We figured out what we wanted. Let’s play some more, have fun, and not take ourselves too seriously.
Okay. How were we going to get another gig? After four months of excitement and energy, the bloom seemed to be off our rose. Interest in and hits on our website and Facebook were down considerably.
We play rock ‘n roll. But I did not seem to be interacting with any rock musicians recently. My days of kibitzing with young adults have declined. Most of my current musician acquaintances play jazz. Their focus for the months of April and May was the In the Flow Festival -- 5 days devoted to improvisation and featuring musicians from all over California. Plus, jazz musicians give the appearance that rock ‘n roll is somehow infradignitatum.
Additionally and importantly, Paul is a professional musician. We feel that he cannot work for free. He cannot play with us when The Pyronauts have work. They play often and all over. Just recently, they performed their 555th gig.
The Lava Pups have one gig; The Pyronauts have 555! Over 11 years, that is a gig per week. A gig per week does not leave much time for a us.
Paul also has students who, like we do, want to play. The Beach Hut Deli has been a showcase for his students. A win-win for him. Paul’s students play; their parents and friends watch. Validation of monies well spent. The Pyronauts play. Paul displays his musicianship. Parents and friends are impressed. More lessons. New students.
We really do not fit in the marketing demographic. Will some other sexagenarian student come out of the crowd? That is doubtful.
So, the search for a gig seems to have several variables. First, are we all available? Second, if we play on a weeknight, will it be early enough to be home at a reasonable hour? After all, we all have day jobs and commitments. Third, will some money be paid for playing? Fourth, who will even talk to us about playing? Fifth, with whom are we competing for a spot? Sixth, will anybody provide straight answers?
Now, I understand why “pay for play” is prevalent in LA. "Paying dues" there means that the band pays a venue to play. The band makes money by selling tickets. If the band proves successful at bringing in customers, it gets to move from paying to play to being paid to play. Venues make money by charging bands to play and reportedly have waiting lists of bands eager to play.
I considered a version of “pay for play.” What if we rented a venue and charged people to come hear us? We might even “joint venture” with some other musicians. But the bottom line was that this idea did not pencil out. Break-even for rent and permits would require an audience of at least 80 to 100. The “In the Flow” festival appeared to me to draw less than 50 or 60 non-musicians (read "paying guests") at any one time.
I emailed a Facebook “friend” who purported to promote rockabilly, psycho-billy, surf, and roots rock music to ask for advice. Maybe he did not have any advice to give. Maybe he was too busy with established performers. Maybe he was overwhelmed with similar requests. Maybe he just did not care. He did not respond.
Somehow we needed to develop a resume -- that is, had to have played. But we could not find a place to play. No exposure, no play. No experience, no play. New to this, no answer.
I began to wonder, “How do young people who have serious musical aspirations get to play? Get experience? Get exposure?” Maybe I was looking in the wrong places. But the search for a second gig seemed futile.
Okay. How were we going to get another gig? After four months of excitement and energy, the bloom seemed to be off our rose. Interest in and hits on our website and Facebook were down considerably.
We play rock ‘n roll. But I did not seem to be interacting with any rock musicians recently. My days of kibitzing with young adults have declined. Most of my current musician acquaintances play jazz. Their focus for the months of April and May was the In the Flow Festival -- 5 days devoted to improvisation and featuring musicians from all over California. Plus, jazz musicians give the appearance that rock ‘n roll is somehow infradignitatum.
Additionally and importantly, Paul is a professional musician. We feel that he cannot work for free. He cannot play with us when The Pyronauts have work. They play often and all over. Just recently, they performed their 555th gig.
The Lava Pups have one gig; The Pyronauts have 555! Over 11 years, that is a gig per week. A gig per week does not leave much time for a us.
Paul also has students who, like we do, want to play. The Beach Hut Deli has been a showcase for his students. A win-win for him. Paul’s students play; their parents and friends watch. Validation of monies well spent. The Pyronauts play. Paul displays his musicianship. Parents and friends are impressed. More lessons. New students.
We really do not fit in the marketing demographic. Will some other sexagenarian student come out of the crowd? That is doubtful.
So, the search for a gig seems to have several variables. First, are we all available? Second, if we play on a weeknight, will it be early enough to be home at a reasonable hour? After all, we all have day jobs and commitments. Third, will some money be paid for playing? Fourth, who will even talk to us about playing? Fifth, with whom are we competing for a spot? Sixth, will anybody provide straight answers?
Now, I understand why “pay for play” is prevalent in LA. "Paying dues" there means that the band pays a venue to play. The band makes money by selling tickets. If the band proves successful at bringing in customers, it gets to move from paying to play to being paid to play. Venues make money by charging bands to play and reportedly have waiting lists of bands eager to play.
I considered a version of “pay for play.” What if we rented a venue and charged people to come hear us? We might even “joint venture” with some other musicians. But the bottom line was that this idea did not pencil out. Break-even for rent and permits would require an audience of at least 80 to 100. The “In the Flow” festival appeared to me to draw less than 50 or 60 non-musicians (read "paying guests") at any one time.
I emailed a Facebook “friend” who purported to promote rockabilly, psycho-billy, surf, and roots rock music to ask for advice. Maybe he did not have any advice to give. Maybe he was too busy with established performers. Maybe he was overwhelmed with similar requests. Maybe he just did not care. He did not respond.
Somehow we needed to develop a resume -- that is, had to have played. But we could not find a place to play. No exposure, no play. No experience, no play. New to this, no answer.
I began to wonder, “How do young people who have serious musical aspirations get to play? Get experience? Get exposure?” Maybe I was looking in the wrong places. But the search for a second gig seemed futile.