SM Podcast Ep. 6 "The Peoples Choice"

First of all, thank you so much to everyone who sent in a topic or question for the “Peoples Choice” episode. 2 weeks ago, I asked for suggestions from Facebook followers on what topics they were interested in, and you guys came through with some awesome things to chat about. I continue to be blown away every single week when I see the amount of people listening to this podcast or reading the blog. I can’t tell you how grateful I am that you’re here. No let’s get into some suggestions and listener questions:

“You should talk about venues that are smoking vs. venues that are non-smoking. And how to deal with the smoke as a non-smoker.” ~ Steven

Great topic Steven. I charge a surcharge to play smoking venues. Those venues may not know it, but my price goes up to compensate me for my gear and clothes smelling like cigarettes, which makes my truck smell like cigarettes, which makes my house smell like cigarettes. So, I need more to feel properly compensated for those gigs. If they aren’t willing to pay the higher price, I simply move on. Exposing myself to second hand smoke for 4 hours can’t be the same price as a Saturday afternoon winery gig in my mind.

As far as dealing with it as a non-smoker, I’ve actually discussed this at length with Derek Henry from the local band Observe the 93rd. We both are baffled, and even slightly impressed, by musicians that can smoke cigarettes or shoot whiskey and perform. He and I both have a very hard time being around second hand smoke or drinking anything other than beer during our sets. For me personally, my throat dries up and does not have the same flexibility or range when I’m exposed to smoke. It’s like I literally can’t drink enough water, and if it’s really bad my nose will run. That makes it miserable to perform. So, I’m very selective with the smoking venues I play. When a venue reaches out to book a show, I’ll only book one at a time for the places that allow smoking. That way there if it’s too bad, I just don’t go back. I did that 4 times last year. The best things I found to be able to cope with the smoke, and get through the gigs, was to drink only water, and take a 10 minute or so break every hour. I hope this helps, and thanks again for your topic suggestion!

“Doing covers exactly how they’re written vs. doing your own version” ~ Jason

Another great suggestion. Jason commented 3 topics, but 2 of them deserve a little more time than today’s show will allow. As far as this topic, if you’ve ever been to one of my shows, you know that I don’t play anything right. I change speeds, time signatures, keys, chord progressions, rhythms, and lyrics on pretty much everything I play. My friend, Kevin Nelson, gives me shit for it all the time. He has a lot of formal musical education and takes pride in playing everything exactly how it is written or performed, essentially mirroring the original artist. I understand why he does what he does, or other musicians like him do what they do. It’s because they have invested a ton of time and energy into being precisely able to learn and re-create exact notes and structures. They SHOULD feel some kind of way when someone just half-asses their way through Black Hole Sun or Wicked Game.

I, on the other hand, do not have the same time invested as they do. I do not have the same level of formal education either. I simply play things the way I feel them, not the way they’re written. Because I can’t really read music. I don’t feel like my interpretation of their songs would be offensive to the original artists. There are A LOT of songs I currently play that I’ve only ever heard once or twice. I don’t even know if I’m playing them correctly, but I’m playing it the way I feel it, and so far the audience has been feeling it too. I hear all the time about how people love my version more than the original. And please don’t take that as me being conceded. I have openly admitted that I feel like an imposter most of the time. This is just what people tell me. Also, If I only played songs the way they were originally written or performed, there would be songs I just simply could not do, that I currently do. And I like having a wild song catalog. When I play Regulators by Warren G and Nate Dogg, it’s really really fun. I simplify that song down to what FEELS right, which is 4 chords and some palm slaps. The crowd sings along and has a great time, and no one says “Hey, that’s not an acoustic song”.

So, while I see both sides of this debate, I’m in the camp of whatever is the best performance you can put on. Is it cool to nail every chord or note or that badass guitar solo? Absolutely. Is it also cool to get a crowd singing along to a 3 chord song with no intricate parts? Hell yes it is. For me personally, I’m not trying to be a tribute artist, I’m trying to be a great entertainer. If people want to hear the song exactly how it’s supposed to sound, they can listen to it in their car or go to see the original artist in concert. If they come see me, it may take them a little bit to realize what song I’m playing, but once they do they’ll have the chance to experience something as familiar as a favorite song for the first time again. And I don’t know about you, but when I first find new music I love, it’s like a gift from the universe itself. Something new and exciting in a life that is so regular and uneventful. I hope this helps you.

“Talk about finding a work/life balance as a solo musician” ~ Cynthia

Thanks for the suggestion Cynthia. Well, there are a lot of different factors that come into play when I think about this topic. Are you just starting out or are you a seasoned performer? What is your goal with performing? Are you looking to quit your day job or are you just doing it primarily for fun? All of these scenarios will have a different definition of work/life balance. So, I’m just going to speak about my journey as a musician, in hopes that it covers my thoughts on this topic well.

I started performing music with the goal of gigging as much as I could. It was an escape from a not awesome home and work life, and was sometimes just an excuse to be out of the house. At the time, I wasn’t really worried about work/life balance. I just wanted to do more work. And on top of that, I knew that the MORE people I could get in front of, the MORE potential supporters and social followers I could get. Having an active social following WILL get you gigs. So, when I started performing, I played any shows I could get and rarely turned anything down that was offered to me. By about 6 months in, I would work my day job Mon-Fri and then play Thur-Sat. I spent over a year getting home and going to bed around midnight on Friday, getting back up for work at 6, and then playing a gig after work. This can, and did, put a real strain on friendships and relationships. The flimsy ones broke, the strong ones cracked. But, I went from 50 to 1500 music followers in a year, and I was able to quit my job in a year and half. I fast tracked my progression by diving in head first, and learning from whatever outcome happened.

If you fast forward to now, I have a much better work life balance in my opinion. But, I actually work more than ever. I’m gigging 3-4 nights a week, podcasting and blogging twice a week, answering a steady influx of messages and comments from the music and podcast pages, practicing guitar every other day or so, doing all the music admin stuff like graphics and booking. I also started a landscaping business last year, where I will do your landscaping WHILE singing to you, for a fee. No, I’m just kidding, but if you really wanted that I could make that happen. If you add up all the time I spend doing the things I do right now, it’s pretty much a 40 hour work week, just spread out a little differently. So my job is not really that much different from anyone else. I realized a few years ago that most people in the workforce have jobs only for the money, with absolutely no fulfillment. My job fulfills me, it feeds my very essence as a being, and it pays my bills. My work and life are actually almost in unity, not really any kind of balancing act. My family really supports me, and I thoroughly enjoy spending any free time I can muster with friends. I’m grateful every single day.

I made it a point to change a few things though, things that I noticed were becoming issues with this minstrel type life I live. I actively make it a point to put my phone down when I’m with family. I know how precious those moments are, and I do my best to not do anything but be in the moment with them when I have the chance. I want the people I’m close to in my life know that the ONLY reason I’m not around is because I’m trying to change the world, to make an impact, not because I don’t love them or value their time. So the simple act of silencing my phone is a small change I could make to help “Be there” more often.

I also made the decision to ask for a higher standard rate, and primarily only book 3 gigs a week for 2024. And thankfully, the venues that I play at had no problem with the rate increase. By playing less gigs, I get more time to spend with my girlfriend and our puppies at home. Or with my daughter and grandson at her house, or going to visit my moms and friends. More time to go to the gym or go hiking. These are the things money can’t buy.

So Cynthia, in closing to your suggestion, I would say my goal of a work/life balance as a solo musician should is probably finding purpose in what I’m doing, being present as much as I can with my family and friends, and making sure to spend time doing the things I love to do outside of music. But I would say that translates well to ANY job really. Great topic and thank you again.

“Music vs. Entertainment and how much to put into each” ~ Ed

Ah, the ole Musicianship vs. Performer toss-up. Thanks for the topic Ed. I find there are people who are embraced by live music fans that never even glance at the crowd once, because they are such talented musicians. Then there are people who really entertain the crowd with their great energy and interaction, but are underperforming singers or players. If you’re strong in one area, it seems like you can usually afford deficiencies in the other. But, I’ve found that if you’re both a entertainer AND musician, you provide a better live music experience for the audience.

When people go see bands, they want a certain beat to dance to, or a song to jam out to. They want the group vibe; full of loud sound and groovy bass lines. As a solo musician, I feel like my live performances have benefited the most by dividing my invested time equally between both. When it comes to music, I try to practice every other day during the week. I usually focus on fretboard scales, theory, vocal technique, learning new songs, and original song, writing among other things. I try not to have a time limit, but more of an overall goal of each practice session. Sometimes that’s 10 minutes to learn a solo, or an hour writing original music. Either way, committing to spending time on the music side each week, coupled with 9 hours of playing on the weekends helps me make steady progress towards better musicianship.

The performance or entertainment side for a solo guy seems to be all about reading the room and connecting with the crowd. Talking to the audience, interacting with jokes, and playing some singalongs every once in a while goes a LONG way towards entertaining the crowd vs. just playing music. If the people wanted to hear the songs you choose, exactly as they were recorded by the original artist, without any interaction, they could just listen to the radio or a shuffled playlist. When you bring them into the performance by encouraging them to request songs and sing at the tops of their lungs, you’re providing a live music experience they will remember far after your gig, and keep them coming back for the next one. Thanks again for the suggestion Ed!

“What are venues actually paying for when they hire a musician?” ~ Tommy B

Tommy and I have discussed this a few times, but I’ll go on record with some of my thoughts on this. By knowing what you provide the venue at each performance, and not so much what a venue wants from you, you can price yourself to feel compensated for what you provide at every show. When venues reach out to me to book a gig, or vice versa, I consider the following items in my pricing:

1. Musicianship: A baseline of adequate guitar playing and vocals to entertain people and not drive out the venues built in audience.

2. Promotion: An immediate add to my online calendar and website when booked, which notifies my followers of a new date. A social media post the week of the show informing followers of the date. Something eye catching (i.e a witty post or picture) the day of the gig on the socials to drive in last minute attendees. I used to do elaborate graphics and Facebook events all the time, but I personally did not notice an increase in attendance equal to the time invested. I also haven’t noticed a decrease in attendance by not doing them. I keep it simple.

3. Professional sound: We covered this in Ep. 3 of this podcast “Foundations to Succeed”, but I bring professional sound. That DOES NOT mean expensive equipment. It simply means that I make it a point to try to sound as good as I can at every gig. That means I adjust my levels based on stage or room design, audience size, or gig type. I also carry 2 different sound systems to each gig, just in case I need to set up an auxiliary speaker in another area for volume control.

4. Entertainment: Crowd requests, jokes, and audience participation. If there is one thing that will get you booked at more gigs, and give you a higher income, it’s being an entertainer. Have fun and the audience will too.

5. Professional demeanor: I show up early and I’m set up at least 30 minutes before I start. I plug future shows at that venue throughout the night. I try to talk about my favorite beer there. I’m courteous to the staff and patrons. I dress appropriately for the venue. I hold myself accountable with providing a good evening for everyone who comes out.

These are the things that I think are perfectly normal for a booker to expect when they hire you to provide entertainment at their venue as a solo musician. The reason I can charge what I charge is because I provide all of these things, regardless of whether they ask for it or not. I don’t book venues that ask how many people I’m bringing, or expect me to pay for advertising or do anything else that I don’t feel is encompassed in what I provide. Great question Tommy, and I hope this sums up my views on this for you.

“Gear talk. Expensive vs. cheap and your current setup.” ~ Kevin

Thanks for the suggestion Kevin! Well, I’ve found that the price of music gear has only a marginal effect on its quality. It's really how well you can use the piece of equipment. My expensive guitars may have a slightly better sound than my cheap ones, but I’m the only one who hears it. For example, the only guitar that random people will constantly tell me sounds amazing is my $350 Breedlove. It’s laminate, it’s cheap, I’ve had it re-fretted twice, and the sound is booming. I’ve played $3,000 - $4,000 guitars at gigs for months at a time before without hearing once about how great they sound. With the Breedlove, I usually can’t go more than a show or two without a compliment. I know Kevin plays a $140 Harley Benton at his shows but owns an incredible assortment of fine guitars that stay at home.

I’ve found that you usually don’t want the cheapest option, but the most expensive one is just as ludacris. Cheaper speakers can sound just as good as expensive ones. I’ve heard Behringer’s sound just as good as EV’s and QSC’s, at a fraction of the price. Cheaper alternatives like Alto, Pyle, or Samson speakers can sound like absolute ass no matter what you put through them. When it comes to building your ideal equipment setup, it’s all about knowing what to look for ( build quality, specs, reviews) to get something that sounds and performs the way you want it to. Here’s my current equipment lineup:

My cables aren’t the cheapest, but they aren’t the most expensive either. I run pig hog cables because I can buy them locally and they have a great build quality for the price. My current guitar line-up for all shows includes a 2021 PRS Angelus A60E, a 1978 Takamine EF360S, and a Godin A6 Ultra Extreme Koa. I bring 3 guitars to every show in case there is an issue with any of them, so the show can go on. I also have them in different tunings. The Angelus is in half-step, the Takamine is in whole step, and the Godin is in standard. The Breedlove I mentioned earlier doesn’t make it to as many shows, but it is a 2018 Breedlove Discovery Concerto.

My main speaker for most gigs is a EV EVERSE 8. It has an 11 hour battery life and built in EQ, effects, compression, bluetooth, and a host of other things. The built in mixer means I plug directly into the speaker and mix using my phone for the interface. I usually set it up behind me or beside me so I can use it as both monitor and main. I find it’s easy to use and great for compact rooms. When I need a little more volume, I have a Bose L1 Compact that I run as an auxiliary speaker from the line out of the EV. These 2 combined put out a ton of clean and clear audio, and I have yet to find a stage or room I couldn’t play with the combo. The only thing I’d love to add soon is a subwoofer for live looping bass slaps and that low end guitar signal. It’s all about that bass, bout that bass.

On my pedalboard, I have a power strip, a TC Helicon VoiceLive Play Acoustic WITH the switch 6 expansion pedal, and a Tech 21 Acoustic Fly Rig pedal. The Play Acoustic pedal has a million features, but I primarily use it for vocal effects and harmonies. The switch 6 expansion gives me further control of the looper section of the Play Acoustic pedal by providing a dedicated “undo” button to delete any terrible loops I record. The Tech 21 acoustic fly rig pedal is a workhorse, and I primarily use it for tuning and equalizing my guitar, as well as the “boost” function for soloing or finger picking. It has compression, reverb, and delay built in for when I need those on the fly as well.

That is basically my entire setup. Sometimes I bring racks of lights, but they’re all no name Chinese brands and seem to work as intended. I do usually bring 2 par cans along to gigs for uplighting behind me, just adds to the professional appearance of the gig. I’ve used a million different configurations of pedals, speakers, mixers, rack mount equipment, guitars, cables, and other gear over the last 5 years. Whether it’s guitars or live sound gear, one thing that has proven itself over and over is that the more I know about the piece of gear and how to use it, the better it functions for me. You can have the most expensive guitars out there, but you won’t sound as good as the guy with the cheap one that knows how to play. Same goes with sound gear. Staying educated and informed on live sound production and continuing to expand your instrument playing skills will keep you from buying expensive gear you don’t need to accomplish your musical goals. Thanks again for the suggestion Kevin, and I appreciate all the gear advice you’ve given me through the years!

That’s going to wrap this week’s People’s Choice Episode. I can’t thank you enough for all the suggestions. If you ever have a topic you’d like me to discuss, you can send it to me at solomusicianpodcast@gmail.com for consideration. I really love the feedback I’ve been getting from the podcast when I’m out at shows, so thank you for listening and sharing this pod with your friends! I’ll see you on Thursday for Thursday Thoughts!!

Thursday Thoughts 2.8.2024

SHOWS THIS WEEK:

• Thursday 2/8 - Flinchy’s in Camp Hill, PA 8-11pm

• Friday 2/9 - Bourbon Tavern in Freeland, MD 7-10pm

• Saturday 2/10 - Lebanon Valley Craft Brewing in Lebanon, PA 5:30-8:30pm

Thursday thoughts……

“Allow yourself to be proud of yourself and all the progress you’ve made. Especially the progress that no one else can see.” ~ Anonymous

This week, I want to talk about PROGRESS. About my views on making progress, and how the simple act of being aware and grateful of the progress that we make in our lives will lead to more progress. I’ve come to find that most progress in my life is the direct result of my actions, and retrogression has been the direct result of my inaction. The only thing that makes me different from a solo musician just starting out is time, and the willingness to be terrible at something long enough to get good at it. With enough time and dedication, I believe we are capable of doing anything we aspire to. The biggest barrier to achieving our goals is not giving up, and sometimes that’s extremely hard to do. I’ve found that by being aware and celebrating every moment of progress, no matter how small, I’ve been able to steadily progress at anything I set out to do.

There was a moment in my early 20’s where I found myself standing in my kitchen, bundled up in layers of clothing in front of my open stove just trying to stay warm. My pipes had burst in my bathroom, and my daughter’s guinea pig, Momo, had died from being frozen to death on my second floor because I couldn’t afford oil for heat. It was usually below 40 degrees in my living room. Thankfully my daughter lived with her mother at the time, because I barely survived that winter myself.

I think of that moment now when I’m at house with my girlfriend and we have the fireplace going and the dogs are all snuggled up on the couch. I think about how far I’ve come from that kitchen. How many times I’ve tried, and failed, and tried again to put myself in a better financial situation. At the time, I knew nothing about budgeting and saving, but the more I Iearned, the more progress I made towards never having to use an oven for heat again. I find that by taking a moment to be aware of where I came from, I’m able to celebrate the fact that I’m no longer in that situation now. Due to my actions.

In 2015, my best friend Mike Lelli aka “Chunk” and I made a New Years Resolution to lose weight. We were both overweight, he much more than I. I needed to lose around 60 lbs, he needed to lose around 225. We made a pact to go to the gym together and finally get our lives back in order, to commence on the following Tuesday. So, Tuesday came and I was at the gym bright and early. Chunk was no where to be seen. I text him, called him and left voicemails, but no answer. He called me 2 days later with an excuse, and promised to meet me there the following week. So the following week, I showed up expecting to see him, and he was nowhere to be found again. This would be the pattern for the next month, until he finally told me he had no interest in losing the weight. He said it was just too hard. He died on October 29th, 2016 from heart failure at the age of 38.

I think of him a lot these days, as I am now 38 myself. I often wonder if there’s anything I could’ve said to get him motivated to do something about his weight. Following his death, I got really serious about changing my health. At the time I was on blood pressure and heart arrhythmia medicine. My dad had passed at 51 from a heart attack, and I didn’t want to meet his same fate. I had no idea what I was doing, but I knew I needed to do something. So I just started. I would go to the gym and walk on the treadmill for an hour, or meander through the weight section hating on everyone who looked effortless in their workouts. I would just show up, every day, and do something until I learned how to do it better. As of today, I’m down 70 lbs from where I was in 2016, and I’ve been off all of my medications for almost 4 years. I ran a 5k in 2021 and came in 3rd place for my age group, averaging almost 7 minute miles. I’m proof that if you are physically able to do it, then the only thing standing in your way is you doing it. I just had to start, and then continue no matter what. I had to be comfortable being uncomfortable at the beginning of my weight loss journey to be able to make progress. My new health status was due to my actions.

When I was learning to play guitar, I would get so frustrated at how terrible I was at everything. There were a million times where I wanted to just give up. It was too much to learn, and I remember thinking I was too old and too busy with life to even try to figure it out. Basic strumming, chord formations, tempo, and even changing guitar strings were a real challenge for me. I stumbled my way along, slowly learning a little bit more each day. I would go to open mics and play my practiced songs for a live audience, and then go home and obsess about correcting every mistake I made. For the first year, it wasn’t really fun at all, it was more of a daily reminder about how much I just didn’t know. I would compare myself to other musicians and think to myself that it would be impossible to do what they do. I remember feeling downright hopeless at times.

I think about those early days of my music career all the time. They remind me just how far I’ve come to get to where I am today. The idea of being a professional musician was not even a distant reality for me just 5 years ago; but because I was willing to be terrible at playing guitar, I was able to progress and gain the knowledge needed to do it. As of this podcast, I’ve performed in 7 different states at over 600 performances. I’ve been making a very good living just off of performing for over 2 years now. I have met, and continue to meet, some of the best people on this planet. And all of this has been due to my actions.

I’m not superhuman, or any different from anyone else. I’ve merely started to understand a pattern of repeatable things I can do that will produce the same results when applied to anything. All of these short stories I’ve told you today have followed the same progression. They started with me realizing I had to make a change in an area of my life. The next step was admitting that I knew nothing about the thing I was trying to change. The third step was ACTION. Taking action is the only way to progress. If you don’t do anything, you will not get the opportunity to change anything. Even if you don’t know what your doing, it is really important to just start doing something. The fourth step was learning, sometimes through books and YouTube, other times through trial and error. And the fifth step is being aware of and grateful for the progress, no matter how small, and to keep trying to get better at whatever it is you’re trying to do.

Celebrating small victories has given me the ability to keep progressing in all areas of my life. Instead of beating myself up about the quality of my workout at the gym, I acknowledge how many more exercises I can do now and celebrate the fact I even went. Which keeps me going back. Instead of being frustrated and jealous watching other musicians that are better than me, I think about how far I’ve come from where I was, and I know that if I continue to invest my time I will continue to progress towards their level. Progression is a very simple thing in my mind. It’s just perseverance. Perseverance for another day when you want to quit, another hour when you can’t understand why you’re even doing something so hard, and another minute when you feel like you’re a complete failure. If you’re alive, which I expect most of my listeners are, and you are thinking about making a change, I hope you find the courage to believe in yourself enough to just START. And if you’re in the middle of making a change, I hope you find strength from this episode to keep it going. I’m always here for a pep talk if you need one, you can reach out to me at SoloMusicianPodcast@gmail.com. Thanks again for listening and I’ll see you next week for the “People’s Choice” episode of the Solo Musician Podcast.

SM Podcast Ep.5 "The History of Solo Musicians"

Garryowen Pub, Gettysburg, PA 2.4.24 Traditional Irish Group

Where it began…..

In the gigantic landscape of music, solo musicians stand out as a singular force, capable of holding audiences attention with just their performances. From the troubadours of medieval courts to the current stars gracing global stages, the evolution of the solo musician is a fascinating tale of the need for individual expression. Our solo performances, whether with an acoustic guitar, a piano, or standing alone on a stage, offer a raw and unfiltered connection between the artist and the audience. In my opinion, it’s the most intimate way to experience music in a public setting. So, join me as I do my best to give you a detailed, and hopefully entertaining, account of the history of solo musicians, tracing the threads that connect the troubadours of the past to today's chart-topping solo artists. Now let’s go wayyyyy back.

Troubadours and Minstrels (Medieval Era)

In the old days of Medieval courts, there were these solo performers called minstrels and troubadours. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century.

Wandering minstrels were like the regular folks, the common street musician with no social status, that traveled around playing music, telling jokes, and making people happy with their songs. Think of them as the light workers during the dark ages. They were known to use string instruments like lutes and viols, but were often observed adding percussion to enhance their performances. These cheer spreaders were often homeless, and they went from place to place entertaining people in villages and even still in fancy royal courts. Minstrels weren't picky about who they performed for either – everyone enjoyed their light hearted music and stories. This gave them a unique opportunity to act as a bridge between different communities, sharing not only entertainment but cultural insights across regions.

Troubadours, on the other hand, were high brow musicians from the rich people's club. They wrote and sang fancy poems and songs about love, knights, heroes, and being “proper” in society. Instead of traveling around like minstrels among a diverse crowd, they hung out in the courts of the rich people, playing boring songs to boring people. These upper-class artists were into meaningful poetry and music, and played instruments including lutes and harps, among others. Both minstrels and troubadours were very important because they told stories that helped keep history and culture alive back then. At the time, the majority of people could not read or write, so songs, poems, and spoken word performances were the only way they gained knowledge of current events.

Virtuosos of the Classical ERA (1750-1820)

The classical era, spanning roughly from the mid-18th to early 19th century, marked a changing time for solo musicians, transforming them into iconic figures and centralizing their role in the world of classical music. The piano or violin were usually the primary instrument for the soloist during this period. I couldn’t imagine having to rely on a full size piano before the invention of keyboards. Could you imagine having to load up a piano in your wagon or tow one behind your horse to get to a gig? Composers and performers from this era, such as Mozart, Beethoven, and Hummel, showcased individual skill, technique, artistic expression, and the ability to look 100 years old when they were 20. Weird fact about Beethoven, he verified the amount of individual coffee beans used to roast his cup of morning Joe every morning to verify that there were EXACTLY 60. Don’t know how that helped him, but that may just be the exact amount you need to lose your hearing in your 20s. These musicians were not just interpreters of complex pieces; they were composers themselves, crafting melodies that showcased their incredible abilities and emotional depth.

For example, when Mozart played his piano concertos, it was like a playful conversation between the piano and the orchestra. In Beethoven's violin sonatas, you could hear a beautiful back-and-forth between the violin and the background piano. This shift made solo musicians more important. They could now stand out, showcasing their talent and emotions. And get groupies…. Lots of groupies.

In addition to the evolution of the solo artist, the classical era started a shift in the perception of musicians. Soloists like Mozart were not only esteemed composers but also charismatic performers. Their ability to communicate with audiences through their instruments elevated the solo musician to a status of celebrity, with concerts becoming social events attended by the elite of society. They changed how music was made and performed, setting the stage for solo cover musicians to jar you out of your meal with their rendition of “Wagon Wheel” at restaurants everywhere today.

Folk, Blues, and Jazz Pioneers (19th - 20th Century)

During the 19th and 20th centuries, the world witnessed the emergence of exceptional solo musicians in the realms of folk, blues, and jazz, each genre contributing distinct voices to the diverse catalog of musical history.

In the folk tradition, solo musicians played a pivotal role in preserving and spreading cultural messages. Artists like Woody Guthrie and Pete Seeger, armed with just their acoustic guitars, told stories of the common people. Struggles, injustices, and life’s problems were addressed with beautiful melodies in the background. Much like minstrels from medieval times, their solo performances often resonated with broad audiences across social norms and captured the essence of social and political movements. Power to the people.

In the blues genre, solo musicians took listeners on a journey of raw emotion and personal expression. Legends like Robert Johnson, with his haunting vocals and intricate guitar work, created a profound impact on the musical scene. Side note: Robert Johnson’s voice wasn’t the only haunting part about him though; there are long held rumors of his involvement with the occult that exist to this day. Rumors that he sold his soul to the devil in exchange for musical stardom, and a ticket to the 27 club. We’ll definitely cover more of that story in another episode, but for now let’s get back to how the blues movement helped expand the path for solo musicians. The personal and heartfelt format of blues allowed these musicians to delve into their own experiences, conveying a depth of feeling that connected with listeners on a human level. They carried pain and sadness on the backs of chords and lyrics during a time when merely existing day to day would be considered a struggle.

Jazz, with its free-flowing and loosely structured nature, provided a fertile ground for solo expression. Pioneers like Louis Armstrong and Charlie Parker showcased their incredible versatility through solo performances, pushing the boundaries of musical innovation. Jazz sprang up from the creativity of African Americans slaves who were unable to maintain their original musical traditions, so they crafted a unique musical style of their own. A musical composition that couldn’t be controlled by the man. For that reason, jazz was commonly viewed as a threat to the very fabric of society. But for the people that connected with its non-conformist nature, it felt like they finally had a voice. Like they had their own story. Thus, the soloist in jazz became a outlaw storyteller, explaining complex harmonies and rhythms with individual flair. Their bravery to create and go against social norms gave courage to countless solo musicians to feel confident in expressing themselves in non traditional ways.

These solo musicians, spanning from the dusty trails of folk to the smoky clubs of blues and the vibrant stages of jazz, left a permanent mark on music. Through their mastery of solo expression, they not only helped to shape the structure of their individual genres, but they also continue to inspire countless musicians who have followed in their footsteps. Their influence continues to resonate, reminding us of the power and beauty of solo expression in the ever-evolving landscape of music.

Singer-Songwriters and the Folk Revival (Mid-20th Century)

The mid-20th century marked the golden age of singer-songwriters. Artists displayed their souls through powerful and relatable lyrics and acoustic melodies. Icons like Bob Dylan, Joni Mitchell, and Leonard Cohen emerged as solo storytellers, using their guitars and pens to spread social and political messages. This emergence marked a departure from the earlier dominance of big bands and manufactured pop acts.

Simultaneously, in the realm of popular music, artists like Carole King, Paul Simon, and James Taylor rose to prominence. Their ability to craft introspective lyrics coupled with memorable melodies resonated with large audiences at home and abroad. Carole King's "Tapestry" album, for instance, became a landmark work, showcasing the power of a singer-songwriter's ability to connect with listeners on a personal level. It felt intimate and authentic, while still being able to be considered commercially acceptable.

These mid-20th century singer-songwriters ushered in a new era of artistic freedom, influencing the next generation of musicians. Their impact extended beyond their solo performances, shaping the path of the music industry and inspiring a large array of artists who followed in their footsteps. The legacy of these singer-songwriters carries on to this day, a testament to the power of a single individual armed with a guitar and a story to tell. The folk revival movement elevated the solo artist as a singular poetic voice, connecting the masses through intimate performances.

Pop Icons and Solo Superstars (Late 20th Century)

The late 20th century marked an explosive era for solo musicians, where individual artists took center stage. This period witnessed the rise of iconic solo performers who not only dominated the billboard charts but also became cultural icons. They swayed and shifted public opinion on fashion and societal issues in ways that previous solo musicians never could've imagined.

In the realm of rock, David Bowie emerged as an larger than life figure. His ever-changing personas and experimental sounds challenged conventional norms of rock music. Bowie's incredible ability to reinvent himself and explore new musical territories made him a solo artist that could captivate audiences across genre boundaries. Ground control to Major Tom. Let’s carry on….

Pop music was full of superstars, and Madonna, the "Queen of Pop," redefined the notion of a solo artist. Her ability to create push artistic boundaries resonated with audiences worldwide. I still remember her cone bra blowing my mind when I was a teenager. Madonna's impact extended beyond music, and what she chose to hold her boobs in; she became a cultural icon, shaping trends in fashion, music videos, and societal issues. She still performs today, and her heavily plasticized face is something that should give you the heebie-jeebies. Google it.

Whitney Houston's effortless vocals made her a chart-topping sensation, while Prince's genre-defying melodies and off-stage presence showcased the boundless possibilities of solo expression. In the realm of blues and soul, Stevie Ray Vaughan and Aretha Franklin were heavily influential figures. Vaughan's mastery of the blues guitar revitalized the underperforming blues genre, while Franklin's unmatched vocal abilities and emotional depth made her the undisputed "Queen of Soul."

You see, these solo musicians weren't just creating music; they were crafting identities that resonated with fans on a personal level. They connected with people who were looking for an individual connection. For something that didn’t feel so cookie cutter, or manufactured in a lab. Their influence extended beyond the realms of entertainment, shaping the cultural landscape and inspiring other musicians to explore their individuality, and feel confident in sharing it with the world.

The Digital Era and Contemporary Soloists (21st Century)

The digital era of music, marked by the widespread use of technology and online platforms, has profoundly changed the landscape for solo musicians. With the invention of digital recording, distribution, and social media, solo artists have found almost limitless opportunities to create, share, and connect with audiences on a global scale.

One of the defining features of this era is the availability and affordability of music creation tools. Digital audio workstations and home recording equipment have given solo musicians the power to produce high-quality music independently, eliminating the need for elaborate studio setups or expensive studio time. This accessibility has led to a surge in diverse voices and genres, as artists can experiment freely without the constraints of traditional recording processes or label interference.

Online platforms, such as streaming services and social media, have become valuable tools in shaping the careers of solo musicians. Artists can release their music directly to a worldwide audience, reaching listeners without the constraints of record labels. Platforms like Spotify, YouTube, and SoundCloud enable solo musicians to build fan bases, gain attention, and even generate income through digital distribution.

Social media has transformed the way solo musicians engage with their audience. Platforms like Instagram, Twitter, and TikTok provide direct channels for artists to share their creative process, connect with fans, and build a personal brand. This direct interaction has blurred the lines between artist and audience, creating a further sense of intimacy and community between the two.

The digital era has also reshaped the concept of live performances. While you’ll definitely still see a person in a bar or restaurant with a guitar or piano belting out all your favorite hits, virtual concerts and live streams have also gained popularity, allowing solo musicians to connect with global audiences in real-time. This shift has not only provided new avenues for performance and income for the artist, but it’s also offered fans unique and personable experiences from the comfort of their homes. I often play in my pajama bottoms with a t-shirt on. No one would have ever known.

The history of solo musicians is a rich and vibrant symphony I encourage you to explore on your own. From troubadours serenading medieval courts to the pop icons commanding stadium-sized audiences, the solo artist has remained a powerful and individual expression of music. When people seek out an individual musician, they’re looking for a personal connection. A connection to their music, to their lyrics, to their energy, maybe even to their views on everyday life. As solo musicians, our history is one of bringing entertainment to people in need of being entertained. Whether that’s in the neighboring village or the corner of a local bar. We bring people together for a little bit of fun in a world that can sometimes be too heavy to enjoy. I’m grateful every day that I get to walk in the shoes of minstrels and Mozarts, feeling free to express myself anyway I feel fit. Thanks to all the trailblazers, and thank you for listening to today’s episode. I hope you learned something useful, even if it’s just that Robert Johnson made a deal with the Devil.

Thursday Thoughts 2.1.2024

This week’s shows:

• Shy Bear Brewing, Lewistown, PA 6-9pm

• Hook & Flask Still Works, Carlisle, PA 7-10pm **During ICE FEST**

• Antietam Brewery Western Maryland Pkwy, Hagerstown, PA 6-9pm

thursday thoughts….

This Thursday, I want to talk about the Central Pennsylvania Music Hall Of Fame. I’ve been nominated this year for the “Solo Cover Musician” category among 5 people, of which 4 are good friends of mine. I was previously nominated in 2021 in the category of “Male Solo Musician”, but did not come away with the award that year. I’ll share my story of my first experience in just a bit, but I should start by breaking some things down. For the listeners that are from outside of central PA, the CPMHOF is a local non-profit organization that has an annual award ceremony, the CPMA’s, where they recognize the areas “BEST” local musicians in the area. Nominees are encouraged to attend and participate in a “red carpet” style reception, a “local celebrity” studded ceremony, and capped off by what’s rumored to be a pretty epic after party.

The suggestions for nominees are submitted by friends, family, fans, and other F words, for consideration during a nomination period at the end of each year. The Board of Directors and Advisory Committee members then pick the top 5-6 acts submitted to be considered for the award. Then there’s a period of fan voting to help advise the Advisory Committee of public opinion. After that, the Board of Directors and the Advisory Committee get together to select a winner, each member casting a single vote for their choice in each category. The fan vote makes up a very small percentage of the overall vote as to keep it from being a “popularity contest”. The winner is then announced at the CPMHOF Awards show held in March each year.

I, like many others, hate awards shows. I like being recognized by my peers, but I don’t like watching the pretty people do pretty things. I’ve always been an outsider. In my high school years I was forced to be one, and in my recent years I’ve been lucky enough to choose to hang on the fringes. I don’t like letting my value be decided by people I don’t know. But, even with my desire to stay on the outside, I’m not immune to looking for acceptance from my colleagues, or a nod from the powers that be…. Although, I wish I was.

I fell victim to my own uniformed ignorance the last time I was nominated for a CPMA in 2021. I was in the “Solo Male Artist” category with Antonio Andrade, Adam Blessing, Shawn Pike, and James Zero. At the time, Adam was the only one of those names I had ever even heard of. I did some quick research of each of the nominees, analyzing them against the criteria that the committee would look at. I found myself comparing my accomplishments to theirs.

Oh, what a fun thing to do.

After viewing the other nominees Facebook pages for 5 minutes, I decided that I was clearly the most qualified out of our group to receive the award. I had the busiest schedule, I was most active on my social media, I had gained over 1,000 followers on platforms in 2021, I regularly toured out of state, and a lot of other things that I wouldn’t normally list for reasons for me to feel accomplished. I remember thinking that I had it in the bag, and all my friends, fans, and family thought I did too.

The night of the CPMA’s came, and I was there with my girlfriend, daughter, and countless other friends and supporters. I was dressed to the nine’s and ready to accept my award. I walked the red carpet, accepted early congratulations, did some interviews and chatted with friends. It was cool to see so many people from the local scene in one spot. I mean, a lot of us don’t see each other at all throughout the year unless we’re sharing the same stage for a show, so it provided a great space to catch up.

When it came time for the ceremony, we were seated 5 rows back from the stage. My daughter and girlfriend were talking, and I was nervously preparing to give an acceptance speech for the award. After only being in the live music scene for 2 years, I really couldn’t believe I had even been nominated. But I was thankful to be there. Then the time came for my category. They read the names, one by one, of the nominees. I still remember the feeling when they said my name and the crowd cheered. It was the loudest show of support among the nominees by far.

The award goes to……… Antonio Andrade.

In that moment, I remember feeling deflated, sick, angry, and bitter. They had picked the only person that I thought had zero chance of winning. He wasn’t really playing any shows, not nearly as many as me, he didn’t live stream and was only mildly active on social media, and I had never even heard of him. I had been rejected, yet again, by the popular people. They had somehow convinced me to get dressed up, pay for tickets, petition my friends and family to vote and share their page, just to rob me of an award that I was clearly the winner of. We stuck around for another 30 minutes, and then my group left. We went out to dinner and bitched about how rigged everything was, and how ridiculous it was to lose to a nobody. I spent the next week fielding a ridiculous amount of messages from people telling me I got robbed, or saying they were sorry to hear I didn’t win.

And I’m here to tell you, I was completely wrong. Antonio was not a nobody. He has a very loyal fanbase that comes out to see him and he plays primarily original music. He has multiple albums available online and is an extremely talented musician. He deserved that award just as much as any of us did, and definitely more than me. I had only been playing guitar for 2 years at that point, and I should’ve just been happy to have been nominated. I should have just enjoyed the acknowledgement for my hard work. But I didn’t. I wanted to win and somehow feel validated by my award. And this is my issue with award shows.

Every year I see the list come out of nominees, and every year the collective music scene shakes its head. In some ways, rightfully so. Local musicians chime in about the people not on the list, or who really belongs on there. We all talk about the fact that some acts are nominated every year that haven’t even earned a nomination for even one year, based on the criteria they are supposed to be judged on. We compare the names on the list to who OUR personal favorites are for that category, and then chalk the whole thing up as unfair and biased.

And it is. There are 16 people on the Board of Directors and 24 people on the Advisory committee, although I may have that composition wrong. Those 40 people are “encouraged” to do some research on the acts, but not required to. So you are getting a vote from 40 people who may or may not know anything about the musician being nominated. That definitely sounds unfair and biased to me, but so are ALL awards shows. To pretend that this one is somehow above the board and completely fair would be ridiculous.

I see calls from local musicians to boycott the awards. They say you shouldn’t show up, don’t acknowledge your nomination, don’t participate in the festivities, don’t feed into the system that is excluding so many great acts that deserve to be there. That somehow by not participating you will bring down the entire corrupt system. And to them, I ask, for what benefit?

The CPMHOF is a non-profit organization. In addition to the awards each year, they provide pathways for youth artists to get recognition, or connect with other youth artists. They host showcases and events throughout the year highlighting at least SOME of our local musicians. They have a podcast where they interview local musicians. They bring eyeballs to our incredible local music scene through TV and Radio appearances, and bring more and more local artists into the spotlight each year.

Does that sound like an evil force that needs to be torn down? Not to me it doesn’t. I think they are a positive organization overall. But, in defense of the naysayers, I will say that I would love to see them do better. Actually require your voting members to check out the acts, and find better ones. If what you come up with year after year is the same people over and over, you’re not in touch with the local scene. There are a TON of incredible acts out there, and you’d be doing the local music scene an even larger favor by discovering and highlighting the best in each category, not just the ones that are submitted for discovery during your nomination period. What those 40 people really need to understand is that when you nominate someone, and they get that nominee title or that Facebook badge, they are now more qualified to play a gig, in some peoples eyes, than someone who is not nominated. So they should not take the nomination process lightly if they want to be viewed as not just another out of touch music organization.

I will be at the awards ceremony this year, dressed to the nine’s, but with a different intent. I don’t care whether I win or not. This award does not and will not validate me and my worth. I’m going to be there to enjoy a night with my colleagues where we can celebrate being musicians. Where we can laugh and drink and be merry, realizing we all have the best jobs anyone could ever ask for. We make noise for a living, and it’s pretty cool there’s an award show for that. I hope I’ll see you there.

SM Podcast Ep. 4 "Livestreams are Fun"

Today, I’m going to cover my live-stream setup. My equipment and software, my techniques and platform hacks. I’m going to cover everything I think you’ll need to broadcast a professional, and hopefully profitable, live-stream straight from your home to the entire world. I’ll include links in the show notes to the equipment that I currently use, so you can purchase the same items if you feel so inclined. And if you’re just an observer of live-streams, today’s episode will give you a glimpse behind the camera so you can better understand what artists do to bring the show inside your home. So, let’s get into it.

The list:

1. Sound Equipment

2. Video Equipment

3. Lighting

4. Computer

5. Software/Apps

6. Other miscellaneous equipment

7. Internet connection

8. Monetization

9. Consistency

10. Audience and Post-Audience

SOUND EQUIPMENT:

In my opinion, the way your stream sounds should be your highest priority. If your stream sounds terrible, then nothing else will matter. Most people are primarily tuning in to hear you perform music. They’ll deal with a less than awesome picture quality as long as they can hear you clearly. A lot of people who listen to my streams don’t even watch the video, they listen to it on their bluetooth speakers or headphones at work. I’ve tried about 20 variations of sound equipment, including large studio boards and effects processors, all the way down to single computer interfaces. The following equipment has proven itself to be easy to operate, very affordable, and has consistently produced high quality audio:

• Mixer: I use a Behringer Xenyx 1202FX with Effects. It’s an older model that is now discontinued, but you can find them used online for anywhere between $80-$120. The modern equivalent is the Behringer Xenyx 1202SFX, and they retail for around $130. I don’t have any personal experience with the 1202SFX, but it appears that it serves as both mixer and interface for connecting to the computer. This eliminates the need for two separate purchases. As far as the Behringer Xenyx 1202 that I use, it’s a simple 12 channel desktop mixer, although I usually only use 2 channels. One for my condenser microphone and one for my direct guitar line. It has 24-bit digital effects, which just means they’re industry standard for professional use.

• USB Audio Interface: I use a Behringer UCA222 audio interface for connecting my analog mixing board to my computer. They retail for around $30. You can SKIP this step if you buy a board with USB capabilities, such as the Xenyx 1202SFX I mentioned when covering mixers. The UCA222 interface uses RCA connections to capture your audio from the mixing board and send it to the computer. It’s basically an external sound card. It has input, output, and monitoring capabilities, and the audio signal consistency is top notch. Again, if you are using a board with USB capabilities, you DO NOT need to purchase a separate interface.

• Microphone: I use an Audio-Technica AT2020 Condenser Microphone. They are around $100, and in my opinion worth every penny. I picked mine up at a yard sale for $10. I highly recommend a condenser style microphone for streaming applications. They not only sound more professional, but they appear more professional than your standard dynamic microphone. They can capture natural reverb sounds in bouncy rooms and give an added layer to your production. Make sure to purchase and use a foam filter or pop filter as well to help filter out “plosives”. These microphones are very sensitive and you will have terrible issues with your audio quality without some sort of filter.

• Cables: Don’t skimp on cables. Shotty connections or poor signal delivery can be the death of your audio dreams. You definitely don’t need to buy the most expensive ones out there, but I personally run Pig Hog Cables and have never experienced a single cable issue. I use four total cables in my setup. Two 1/4” male to RCA male cables to connect my board to my audio interface, one 10ft 1/4” instrument cable, and one 10ft XLR microphone cable. You should expect to spend around $60-$80 for cables.

VIDEO EQUIPMENT:

I currently use the built in camera on my IMAC for my video, but I’ve used some other pieces of video equipment in the past that worked great for me as well. The goal with video is to produce High Definition video, at least 1080p, so it doesn’t get blurry or pixelated when viewed on devices other than cell phones. Most people will watch or listen to your stream on their phones, but 1080p video will look clear and sharp across all devices, giving the viewer flexibility to chose how to watch it. Here’s some of the camera equipment I’ve used in the past:

• Zoom Q2N4k Camera - They’re around $200 and capture up to 4k video. They have a wide range of settings that you can control, including parameters for lighting, field of view, and overall resolution. They connect to your computer through a separate micro usb to USB A connection. I primarily used this camera for wide angle shots of my livestream setup.

• Logitech C920 HD - Priced around $60, these entry level webcams are capable of full HD (1080p). They offer both narrow and wide field of view and work well for your primary camera if the built in one on your computer sucks. I used this camera up until about a year ago. One thing to note about this camera is that you need adequate lighting for it to function properly, it does not function well in low light environments.

• Built in FaceTime Camera (IMAC) - This is what I currently use. It flawlessly records in 1080p and can adjust to lighting conditions on the fly. It has the option to blur your background out for streaming in less than ideal locations, and has the benefit of being integrated into the computer which means one less step for processing. The video quality is perfect for what I need it for.

LIGHTING EQUIPMENT:

Proper lighting is ESSENTIAL for your video to look clear and well produced. Think of it this way, with proper lighting, you can control more parameters such as contrast, color saturation, and field of view based off of your taste rather than off of what is lit up enough to even be captured. When I started, I used four cheap pedestal lights in the corners of the room out of the camera view, two small lamps with the shades removed behind the camera to front light, and a ceiling light to wash the room in amber light. It was bright enough to catch a tan, and it made the night time streams look as clear as day. Now, I only use two lights to achieve the desired effect, but I can’t emphasize enough how important lighting is for your stream to look professional. Here is my current lighting kit:

• Sutefoto 2 Pack USB Lighting - This kit includes two lights mounted on adjustable stands with tons of color gels to get the exact look you’re going after. The light temperatures ( color control from blue to amber ) are adjustable as well. You can pick these up on Amazon for about $60. I place one in front of me, behind the camera, for front lighting, and one above and slightly in front of me, for top lighting and a bit more front lighting. I don’t use any color gels, but I’ve experimented with them and found that combining the blue and orange ones provides a warmer picture.

COMPUTER:

Your computer is the brains of the operation. You need to have a good processor speed, a good video card with dedicated memory, and a high amount of RAM for the ability to run complex programs without glitches. I’ve used IMAC computers exclusively for this, and have found them to run flawlessly in all aspects of music production and streaming. My CPU usage, fancy speak for how hard the computer is working, never goes about 10% when I’m streaming. This low workload provides a consistent and high quality video every time. It also gives me the ability to RECORD my video at the same time I am broadcasting the streams to platforms. Here is my current setup:

• Mid-2020 Apple iMac with Retina 5k, 3.3Ghz - This computer is a workhorse. They retail for around $1,100 and are worth more in my opinion. I bought the computer with the standard HDD and RAM configurations, but upgraded both for further peace of mind. I’m sure that it would still function perfectly out of the box for my needs, but I wanted to make sure there would be no issues. I supplemented the 512 GB SSD with a Western Digital 4TB Thunderbolt HDD, which retails for around $120. The HDD is not so much for streaming, but for other video editing and music production needs. I upgraded the stock 8GB of RAM to 128GB of RAM by using 4 sticks of 32GB DDR4 2666Mhz RAM. The kit’s retail around $240, but with this simple upgrade to the RAM, the computer now possesses the ability to perform pretty much any function I throw at it without hesitation. The computer is SILENT when under load, which is awesome for live productions. The 27” display gives you enough room to have multiple windows open for lyrics or chat logs as well as your streaming apps. Can’t recommend this computer enough.

• Powered USB HUB - Having SO MANY things to run off USB means you’ll most likely need to expand your USB ports. A powered USB 3.0 Hub is a simple and cost effective way to give you all the ports you’ll need. The one I purchased in 2020 retails for around $25 and gives you an additional 7 USB 3.0 ports as well as a single dedicated charging port. It also gives you the ability to turn off individual devices when you’re not using them with dedicated on/off buttons for each port. This is a MUST HAVE for streaming in my opinion.

Software And Applications:

There are many different ways to livestream. There are literally hundreds of different platforms or online spaces to perform. You can stream directly to Facebook, YouTube Live, Twitch, Instagram, and TikTok, among many others. You can use an online GUI (Graphic User Interface) or downloadable app/program for products such as Restream, StreamLabs, or OBS Studio, which allow you to stream to multiple platforms at once. I’ve used all of these products in the past, and currently use the OBS Studio app on my computer to stream directly to Facebook. Here’s a little info about each:

• Restream - Restream is a service that takes your single stream and splits it into multiple platform streams. It’s a monthly or annually billed service that costs around $16 a month for 720p streaming and $41 a month for 1080p streaming. I’ve used this in the past to stream to Facebook, YouTube, and Twitch simultaneously and I LOVED the built in feature of displaying comments from all 3 platforms in the sidebar. Each comment had it’s representative logo from the platform it came from, and it’s menus and options were easy to navigate.

• StreamLabs - Streamlabs is another stream splitting service that is much like Restream. I found it’s clean user interface to be a bit better than Restream, but not by much. It does, however, claim to offer 1080p service for $19 a month or $150 a year if purchased annually. I never experienced any loss of signal or buffering issues while using Streamlabs and found it to be a great service as compared to Restream at a more affordable price.

• OBS Studio - Earlier, I identified the computer as the brain of the operation. And if the computer is the brain, then OBS Studio is the brain stem. Everything I do on live streams flows through OBS Studio. It’s the application I have downloaded to my computer specifically to organize my stream. It takes a bit to learn how to use it, and you may start out with just simple functions, but there are TONS of YouTube videos telling you how to use it and the online help community is incredible. Oh, and did I mention it’s open source? It is FREE!!! One day I will do an episode SOLELY on how to use OBS, but today is not that day. What I will tell you is that in OBS Studio, you add your input devices (camera and audio equipment) and can effects such as audio compression, reverb or delay and noise gate, and video effects, such as contrast or color control and image or text overlays to advertise your digital tip jar links. You can monitor stream quality, audio quality, video quality, and comments all in the same spot. It’s a truly awesome piece of software and I rarely experience anything resembling an issue with it. Did I mention it’s free???

Other miscellaneous equipment:

I’ve pretty much outlined all the MAJOR equipment I use for creating my live streams. I’d also like to cover some of the small things I use as well. These aren’t necessarily required for you to begin live-streaming, but in my opinion they will add to the professionalism and quality of your stream just as much as the big ticket items. And they are all CHEAP. Here is 3 pieces of non-essential equipment you might want to consider:

• Amazon Desktop Tablet Holder - The title describes exactly what it is and what it does. They retail for around $20, and are a plastic cradle for your tablet that you can sit on your desk. It’s adjustable up and down for tablet size and viewing angle, and works well at holding your tablet out of camera view. I place mine close to my keyboard for easy access and reference while performing covers while streaming.

• Desktop Microphone Boom Stand - Sure, you could use any mic stand you have laying around the house, but I find having a dedicated microphone stand that secures to the desk makes it easier to keep my performing area set up all the time, rather than having to break things down in between streams. They retail for around $40 and are an awesome way to boost your professionalism to anyone watching your performance.

• Basic Note Pads - Or any other scrap paper. You can buy a 6 pack of 5x8 note taking pads online for $9. I use them to jot down requests, things I want to talk about, keep track of tippers to thank, and other general notes. While you’re streaming, sometimes you’ll get a large influx of comments that will quickly add up. By noting things down you’ll spend less time scrolling back up in the comment feed to find the requested songs or people that just wanted to hear you say “hey” back to them.

Internet connection:

One of the fundamental forces working behind the scenes of your live stream is your internet connection. It’s your lifeline to the outside world, and its quality has a direct effect on people enjoying your performance. It can be the difference between people sticking around to watch you or people leaving your stream frustrated. In instances where an LAN (local area network) or “wired” connection is available, use that first. Being hardwired into a router is considered a more stable and faster connection and can rule out interference from your neighbors wifi.

If you aren’t able to be wired in, try to set yourself up with the most stable wifi connection you can muster. If you’re in a house or townhome, position your computer on the same floor as your wifi router. This will negate some possible sources of electrical interference and provide a more consistent signal. Try to use the 5Ghz channel of your router, if available, for better upload bandwidth (speed). Shoot for at least 15Mbps of upload speed as a baseline for streaming 1080p video and high quality audio. Download speed does not really apply to your stream quality. If you don’t know your internet upload speed, you can perform a FREE speed test by going to speedtest.net to see exactly what your devices have available to use.

Monetization:

Show me the money, right? I mean, even if your primary goal of streaming is not to make money, it sure would be nice to get a few dollars back from all the equipment, knowledge, and time you’ve invested just to make it happen. Your goal should be to make it as easy as possible for people who WANT to give you money, to be ABLE to give you money. I monetize my livestreams in two different ways:

• Digital Tip Jar links - Link.tree, Venmo, PayPal, and CashApp can be GREAT ways for consumers of your stream to tip you. Utilize the text overlay function of your streaming software to place a scrolling ticker with your usernames for each payment avenue. Make sure you post them in the post title on Facebook or in the description of the YouTube live. The easier you make them to find the better.

• Facebook Stars - Once you’re established as a content creator on Facebook, you can utilize Facebook’s STARS feature. Once enabled, this provides viewers a built-in way to tip you on Facebook. It also gives them incentive to tip to move their comments to the top of your feed. You keep .99 cents of each dollar, minus applicable taxes once you hit a certain dollar amount. It’s a fun and interactive way to earn some “tips” from your stream.

consistency:

How should you advertise your livestream? If no one knows it’s happening, how are they supposed to watch? I’ve personally tried countless ways to advertise my livestreams to potential viewers. I’ve paid for advertising, made Facebook events, partnered with advertising firms, done short videos inviting people, the list goes on and on. There is one thing, above all else, that worked for me when it comes to advertising. That thing is consistency. Commit to doing a livestream on a regular schedule, and people will come. If they know you livestream every other week on Thursday nights, they’ll put it in their calendar and invite their friends. Don’t waste money with ads asking people to join. Try to post an event for each stream on Facebook, if that’s where you’re streaming, giving people the option to check off if they’re going to attend or not. Schedule upcoming LIVE’s on YouTube to give potential viewers the chance to get notified when you’re LIVE. Make sure to SHARE your stream to any groups you’re able to on Facebook to maximize viewership. There are hundreds of these groups just waiting for you to join and share. These are all simple and free ways to market your livestream to people that will join. If you’re putting out a high quality stream, it will grow organically without you ever spending a dime.

audience and post-audience:

The last thing I’d like to cover is Audience and Post-Audience. I know what you might be thinking, what the hell is a post-audience? Well, a few years ago I realized that there are two distinct groups that watch my livestreams. There’s the people that watch LIVE in the moment and comment requests, which I categorize as the Audience, and then there are people who re-watch the stream later or listen to it on headphones at work the next day or at the gym, and I categorize them as the Post-Audience. Each group has their own place in the livestream world. For the Audience, they are relying on good quality video/audio and your ability to keep them entertained. Requests, witty banter, small talk and interaction are all main focuses when performing for the Audience.

For the Post-Audience, a lot of them will listen to your stream WITHOUT ever looking at it. They won’t be requesting songs or looking for interaction. They’re just there to observe what you’ve already done. Keep this in mind before engaging in a 20 minute conversation with a single person on your stream or spending forever in between songs looking for something to play. You’ll lose the Post-Audience faster than your tax return money if you bore them. Also, keep in mind that the Post-Audience has the same ability as the Audience to tip you whenever they watch your stream. Set yourself up for random tips to hit your digital tip jar by acknowledging the post watchers and talking about your links a few times during your performance.

As I close out this episode, I really want you to keep one thing in mind. I’ve outlined a lot of things today, mostly on the business side, to give you the best livestream experience possible. It’s not the only way to do it, there are definitely many other configurations or approaches to streaming. I’ve given you the things that worked for me, because they worked for me. But don’t forget to have fun, because Livestreams are Fun! Have a good time in an intimate setting with the people who want to see you perform. They’re in your home and you’re in theirs. Talk with them, laugh with them, and enjoy each other’s company. You can always delete it later if it sucks, so have fun in the moment.

Good luck with your streams, and if you EVER have any questions/concerns or just need a little help, shoot me a message at SoloMusicianPodcast@gmail.com and I will help any way I can. See you next week!

SM Podcast Story of "The Homeless Man"

A homeless man with a guItar….

changed my life. Forever.

This is the story, all about how my life got flipped, turned upside down. In 2018 a man outside of an auto parts store fundamentally shifted the path of my life. I’d like to tell you his name, but I never once heard him utter it. I’ve spent many nights wondering who this man was, what made his path intersect with mine. How things could’ve gone differently that day if I hadn’t been in a mindset to receive the message. What would’ve happened if I ignored him? Or tossed him a couple dollars and got in my car. Today, I’m going to share the origin story of this beautiful music career of mine. It’s a unique and powerful story full of inspiration, at least to me. Triumphs and defeats, hard lessons and moments of absolute bliss. It’s a story of taking a chance when I thought I had already used all of mine up. It’s a factual account of an impractical journey, all started with one simple act from a stranger. This is my story of The Homeless Man.

Yo, Sublime!!

A man yelled from across the parking lot. I picked up my pace, laser focused on making it to my car without interacting with the man. Yo, sublime… I looked back in his direction and notice he’s now standing up. He’s a rather portly tall black man with a ripped up t-shirt, an army satchel, a guitar, and a pitbull. He has unkept facial hair and long dreads that look really heavy. Yo, come here Sublime….

Now he’s walking TOWARDS me. Reaching the car, my eyes briefly meet my reflection in the front window. It dawns on me that I'm wearing a Sublime t-shirt, and in that moment, I confirm he's definitely talking to me. I start digging to see how much money I have in my pockets to either a) give it to a guy that’s down on his luck, or b) use it to negotiate for my life. I turn around to greet him, silently hoping my last minutes on earth aren’t spent in an Advance Auto Parts parking lot. That’d be a real bummer, man.

As he reaches me, a radiant smile graces his face, with teeth so immaculate that they defy the hardships of street life. I consider asking him about his extraordinary oral care routine, but decide that would be out of place. Looking down, I see his pitbull obediently sitting by his side, mirroring his joyful expression. He has a cross tattooed on his forehead, and the ink looks raised and irritated from days spent in the sun.

He placed his army satchel on the ground, using it as a makeshift pedestal for his guitar. "Sublime. How you doin' today?" he uttered, followed by a prolonged sigh. There's a subtle twang in his voice, perhaps southern, but I struggle to pinpoint it – I've never been good at identifying accent . "Pretty good, man. How's your day goin'?" I replied. His smile dimmed slightly. "Honestly, it’s been rough, man. I'm homeless, and dealing with the backpack, the dog, the guitar—It’s a lot,” he shared. Doesn’t seem like much to me, I thought. I immediately start to wonder what his angle is. Am I supposed to feel bad for his minimalist load and give him some money? Having worked in New York City for a while, I had to develop a razor sharp ability to identify street hustles. Mostly out of necessity, because if I had given a dollar to every homeless person on my walk from 57th to 48th every morning, I would’ve needed a grocery bag to carry all the singles. And because I’m very passionate in giving money to people in need, when I have enough to give.

"I bet," I replied, forcing him to make the next move.

"Yeah, man. Like I said, it's hard," he continued, his smile growing even wider. "Will you take this guitar for me, help lighten the load?" It's intriguing how his lips manage to close enough, despite the broad grin, to articulate the words. His face resembled a Rastafarian Cheshire Cat. "I don't play guitar," I replied, thinking that If his intention is to persuade me to buy the guitar, that's not going to happen. The instrument was heavily weathered, with protruding nylon strings, and it's been patched together a few too many times. I'm convinced that it holds little to no value, and should probably just be thrown out. Undeterred by my answer, he pressed on. "Never too late to learn, I try to play it when I can, but my hands hurt. I want to give it to you. No strings attached, besides the ones on the guitar.” he chuckled, as if he surprised himself with a joke. “It's too much for me to carry all this,” he continued, “you can start playing it now and become a big rockstar one day, man. Change your life. You never know."

Ha… Change my life, I thought. Sorry, pal. I’ve been needing to change my life for 2 years now. I’m in a pointless marriage that has run its course. I’ve never really been great at relationships, and this one is just the latest victim of my inability to domesticate. I’ve quit smoking countless times, and relapsed countless more. I have a shaky and distant relationship with my daughter and stepson, and I have no idea how to bridge the gap. I hate my job, I’m overweight, bitter, and feeling stuck in a life I didn’t want. That I didn’t deserve. Not after everything I had been through. I didn’t survive that terrifying childhood home, that car accident, that school for troubled youths I got sent to where people were murdered in their sleep, having a daughter at 18, losing my dad at 23, a nasty divorce, and all the terrible decisions I had made after, just to end up miserable at 33.

It’s not like I was completely inactive in trying to change my life. I had started to go to the gym more often and was making better food choices. Despite hating my job, I committed to showing up every day and doing the best job I could do. In 2018, I started to attend comedy open mics, and then made the choice to get on stage and do 5 minutes of material. That first open mic set can still be found on my YouTube channel, only viewed 110 times. I told honest jokes about my life at the time, finding humor in my struggles.

Making the choice to participate in comedy open mics was the beginning of realizing I could do more. I had crippling stage fright that seemed to become less and less apparent week after week, until I noticed a few months in that I wasn’t scared at all anymore. I found I really enjoyed being in front of a crowd, up on a stage, and most of all entertaining. Stand up taught me to believe in myself and what I was doing, and others would too. Now, let’s get back to the parking lot Rastafarian….

“I’m not just going to take your guitar,” I said. I fished around in my pocket and felt some folded up cash. I pulled out a $10 bill and handed it to the man. I looked into his eyes for the first time. They were a weird mixture of greens and blues. I could see the clouds in their reflection, and the colors were so vibrant they seemed like they were somehow lit from behind.

“Nah, man. I’m just supposed to give this to you,” he replied, holding the guitar out. OK, I thought, now I have no idea what his angle is. Somehow, I’m willingly giving him money for a broken instrument. I don’t know how he did it, but he did it. He may just be the best street hustle genius I’ve ever met. “I insist.” I said. “If you don’t want it, take it for the dog. Get him some treats or something.”

I swear the dog smiled harder.

“Alright, man,” He said. “Look. I’ll take the $10 if you promise me you’ll play this guitar. But don’t promise me you’re gonna play it if you won’t. That’s gonna be our deal. I’ll take the money, and you go change your life.” There it is again, I thought, change your life. Why does this guy even care about what I do with my life, or this guitar? Why does he keep saying that? Is this supposed to be a sign, cause it’s definitely starting to feel like one. I felt a wave realization, that I can’t describe to this day, that this parking lot meeting was meant to happen. That there was something bigger at play here than just a guy down on his luck, and in that moment, I made a pact with a stranger that would completely change my life. “Alright man, I promise you, I’ll play it.” I replied.

“God bless you, Sublime” he said, and without waiting for a response, he picked up his satchel, tugged his dog’s leash, and they walked away. Never to be seen again. He looked visibly lighter, possibly due to his newly freed hand. His shoulders were pressed back, his chest was proudly pushed out, as if he had accomplished exactly what he set out to do that day and could now continue on his way. He was whistling something beautiful, to this day I have no clue what it was.

I’ve often pondered whether he was real or not. That day radically changed every single day of my life since. 3 weeks later, I came to learn that the guitar he sold me was not actually a piece of junk, it was a rare 1965 Yamaha Folk acoustic. They had only made that configuration of that guitar for 2 years and then discontinued it. If it was in playable condition it would be worth thousands, but even in it’s current rough condition, it was worth hundreds. I felt like he had to have known what he was carrying around, and that my $10 donation may have actually just been paying for a ticket to board the train that would change my life. I kept my promise to that divine Rastafarian, and I played that beat up guitar until I saved up enough money to buy another guitar to play. I practiced until my fingers turned purple and bled. I stopped going to comedy open mics and started going to music ones. I went to bed with chords and arpeggios on my mind and woke up with melodies and notes in my head. I became absolutely obsessed with everything music, and when the time came for me to play my first show on November 10th, 2018…. I was ready. The guy running the local open mic, Wally DeWall, got sick. He asked if I could cover his gig at Flinchy’s in Camp Hill, PA. I looked at my song sheet of songs I could play to see if I had learned enough to fill 3 hours, and was surprised to find that I did.

I may or may not have played some songs twice, but I had done something I viewed as impossible less than a year before. I had played my first paid show, 6 months after I had met that homeless man. I played that show, with a smile on my face, to a half full room of friends and strangers. Most of them still pop up at shows to this day, and we laugh and talk about how it all began. Since that first gig, I’ve played over 700 live shows. I’ve laughed, I’ve cried, I’ve won and I’ve lost. I’ve grown into a person that I never imagined could’ve been me. I’ve opened up the show for national acts, including Lit and Better Than Ezra. I’ve shared the stage with some of my favorite local musicians in bands like Observe the 93rd and Adrian Blitzer. I’ve been regarded as one of the best solo acts in the area by my peers enough times to make me really uncomfortable.

When I look back to June of 2018, I see a man that was settling for a mediocre outcome in every area of his life. A man that was destined to survive, but never actually live. A man that was completely incapable of change. But with the newly found courage from playing music, and a real path towards fulfillment, I finally separated from my failing marriage. I haven’t had a cigarette since 2019. I repaired, and continue to work on, my relationship with my daughter. I lost 45 lbs and continue to keep it off. I was able to quit my job in 2021 and make a living as a full time solo musician. The list of areas where progress has been made goes on, and on, and on.

I share my story in hopes it motivates you to watch for the universe’s intervention. So you can walk through life being receptive to the moments that may change it’s course. So you know it’s never too late to find your purpose, never too late to start walking the path that actually calls to you. I know it’s cliche, but you didn’t come this far just to come this far. I really hope this story finds you when you need it most. When you’re lost and looking for a sign. I hope somehow, someway, that homeless man can see my story about him one day, but I also think it’s entirely possible that….

….he was watching me write it the whole time.

Here’s a few more pictures of the guitar:

Thursday Thoughts 1.25.2024

Shows this weekend:

• Wednesday 1.24.24 - Walker’s Tap & Table, Glenwood, MD 6-9pm

• Friday 1.26.24 - Carlisle Club (Members Only), Carlisle, PA 7:30-11pm

• Saturday 1.27.24 - Lebanon Valley Craft Brewery, Lebanon, PA 5:30-8:30pm

THURSDAY THOUGHTS…..

My show was canceled last Friday due to snow, so I decided to do a live-stream on Facebook. I have to admit, I wasn’t prepared for the way I felt when I was setting up all the equipment for the first time in this new house. I found my mind transported back to that old house in Marysville where I first pressed START on a live stream, playing and singing into a camera for anyone, anywhere, who would listen.

When covid appeared and shut down all the venues I was playing, I turned to the world of live-streaming for the ability to perform in front of people. My show at Hook and Flask on Sunday, March 22, 2020 had been canceled due to the lockdowns, so I made the decision to take it online for the first time. I was about 45 pounds heavier than I am now and I was wearing a yellow hat that didn’t quite fit my bulbous head. I was nervous and not sure that anyone would even watch. The computer I used was occupying a lonely, drafty and cold room in my newly empty house. My ex-wife and I had recently separated, and I was really struggling with understanding what I was even doing with my life anymore. And then the pandemic hit. So, with not much to lose, and a burning desire to be heard, I adjusted the lighting, stared into the camera, checked the levels one more time, and started the intro music.

I remember feeling like I just needed to connect with SOMEONE.

Three……Two…….One. A glowing blue light indicated that the camera that was on. I nervously talked for a few minutes about my album release that had been thwarted by the universe. I played my original songs and gave my descriptions of why I wrote them. I spoke directly into the camera lens, knowing the people on the other side were most likely alone, and afraid, just like me. The lockdowns had forced us to be apart, to isolate and avoid our closest people. To this day some of that gap has remained unbridged, but I was convinced music had the power to bring comfort and connection, if I could just somehow reach some people in need. To my surprise, I only had to wait two minutes and twelve seconds for the first person to make their presence known. “Sounds awesome” said Jeff Zigner. I can’t explain the level of comfort I felt from that first comment. Someone was listening.

People continued to join at a steady pace, and by the time I played my second song, I didn’t feel so alone anymore. The stream continued for nearly two hours, with people requesting songs and proclaiming they were singing along. Clap emojis and laughing faces littered the comment feed. It felt like we were all together, collectively escaping the new reality we had all been thrust into, even if only for a moment. It didn’t fix where we were at that time, but it definitely seemed to make it more manageable.

And that’s exactly what it continued to be. An escape, a gathering place, a weekly community check-in to have some fun and just be together. For some people it was a date night soundtrack, for others it was a living room or garage party. It reached farther than I imagined it ever would, crossing state lines and country borders. It gave us all hope. It gave me hope.

I’ve since moved on to playing live gigs again, and the livestreams have become less frequent. But, the people I connected with during that time have remained. I’m still constantly blown away when people come up to me after shows and tell me their live-stream stories. They tell me that by joining in the livestream each week they strengthened their families, their marriages, and sometimes even themselves. That they had something to look forward to in a world plagued with uncertainty and fear. That they felt connected. People often thank me for doing it, not realizing I needed it just as much as they did. We all went through some of my lowest moments together, whether they knew it or not. I’m grateful every single day for the people who kept me going during that time, and I’d tell you all of their names, but it would take hours to read the list.

The livestreams ended up verifying my hypothesis, that music does have the power to comfort and connect. It has the power to unite and feed our souls in an ever changing and terrifying world. And while I thought the time for online performing had passed, spending some time with everyone again last week made me realize that the world may need this now, even more than it did before. A virtual hangout to escape the craziness of reality and the heaviness of life. It feels like we could all use a little more of that, so I’m going to make it a goal to bring us all together for a community check-in a little more often. I’d love it if you would join me, and everyone else that shows up, for some free online music therapy. No catch. Watch the Facebook page, Dave Gates Music, for updates and scheduled live streams, and I can’t wait to hang out with everyone again.

SM Podcast Ep. 3 "Foundation to Succeed"

“The best way to predict the future is to create it” ~ Peter Drucker

It’s crazy how true that can be. While you can’t predict variables or obstacles, I’ve found that you can definitely set yourself up for the best chance at success by being proactive with tasks that are within your control. One of the biggest things I tell musicians I meet just starting out, IF they ask for advice, is that if you want to be treated and paid like a professional, conduct yourself like one. Show up early, don’t be a creep, be a generous tipper to the staff that supports you, don’t get drunk, blah blah blah blah.

The reality is, the path to becoming a successful solo musician starts way before you get to the gig. It starts when you email the venue, or you meet the booker. It starts when you drop a business card on a counter or give a firm hand shake. When you understand that you’re a salesperson, and the product is you. There are some simple steps you can take TODAY to expand your marketability, justify a higher compensation, and give the venues all the reasons in the world to give you a shot at entertaining their guests.

In Episode 3 of the Solo Musician Podcast, I’ll identify some key building blocks for a solid base of professional appearance, no matter where you are in your music performing journey. These tips are the result of countless conversations with live music bookers concerning what they are, and are not, looking for. Some of these will illicit an eye roll or may feel reminiscent of a corporate powerpoint, and I would completely understand if someone revokes my street cred for treating all this fun music stuff like a business. Rock and roll is supposed to be cool, man. I get it, and it is cool, man. But I’ve found that by personally implementing the steps I’ll outline in this episode, I’ve been able to feel more fulfilled, play the music with more passion, and get the highest paying gigs I’ve ever had. And that’s pretty cool, man. So, strap in for a bit of a long one……

That’s what she said

Solo Musician Podcast Foundation to Succeed in 3……….2………..1

Learning to develop and grow things within your control is a key part of giving yourself the best chance at succeeding at anything you set out to do. The more time you spend working on the things you CAN control, the less time you’ll have left to work on things you CAN’T control. I realize that’s not rocket science, and it definitely felt very therapisty. But once you actually identify the things that are within your control, you can get a better feel of whether those areas are holding you back and need your attention, or if you’re crushing it in that area currently and can turn your attention elsewhere. It’s a valuable time and energy management tool that you can start using immediately to unclutter your life. Here’s some things that I’ve identified as being within our control when it comes to being a solo musician.

Our communication with bookers when getting a gig:

• Professional Email: Your name MUSIC at Gmail, Your name BOOKING at Gmail, Your name ENTERTAINMENT at Gmail. Your email address is a simple, and free way to appear professional and set yourself apart from others.

• Concise and to the point. This is my name, this is what I specialize in, here are some links to videos of me performing LIVE, here are links to my socials, here is my website. I hope to hear from you, have a great day. Don’t bore them with a million details. Give them just enough info so they have an idea of who you are, then show them what you do. Let your performance/professionalism sell you to the booker.

• Don’t hound the booker. Send the email, then forget about them for at least 2 weeks. If you don’t hear back, send one follow up email. If you don’t hear back again, move on.

• Utilize FB messenger, the venue website, and their email for the best chance at a reply.

When we arrive:

• Get there EARLY. At least an hour before your gig. You’re allowing time for things to go wrong, and if they don’t, you have extra time to chill and decompress before getting on stage.

• Introduce yourself to the staff when you arrive. Talk to the Manager on duty if needed. Find out where you set up and where you get electric from.

How we treat the staff:

• Be courteous, don’t be creepy.

• Tip the bartender who gets your food/drink, and tip heavily.

• Pump up the service staff while performing. Make it fun.

• Make sure to thank your point of contact for letting you perform. They didn’t have to book you. Be grateful.

Our sound:

• If your sound sucks, people will leave, no matter how good you are.

• Turn it down. Make them ask you to turn it up. The venue and patrons will appreciate that and they will DEFINITELY tell you if it’s too quiet.

• Run pro gear. Don’t skimp on your production, it’s the first thing people notice about you. If you walk in carrying carpeted speakers, and your soundcheck sounds like whale flatulence, people will leave.

• Turn off the reverb in naturally bouncing room. Most solo musicians are playing in corners of hard surface rooms, not in rooms designed to handle live music. The people up front may hear more of your pitchiness or mistakes, but the people in the back won’t just hear a garbled mess of notes.

Our cover song choices:

• Read the room. Play what you feel like playing initially, and if the crowd responds well, continue doing exactly what you’re doing until they start requesting songs. If you feel the music, they will too. Don’t play music you don’t want to play without it being requested. Once music is requested, play those immediately to encourage more requests.

• Devote time to learning different genres and heavily requested songs. Having a wide range of music in your repertoire, including current hits, can help you stand out among other acts, as well as give you a much larger group of venues you can perform at. 

• Know your range, and play the shit out of everything in it. If you can’t sing a C6, don’t. Performing inside your range, while working to expand it, can make you develop a really good base of songs you can nail every single time.

Our stage presence:

• Act like you’re meant to be there. You were booked to perform, whether the patrons were aware or not. Confidence in your ability to entertain from the stage equates to confidence from the audience in your ability to entertain them.

• Smile more, and don’t take it so seriously. You are making noise, no matter how beautiful it is. It’s literally vibrations in ear holes, and it’s not the end of the world if you miss a note. No one will notice, except the guy who is attending your performance instead of playing his own. How are people supposed to have a good time if you’re not? Have fun.

• It is your job to dictate the mood of the performance. If you don’t think that is true, try playing 3 slow, boring songs back to back, and watch how the crowd reacts. You’ll have more control over the general vibe of the audience if you make it a point to actively dictate the mood. Slow = Melancholy and beautiful. Fast = High energy and Happy.

Our crowd interaction:

• Engage the crowd. If there is no crowd, play for the people that booked you, so they book you again.

• Take requests, and play them as soon as possible.

• If you’re in a noisy or unforgiving room, keep the talking to a minimum.

• Don’t bring down the vibe, man.

Our gratitude:

• We are getting paid to make noise, be grateful for the opportunity.

• Be grateful for the people who DON’T leave when they see you setting up. And for any person that shows up to see you play. Stop worrying about who isn’t there and be grateful for who is.

• Be grateful to have one of the best jobs in the entire world, one where you can express yourself and connect others.

The types of venues we play:

• Actively seek the types of venues you’d like to play. Whether that’s dive bars, restaurants, theaters, wineries, breweries, private parties. Each venue has a different atmosphere. Figure out which one you enjoy the most and target those venues first when booking gigs.

• If you don’t get a good feeling during the booking process, bail.

• If a venue is not a good fit, and you have more dates booked there, finish out your dates and then simply don’t go back. DO NOT cancel your remaining dates. Use them as an opportunity to work on your adaptability and resilience when playing in a challenging environment.

Our compensation:

• Know your Worth. Reference Episode 2 of this podcast.

• If you say YES to low paying or bad gigs, you will say NO to higher paying or great gigs.

• DO NOT accept less than your baseline requirements when booking ANY GIG. Consider the money, comps, creative control, travel, and self fulfillment for each individual venue when determining what you will charge. It will not be the same for each venue, but you should have a general idea of what you require to feel compensated.

What are things not in your control as a musician?

THE AUDIENCE, OR LACK OF:

• If no one shows up, that’s not on you. If you’ve done your part to advertise, and you have a professional sound and demeanor, you couldn’t have done more. Play for who is there.

• If they are rude, learn to crack jokes and grow some thick skin. Pass them a note with an address down the street and hash it out after the show…. Just kidding, don’t fight the customers, you will not be asked back.

• Most of the time in a restaurant environment, they ARE NOT there for you. Be okay with being background music. Use the time to get better at performing.

The venues advertisement of your gig:

• DO NOT depend on the venue to advertise your gig. Do your part to advertise where you’ll be. Have a calendar of events on your website, facebook, bandsintown, and anywhere else where people can see it.

• Send them a co-host request when hosting an event on facebook. Do the work for them.

The place where you set up inside the venue:

• A lot of times, the venue choses WHERE you set up. If it is not in an ideal location, ask them if you can set up somewhere you find more suitable. If the answer is no, the answer is no. Set up where instructed and play your heart out.

Audio issues from in house sound:

• Completely outside of your control. It would definitely benefit you to learn some basic audio troubleshooting, but the responsibility in this case falls on the venue.

• If the in house sound is terrible, and the venue thinks it is terrible, ask if you can use your equipment. Furthermore, as a general rule, always bring your live sound setup to every gig, even if they have in house sound. Having your equipment there as a backup for unexpected in house issues is a way to show your professionalism and preparedness.

The parking/load in situation:

• You can’t control where you have to park when arriving to a venue. Some venues have street parking and sometimes there are no spots available. You may have to park down the block or in a parking lot further away. Try to scout the parking situation prior to arriving to the venue, and leave ample time for more difficult parking situations.

• You can’t control the distance from your vehicle to the stage. You can control your ability to haul your gear back and forth though. Farmers carry exercises are INCREDIBLE for grip and carry strength, work them into your weekly routine to be better prepared for long distance load ins.

• Sometimes you will need to park in front of the venue, possibly blocking other cars or in a handicap space, to load in. This is a normal occurrence at most downtown venues I play in large cities. If this is the case, put on your 4-ways and be mindful of anyone trying to leave that you are blocking. Get your stuff in and move your vehicle to it’s gig resting place as quickly as possible.

Traffic or weather conditions:

• You cannot control the traffic or weather. The only thing you can do is be prepared for it. Most gigs during the week at restaurants are 6-9 or 7-10. Depending on your location in relation to the venue, you may have to leave your house between 4-6pm to arrive an hour earlier than your start time. Utilize the Waze app or other traffic tracking apps to ensure you will be on time. Sometimes that means leaving MUCH earlier to arrive to your gig. Be a professional and you’ll be treated like one. Arriving on time (early) is just another part of conducting yourself professionally.

The owner or bookers attitude:

• You can’t control who owns or books for a venue you’d like to perform at. They may not like you, or more likely, they have absolutely no clue who you are. Keep this in mind when talking to them, and remember you are always selling yourself to them. 

• Some owners/bookers are asshats and some are incredible human beings. Don’t do business with people you don’t want to do business with. A venue with a shitty owner is a Red Flag for me personally, I simply move on.

By identifying and understanding how to grow and nurture things that are within your control, you’ll be laying the Foundation to Succeed at anything you do in life. This reaches far beyond music. This is a time and energy management system you can implement in anything you’re trying to be the best at. 

Thank you SO MUCH for reading this blog post or listening to the podcast. I hope you’ve learned some useful tools and identified some areas within your control that you can make progress in. We can always be better versions of ourselves, we can always adapt and learn new ways to be better at the things that mean so much to us. It’s never too late to succeed at anything you want to do. I’m always available to anyone who thinks I may be able to help them, my email is SoloMusicianPodcast@gmail.com. Looking forward to hearing all your feedback from this episode.