives of these bands and artists has made them even more appealing than before, showing fans that they’re real people, just like the kids that listen to the music. However, it has also given many bands a false sense of accomplishment.  A high school rock band that’s only played shows in their home town of 2,000 people (and only had a headcount of 50 of the total town’s population) might think they’re something big because of the number of hits on their website (if they’re smart enough to have their own domain) or track plays on their MySpace.

The reality is that the bands that sell music are the bands that are working.  Translate “working” into playing shows like there’s no tomorrow.  Being seen doing shows with other bands.  Being active in the community, online, and in the local establishments.  Connecting with the fans on a personal level.  In years past, a band could be amazing, but never heard.  Until an A&R scout discovered them at the local bar.  Then, with the financial backing and a huge marketing push from a major label, the band would explode onto the scene.  And they could maintain that mysterious aura and still sell millions of albums.  Not today. Now you have to show that you’re willing to work for it in addition to being talented.  On top of that, the artist needs to know how to present themselves to each individual they come into contact with on a daily basis.  On one hand, it is imperative that the artist lets their personality show through, but on the other hand they need to show their professional artist side as well.  Whether it be meeting with a fan, a venue rep, an audio engineer, or a record label executive, you need to know how to handle yourself.  If you’re serious about you music, you can’t act like you’re still playing the high school parties.  Below are five things to do that will help you in your career as an artist.

1. Hand out business cards. When you meet someone that might be able to  help you in your career, they need a way to to contact you.  Chances are they gave you a card with their number on it.  It doesn’t matter if you think business cards are out of date or you think it’s too “business like”.  And I’m not going to go dig out your CD case to look for your MySpace or email address.  Just get a simple card designed and hand them out like candy.  Also, make sure your email address is relevant to your band.  No paperpower382_bunny@yahoo.com.  Get a domain name and an email address for your band.  It’s $10.  Heck, I’ll even do it for you.

2.  Show up on time (read: early) everytime. However you look at it, look at your music as a business.  That’s what it is.  It’s your job.  And you don’t show up to work late.  Or to a meeting late.  If you have a load-in scheduled at a venue, be there at leas twenty minutes early.  You’ll be able to meet with the venue personell and get a feel for them before starting to load in and dealing with the chaos.  You get some extra face time with the venue rep and are able to show them that you take your time as well as theirs seriously.

3.  Get to know the bands you play with. If you play a show with another band, you have a huge connection from that alone.  They’re playing in places you’re not.  They’ve got connections with people you don’t.  Until now.  Swap shows with them.  Keep in touch with them.  You need to maintain these relationships for your benefit.  If they get picked up by a label or put on a decent tour and you’ve made an impression on them, they’ll keep you in mind when they need someone else on the ticket.

4.  Leave the drama behind. When I’m working with a band, I expect full cooperation and seriousness.  Sure, we have fun and joke around, but when you’ve got a budget and a schedule, the budget and schedule come first.  If there’s extra time and/or money, then joke around.  And you can always goof off while working, but it’s knowing how to balance the two.  As for drama, if there’s a qualm between two or more members of the band, you have three options as far as I’m concerned.  1: Work it out.  2:  Put it aside for the time of the project.  3:  Get rid of the member that is causing issues.  If they can’t take it seriously enough to realize that it’s time to grow up, I promise you there is a line of 30 people waiting to fill that spot.  Give me a call and I’ll get it filled for you.

5.  Don’t get ahead of yourself. I know that it is exciting to cut an album.  Being in the studio just has a way of making bands really feel like they’ve accomplished something.  And you should feel that way, because not all groups are able to get into a studio.  However, after time, many bands will start writing new material just shortly after releasing their album.  I tell bands that’s okay as long as you’re not playing that new material at shows.  You’ve got an album to sell now; if you’re playing a new song that’s not on the album, the fans are going to wait till you release the album with the new song.  There goes your sales.

This is an extremely condensed list of tips.  There are millions more.  And on top of those millions is another million variations of each of the initial tips.  For more help on management, production, image branding, or performance consulting, contact me today.

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