I have a confession to make….

Touring is important.

Everyone in the business says it is.

And I’ve repeated this mantra for YEARS.

And to be honest, I never QUITE FULLY understood exactly WHY touring is SO important for a band or artist to do.

It just made sense.

I mean, all the “successful” and “superstar” artists you see broke through touring.

But just RECENTLY it dawned on me just WHY TOURING IS SO IMPORTANT.

Because touring is really one of the only proven ways to create DEMAND for your music.

Sure, you’re an artist.

You write songs in your bedroom, living room, on airplanes or what not.

People should just “discover” your amazing songs on myspace or on the Internet and buy them, right?

Ha.

Well, that’s a nice dream.

WAKE UP!!!!

Life doesn’t work that way.

The reality is, even with the Internet – and amazing things like youtube and myspace and facebook, you STILL need to CREATE DEMAND for your music. (Well, if you want to make ANY money from your music, let alone a living from it…)

ANYONE can write a song, record it and throw it up on myspace (and millions have).

But what separates you from THEM is touring.

What separates a REAL artist from just an artist making music for fun or as a hobby, is TOURING.

YOU NEED TO TOUR TO CREATE DEMAND FOR YOUR MUSIC.

Now of course there are the exceptions to the rule.

Mainly for teen idols (Jonas Brothers, Miley Cyrus, etc) and pop stars (Britney, etc).

But not many….

Are you Miley Cyrus or a Disney kid? Then you probably don’t need to spend years on the road touring….or do you? Taylor Swift when interviewed on TV recently said she took “any” gig she could get before she was signed. ANY gig! Are you doing the same?

Plus keep in mind that those young artists often spend 5-10 years trying to get their big break through auditioning for TV shows and going on likely hundreds of commercial auditions, paying their dues in other ways, like in crummy TV shows or pilots or small indie films before their big break.

Most actors were at it for 5-10+ years before getting their “big” break. If you don’t believe me, go to imdb.com, and type in your favorite actor’s name and see all the bit parts they had in crappy indie projects before they became famous. Brad Pitt, for example, did quite a few “small” projects before his big break – http://www.imdb.com/name/nm0000093/. The Tom Cruise and Cameron Diaz’s of the world (i.e. hitting it “big” without “too” much effort) are far less common than 99% of actors! Even Megan Fox did a ton of small TV shows for YEARS before becoming an “overnight success” by being cast in “Transformers” – http://www.imdb.com/name/nm1083271/ – but does she or anyone talk about this in interviews? Of course not! She’s a STAR and they want to sell you on the fairytale aspect of that – not the reality that even movie stars slugged it out for years on crappy TV shows!

I know, you want music to be EASY.

But the reality is, if you want fans, you need to EARN them by TOURING and winning them over at a show ONE BY ONE.

Doing meet and greets after each show – signing autographs, being charming, talking to them! Being a real, genuine person! So they’ll tell their friends and your next show will have double the turnout as the last one! Even a show of 10 people can turn into a show or 20 or 30 next time if you meet each fan and they tell 2 friends and bring them to the next show. That 20-30 then can turn into 50 and 75 and 100 and…well, I think you get the picture!

So if you’re making music for fun as a hobby, don’t worry about touring. It can take YEARS to break this way and you probably have a day job and/or family and can’t do it anyhow.

However, if you’re young, driven or just simply REALLY want to “make it”, YOU HAVE TO TOUR.

If you have the hope or dream of EVER getting signed by any label, they likely will want to see you perform LIVE!

And there is no shortcut to becoming GREAT live!

A multi-platinum producer who worked with many huge superstar acts said to me, “there is no ‘shortcut’ to becoming GREAT live – you just have to get out there and perform and your live show should improve on its own, like anything in life does with lots of work and practice!”

So unless someone in your family has left you a million dollars to market and promote your music career, you’re gonna have to do it the “old fashioned way”. (And ironically, ALL of the artists I’ve seen that have had rich parents “help” them with their money, are no further along than artists I see who have not a dime in their bank accounts. In fact, the DRIVE that should be there for an artist who came from nothing should make them work a MILLION times harder than any artist who is handed money to tour or promote their music somehow.)

Nothing works better than hard work.

So there you go – figure out a way to tour and if you write GREAT songs and put on a GREAT live show, one day soon you will likely be very successful!

This summarizes it well:

Touring is important, not because we are “artists” but because we are musical artists. Touring and local dates have been the lifeblood of every professional musician/songwriter the entire history of American music. The symphony and opera are not a part of the landscape of the American musical heritage. American music is dance music and bands going back to the earliest American history are dance bands. The acts you mention as exceptions are also make their money from touring. Miley toured more than half of 2009 and her Dad is constantly touring. Labels and publishing companies make money from record sales and licensing. Artists make money from selling tickets.

Justin K

True Talent Management
9663 Santa Monica Blvd. # 320
Beverly Hills, CA 90210

~Music Marketing~Music Licensing~Music Publicity
www.truetalentmgmt.com

“Do, or do not. There is no try.”
– Jedi Master Yoda

What to do when you have a “bad” gig – i.e. hardly anyone shows up…

It’s inevitable that, as a performing artist, you’re going to have great gigs and “not so great” gigs.

All you can do is control how you react.

I’ve managed artists that, upon seeing a poor turn out at a gig, decided it “sucked” and decided to play a crappy show and complain about the lack of a crowd all the way through the set.

Think doing one bad show doesn’t matter?

Think again!

What happened?

The promoter heard the band did a bad set and the promoter never booked that band again.

A better thing to do would have been to say, “Fine, there are only a few people here. Well, I’m going to make sure I win over each and every one of them. I’m still going to give it my all because this is what I love doing so I might as well make the best of it.”

And, in fact, I’ve managed bands that sold more CDs and merchandise at a show with 5-10 people in the audience than a show with 400 people in the audience.

The artist was so amused at the small crowd, he even took a bathroom break in the middle of his set. Now while this generally isn’t a good idea, he did it in a cute/funny/amusing way. He charmed the audience. He stopped caring and taking himself so seriously and that night he really made a break-through in terms of how he performed.

****

Now I know, as an artist, one of the hardest things you may ever have to do is perform to a crowd of none. Or a few people. Or a club with just the bartender, door guy and waitress there.

But hey, you rehearse and there’s no one there, right?

So maybe look at any gigs you do with a poor turn out as a fancy dress rehearsal.

Have fun.

Who cares?

****

I’ve managed bands where one day they’ll be in front of a crowd of 10,000 people at a festival – and the same night (or very next night) they’ll literally be in some dive bar performing for almost no one.
I know this must be hard on the ego — but as an artist you have to figure out a way to deal with it.

Say to yourself, “Self – Well, this is still more fun than going to the gym or doing laundry or rehearsing in front of the mirror” — tell yourself whatever gets you through the set.

If the crowd is THAT small, have fun with it!

Get each and every audience member up on stage with you at some point.

Jump off of the stage and go talk to them — or sing to them from the audience.
Mix it up.

I guarantee that if you connect that well with a small, small group of people, they will remember YOUR show as the one where they got to go up on stage. I bet they’ll go home and tell 10 friends. Or they’ll tell 100+ facebook friends, “Hey, I was in this club with 3 people there and this guy/gal/band put on the most incredible set. He even made me a drink in the middle of his performance” or something to that effect.

You never know what could happen from just winning over ONE fan.

One tastemaker.

One person who just LOVES you and tells EVERYONE they know about you.

Try it next time.

And remember.

Gigs are like day jobs.

You’ll have great days.

And not so great days.

You’ll get through the not so great days.

And the next day, the next gig, will be better!

Have a sense of humor about it.

Have fun.

Life is too short to get upset.

***

Feedback on this email (already!):

Jennifer,

Your emails are always great but this one takes the cake. I am the person that I am today for always making the best of small crowds! Talk about building character and humility.

So many of us artists get so lost in the whole ego part of it that we totally forget what it’s all about when we let a small audience stop us from putting on the best performance we can put out for the people that actually bothered to show up! I always treated each and every challenging night as an opportunity and treated those in the audience like they were the only important people in the world!

Shame on any musician that doesn’t learn to leave their egos at home when their job is to entertain the people that actually showed up! It’s a bigger challenge than having a much bigger audience hence why the potential reward is so much greater, the artist approaches each and every situation the same! It’s their job!

Thanks!

Lourdes

****

Dear Jennifer,

As a footnote to your e-mail, for which thank you :

“On their first American tour in October 1978, The Police gave a concert at Poughkeepsie in upstate New York. There were less than 10 (ten) people in the room, but instead of packing up and going home, the group decided to amuse themselves and gave an excellent concert before coming and talking to the public. As luck would have it, among the rare spectators were three enthusiastic DJs.

Thanks to them, the song ‘Roxanne’ was in constant rotation on the radio from the next day. It was the beginning of a huge love story between The Police and America.”

(Roughly translated from ‘The Police and Sting’ by Christophe Crénel, published by Librio.)

Best wishes,

Richard

****

Jennifer Yeko
True Talent Management
9663 Santa Monica Blvd. # 320
Beverly Hills, CA 90210

~Music Marketing~Music Licensing~Music Publicity
www.truetalentmgmt.com

“Do, or do not. There is no try.”
– Jedi Master Yoda

Think superstar artists didn’t tour their butt off and hustle to make it big? Read this email from Jewel…

This is an email Jewel wrote to her fans but in her own words, describing how she became successful.

Think successful artists didn’t tour their asses off and promote, promote, promote along the way?

Read this – I guarantee it will inspire you!

Also, in other news, if you’re looking to promote your music to radio, film/tv or press, hit me up. My April is looking really jammed but I might have time to squeeze in a few new projects.

Jennifer

****

Posted in From Jewel on March 11, 2010

I’d like to tell you all the story of you.

While I watched my own career blossom, I got to see the mirror

image of my fans blossom, and we grew together, and because of each

other.

When I was young and getting discovered, I was terrified of

living in my car forever, but I was also terrified by fame. My

solution? Make a folk album. I thought if I could have a career like

my heroes John Prine or Tom Waits, with a cool cult following, and

make a good living, then that would be the thing to do. Boy did I

have no idea how far that folk album would take me.

Before I got discovered, reason I loved singing in the coffee

shops in San Diego was because it made me feel less alone. When I sang

on that tiny stage, I could see and feel the hearts of the few people

who came to see me, and I could talk about my worst fears, my worst

insecurities. I could express my rage and my doubt and my unabashed

hope – all because I could see in the eyes of those listening that

they felt the exact same way. A bond was formed when I sang, telling

secrets on myself – that was special.

As you know, I grew up singing in bars, doing cover songs. I

didn’t experience what I’m talking about here. When I sang my own

songs and got to tell my own truth, it was like magic – it was like

being in church. It felt like being forgiven. It was like confessing

my sins, and for doing so, I was rewarded with the kindness strangers

offered, I suppose, because they saw themselves in me, too. It felt

like medicine at a time when I so badly needed positive reinforcement.

The more I told the truth, the better I felt, the closer people felt

to me, and the less I felt alone. It was just a raw human experience.

I didn’t know that before I released my first album, there fans

were already using the newly formed internet to spread the word about

me. I just packed up my guitar, and began doing relentless tours that

I called ‘residency tours’ throughout the country.

My idea was to try and recreate what I had done in San Diego, by

playing the same coffee shop the same night of the week for a month in

a given city. So I did this circuit that was grueling. I played the

C’est What? Cafe in Toronto every Monday, Boston Kendel Street Cafe

every Tuesday, The Last Drop Cafe in Philadelphia every Wednesday, The

XX in NYC every Thursday, the book store every Saturday in DC, and

then I would drive it all over again and do it every week for a month.

I would then move to another region like the northwest, and do it all

over again.

I only sang in front of a few folks, but I was able to form a

small loyal following, provided they didn’t walk out during Pieces Of

You (the most misunderstood, yet plainly obvious song I’ve ever

written). The more I toured the more industry insiders told me I would

never make it, I’d never get played on the radio, Nirvana and Sound

Garden were God, and it wasn’t cool to be sensitive and care. I guess

that’s when the fight came out in me. I had lived through hell, and I

still found it in my heart to care and to have hope because the most

genuinely desperate must. It’s the spoiled slackers, in my view, who

could cling to their cool veils of cynicism, because they could afford

to be cynical with their comfortable lives. I was on the edge of the

abyss, and staring into it, I knew the only thing that would keep me

from falling in and being lost forever was if I dared to have faith. I

fought like hell for the right to hope.

The world was full of grunge bands and angst on TV and in the

movies, but what I saw in front of me touring was different. I saw

something different in the faces of those who I sang for. The tide

felt like it was going to change, and the press just didnt know it

yet. People didn’t want to hurt- they wanted to feel better, just like

I did. And just like me they were willing to fight for it. I began to

feel like maybe I could beat the odds. Maybe, just maybe, I could

stick my foot in the door of the male dominated music business,

because I felt like I had a small but fierce army that was marching

with me.

I began to hand out flyers after I sang, with local radio

stations numbers on them, and I asked people to call and request me.

I sang in college campuses everywhere I went, and passed out my

flyers, and because of the web, I was aware that I was not alone.

There were folks out there that cared about my music and about me, a

complete stranger, and they were trying to help me. I began to call

them my Every Day Angels and amazingly we were a force to be reckoned

with.

As my career began to break, I became a bit scared. Fame really

scared me because I had always been so introverted, and I was afraid I

was creating a monster I may not be able to control. The media scared

me, and I wasn’t sure how to interact with them. But my online fan

community always let me be myself, and I tried to continue to tell the

truth in my writing, and I began to feel I could have a two way

conversation with fans as I grew bigger.

I realized IDOLOTRY is what scared me about fame, because it was

jut that, an idle worship. It does not help anyone grow- the worshiped

become frozen in a mythological caricature that was immovable, (and

usually resulted in falling off said pedestal) and being a sycophant

or worshipper of said idol offered no self-examination or self

empowerment. I wanted a different relationship with my fans- one that

empowered fans- one that let me off the hook! I wanted to be human and

grow and make mistakes and be imperfect, and I wanted fans to rely and

look to each other for answers to their hopes and prayers- not to me.

As I became successful, I was receiving gifts and so much love,

and I felt like my life had turned around. I mean my life REALLY

turned around! My fans and me really pulled it off, and I was safe,

and comfortable, and I was being showered in gifts from fans. But I

felt guilty, because I didnt need gifts as much as other people in

the world that I knew. I decided to ask my EDAs to take whatever they

wanted to send me for my birthday, and instead give to someone who

needed it. And in typical fashion, they went above and beyond by

organizing the most amazing acts of kindness. Funds were raised to

help a local San Diegan get a handy cap vehicle that was sorely

needed. On my birthday I received a bound folder of page after page,

documenting community service and charitable acts committed by my

fans. It was the best present ever.

I even had an EDA who happened to be a lawyer help me with a

lawsuit I was facing, when I desperately needed the help. He worked

tirelessly in a time that was really hard for me. It was very touching.

Life being life, it never stays the same, and soon I experienced

some of my hardest years around 2003 – and all I have ever been able

to say about it was what I expressed in GOODBYE ALICE IN WONDERLAND. I

lost faith for a while, and as my world seemed to shatter, I had to go

back inside myself and try to challenge myself once again to find a

way not to become cynical or bitter. I wanted to be stronger, not

broken by what life had dealt me, but it took me a while to find my

way out of a dark hole. I didn’t trust anyone, and while I still made

music (because it still is what heals me) , I lost touch for a while

with everyone but Ty as I tried to put myself back together again, and

I’m glad to report, I feel good. I am not broken. We only are if we

let ourselves be.

In just a few short years the current age of the internet is so

exciting, as I feel I am able to return to a even more personal

relationship with my fans, in an even more direct way.

There are many new fans that I have, and I want to welcome

them. Some of you are country, some of you are pop and some of you

are rock, with a secret soft spot for whatever it is I am – but all of

you must love lyrics, otherwise you wouldnt be here.

I want to introduce all my new fans to the best fan community I

have ever heard about- and I want to invite you all to become EDAs.

I have created a Twitter account for you, and as you join it,

you will be added to the list. Click HERE to follow.

I will commit to figuring out a date to do another free fan

concert for you all, if you want to organize it yourselves again, (you

guys want to pick a name?) We will work it around my schedule like

last time of course, and I look forward to figuring out a good venue

where and when that it can happen!

Lastly, as EDAs, I would like to share with you what I would

like our call to arms to be:

Be kind to each other.

We have a rare community that is truly diverse – respect

everyone’s differences here. No matter the political, religious or social

orientation, we are all the same and trying to figure life out.

Build each other up, don’t tear each other down.

This is a hard enough world; we can all use a place thats

positive.

Dare to be honest with each other; you will be rewarded for it.

Tell secrets on yourselves, you will feel much better.

Be miracles for each other.

This community is what you make of it. The charitable acts, and

the course of the EDAs is up to you – it’s yours. Some of you need

jobs, while others may know someone who needs an employee. Some of you

create artwork, while some of you may need a logo for your own

business. Some of you need medical advice; some of you are doctors.

And some of you need someone just to listen. Pay attention to each

other, and if you run across something thats easy to give, give it.

We are all connected on this crazy web, and we can really take

advantage of it. I can personally attest to the fact that profound

change happens in small ways – and what you can do with your own hands

is POWERFUL.

I look forward to more years of making more music. I really feel

my best creative years are ahead of me, and with you guys backing me

up, I feel confident there will always be a place for me.

Finally, below is some more in-depth info about the EDAs that

Alan wrote, please feel free to read it if you want. Its really cool.

Lastly, I want to thank each of you, and especially my original

EDAs for continuing to be a miracle in my life. I dont think any of

you will ever know how my life has changed because of you. I was no

one special – just a scruffy kid that got turned away from a million

places. You all made me feel special. It gave me courage and I began

to dare to learn to shine my little light while I sang and when I

wrote. I am no different than each of you. It sounds corny, but it’s

true – we all just need to dare to shine.

xxj

EDA History (originally written and posted in 1998)

In 1994, a couple of San Diego based members of an Internet

discussion group that focused on women in music began a side

discussion about the virtually unknown San Diego coffeehouse singer-

songwriter, Jewel Kilcher. Upon hearing Jewel several months later at

The Kendall Cafe in Cambridge, Jeff, tech-savvy listserv owner, was

intrigued enough to create the first internet discussion group

dedicated to the discussion of Jewel’s music and performances. The

jewel@smoe.org mailing list/discussion group, was officially launched

the following

day on Sunday, February 19th, 1995.

Like countless other Internet discussion groups at the time,

the handful of initial subscribers enjoyed discussing their common

interest and keeping each other informed. They also circulated taped

live recordings and TV appearances (via snail mail, primarily) which

gave them a wider perspective on Jewel’s increasingly prolific output.

Through these initial efforts and upon the release of Jewel’s first

album, more people became interested and within the first year, the

list had grown substantially.

During that time, an organized effort to promote Jewel’s live

appearances began and listmembers began relentlessly calling radio

stations in support of Jewel’s first album, which at the time, was

going nowhere fast. Interest continued to grow and a handful of

listmember fansites were created over the course of the next year or

so, increasing her online presence. Jewel appreciated the support very

much and referred to them as her “Every Day Angels, a phrase taken

from her song, I’m Sensitive. The name stuck and became commonly

notated as EDAs.

Soon enough, EDAs began meeting each other at Jewel’s

performances and friendships beyond the daily email discussion began.

The EDA numbers continued to grow through 1995 and early 1996, but

unlike other rapidly growing Internet groups, the EDAs continue to be

one of the most intelligent, inspired and friendly places anywhere on

the Internet.

In mid-1996, a woman on the list suggested how enjoyable it

would be if Jewel were to perform a concert exclusively for this

discussion group. Timing was right. Jewel and her management agreed

that this would be a fun idea. The subscribers were informed that

Jewel would enjoy doing this provided the EDAs join her in Bearsville,

NY (where she’d soon be recording) and organize all details

themselves. After much organizational effort, a free private show was

planned for July 18th, 1996 at The Bearsville Theater in Woodstock,

NY. A second benefit show was also planned for the following night

with all proceeds going to help the struggling Bearsville Theater.

Hundreds of EDAs from all over North America converged in

Bearsville and spent several days camping together and experiencing

two of the most diverse and engaging performances of Jewel’s career.

The EDAs named the event “Jewelstock” and they created t-shirts,

buttons and came bearing gifts for each other in the form of music,

food and drink. After spending three days and nights together, many

attendees struck up permanent friendships and everyone who attended

left Bearsville significantly moved by the experience and Jewels

kindness. That such a diverse group of people could come together and

create something so great, all of them motivated by love of music and

a desire to share, without any monetary pressures or incentives,

speaks volumes about what the EDAs are all about.

The dynamics of the discussion group were forever changed by the

experience. Many EDAs began taking Jewel’s lyrics to heart and

manifested them in projects that helped to support each other as well

as to promote volunteer work improving their own communities. The EDAs

have accomplished impressive things over the past two years, many of

which have been selfless acts of kindness that have had profound

impacts on the recipients and the EDAs as a whole. A wonderful

example occurred in conjunction with Jewel’s 23rd birthday. Rather

than send gifts to Jewel, the EDAs were encouraged to effect positive

change in the world as their gift to Jewel. Sure enough, a perfect

opportunity presented itself. The entire EDA list organized to help a

severely injured hit and run victim from San Diego, who had no medical

insurance. He was in need of a van outfitted with special lift

equipment so that he could be mobile, return to work and resume a more

enjoyable life. The EDAs raised several thousand dollars, which was

donated to the fund and helped him accomplish these goals. San Diego

area EDAs also took it a step further, by spending time with him,

sharing favorite concert tapes, and bringing him to local concerts.

With the EDA numbers rapidly growing as Jewel’s first album

was taking off, several members began organizing a nonprofit

foundation (Every Day Angels Foundation aka EDAF) which promoted and

helped organize community volunteer work. These EDAs inspired many

projects including blood drives, clothing drives, volunteer work at

food banks, children’s hospitals and shelters, among many other worthy

endeavors.

EDA get-togethers have also taken on a life of their own. One

notable form of these events is “The Living Room Tours” (aka LRTs). An

ongoing project, where live performances are hosted at EDA homes, this

has been remarkably successful. The basic concept is to book touring

singer-songwriters directly into fans homes and promote the

performances cost free via email directly to those interested. Nearly

50 artists have participated in the Living Room Tours over the past

two summers and Ive yet to hear any of them refer to it as anything

but a positive experience. Having attended many LRT gigs and having

hosted two of the largest ones on Cape Cod, I wish I could do nothing

but LRT gigs! The concept dramatically changes the dynamics between

performers and audience in a most positive way. The musicians seem to

revel in the fact that everyone wants to listen and audiences

experience an immediacy and connection not experienced in any

traditional performance setting.

An annual EDA reunion in Bearsville has also been well attended

and smaller EDA parties and get-togethers are increasingly common.

EDAs often travel far and wide to attend these events. Thousands of

lives have been enriched through the efforts of The EDAs. Many feel

honored to be included and the recipients of The EDAs common good

will. MrBB

***

Jennifer Yeko
True Talent Management
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

The importance of playing live shows

Today’s topic is: THE IMPORTANCE OF PLAYING LIVE SHOWS

I seem to get asked all the time “Do I REALLY need to play live shows?”

Well, to me, that’s kind of like a mechanic saying “Do I really need to know how to fix cars?” or a baker saying “Ooh, but to get hired as a baker, do I really need to make CAKES as well as pies and cookies and pastries?”

The answer is a resounding “YES!”

****

The point is, it’s really part of the job.

Now if you’re a composer, or just want to write jingles or music for ads or even some film/tv/video games, etc. then no, you don’t need to play out.

If you consider yourself a “songwriter” and not an “artist” you can just stay home and write songs.

Look at Diane Warren or Kara Dioguardi on “American Idol” – they are songwriters, not singers, and make a VERY good living just writing songs for other artists. And for many of you, perhaps a career as a professional songwriter is more practical these days that trying to get out on the road, developing a fan base and touring, especially if you have a day job and family to support.

Or, if music is just a hobby for you, and not something you need to make a living from, who cares about playing live shows? Just make your music and sell it to your friends and family and get a myspace page and be done.

***

But, to me, if you’re a true artist, an artist WANTS to be out there performing every night.

An artist WANTS to be in front of fans and getting immediate feedback from their music.

A true artist will play for 2 people or 20 people or 200, 2000 or 20000 people and not care who is there.

Now here are some other reasons why it’s important to play live. You may have some to add to the list:

1) As an artist, touring income is and should be where you make 80-90% of your money. Music on CDs can be downloaded or stolen. Myspace fans are great but if they aren’t buying your music and supporting you, how can you ever hope to make a living from making music? Live shows cannot be stolen. It may take months or years, but when you play out, each successive show should bring out more people / fans to the next gig if your word of mouth is good and you’re marketing effectively. So 5-10 people could be 20 then 40 then 80 then 100 and you get the picture…there is no magic shortcut to building a fan base. You need to connect with fans one by one unless you’re Lady Gaga…

2) I hear about all this doom and gloom in the business these days but yet, I’ve been out to 2 shows in the past week here in LA. Both were on very rainy, wet, disgusting nights and yet in each situation, the clubs were packed (almost sold out) because the bands performing were great live. We are all just human beings and at the end of a bad day of work, people will still drive in bad weather to see a great band perform. Music is good for the soul and many of my friends who work in the business say it’s literally SAVED THEIR LIFE! Even hit songwriters! You’re doing something important, creating art. Don’t you want to share it with other human beings in public??

3) If you’re looking to get signed to ANY type of record deal, whether it’s an indie label or major label, you NEED to be out there and playing live shows as often as you can. In fact, one of my good friends is an A&R executive and he only scouts at venues here in LA so if you’re not playing out somewhere, it’s unlikely he’ll ever hear about you or care.

4) If you’re lucky and HARD WORKING enough to ever get signed to any label, the first thing they’ll do is get you a good booking agent and get your butt out on the road. Why? Because labels know that the only well to sell CDs (outside of a MONSTER hit song on the radio or on TV) is from touring. Every artist that is huge now has busted their ass on the road for years. U2, Coldplay, John Mayer, Dave Matthews, you name it!

5) If you’re doing it right, every live show you do should lead to at LEAST 1-2 more shows (or other good opportunities). If not from someone at the club, then fans or industry people will come up to you and say “Hey, my buddy books this place, you GOTTA come play here” or “I love your music, can I use it in my indie film” or “I love your music, I’m going to tell all my friends on facebook about you and upload a video to share”. That type of reaction will only come from playing out!

6) Especially if you’re an indie artist, you’re not going to move any volume of CDs or get REAL fans on your mailing list unless you’re out there gigging!

7) You never know what AMAZING things can happen from just one gig. One artist was playing at a book store and a guy heard her perform and was so blown away by her voice, he literally started a record label to promote her music and spent untold amounts of money promoting her. Sure, this may sound like winning the lottery, and I wouldn’t expect that to happen, but no matter WHERE you are playing, there are rich people all over the world who also are music FANS and would perhaps just love to find an artist or band they believe in. And let’s face it, their day job that made them rich is likely boring so many people love the idea of investing $$ in an artist because the music business, let’s face it, is very “sexy” and desirable to someone who say, looks at spreadsheets all day.

8) Lastly, don’t you WANT to get out there and perform? Even superstar artists endure endless weeks, months or years on the road because they love being in front of an audience. And sure, if you’re HUGE, you’re making MILLIONS a year from touring. Look at Madonna, The Eagles, U2, Springsteen, Celine Dion, etc. These acts could never get played on the radio again or make or sell another CD but can easily make millions a year from doing shows.

In short, touring is INCREDIBLY important if you want to sell any CDs or make any type of living in the music business.

Now get out there and book some shows!!!

Jennifer

***

BELOW ARE SOME EMAILS FROM YOU FROM AGES AGO ON THE OLD TOPICS:

re: “It’s called the music BUSINESS for a reason” article

We are a small production company with an office in Hawaii and Hollywood. I have read your very ambitious efforts for a couple years now! Actually, I applaud what you are trying to do for those that are looking for the brass ring in music, in fact, the clubs in Hollywood play upon the desperation of bands and make them sell tickets to play at their venues. Now you don’t do this but the end result is the same. They make money having a free band who brought people and money and will buy drinks…Great Scam! You sell opportunities and collect when they make some kind of a small deal with end-users of the Bands product be it Radio or Advertisers.

Why not slowdown a little, grab a band that actually has the goods and pitch them to the powers that be? Would you happen to know XXX xxxx? He sells info on the music industry business and dealing with the Record companies. I wonder if he has ever gotten a band signed because of something they got from him?

I wonder, as well, if you have ever gotten a band into some success!

Norm

[Editor's Note: I'm definitely not a fan of any "pay to play" venues but understand that venues have rent to pay as well as insurance, staff, etc. It's not cheap to run even a small club, let alone one on the Sunset Strip so yeah, if you want to play at certain venues, they are going to make you buy tickets in advance as they cannot lose money when I'm sure hundreds of bands have said to them, "Oh, don't you worry, we'll pack this place" only to find that 3 people show up on the night of their show. I say, don't play in these venues. If you aren't big enough to sell hundreds of tickets, don't play a "pay to play" venue. Play a house or living room concert instead. You shouldn't go into debt just to say you played The Whisky....And don't call everything a "scam" that charges money. Just because you can't afford it doesn't mean it's a scam. Businesses are in business to MAKE money not lose money! And for the record, of course I've taken lots of bands and pitched them to my A&R contacts. It's a very time consuming endeavor and in most cases, spending thousands of dollars to showcase a band or do things to get a label's attention was a huge WASTE of money. That money could have been so much better spent on making and promoting an indie CD release than trying to get signed. If you want a look at my success, take a look at my web site or google my name and/or company name!]

*****

re: What would you do with $100,000 for your music career?

A:

Distribution, touring, co-op advertising with Borders/B&N/Starbucks/iTunes/etc, touring, publicist, touring…
Basically, a lot of touring combined with telling people about the album and tour. Luckily for me I already won the “make an album jackpot” (I made a record with Richie Podolor & Bill Cooper (producer & engineer for Three Dog night, Steppenwolf, New Radicals) and it has Grammy winning top session player Rami Jaffee on piano, B3, and accordion.
Hell, I already have a business plan put together…I have a budget for ads, touring, publicist, etc…
If you know any one giving that out, let me know…
I’ll send you my business plan financial breakdown.

Sincerely,
Tom C.

*****

Jennifer Yeko
True Talent Management
9663 Santa Monica Blvd. # 320
Beverly Hills, CA 90210

~Music Marketing~Music Licensing~Music Publicity
www.truetalentmgmt.com

“Do, or do not. There is no try.”
– Jedi Master Yoda

Touring in the music business

Date: September 5, 2007 7:27:51 AM EDT
Subject: Touring in the music business – Sept 2007

Here are some of the responses I received regarding touring.

Note the first one and how positive the author’s tone is compared to the second email.

One attitude breeds success. The other, frustration and failure.

Which type of artist are you?  Which do you want to be?

Jennifer Yeko
True Talent Management
9663 Santa Monica Blvd. # 320
Beverly Hills, CA  90210

http://www.truetalentmgmt.com

Jenn,

This is one of the best emails you’ve sent out.  I loved it.

I wanted to respond to the question about touring.  I recently did my first tour as a solo artist.  I chose cities where I knew I had a bit of a fan base – or even one or two “rabid” fans who would help get the word out.  At all of the places I played, I had smaller, shall we say “intimate” crowds.  But the people who came to see me were incredibly supportive and appreciative.  And I sold CD’s and T-shirts, which would have otherwise sat in the closet (other than the internet sales).  And I definitely believe that when I go back to those same places, I will get larger crowds due to word of mouth.

{Editor’s Note:  Good point.  You can make really good money selling CDs and merch at shows.  In fact, at shows with just a handful of people, I’ve had bands I manage sell more CDs and merch than at shows with much larger crowds.  I think the fan feels much more connected to the artist at a smaller show.  So next time you’re playing to a couple people, instead of getting sad or angry at the lack of a crowd, make sure you win over each person in that audience and they’ll probably buy a CD, t-shirt, come see you next time, and bring some friends to boot!}

Did I make money?  Yes.  Did I break even?  No – mostly because I rented an SUV to carry my sound system (I have a Camry!) and the price of gas ain’t cheap these days.  But I helped cut down my costs by staying with friends in most of the cities where I played at.  On the other hand, I also made connections on the trip that will help in other areas of my business down the road (podcasts, additional dates, etc.).

[Editor's Note: Again, great point.  It's much more realistic to make money touring as a solo artist or with one other band member than as a full band.  Punk bands, again, can do well, as many of them get by with a drummer, bass player and lead singer/guitarist -- only 3 band members total.  They sleep on friend's floors and sofas when they tour.  In fact, one guy started an indie label that signed a HUGE band, and even though he has tons of money now, he still sleeps on friend's sofas when he travels even though he could afford a fancy hotel room - force of habit I guess.  And also, great point about networking - it's all about who you meet on the road.  You'll learn a lot more touring than you ever would sitting in your living room, that's for sure!}

Most importantly, I LOVE to play out.  For every person who comes to hear my play, particularly in a new city that I’ve never played before – frankly, I consider that a privilege.  On any given night, particularly a weekend night, there are so many entertainment options out there for the average consumer.  So I do my best to connect with each person – and let them know that I’m glad they came to see me play.

[Editor's Note: What a great attitude to have!  If you truly want to be a successful artist, you have to LOVE playing out.  Love touring.  If you don't, this will all feel like too much work for you and will frustrate you.  Don't do something that frustrates you.  But know, if you really want fame and fortune, that's what it takes.  That's why the people that make it are truly in love with performing and hopefully writing and recording their own material.  Otherwise, it will be the kiss of death for you as you'll start to hate parts of the music business that "require" you to tour.  Don't tour because you "have to".  Tour because you WANT TO!}

I’m a singer/songwriter so when I play, it’s just me and the acoustic guitar.  Although a few of the dates were the traditional club/coffeehouse type gig, I also had the luxury of doing a few different types of venues.  I did a few bookstores (I chose local vs. the national chains) and I also did a home concert.  Let me talk about both of those.

Bookstores.  One of the advantages of playing independent bookstores is that they will typically play your music in store and will also carry it.  To help promote my bookstore shows, I sent them posters, postcards to place by the register, and also sent a CD to play in store.  One of the bookstores played my CD fairly regularly, which helped pique interest and get people to the show.  So when I arrived, the first thing they said to me was, “Before you leave, make sure we buy some CD’s from you.  We could have sold a dozen of them already if we had had them.”  This particular bookstore hosts a regular music series – and they totally knew how to host a concert.  They were pro’s.  They were also the only place on my tour that charged a cover to see me.  Between the door and CD/T-shirt sales, it was my best money night of the trip by far.  Funny thing is, the crowd was the most receptive that night (based on sales, emails and MySpace messages), which was also the night that I thought I did a “not so great” performance.  It just goes to show you that you can’t always judge a show by how you THINK you did.

[Editor's Note: Great job promoting the show - I often check out concert posters at a venue and see who's coming there - some of the best placement is in the men's and women's restrooms - you have a captive audience there!  And again, smart move on sending some advance CDs - also, try sending a stack of CD singles for the club to leave out or pass out!  Or a sampler of :30-1:00 minute clips of 3-5 songs could work too!}

Home concerts.  I’ve done a few of these and they are my favorite shows to play for a couple of reasons.  First, the people who host them are friends who love and support you and will bring their friends there, or they are experienced people who regularly host home concerts.  Home concerts are a very viable alternative to club bookings and any artist at the indie level should explore them.  The audiences at home concerts are always very appreciative, which usually translates to a high percentage of CD/T-shirt sales.  Plus they come to hear you play (unlike some bar gigs where you’re background noise).  That, combined with playing in a living room, makes for an intimate atmosphere that simply cannot be beat.

I thoroughly enjoyed every minute of my tour because I feel that I did a few things right.  First, I always check out similar artists at my level to see where they are playing – or I ask my fans in different cities for information on appropriate venues.  All of the venues I played (other than the home concert) came from that.  I also put together an itinerary book with daily wake up, leave, and load in times, venue contact information, maps, etc., to stay on schedule.  So the tour was well organized with no surprises.  Plus, I knew from the start that I would not play to the same size crowds that I can draw at home.  Most importantly, it all comes down to the music and making a connection with people.  I practice every night in an empty room, so it’s a special thing to play in front of an audience.  And playing in front of people as consistently as possible will make me a much better artist than three times the hours of practice in an empty room.  If the only reason we do music is to make money, well, that’s stupid.  This business is hard.  And to me, music is ultimately about connecting.

I have a full time job, so I don’t depend on my music to make a living.  That being said, I want to be able to finance my next CD from what I’ve earned from the first one.  So I am seeking every opportunity to sell more, gain a wider exposure – and yes, license my music.  But going on tour made me feel like a “real” artist, not just a local or internet artist.  And it made me totally miss the days of traveling full time (I was with a vocal group previously).  It was a wonderful experience, and I can’t wait to start planning the next one.

Have a great Labor Day,

-Mike R.

[Editor's Note:  What a great email. Very informative and inspirational!  Thanks so much for sharing!}
*****
Very interesting info Jennifer.

But the thing about this is even though you are on point, giging around can catch an act up in a road to nowhere also.  There are so many great musicians out there who need a chance but will never be heard except in the local scene.  Pretty soon they have to play the game called “life” and gigging around won’t support this.
[Editor’s Note:  True, not everyone will “make it” and very few artists have the privilege of making their living 100% from the music business.  It’s very smart to be honest with yourself and perhaps, give yourself a time limit.  I think a lot of bands figure, if they don’t “make it” by the time they are around 30, they pretty much give up the “rock star” dream and settle down.  There’s nothing wrong with that. And these days, you can write and record in your home studio and use a computer and ProTools and focus on making music and licensing it, instead of going for the big pot of gold…}

On another note as a 35 year vet in the biz, so many acts make it without any live performance and are created by producers and labels with high $$ production as their live performance.
[Editor’s Note:  That may be true but these artists were signed for a reason.  Again, they are young and beautiful and determined beyond belief.  And the label thinks they can market their music primarily through radio.}

Ever seen 50 Cent perform?
How about the ones who sing and stand there with guitar in hand for two hours til you need to just leave?
[Editor’s Note: I haven’t seen 50 Cent perform but what I know about him is that he was Eminem’s prodigy, if memory serves me….Wait, Google provides his whole life story -http://en.wikipedia.org/wiki/50_Cent .  But really, what’s your point?  Sounds like petty jealousy.  Yes, people make it.  Some are incredibly lucky. Some are incredibly talented.  Usually you need both, but there are always exceptions to the rule. Why spend your time being bitter about others’ success?  Instead, be happy for them, and work towards that being you!  Yes, there are many acts these days that aren’t great live. But they may be great songwriters.  Or great producers.  Or great rappers.  Or have a great “story”.  There’s usually a reason someone is signed.  Maybe their parents are famous.  It may not always be fair but you can make it, but only if you never give up and are realistic about your abilities.}

I have several options that are the best singers and talent I have ever seen. Winning Grammy contests and more but if you do not have money get out of the music business….even with contacts it won’t buy you a career.. You will end up with 20 catalogs of songs and CD’s in your closet drawing dust.
{Editor’s Note:  You’re right in that music doesn’t sell itself.  CDs don’t sell themselves.  I think there is a huge misconception that all you need to do is get a record deal and POOF you become a star.  Or just MAKE a great record, the rest will magically fall into place.  NO!  Not at all! Artists that do get signed work their butt off once signed. They do a million radio interviews and performances.  Back in the day, they’d go meet retail.  They schmooze at the label.  They pester the label for more attention and support.  They do every little show imaginable.  It’s not “the dream” of an easy life.  Artists that ‘make it’ work their butt off.  I have never met one single star who wasn’t an incredible perfectionist and motivated beyond your wildest dreams.  In fact, it explains why there are “so many bad songs on the radio” – these artists aren’t the most talented, but I guarantee, they are the most driven.}

Hopefully we are embarking on a new era of music and a smarter generation of listeners.
Instead of being force fed music, we actually get to chose what we want but what makes one band different from another (touring costs $$, merchandise costs $$, promotion costs $$)
{Editor’s Note:  Yes, with the popularity of YouTube and Myspace, hopefully we are getting to choose tomorrow’s stars more than ever before.  But here’s one thing money absolutely cannot buy you – TALENT.  DRIVE.  Those 2 qualities are far more important than having money.  Why focus on what you don’t have ($$) and focus on what you do have?  Focus on your strengths, not weaknesses!}

What it takes is years of work, virtually no social life or relationships, families and $$$$$$$$$$$.
{Editor’s Note:  Yes, you’re absolutely right.  Now the truth comes out.  Money helps, don’t get me wrong. But it’s really the years, decade or more of hard work, giving up a social life, etc.  Many successful artists give up a relationship and a social life and instead, stayed home in the studio, writing and recording songs.  Or for hip hop artists, making beats.  And again, while money helps, there are plenty of artists who “make it” without a trust fund.  In fact, most A&R guys I know rather have an artist that grew up poor and starving than one who grew up with money.  Why? Because the artist that grew up poor will remember how bad it was to grow up being poor and will stop at nothing until they are successful. Christina Aguilera is one that didn’t have much growing up, and in fact was abused as well.  And look what a huge star she is now! http://en.wikipedia.org/wiki/Christina_Aguilera }

Otherwise, I would have to advise playing a bit in your teen years, gigging and closing the shop.
{Editor’s Note: With that attitude, you’ll never make it.  Gig until you’re 19, then cash out?  I’d give it til at least 30!  Artists like Sheryl Crow didn’t hit it big til their 30′s.  Sorry, but your bitterness, while I can understand it, isn’t helping your cause…}

Do not mean to be negative but it is what it is!!!!!!!  We hate to say it but you have to love the struggle and music and have $$$$$$$
{Editor’s Note:  You are extremely negative and also, I had to correct about a thousand typos in your original email.  A bit hard to take an artist seriously that can’t even be bothered to send an email that isn’t full of typos.  But you’re right.  You do have to love the struggle.  Blame your lack of money as the reason why you didn’t “make it” but sounds like a cop out to me.  Did you really work as hard as you could have?  Gig everywhere possible? Write amazing songs?  Perfect your songwriting and live show?  It may be too late now but try not to end up bitter against those that have money.  You gave it your best shot.  Again, not everyone becomes a rock star.  Hopefully you had fun along the way }

****CLASSIFIED AD***********************
Alucard is looking for a decent show in LA.

We are a fast-tempo melodic rock band, similar to Strung Out or Saosin.

We fit well live with everything from pop-punk to metal.

We have played around the LA area a number of times, so we may be able to help with some
draw.  We can offer showtrades for GOOD shows in  Michigan.  We prefer all-ages, but we are open to
18+ and 21+ shows as well.

The dates we’re available in southern California are:

Sunday – 9-16-07
Monday – 9-17-07
Tuesday – 9-18-07

Any help with an of these dates is very much appreciated.

Please contact:
alucardbooking@yahoo.com
or
myspace.com/alucardrock

A must read for any artist that performs live

Date: July 18, 2007 3:23:34 AM EDT
Subject: A must read for any artist that performs live

First of all, let me take this time to give a HUGE shout out to any artists that perform live (hopefully that’s every single one of you!)

And I don’t mean just artists that play gigs in the corner pub or club.  No, I mean an extra special big shout out to any artist who has ever toured in their car or a van and spent hours, days, weeks or months on the road.

Touring is a crucial part of becoming a successful artist/band and yet touring as an indie artist can be demanding.  A different city each night. Food on the road.  Gas prices soaring.  Cheap motels.  But you have to do it.  So my hats off to you, give yourself a HUGE pat on the back for a job well done, especially if you’re touring NOW in 2007.  It’s a lot of work but at the end of the day, isn’t the worst night up on stage in front of even 1 person better than the best day at your day job?  Yeah!

So, this email is incredibly important for you to read.

An artist recently sent me this email about performing rights societies ASCAP and BMI.

Now ASCAP and BMI are the folks that collect money for you when your songs are broadcast on TV or on the radio.

In my experience, I have had nothing but good experiences with the people that work at ASCAP and BMI.  So, do not call or email them to complain….er, yet.  This isn’t the fault of people you know but perhaps the executives in charge.  Let’s discuss this and email me your thoughts and if you have any additional information or facts before we decide if this is true or not and demands any action on our part.

Does this warrant concern or action among artists?

What are your thoughts?

Please keep in mind the opinions expressed below are not my own but solely of the artist writing them.  I am sending this email out to gather more information, not to in any way shed a poor light on ASCAP or BMI.

Jennifer Yeko
True Talent Management
9663 Santa Monica Blvd. # 320
Beverly Hills, CA  90210

http://www.truetalentmgmt.com

********************
Hey Jennifer,
Before I get into my concerns I’d like to thank you for representing the “little guys” of the industry and trying to get us the “love” we, and the industry in general, so desperately need.
Okay, here it is:
First off, let me state that I’m a member of ASCAP. I joined because I thought they were truly interested in protecting artists…especially the ones who NEEDED their protection.
Two of the smaller venues that I used to play have since discontinued their live music.
Why?
Because people from ASCAP and BMI have been bleeding all of the small businesses dry in their attempt to “help artists.” Small coffeehouses and restaurants, especially those who feature original music (most of which is unregistered through ASCAP or BMI), are being “sweated” for the same blood money that bigger venues are expected to pay.
They are killing all of the small venues that actually treat artists fairly. Large clubs treat artists like cattle, slave labor. Many venues, especially in LA, are still using a “pay to play” system, dressed up in a “ticket sales” package.
ASCAP & BMI are systematically destroying the fertile proving grounds that create the great musicians, songwriters and recording artists of tomorrow. And since artist development is no longer a concern of labels, fewer and fewer artists have careers with any longevity. We have become “disposable.”
These venues are the ideal places where artists like myself can try out new material in an intimate setting. Without these venues, the quality of the art produced will definitely suffer.
The actions of ASCAP & BMI are as deplorable as those of the major labels that are destroying the very industry they own and exploit, and when CD sales, and downloads, plummet even further than they already have, you can rest assured that their $ will dry up as well.
Live music has been all but suffocated in the public’s eye already. You are helping to deal the death blow to an already struggling majority of artists. Don’t believe me when I say that the general public no longer goes to see live music? Just ask any gigging artist in the clubs. Their hardest challenge is getting people through the door- people other than their families and friends.
Something needs to be done. Someone needs to address the harm being done in the name of musicians. The only ones who benefit from this current course of action are the “big boys”- superstars and the wonderful watchdogs at ASCAP & BMI.
Their responsibility is to all of us, NOT just the “cash cows.” PLEASE, PLEASE, PLEASE encourage them release their stranglehold on the small, inconsequential venues that generally lose money just having us perform there because they treat us with the respect to actually pay for our art, instead of charging us.
The cycle needs to stop. They need to help fix the problem, instead of adding to it.
I’m sure this plea will fall on deaf ears, but at least I feel better knowing I passed on my concerns as a member. Cultivating the talent that will keep the labels, as well as ASCAP & BMI, alive in the future SHOULD be priority number one.
Thank you, in advance, for passing this on to others who might actually help to do some good.
Chris T.

One of the best shows of my life

Date: February 3, 2007 2:01:40 AM EST
Subject: One of the best shows of my life

So thank you for reading all my endless rantings about the music business.

By now I hope you’ve read the articles in the LA Times with all the stats showing that yes, CD sales are declining year over year and digital sales are rising but not enough to make up for the loss off CD sales.  And I never had the stats to back it up, just gut instinct and a LOT of conversations with folks in the business.

But, I digress.

What I want to share with you today is about a little baned called Keane. If you haven’t heard them, I must urge you to check out their CD.  www.myspace.com/keane has some live audio clips up — but they aren’t as good as the songs on their full length CDs.

In any case, I had to write and share an experience that has really restored my faith and hope in the music business.

Keane’s last CD did not sell as well as their first.  It’s a bit more moody, a bit more depressing.  Songs like “Bad Deam” that I thought were about love – well, it turns out the song was inspired by an old war poem.  Don’t you just love that a song you write can be taken many different ways, depending on how you listen? That’s one of the great things about songs, lyrics and songwriting.  You can touch people in so many different ways, even though the song may have been written by you meaning one thing, it can be interpreted differently and that’s wonderful.

In any case, the lead singer of Keane recently checked himself into rehab. And now Keane, having played the Greek Theater last year, has “fallen behind” other UK bands like Ireland’s Snow Patrol.

Anyhow, I saw both Keane and Snow Patrol a couple years ago.  Seeing Keane play the Greek I was convinced they would be the next big band.

Then the rehab thing happened. Which I know got in the way of their tour and their ability to promote their singles and new CD.  Snow Patrol has since rocketed ahead. They are a great live band and I’m truly happy for their success.  I met them all when they played a small venue here in LA so it’s great to see them playing larger and larger venues each time out.

Now, back to Keane.  The lead singer is now how of rehab and let me tell you, what a difference in their live show from a year ago to now.

The last time I saw them they were great.  The lead singer, Tom Chapin, has the most sweet and angelic voice. He can truly SING.  Not pitchy, not off key, his voice truly reminds me of a cherub singing.  So, last time I saw them play the Greek he sounded great.  And chatted up the crowd a good bit. But his movements on stage seemed awkward. He’d dance around his mic stand, basically using the stand as a faux dance partner.  Their songs, while musically uplifting, can have some very depressing lyrics. And that sometimes came across on stage. A rather odd combo of upbeat music with sad lyrics.

This tour, the energy was entirely different.  Tom ran out on stage with the type of energy that you would normally only see at the beginning of a major sporting event. (I can only picture that he must have been doing jumping jacks and running mini-laps backstage – that’s how pumped up he was when he first got on stage).

He’d lost some weight and was clearly glad to be alive, glad to be on stage, singing before a sold out crowd at a venue that was much too small for them to be playing (the Wiltern).  After breezing through a few tunes, including one of their hit songs, he sat down at the piano to catch a breath. I thought to myself, “He better stop now and chat up the crowd a bit” and that’s exactly what he did.  He stopped for a moment, clearly thinking of something good to say.  He talked about how great it was for a UK band to be in LA – how we “do things differently here” i.e. when everyone else is having a heat wave, we go and have snow!  Just to be different.

He joked at different points throughout the show, saying that because he was wearing all black and playing guitar on one song, he felt like Johnny Cash — but then he “fucked up a chord” and was brought right back down to reality.  LOL.  Very charming.  Funny and humble.  What a great combo.

No words can describe the feeling that was in the air that night.  Towards the end of the show, Tom remarked that this was honestly, truly one of the most memorable shows they had ever performed.

Now I don’t think it’s being in rehab that did it.  Well, maybe it was. But truly the change in his energy and attitude were reflected in the show that night.  Several times he came down into the crowd and sang directly to them.  He got the audience to sing along.  And yes, having a few hit songs can help.

But most people probably don’t have a clue who Keane is.

I’m here to tell you that, if they play their cards right, Keane WILL be just as big, if not bigger than Coldplay. They’ve got the songs. He’s got the voice. The showmanship is growing.

I hope you have an opportunity to see them one day.  Or, at least, a show as great as the one I saw Friday night.

After all, isn’t that what it’s all about? Rocking the house and leaving a couple thousand fans with an experience they will never forget.  For me, that is what makes life worth living and the reason why I got into this business.

I know, I know, before I go, I better address how this affect you, right? Because you’re an artist and you want to know.

Well, for one, I think it’s really important to get out there and see bands play.  Not just local bands but big bands.  Bands playing large venues. There is something to the energy at those shows.  It’s rare I see an artist or band perform at a large venue that isn’t good.  Sure, you can argue that success breeds confidence (and hence a great show) – but maybe confidence (and talent) lead to success and a great show.

Also, I have to say, Keane treats their fans, their concert goers extremely well.  Luckily, they don’t make the type of music that requires you to be frisked at the door. But they sold tickets to their fans early as part of a pre-sale.  For a reasonable sum, I ended up with 2 tickets 3 rows back on the floor.  So, always treat your fans well.  Reserve the good seats for your fans at your shows –if you’re playing in front of thousands — or three people.  People (your fans) will always remember if you treat them well.

And lastly? Well, lastly it’s late and I’ve run out of advice for the night….

Maybe my last piece of advice is to always get a good night’s sleep. 

Jennifer Yeko
True Talent Management
9663 Santa Monica Blvd. # 320
Beverly Hills, CA  90210

http://www.truetalentmgmt.com

“Motivation will almost always beat mere talent.”—–Norman R. Augustine
“The most important thing any songwriter needs to have is that drive, an ‘against all odds’ instinct to keep writing through all the rejection and all the hardships. These are your stories, the stuff that turns into your songs. I think a lot of people run from these things, but they need to realize that’s what you’re gonna be writing about for the next 20 years.”Jeffrey Steele, hit songwriter.