The One-Two Punch that is Gigging AND Booking Gigs!

Hello! I hope everyone is having a great, fun, and productive summer.

I used to work for a booking agent that will remain nameless. This guy would show up at the venue, where he booked my buddy and I in as a duo to pay us $200.00CAD, in person. We found out from the bartender that he was paid $300.00 and taking a 33% cut from the budget as his booking fee. We didn’t like that number and neither did the bar. This person ended up being fired as the booker because of this and my mate took over from him. The venue was able to lower the budget and artists were able to be paid more. That’s a win-win I’d say, plus the shady booking agent lost his job at that venue proving that dirty practices will only hurt you in the long run. This story is quite relevant to today’s article.

Today I want to talk about playing shows AND being a booking agent. Being really good at playing live gigs gives you an exclusive opportunity to be the person in charge of booking talent into that venue. I want to explain how the two “jobs” work hand in hand and I want to discuss the upside of using this strategy. Playing shows AND being a booker can be a one-two punch that really pays off if you’re able to balance both responsibilities well.

Here’s how I fell into it and why I loved it.

I’m a musician first so I don’t consider myself a booking agent, but I’ve done bookings at many venues, so technically speaking I’ve worn that hat and done that job. I never set out to be a booker initially. I kind of fell into the position because I had pitched my music services to a venue in Toronto and was successfully hired on. The venue did not previously offer live music so I was laying the foundation for that venue’s live music initiative. After playing my first gig there I received rave reviews from both staff and guests alike and I was asked how often I could return to play. I was pretty busy at the time and so I couldn’t offer them more than one or two shows a month. I have a ton of friends that are great musicians however so I told the manager that I can book artists in to play on days I couldn’t make it. They liked how I did business and so they decided to give it a try and trust me as a music booker. I created a schedule and hired my friends/musician colleagues from the Toronto music scene and I was successfully booking my first venue. I enjoyed the perks of being a booker so much that finding more venues to book became a part of my overall strategy as a pro musician.

Why be a music booker?

Once I started booking in colleagues to perform for me I realized that there are several great benefits of being the music booker at a venue.

  1. As an artist I could book myself in to play very regularly and so it was nice to have some control over my destiny. There’s no such thing as 100% job security in this business but at least matters were more in my hands. I had no commission to pay to anyone which means I got to keep all the money I was paid for the gig.  There was also no chance of falling out of favour with a booker and being replaced at the venue (getting the shaft for whatever reason).
  2. It pays ($$$)! As a music booker you negotiate a fee from the venue for a music performance. The trick is to get paid enough from the venue to be able to pay the musician/s fairly as well as keep a booking (finders) fee for yourself. If you can book a few venues per week then you can actually make a nice bit of money for it.
  3. You get to employ your friends and deserving musicians. It’s great to be able to employ people you care about and respect. One of my favourite thing about booking a new room is that it expands the music scene and gives musicians more opportunity.
  4. When you scratch people’s backs, they scratch yours. Offering musicians work means you will be on their radar when they have work to offer. Musicians often get offers to play gigs on days that they are already booked up. If you have offered someone work then there’s a good chance you will be high on their list of contacts to offer work to when they can’t do a job.
  5. This is a DIRECT way that YOU can influence your music scene, for the better. When more venues offer great live music it can influence non-music venues to consider offering music as well, to compete with the “new music venue”.
  6. You can gain a reputation of credibility. Having work to offer makes you a valuable member of the scene. Imagine being the person that books some of the city’s best talent into some of it’s best venues! Achieving this would make it even easier to find new work as a booker as your reputation of success would speak for you. This means the better you do the more opportunities will arise, taking you to heights you may still not even realize exist.
  7. You will be able to watch artists you hire and enjoy if you have the evening off or finish your gig in time to catch your hired act’s last set. You can get to know artists that you hired better and you have the opportunity to foster new friendships with musicians you enjoy and respect.

 

How do you go from performer to “booking agent”?

The first step is to find a venue that is interested in having you come in and perform. *Don’t try to be the booker in venues if someone else sent you in to play! That’s a no-no which can wreak havoc on your reputation so keep that in mind!* Find your own bars/restarants/club/etc. and pitch yourself as an artist providing an evening of music for a fee (See the “How-to find paying gigs” article for more info). Get in and do a great job. This means show up early to set up and start right on time. Be friendly, play music that matches the demographic of the venue, take requests, don’t take long breaks. Basically give the best value possible. Think about what other artists do and be the best at it. Be the absolute best you can. The devil is in the details and it’s little things like what I mentioned above and dressing sharp and being an absolute pro that will ensure the venue knows you are on top of your game.

Once the gig is over you can chat with management and get their feedback. There’s a really good chance they will want you to return if everybody likes what you do. Only you will know how to proceed at this point but if you’re interested in booking then let them know that you “can’t play every week as you have other commitments, but you do do bookings and have a great roster of talented reliable artists and that you’d be glad to work out a schedule to accommodate the venue’s needs”. Basically think like a business person. They have a need/want, which is music, and that is the product/service that you provide. That’s the dynamic. They aren’t doing you a favour anymore then you are for them. It should be mutually beneficial.

Simply put, kick ass and then put your businessperson hat on and sell yourself as a booking agent.

Pricing and paying artists

You can underpay your artists if you want to (yikes!). There’s no law against it. After all, artists will agree to a gig or not (for better or worse) based on their own circumstances. That being said you will earn a reputation of being greasy/sleazy and not a good person to work for. On the other hand, paying your artists well and being professional and respectful for them will have the opposite effect of making people want to work with you and work hard for you. Try to ask for a fair rate of pay from your venue.This depends from place to place but I typically aim high. In Toronto I always aimed for $250.00-$300.00 for a 3 hour show (3 sets). If this I’d keep $25.00-$50.00 for myself as a booking fee. Seeing as how many artists will play for $150.00 I believe that paying $225.00-$250.00 is very competitive.

In Edinburgh the British Pound is worth more than the Canadian Dollar so I would charge £150..00 and keep £25.00 as a booking fee.

These are just guidelines to serve as an example. If you can get a venue to pay £125.00 and you take £15.00-£25.00 it is still quite fair as many people would play shows in Edinburgh for £80.00-£100.00.

This is where your experience as a performer comes in handy. You have to know the scene and understand what constitutes a fair pay in your city/area. If you’re offering someone more pay then they would make elsewhere than you can take a bit more for yourself as it was your negotiating ability that made the higher budget available in the first place.

A booking fee of %10 is very fair when all else fails.

But do bookers really deserve a “bookers/finders” fee?

Its might seem like a booker’s job is really easy and that you do all of the work. If that were the case then you could easily wonder “what makes this person deserve a cut?”. The fact of the matter is that without the booking agent being a pro and earning the trust of the venue you probably would not have gotten in to play there. It’s business and the booker had to work hard to gain that trust.

Also when something goes wrong it is the booker that has to scramble to fix the situation, whatever it might be. Booking can be a pain in the arse and so the fee they collect is very warranted as long as they are not extortionate. The booker also has to arrange the schedule and deal with artists cancelling and a wide variety of issues.

They also need to make a living. They are contributing to the music culture in their music scenes and are creating venues in which music can be enjoyed and musicians employed. They definitely deserve our loyalty if they are good to us, find us regular work, pay us fairly, and have our backs in instances where there are problems (A booking agent has to have the interest of the venue at heart, true, but also the interests of the artist). Good bookers know this and show good leadership in these cases.

My challenge to you!

I challenge you to find a venue to offer live music and convert them. Become their music booker and hook yourself up with regular work. Hook your colleagues in the music scene with regular work. Start small and try it out for yourself to see how you like it! Get into this for the right reasons and treat people well and you will go far.  Comment down below to discuss your experience and/or ask for further tips.

Please share and like this article if you’ve found it useful, and please sign up for the Music Entrepreneur Blog to receive more great info and be a part of our growing community!

All the best Musos! I know you can do this!!!!

-Brad

(I wrote this article today (Tuesday July 25) in Holyrood Park, Edinburgh, Scotland. The Feature Photo has nothing to do with booking or playing gigs but the setting was a big part of the mood of my article. I hope this article inspires you like this scenery has inspired me!

 

Why many artists fail at being Music Entrepreneurs and have to go back to work: AVOID THIS!

Lack of talent is not why most artists fail. A bad attitude kills more music careers than anything.

Firstly I want to acknowledge that there are several reasons someone might have to quit music and get a job. I write this article without judgement. One BIG reason I’ve seen many people fail is that they had a bad work ethic or attitude.

When I talk about your work ethic and attitude. I’m talking about your outlook. I’m talking about Professionalism!

Lack of talent is not why most artists fail to succeed as music entrepreneurs! Your talent is responsible for maybe 33% of your success!

I’ve seen many artists come and go in this business (in Toronto and in Edinburgh). It always sucks to see a colleague (especially when they are talented) “hang up their gloves” because they couldn’t make it work. There are different reasons why someone might quite the music entrepreneur career. One big reason I’ve seen many people have to pack it in is a crappy attitude. For whatever reason, whether it’s ego, lack of awareness, or what, I’ve seen and heard of many artists in need of tuning their attitudes. I say tuning because you can fix it Much like tuning an instrument, it isn’t a permanent problem. It involves opening your mind to different ways of thinking, being professional, and giving people the benefit of the doubt.

We are offering services. People and organizations that hire us are our clients!

I’ll use the example of playing gigs. When we are hired by a venue to play a gig we are being hired to provide a service. The bar has chosen us (or a booking agent they trust-whom we are representing at the gig) to play music and create a vibe consistent with what they expect. Our job is to:

  1. Show up on time and with whatever equipment you need ( by on time I mean with plenty of time to spare to set up and be ready to go right away at the agreed start time),
  2. Be sober (Don’t show up high or drunk to gigs),
  3. Play music that matches the setting (Don’t play gangster rap of heavy metal to a crowd of 60-something year olds),
  4. Play music at whatever volume the venue determines to be reasonable,
  5. Be courteous (if someone asks for a request don’t tell them to “sit their ass down”, generally speaking just don’t be a dick to people-staff or guests),
  6. Not take crazy long breaks,
  7. Not drink as if we were at an open bar wedding,
  8. Be flexible and work with the venue wherever able in order to enhance the guests’ experience,
  9. Be reliable (We work for ourselves so your word means a lot. If you say you’ll be somewhere BE THERE, or people will stop asking you to be anywhere!),
  10. Not expect things we aren’t owed (Getting a free drink or two and a meal is great but if you don’t discuss what’s included for playing gig before performing than don’t expect anything. Anything you receive in that case is a bonus and you are playing in a cool venue my friend. Friendly tip: You can ask “…And are a meal or any beverages usually included as well?” when discussing your pricing),
  11. The most important thing: Our job is to realize that the performance isn’t for us. It is for venues’ guests. If the guests are happy then you are doing a great job. If the manager tells you to turn down the volume or play different materiel, then just do that! It may piss you off but PLEASE…exercise control, be professional. It isn’t about how much fun your having or how loud you like the volume. If people aren’t clapping or listening don’t get all pissy and bent out of shape, IT ISN’T ABOUT YOU! The guests are the star of your show. It doesn’t matter if you play the same songs all the time. You chose to be a performer and thats the job. You should NEVER take that out on the guests or staff.

It may all sound anal but in this business the devil is in the details! It’s the collective of little things you do right that add up to make you a super valuable asset that venues will want to hire again and again. On top of that venues are constantly being approached by musicians selling themselves for gigs so you have a lot to compete against. Having a great work ethic and attitude will set you apart and carry you so far in this business.

Don’t have an attitude problem or be a Diva

It doesn’t matter whether you’re booking agent, music teacher, or performer, or whatever else. You should generally be upbeat, friendly, and respectful to everyone. Being a diva and having an attitude problem gets old REAL soon. I’ve know great artists that I’ve booked in to play rooms that I was told to “never bring back” because they had a bad attitude. Issues that caused a venue to turn on an artist were that they gave the staff attitude when being asked to turn down the volume; they refused to turn down the volume (what’s with people and not turning down? It’s so simple, I really don’t get it); they turned up late habitually and didn’t seem worried about it; they were upset with people not listening or clapping and lashed out at the audience (man, that’s just awkward, never go down that path).

If people aren’t listening then just finish the gig, as annoying as it is, at least you got to play and get paid. I’ll usually experiment with my setlist in these occasions. Funny enough people will often start to pay attention to you because you’re having fun and doing your thing. A desperate person is usually pretty easy to spot (whether it’s dating or performing or whatever). Be chill and do you if they aren’t listening.

Having a backbone is ok (even necessary) but know how and when to show it!

Straight up, I’ve told guests to “fuck off” on a couple of occasions. People can definitely be assholes and I’ll be the first to admit it. Just pick your battles wisely. We are people and should never be subjected to abuse, so stand firm. Don’t be shy to let disorderly people know that if they can’t respect you and your space you will have them kicked out. You can be professional about it.

In one instance, for me, the same drunken costumer fell on me multiple times, knocking my mic stand over and killing the song. I warned him every time he danced into my mic stand to mind himself and then he barrelled right into me. I was so angry (getting a mic in the mouth makes me see red, lol). Just a couple weeks ago I remember this really annoying drunk girl that kept asking for the same song I don’t know and started grabbing my microphone. I told her “Get away from me, if I see you again I’m calling the bouncers and you’re outta here”. These times I snapped were at venues where people can get pretty rowdy and the management knows I have to sort out customers from time to time. I knew I had that “leash”, otherwise I would have called over a bouncer/the staff. I knew that the managers trusted me to use my own judgement because I always act professionally and these weren’t “family places”. That context created the difference in my reactions.

Basically you have to use your judgement, but try to be professional and usually the staff will throw that person out or intervene in some way.

We are pretty damn lucky to do what we do. Please don’t shoot yourself in the foot with unprofessional behaviour!

Being easy to work with and having a friendly personality is soooo very important. Don’t be a doormat and don’t take people’s abuse, but also don’t get into shouting matches with staff or customers. It’s all about your attitude and work ethic. Be a professional. Realize that the guest is the star of your show and give them a great night of music and not only will you have a great time too, but you’ll always get called to come back and will be successful!

How to find paying gigs!

Heya there!

People are often surprised when they find out I perform gigs to make my living. For many musicians gigs are the main source of income as the pay can be pretty decent and it’s fun. Generally speaking there’s a lot of work available if you work hard to find gigs. Once you have the gig it’s up to you to do the right things to keep getting booked in by that venue. Finding gigs can seem like a daunting task, though. You may feel like a door-to-door vacuum salesman. This isn’t a natural feeling for many of us, after all, we are musicians! I’ll walk you through the method that I have used to be booked up to play 5-10 shows a week. This is a guide based on things that have worked for me to find paying gigs.

One thing to keep in mind is that live music has value! Not just intrinsically (that feel-good fist-pumpy feeling). Yes, everyone loves and cherishes music but I’m talking dollar bills. If a venue hires a musician who has taken time to perfect his or her craft (learned good songs, doesn’t take long pauses between songs, takes short breaks, engages the crowd when appropriate, can sing and play well…that sorta stuff) then customers are more likely to stay longer, call their friends to join them, and consume more. By doing this consistently the venue can create a buzz and become known as a great place to check out the local talent, or at minimum they can sell more food and drinks. You should never feel as if you are being done a favour by being hired to play live music. It is a service! Showing gratitude towards venues that hire you is still important and you do this with thanks, being an easy person to deal with, and by working hard for them. Still though, don’t consider being hired to play “a favour”. You took years to learn your craft, you bought equipment, and you took the time to offer your services. You’re a pro. You deserve to be here and to be paid for working hard and being good at what you do. PERIOD.

Now with that in mind, the most effective way that I have managed to book my gigs has been by visiting venues in person. I recommend having business cards (Vista print all the way baby-cheap, great designs, delivered to your door) and a website which should of course be shown on your biz cards. WordPress.com has free websites available. There are also other very user friendly web building sites such as wix.com and bandzoogle.com. Some of these will cost a bit of money but it is well worth it at about $100.00/year (for hosting and use of great web building platforms). I’ll have a helpful guide on making a website coming along shortly. With these two things in your arsenal you’re ready to enter venues to try to find paying work.

The best time of day to enter a bar for a gig pitch depends on the venue. You get better at judging it over time, but generally you’re going to want to go in for a chat with venues on their off-peak hours. Don’t bother them when they are busy, don’t be “that guy/girl”. They don’t have time for you then and you won’t get the chance you need to make what I’m sure is an awesome killer pitch for your awesome killer performance. Now assuming you’re at a venue and it’s off-peak hours, and you have biz cards and a cool website with info and photos, and vids of you playing, and maybe a calendar showing your upcoming shows… then what? The person to talk to is the bartender! (I like the bartender (Ooh, if you’re lookin’ for me) I’m at the bar with her (Uh huh, okay)….sorry Tpain fans (do they still exist?), but moving right along lol).

Ask the bartender if there is a manager in at the moment that you could speak with about live music. Often the person behind the bar is the manager so perfect, otherwise the bartender will go and get that person for you or take your contact deets in their absence. A great tactic for starting your pitch is to ask the manager: “Do you offer live music to your guests?”. First off it sounds more professional. I’m also making it about them, which changes the playing field mentally. I prefer this then to flat out say “I’m looking for gigs”. It frames “offering live music to guests” as a thing of value. “Guests would enjoy if we offered that” the manager might think to him or herself. This can have the effect of making a venue feel like they should be offering live music. Also, this opening line is not pushy at all, which makes a good first impression. The venue will either;

  1. not be interested in any way, shape, or form in having live music,
  2. does offer guests live music,
  3. has been thinking about doing live music.

Unfortunately with option one there’s not much you can do except for maybe leaving a card in case anything changes. Option 2 is what you really want to hear. Your real pitch can begin. Mine usually sounds something like this:

“I’m a performer looking for new venues to perform in. What would I need to do to have a chance to come in and play for you guys?”

It’s simple and to the point. I won’t walk you through every word because I’m sure you can handle chatting with the manager. Keep in mind that you will want to know what to tell them when they ask “what kind of stuff do you do?“. Another thing for your consideration is if you have a following or not. You can always mention your local following which may sway the venues decision in your favour. I never reference this though. I play 5-9 shows a week on average currently. I can’t expect my friends or family to have that level of commitment at this point, mayyyybe in the beginning but not even really for me. Also, being from Toronto, which is massive in size, means I travelled all over to play, sometimes going as far as one or two hours drive away. I don’t have pull in those areas as I’m not local so I’m very upfront if I’m asked about “bringing a crowd with me”. That’s not the service I offer. I bring myself and my music and a great time for guests and staff. Trying to sell more than that may complicate your life beyond what you should, especially in the beginning. That’s my two cents, just know I have your interest at heart and that I’m trying to reduce your learning curve!

If the venue seems interested but unsure then you can suggest that they give it a try. Offer your services as a one off paid performance with the possibility of booking more shows if their guests and staff team enjoy the experience. There’s little risk in giving you a try, especially if they know you sound good from being able to hear you on your website. What have they got to lose?

After having this chat with a couple of venues you will learn to know what to expect,  what to say, and what not to say. You’ll learn what works and what doesn’t. Experience is the best teacher so get out there! When I moved to Edinburgh, Scotland to be with my girlfriend (fiancé now WOO!) I had no gigs booked and I knew no one. I had £800.00 to my name and HAD to make it work so I hustled my ass off. I had business cards made with my UK phone number and my website on it and I went door-to-door for two weeks straight. It was my full-time job to find work. If you’re serious about playing shows then act like a stranger in your city. Chose a place in town to start and walk/drive through every street stopping in every bar, club, restaurant, or venue. It took me two long weeks of walking all day but I managed to book enough gigs to pay all my bills and save money too. When you think about it, two weeks, it’s not that bad. Decide you will find gigs and make it happen.

When you’re chatting with someone about live music in a prospective venue you can always ask if there are any venues nearby that offer live music. Even if the place isn’t interested in hiring you they are usually very open to helping however they can. Some venues use booking agents and visiting many venues is a great way to find out who the music bookers are, wherever you are located. You can always try and google bars in your town, add them to Facebook and chat to them through there. Phoning in is another option but it’s less personal. I just think being face-to-face is the most effective.

So that’s it for now, it may seem like a lot but the good news is if you have music equipment, biz cards, and a website you can start doing this TODAY! Otherwise you can start setting these goals and working towards getting there. But know this, it isn’t this big impossible thing. You CAN do it! The last piece of advice I want to leave you with for now is to log everything. After every meeting, phone call, whatever, LOG IT. After speaking with someone I would jot down the:

  • Venue name
  • Who I spoke with
  • Brief summary of what was said

If you have any questions I’m here to help you, as always! Click the “Contact” tab and get in touch! I’m out for now, it’s my day off today and it’s a gorgeous spring day in Edinburgh. I’m going to hang with my lovely lady! 🙂

…if I could only get that Tpain song out of my head! Me and my pop culture references. HAHA Peace!

For my article about finding paying gigs outside of the pub/restaurant scene, click here!

To be inspired by my Music Entrepreneur Video (a day in my life), click here!

Your stage awaits!

how to find gigs
Finding gigs is very doable – your stage awaits!

What is a Music Entrepreneur? Does it sound like “monkey business”?…lol, fair enough, let’s take a deeper look!

What is a Music Entrepreneur? Taking a deeper look into this “monkey business”!

My girlfriend at the time and mom thought I was crazy when I first quit my job at an insurance company to be a “full-time….musician?” (Yikes, right? What’s this dude going to be able to afford?)! They assumed that I was trying to be a rockstar and play stadiums rock shows. Maybe I didn’t communicate effectively to them that I had very modest and realistic goals. I didn’t properly explain to them that I had a game plan and that I had taken steps to make sure I’d be alright without my traditional job (that gave me security but little else).

The reason I knew I would be okay in my new endeavour as a music entrepreneur is because I:

  • Surrounded myself with people who in some way or another were making a living solely with music,
  • I started working as a musician and getting paid before I quit my full-time job. I made sure I had bookings extending a month or two into the future as well as a bunch of guitar students to teach lessons to,
  • I was diversifying. This is super important, especially when starting out! This means doing a few different music related things to make a living.

If you have the skill to play and/or sing but have never considered being a music entrepreneur then you understandably may not know all the ways to make money with music. Hell, I’m still learning and I’ve been doing this for the better part of a decade. That’s the best thing about music, you are always learning. Every new lesson opens a bunch of new doors you never knew existed. It is true with your playing and it is true with your business skills. Here are a bunch of ways that you can turn your passion of music into a career (Thats RIGHT! A career! I know music entrepreneurs that own their own homes and have normal lives that they enjoy very much!);

  • Busking (Wherever able, check local laws concerning where and what regulations apply)
  • Playing live shows (Pubs, clubs, restaurants, hotels, etc)
  • Playing private parties (Birthdays, anniversary parties, special events, etc)
  • Playing weddings/having your own wedding band
  • Playing on cruise ships/overseas hotels or casinos
  • Teaching music lessons
  • Booking and/or promoting live music
  • Selling original music and merchandise
  • Licensing original music for film and television
  • Owning music industry assets such as your own music school, booking agency, recording, or production company
  • Scoring music for artists/bands in your area (or online…another business opportunity for starting a company!)
  • DJ-ing or hosting Karaoke/Open mic nights
  • Writing songs for artists, ringtones, etc
  • Recording local artists’ music
  • Doing session work (playing in studio or on someone else’s home recordings)
  • Gaining a following playing online (YouTube, Periscope, etc. Other business options become available here such as leveraging your influence for network marketing).
  • And more!

As you see, it isn’t all monkey business indeed! It is a lot of fun to play shows to make a living, it’s the best decision I’ve ever made! But you can see how I’ve had to consider a wide range of options available to me to make money. It literally is a business, not a loosy goosy way to rock out, do whatever you want, and answer to know one. You should take it seriously and not lightly. When you are your own boss (as you will be as a music entrepreneur) then you have to have the discipline and business sense to cover your ass and line up enough work to succeed. I’m blunt about this because you need to know this going in! If you can’t take it seriously then there is still money to be made part-time (you’ll get what you put in) but being a music entrepreneur requires more commitment to really reap the benefits of this life (This paragraph was brought to you by Captain Buzzkill)!

Real talk guys, it is a fun life. You do rock out, you do spend most of your time doing whatever you want, and you generally don’t answer to too many people. You answer to yourself though, and if you don’t approach this business properly then it will be you that you are letting down! It is all about positioning and it really isn’t that hard. It just isn’t THAT obvious if you’ve never done it or haven’t got the time in OR connections with the local music scene.

My next few blogs will expand upon the idea of positioning yourself for success in this business. That means doing stuff that will make it easy to shift your life towards a life as a pro musician. My tips and tricks will be designed to give you things you can start doing immediately to get you closer to your goal of being a successful music entrepreneur. Practicability and applicability are everything to me. My future content (which btw is coming very soon) will also give you insights as to what this life looks like. I’ll talk about the pros, the cons, how to overcome obstacles, and how to kill it in this business. I’ll show you the life you are considering and give you the confidence to make your mind up for yourself…Is this “Monkey business” for you?

Be well!

Image courtesy of Ron Pereux, Dec 2012)

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It’s been a long time coming and I’m so pumped to be here at The Music Entrepreneur. A bit on what I’m doing here…

Are you an artist trapped in the life of a 9-to-5er? I’m here to help you to use your musical skills to break out and live the life you are dreaming of!

Hi there! Welcome to the Music Entrepreneur page. I’m beyond excited to get going with all of this so that I can help you achieve your goals of making money playing music…and maybe even quit that job you don’t like! So here we go!

I know that for many of you I am a total stranger at the moment, but that will soon change (I hope). This post is meant to be a very quick n dirty introduction to me as well as to let you know what to expect to find here in the coming days, months, and hopefully years.

My name is Bradly Cooper and I’m a full-time musician from Toronto. I drew kind of a crappy deal having the same name as a major Hollywood actor but I’m rolling with it! I’ve dabbled with using the stage name Bradly Mitchell (my middle name) just so that I’d be able to rank on Google at some point BEFORE page 5,000… lol! I’m in the middle of organizing a ton of exciting content that I will be uploading here as the days go by.

Question 1: “What kind of stuff should I expect to learn from you Brad”? 

Great question! (what an awkward self Q&A huh? :P) I will be imparting all of my knowledge about how to go from working a regular-ass traditional job to becoming a full-time musician. For anyone who is already playing music for money I want to give you other tips and tricks that I know will help you step your game up to the next level. I’ll cover things like:

  • How to find gigs
  • How to crush (and I mean absolutely SLAY your gigs and get paid tips while growing your social media)
  • How to find students to teach
  • How to start your own brand and market your music to generate sales (Through your own website or platforms such as iTunes).
  • What equipment you need
  • How to know when you’re ready to quit your job
  • and so much more!

Question 2: “Ok, fair enough. Who doesn’t want to quit their boring job? But why should I listen to you Brad”?

Another great question! I’m just some dude writing on the internet and I understand the cynicism that goes along with that. The reason you should lend me your ears is two-fold.

  1. First I care immensely about you succeeding. I love what I do but the next level for me is to help others achieve success with music too. I’m passionate about being the best musician I can be and helping others to do the same so that together we can improve the quality of live music in our cities around the World! The better we are as music entrepreneurs the more seriously musicians will be taken, and that bodes well for all of us!
  2. The other reason why I am able to help you grow as a music entrepreneur is that I’ve done it! I’ve done it myself not once but twice. As I mentioned, I’m from Toronto, Canada. In the summer of 2015 i already had a few years under my belt as a full-time musician and things were going great. I was playing a ton of gigs and private parties and teaching as many private students as I wanted to. When my girlfriend moved to Edinburgh, Scotland (what a class city) to complete her masters’ degree (sugar momma!!!) I followed her and thought “I can do music over there full-time to support us”. I didn’t know 100% that it would work as there were a lot of question marks. But I believed in myself and knew I’d give it 100%.

This is me, arriving in Glasgow (another class city, I love Scotland!) on August 18, 2015, struggling to carry all of my music equipment and ready to make a name for myself!TME002

I used a lot of my old tricks to find work in Edinburgh however I could not count on the network of musicians in my inner circle that I had fostered back home in Toronto. I was a lone wolf! I had no musician friends to have my back and help me so I had to learn a ton of new stuff to find success.

The #1 thing I learned is that you have to treat it as if it’s Do or Die!HAD to act fast. I HAD to fight hard and desperate. I learned that as an outsider I had to make myself known. I went door-to-door to every pub, club, and restaurant I would find until FINALLLYYYYY somebody gave me a chance and I had my first gig booked in at the Black Bull in the Grassmarket, in Edinburgh. The rest is history really. At this point I play 6-9 shows per week and don’t even teach anymore as I grew kinda tired of that (always an option to go back to though!). By acting like a stranger in your own city you will have the right mindset to get out there and make things happen for yourself! Growing a network of music friends is a must too but firstl you gotta have that hunger and desire to make it on your own! When you have your own gigs you get treated seriously.

So there I go, rambling when I said it’d be quick n dirty (I don’t know why I like that expression so much?) but in reality I’m too excited to get started with helping you kick ass in this business and get you on the path to living your true life! There’s so much more coming very shortly.

Are you an artist trapped in the life of a 9-to-5er?

P.S. just for fun, here’s a video I put together when I first moved to Scotland! Be well!