February 2012

Booking….. How to make sure you don’t get the gig

By David Lowry

One of the major issues that we deal with booking whether it be as a talent buyer, booking agent or manager is a band that just doesn’t get it. As a band you have to understand your worth (not what you think you are worth, but actual worth) or whether or not you are relative to the area based on where you are playing. So many bands think they are worth more than they really are which can make it much harder for them to book themselves. This can be a big problem with an act that has success in the past, but hasn’t done much in the last 10 – 20 years. In a perfect world, we would all get paid to play but this isn’t a perfect world and everyone in this business is only as good as the last show or deal. If you aren’t producing the kind of numbers that determine what you think you should be getting paid you won’t. Never out price yourself because you make money in certain markets. What you make at a rally or festival is not what you are going to make at a club.

I think most of us have seen the picture of world-class violin virtuoso Joshua Bell playing at a subway for hours and only making $40. As sad as that is, that was his worth to the people walking by in that area. Why, because people don’t know who he is, they don’t understand his level of talent and he wasn’t entertaining as a spectacle. Was he brilliant in his performance of the music? Absolutely. Did the public care? Absolutely no, they did not. I have told this to many of my bands or friends in bands. Go stand on the street corner and perform to the best of your ability and what you walk away with is what you are worth. Because that is the level of value you brought to the public. If you did great, captured and audience that really stayed and watched you performing and threw money your way then you are on to something. If you only made $40 bucks after hours of street performing well then guess what, you haven’t found the formula that draws people in to actually pay you money because they loved your music and they were entertained. If can’t capture the crowd on your own merits without all the lights, venue and hoopla then the venue is right to not really pay you. All that stuff is just there to enhance your performance. There is no truer test than being without all the lights, speakers and comfort zone standing in front of a crowd and seeing the response to your music.

Please understand this is rarely if ever about how good a musician you are. It’s about how well you perform, entertain, write music, promote and how smart and shrewd a businessperson you are. If it was about talent almost all of would never make a dime compared to the classical, jazz and opera singers out there. They are the most brilliant musicians in reality. The rest of us are just well, musicians.

This is what venues are looking for. They are looking for you to entertain the public and crowd you bring in. This is really effective with a frontman or woman that really knows how to work the crowd. When you do, people have a great time, spend more money and talk about what an awesome time they had listening to your band at that particular venue. That means the venue can now expect this to happen more often and then the price they pay you will go up.  It looks good for you, the venue and the crowd now have another place to hang out and spend their money for entertainment. If you don’t wow the crowd that reflects on you, the venue and the public is left wanting more. This would preclude the venue to not book you again or if they do, not pay you well or at all until you can bring what they are looking for.

When it comes to booking yourself, make sure you can do the above better than anyone else. When you start talking to new markets about your band, don’t assume because you get $1,500 in one market, you will in another. Some venues will pay this, most won’t because they don’t know you, they don’t have any experience with you and if you have never played in the area before, well then you won’t be bringing a crowd either so why should they pay you what you make elsewhere where the opposite is true.

Most often when breaking into a new market you have to take your lumps and work up to your normal fee for performance. You might get your rate, or a bit below or maybe just a door deal because the venue doesn’t want to take a chance on you. This may not be fair to you but it is to them. Please leave all the venue is ripping me off talk out of the equation. All you can worry about is what you can do, bring to the table and make sure you promote very, very well. Don’t assume the venue or promoter will. You worry about you. When you are big enough, in your contracts you can put promotion guidelines other then that, the venue is paying for advertising in their local rags across the country. Most bands don’t pay to promote at all, so don’t say they aren’t promoting. Could it be done better? Yes, but usually by everyone involved not just the venue.

Out pricing yourself because you think you are worth more then you are is the quickest way to lose the gig. This is also very hard on whoever might be booking you and eventually they will just let you go if you don’t get it as it reflects on them and they are putting in so much work to help build you a business just to constantly here you say no. You have to warm up a new market like everyone else when you don’t have radio play or some other major thing happening in your career on a national level to draw attention to you. Learn to be flexible with your pricing and prove to the owner/talent buyer your worth and you will get paid as soon as you knock it out of the park.

Sidenote: If a couple people tell you how great you are, that isn’t enough. Sales must be up, attendance must grow and everyone must be all over you. Don’t let the hype of a couple fans let you think you are doing better than you are or make bad decisions. Be honest with your performance that night and do you best to track your market by getting the numbers on the night if the venue will give you the information.

Good Luck!

Agent Cooper “From The Ashes” CD Review

By David Lowry

Agent Cooper is a prog rock band from Atlanta, GA that has a gentle throw back sound to some of the classic prog rock bands from the 60’s and 70’s in it’s heyday but at the same time has captured some of the modern sounds of today’s prog monsters with one exception. Agent Cooper understands how to write a hook and make a song radio friendly which many of today prog rockers don’t do either by design or not being able to step out of their own virtuosity and simplify things. Neither is bad, one way has a certain fan base just as the other does. I know when I listen to prog, I am not looking for three-minute songs that are just ear candy. Agent Cooper has done a great job of melding the two together and hopefully on their end being able to capture a much larger audience because of it.

“From The Ashes” is the bands third CD but first with this current line-up. It’s more of an EP really with six songs on it and “The Stand” being the strongest of the six in my personal opinion. It’s a happy song in its melodic structure but a very strong song lyrically in standing up for yourself. It’s an interesting contrast in the way the music is written and the way the lyrics provide a completely different feel. It is an acoustic based song with soaring vocals, an uplifting pre-chorus, a very strong chorus and the use of the B3 organ and keyboards are a nice thing to hear again in today’s music. It’s definitely something we don’t hear enough of with the younger musicians of today.

Agent Cooper have the ability to weave in and out of time changes, key changes and tempo’s with the best of them and it always provides an interesting ride through out the songs, which is really the point of a song. To take you on a journey, the great thing about Agent Cooper is it isn’t just a lyrical journey, it’s a sonic one as well. Singer Doug Busbee brings back a vocal styling sorely missed in today’s rock music. He does his predecessors proud and the band as a whole does a great job with harmony vocals. There are plenty of spots in the songs where this is a highlight and adds a rich color and depth to the music without it ever feeling like they are showing off. This can be said as a whole of all the music and the musicians. The musicianship was brilliant from everyone in the band and played so well that it never took anything away from the song.

I thoroughly enjoyed this EP and am really looking forward to hearing more from this exciting band. A truly stellar effort on their part to bring us a style of music we don’t get enough of. Thank you Agent Cooper for bringing back a style of music that harkens the greatness of the 70’s prog rockers but catapults it into the now.

You can find out more about Agent Cooper at www.agentcooper.com.

At the time of this writing The Lowry Agency and Agent Cooper have no affiliation.

“Cry For You” – or the Problem with America Ignoring an Amazing Music Genre

By David Lowry

One of the blessings my job allows me to do is work with amazing musicians like Rob Balducci, Dave Weiner and Jon Finn. Having been a guitar player for almost 30 years and going to music school to be the next Steve Vai,(which obviously never happend) I have a special affinity for listening to guitar instrumental music. It really helps me to focus on my work and really dig into whatever I am doing at the time. This blog may center on this genre but it applies to all genres of music that get ignored by mainstream radio and TV. I have also interviewed many of these artists mentioned in this blog on my radio show “Live From Music City” and really have a strong desire to bring this form of music back to the masses as the music is incredible and deserves as much attention as any other genre of music.

Andy Timmons recorded a song called “Cry For You” that in my personal estimation is one of the best instrumentals ever recorded. It has a haunting melody that just sucks you in and makes you fall in love with it. It reminds of a person I once loved and although that brings a deep pain for me, it also reminds me that this genre of music holds the same ability to carry that emotional quotient that any other genre of music does. The songs that shape our lives should include all genres of music not just what’s on the radio, TV or being hyped by the powers that be. I recently did a review of Andy’s new cd “Andy Timmon’s Band Plays Sgt. Pepper.” I also reviewed Neil Zaza’s CD “212.”

These musicians have found a way to bring us music that doesn’t need vocals or lyrics because their instruments do the talking for them. They bring us music that can still capture our hearts, soul and imagination and most certainly shouldn’t be over looked or passed by just because it doesn’t have lyrics attached. Just like any other form of music you have some artists that are better than others, better songwriters, performers or improvisers, but if you just close your eyes and listen, you will be transported away by beautiful melodies, moving pieces and moody progressions that take us to new emotional places. Some times words aren’t enough to express the way we feel, but you can hear what you want to say in this music or other forms like it.

I encourage you to listen to instrumental music, jazz, fusion, funk, classical or whatever form of music you don’t normally listen too. Learn to listen with new ears and develop a new musical appreciation and understanding of pure musicianship that you normally don’t get in most pop music. Don’t be limited to what you hear on the radio or what’s force fed to you by those with the money and power to make it happen. With all the new music streaming services you can find any genre of music and test-drive it before you buy it. If you do like it please buy it and spread the word about the new music you discovered. Don’t let preconceived notions about what music is or isn’t keep you from discovering a new style of music that may free your mind, your playing or your feelings. As musicians we should always be expanding our listening range and really be able to incorporate the new things we hear to enhance our own playing or writing skills.

In other parts of the world this is a very popular genre. Many countries or continents don’t suffer the same form of genre ignorance that we do in America. To much of the world good music is just that, good music and it doesn’t matter the genre or era it came from. They don’t classify music the way we do in America and because of it, they are more well rounded in their listening tastes and many artists can make a living over there as opposed to not being able to here. Expand your boundaries and listen to amazing musicians that can create melodic landscapes in your mind that the average musician on the radio can’t.

Here is a list of amazing guitar musicians for you to check out in no particular order. Andy Timmons, Steve Vai, Eric Johnson, Tommy Emmanuel, Jon Finn, Neil Zaza, Steve Morse, Carl VerheyenDave Weiner, Michael Lee Firkins, Joe Satriani, Rusty Cooley, Rob Balducci, Guthrie Govan and Shaun Baxter. Obviously there are so many more like Andy McKee or Gretchen Menn that have really popped in the last couple years but this is a good start to finding people who have mastered their instrument and have learned how to write songs that reach you just like any other pop song would.

Good luck in your musical exploration!

Note: The Lowry Agency is affiliated with Rob Balducci, Dave Weiner and Jon Finn.

David Lowry is the President of The Lowry Agency, a full service artist management agency that works with musicians, speakers, entertainers, actors and models based in Nashville, TN. David manages and or books the musical careers of Brother Cane, Damon Johnson (Brother Cane, Thin Lizzy, Alice Cooper), Rob Balducci, Dave Weiner, Jon Finn, Kris Bell and Mindset Defect. For more information please contact The Lowry Agency at http://www.thelowryagency.com.

Expecting Greatness Without Proper Preparation

By David Lowry

“If you don’t think what I do is the best show on Earth, let’s see what you’ve got!” — Gene Simmons

You could learn just about everything you need to know about the music business from this statement alone. As a manager in this crazy business, I constantly hear things like “If someone would just give us a chance, they would see how great we are. We blow everyone else off the stage.” I have to admit I very rarely ever see something like this. Most of the time it’s just another band with very little stage presence, a set and show that never changes, improves or really entertains. Why is this, I constantly wonder? Is it because people don’t have enough time? They don’t have enough drive? Well it’s a little bit of everything really but mainly, they don’t know how to prepare and use their time wisely or efficiently. Many bands say “well the music scene has changed and it’s harder to get noticed” honestly that is just an excuse period.

The reality is that at the level most of the people reading this are at, it hasn’t changed at all. You still had to do everything I will talk about here just to get noticed and get offered that big record deal in the past. Today you have to do this, and at many stages in your career you may now have to do it all by yourself unless you can pay a team to help you, but the good thing is today you can keep control of your own music career, which may or may not be a good thing depending on the artist.

When I was younger and recruited as a tennis player to play for the Navy sports team, my coach once told me after I was getting frustrated with my inconsistency “Look kid, you may have got here on your own without lessons, but you can’t get down on yourself for not being able to pull of what you haven’t trained and prepared for. Unless you are Chris Evert the number one player in the world, you have absolutely no right to.” Okay I just dated myself I could have said Tiger Woods but the point is made. Bands that haven’t achieved the level they want shouldn’t get mad at themselves, the scene or the music business when they haven’t ever even learned to prepare properly for this business. If after years of serious effort, practice, planning and execution you still aren’t achieving the results you wanted, then you can get mad and frustrated. Until then you are swimming upstream. So turn yourself around and start swimming with the flow so you can get to your destination faster.

In order to get to the next level that every band seems to think they are ready for takes usually a lot more work than they are putting in and truthfully until you get the very basics down like I have posted in past blogs you aren’t ready for the next level. There are obviously many things to be covered here but for the sake of this blog let’s just talk about live performance.

Live performance is the proof in the pudding. If you don’t have the best show at least in your neck of the woods, then you really have nothing. You need to practice, prepare and plan your lives shows. From everything on how to talk to a crowd to how to prepare the right set list and how to put on an energetic entertaining performance. Your practice time should include all of these things and you should never practice with out playing like you would on stage. Why? Because, it takes practice to put on the best show on Earth! You have to practice moving like you would live so you are used to performing that way which leads to making fewer mistakes, check out what does looks good vs. what doesn’t and just as importantly keeping yourself in shape for your live performances so you don’t get tired or worn out. Live performance takes an extraordinary amount of energy and you should be in shape for it just like any athlete prepares for their performance.

You need to find a way to bring a live show or performance that blows people away. What does that mean? I don’t know for your band and can’t tell you until I see it, but the problem is no one is even trying to figure it out. Besides great songs, this is the most important part of your career. This is what creates viral social media marketing. It makes people buy your merchandise at your shows because it creates the emotional bond between fan and the band. It is wins over the skeptics and the industry people you need to help your career. Bands seem to be very unoriginal when it comes to live performance and it can be very hard to tell one band from the other.

To put it bluntly, “No one cares about your career, until you do.” This means until you are willing to truly focus, get together as a band, start acting like a business and a band that can actually blow people away, you are just another band taking up space and spamming every ones Facebook wall trying to get attention the wrong way.

I ask you this; can you beat Gene Simmons at his own game? Learn from the very best at what they do. Quit posing and acting like you are the next big thing when you aren’t because you really haven’t done what you need to do. Become the next big thing because you want it more than anything, because you have put in the time, effort, planning, practice and execution and then let the crowds decide who puts on the best show on Earth. Actions speak louder than words folks. If you are going to talk about how great your band is don’t you think you better deliver on that statement?

Remember you are only as good as your last show.

Till the next time. Get it together and good Luck!

David Lowry is the President of The Lowry Agency, a full service artist management agency that works with musicians, speakers, entertainers, actors and models based in Nashville, TN. David manages and or books the musical careers of Brother Cane, Damon Johnson (Brother Cane, Thin Lizzy, Alice Cooper), Rob Balducci, Dave Weiner, Jon Finn, Kris Bell and Mindset Defect. For more information please contact The Lowry Agency at http://www.thelowryagency.com.

Hannah Ford – Drums Renaissance Woman

By David Lowry

In our second installment of our “Musician Spotlight” blog we are showcasing an amazing young talent in drummer Hannah Ford. When I say amazing, I mean more than just her ability on her chosen instrument. Having met Hannah, her family, having attended one of her clinics and watching her use of her endorsements, opportunities and social media, this is one artist that has really learned what this business is about and what it takes to make it. More importantly is she hasn’t lost focus on why she does it. As important as the “business” sides of things are in music, Hannah has somehow avoided becoming jaded, negative and still has a childlike love for playing. Hannah attended the Chicago College of Performing Arts and still works with multiple Grammy award-winning drummer Paul Wertico to constantly refine her skills. Hannah has also worked with music legends like Jeff Berlin, Wynton Marsalis, Ignacio Berroa and Butch Miles.

From a technical perspective Hannah is road ready for any gig. She has the chops, creativity and energy to drive the bus for any artist or band. Her performances are always energetic, engaging and her smile when playing is just as attention capturing as her skills or performance. She really is the whole package. Being an attractive young female, it would be easy to dismiss her skills and say, “oh, it’s all because of her looks,” which would be an incredible disservice to Hannah. She has substance, skills, and a drive that just wont quit. She works harder than just about any musician I have ever met and leaves you feeling like you have known her all your life when you meet her. She is engaging and most importantly she is there to inspire others. Hannah makes sure she focuses completely on the person she is talking too and you can see her passion for passing on her love of the drums and encouraging others to follow their dreams. She completely understands how to relate to her fan base and how important they are to her.

Currently Hannah is a rock band called “Bellevue Suite,” has a tour she puts on for her “Peace, Love & Drums” multi-media show and recently did some shows with bassist Nik West. Hannah is also doing workshops for Guitar Center, a judge for the “Hit Like a Girl” 2012 contest and is regular a feature on the drumchannel.com. In the recent past she has played with the fusion trio “Pandorum,” played drums for the musical “White Noise” produced by Whoopi Goldberg that ran for two months at the Royal George Theater in Chicago and the Hannah Ford Band.

Hannah and her father/manager Dave Ford with PLAD Productions have done an absolutely incredible job of marketing her without the money that everyone says you need in today’s music industry. Both are dedicated and hard working individuals that strive to make great things happen for Hannah’s career. It also says a lot about their relationship and family dynamic to be able to pull this off without all the drama many entertainment families go through.

Hannah is endorsed by: Gretsch, Zildjian, Gibraltar, Toca, Vater, Kelly Shu Concepts, Shure microphones, Wornstar Clothing, ThunderEcho Drums, Prentice Practice Pads, Roland, MaxHeads Custom Bass Drum Heads, and Evans. Quite honestly, I have never seen an artist work as hard to promote her endorsements and utilizes them to the full potential they should be used. She is one of the few artists the get the power of her endorsements and what you can accomplish with them if you are creative, hard working and are marketing to the hilt.

Hannah is rare jewel in the music world. She understands what it takes, works hard to get there and does it happily. She has set her self up since childhood to be as well rounded a musician as she could be. The breadth of her skills as a drummer, a businessperson, a marketer and being a genuinely nice person to work with are her major strength. While other musicians are out trying to be a rock star, Hannah is a rock star and is also building a career that most will never have because they don’t get it like Hannah does.

For more information about Hannah Ford please check out the following links:

www.hannahforddrums.com

https://twitter.com/#!/hannahforddrums

https://www.facebook.com/pages/Hannah-Ford-Fan-Page/111758348891232

At the time of this writing The Lowry Agency and Hannah Ford have no affiliation with each other.