How to get a properly paid gig (Part 2)

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Cover bands fall into four broad categories:

1. Style based Cover Bands
The repertoire of these bands is drawn from either a particular style or a particular period. Some examples of styles from which a repertoire could be derived are:

Early Rock and Roll
Soul/ R&B (this is the old meaning of R&B)
90's plus R&B
Reggae
60's Britpop
Blues based rock
Blues (electric and/or acoustic)
70's New Wave band
Early punk
EMO
World Music (including all the ethnic genres)
Metal (before all the metal sub genres appeared)
........ Metal (insert the name of your sub genre)
Boy Bands/Girl Bands
Singer Songwriters
Country
Country Rock
Trad Jazz
Swing (old meaning)
Swing (current meaning)
'Classical' String Quartet music

And on and on and on and.........

2. Period based Cover Bands
The repertoire of these bands is drawn from a particular period. Some examples of "periods" from which repertoires could be derived are:

50's
60's to 80's
Current hits
1920's
Music of the early baroque period 1623-1690
(I'm not necessarily serious about the last one but its there to indicate that you shouldn't limit your thinking when considering a period as a source for repertoire)

3. "Tribute" Bands
These are bands whose repertoire is drawn from one band. The most successful of these is probably "Bjorn Again", the Abba tribute band, who have even given concerts in Sweden! Talk about coals to Newcastle. A quick glance at any gig guide will show you plenty of examples. Obviously a tribute band based on a band that was hugely successful will give you a better chance of attracting an audience.

4. Broad-based cover bands
These bands are not tied to a particular style, period or band. The trick with this sort of band is to create an identity. This is often based around the frontperson or the nature of the presentation.

How do I choose?

The basis of your choice, assuming that paid gigs are what you want, is simple: what will attract paying punters?

The simplicity of this answer does not mean, however, that the process is easy. You must inform yourself from actual research, what pulls a crowd. Make lists from gig guides and go and check out as many bands as possible. Keep records of the size of crowd each band attracts. Try to see bands in different venues and different contexts. What works in a corner pub may not work on the festival circuit for instance. Set up a system that takes account of various reasons for the popularity of different bands. Is it solely the repertoire? Is it the charismatic frontperson? Is it the venue? Is it the amazing stage show?

While you are gathering this information talk to as many people at gigs as possible; punters, venue management, security staff and bar staff. These people are a valuable resource and will give you a greater insight into why successful bands are getting work and others not. Don't be a snob and keep your mind open. Remember your are gathering intelligence not reviewing bands on the basis of your musical preferences. For the purposes of this exercise facts are valuable and opinions considerably less so, you must develop the ability to identify which is which. A handy indicator is to take account of the investment in the act or venue someone you are talking to has. A venue owner may be more inclined to credit a band's success to the fantastic ambience of her bar for example. There are other types of self interest, a drummer may be following a particular band because their drummer is fantastic while the rest of the crowd may be there for a completely different reason. You are unlikely to get trustworthy information of this type from the music press. If it was that easy everyone would be doing it!

Once you have gathered lots of information and have an informed knowledge of what works and why you are ready to move to the next step - deciding what kind of act you want to create. There are basically two options and both of them are common in any business:

1. Imitate something that is already working.
2. Find a niche which is potentially successful but untapped.

Next time we'll look at these two in greater detail and continue our exploration of "The Plan".

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Lost and Found

Lost. A cream and red-colored [sic] kazoo my Mom gave me, and all perspective. If found, please return to G. Bush, The Off-White House, First Turn in the Yellow Brick Road, Washington, DC, USA

Lost. Complete personal memory 1970 -2000. If found, please do not return to O. Osbourne [New brand image requirements]

Personal

Wanted. For louche lounge sestet, multi instrumentalist with a special interest in alternative fingering. Must keep good time.

Wanted. A friend. No rodents, please. Nigel Slessor, principal clarinettist, Sculthorpe Colliery All-Stars.

Wanted. A rodent. No friends, please. Arthur Fischbein, senior percussionist, Glyndbourne Festival Orchestra

Cantelope seeks antelope. No timewasters. 222315

Professional Services

Lescombe & Dart, Solicitors. Commissioners for Oaths, extractors of digits and fixers of instruments. Will work pro bono, cher, prince and bird. BH: 9414 4144, AH: 9414 4144, FAX: 9414 4144

Moses & Moses, Personal Reed Cutters and Moisteners for twenty two generations, by Appointment to Royal Society of Saxophone Fondlers, Cairo, also bespoke begatters.

Cholmondley, Menzies and Dalziel. purveyors of indigenous instruments to the gentry, speciality didgeridoo extractors and occasional cultural cleansers.

Brian Purvis. Flatus provider.

Prepaid category

The new Keith WindSchuttle (supersedes the Blainey). This ecologically sound deep-space launch vehicle, launched by sober conjecture, soars high into the stratosphere powered in the first stage by hot air and in the second by heated debate. Re-enty is achieved by the use of powerful detractors (Academatic model w/black armband). Options: the John Howard booster.

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