How to get a properly paid gig (Part 3)

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Since there is already someone out there doing it you need to be sure that you can successfully compete. If what you create is not better or different to what already exists, why should anyone hire you? Remember what we mean when we say "better" in this context. It means more attractive to venues and punters. This may or may not involve superior musical ability but it will almost certainly involve better presentation, both to the punters when you perform and to the venues when you sell.

Another consideration is the size of the potential market. The existing band or bands may be have absorbed all the punters that would be attracted by the approach. Some further research may be necessary. If bands using a similar approach are playing to half-empty houses you probably should rethink. On the other hand, if bands using this approach are constantly in demand and venues can't get them without booking months ahead, you might be on to something.

The advantage of imitation is that you know a market exists. The potential disadvantage is that you will have to compete with established acts on their home ground.

Find a niche which is potentially successful but untapped

Your research may have identified a gap in the market which you think could be lucrative. If you are selecting a style that is not being used here are a few points you might consider:

1. Has the style/repertoire succeeded commercially at some stage?
2. Is there a big enough potential audience now?
3. Are the people who would have been fans of the style/repertoire still the age of the punters who go to your proposed venues?

Resurgence of interest in a style or a band can be generated by successful films. The "soul/R&B" (old meaning of R&B) style achieved massive attention when the original Blues Brothers film was released. The ball was kept rolling by the films The Commitments and then Blues Brothers 2000. A number of bands successfully took advantage of the interest generated. The Austin Powers movies similarly gave a boost to a section of the 60's repertoire. Keep your eyes and ears open for cultural trends.

The criteria for selecting an approach should not include "they're my favourite band". Remember that you are trying to create a marketable product that venues will be prepared to pay for because it puts bums on seats!

The advantage of trying something new is that, initially at least, you won't have any competition (it won't take long for competitors to appear if your idea works!). The disadvantage is that you don't know if it will work. Keep the odds on your side by researching further.

Now let's go back to THE PLAN.

The second element of the plan is:

PREPARE

1. The Music

When you are recreating a style or repertoire you must have the technical ability to make it work. Many musicians who write their own material stick within their technical limitations, sometimes this can still produce great music but that's not relevant here. If you are in the business of re-creation, the repertoire is the boss! You can't change it just because you can't play it! What you are trying to do is deliver familiarity (see part 1). Selection of musicians should be made with this in mind. Nothing is achieved without effort and a successful act will require serious planning and rehearsal.

Next time we'll look at some methods that will help this process.

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A survivor nose

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The Artist Formerly Known as Michael Jackson's Nose says it has only just begun to blow the gaff on Jackson.

Below is an excerpt from the exclusive interview, soon to be printed in full in The Dues, with The Artist Formerly Known as Michael Jackson's Nose.

TD: Do you hold any grudge against Michael for enforcing the separation?

TAFKAMJN: Well, you know, I'd been part of that whole Jackson thing since the beginning; I was with Michael when he was just a snotty bawling brat. Sure, I hate Michael's guts and would like to make a cat's cradle out of them; but, hold a grudge? No, not at all.

TD: Was there any one incident that you believe precipitated the separation? That made the separation inevitable?

 

The world was shocked by the dramatic separation of Michael and his nose, dramatically captured at a live telecast.

TAFKAMJN: You are referring to the waving handkerchief at the window in Stockholm incident?

TD: That was the moment for you?

TAFKAMJN: Honestly, yes. It was that incident that told me more clearly than any other that Michael was ashamed of me and would rather hold a boogie out to his fans than boogie the night away with his singular central facial appendage.

TD: It wasn't a question of colour?

TAFKAMJN: What? No, no, not at all. Not ever, no. Let's get one thing straight; Michael is a beautiful, fine and proud black man who walks tall in all the glory of his colour, race and gender; whatever they might be.

The one thing he could never abide, though, was that, wherever he went, whether musically or physically, I was there before him. He hated the idea that people might think that he was always following me, that he was always just a step behind me. Well, as sad as it is, that is a reality that Michael couldn't face and, eventually his excessive paranoia led him to spite his face to cut off his nose.

TD: By the way, may I just say, you look great. What do you do to keep in shape?

TAFKAMJN: Oh, I work out; and I run a lot.

TD: Can we expect to see you perform in Australia any time soon?

TAFKAMJN: As soon as your quarantine laws and laws governing the travel of unaccompanied personal appendages are relaxed, sure, get out your hankies!

TD: Do you think you and Michael might ever be reunited?

TAFKAMJN: Well, that's really up to Michael. He knows where I am. He can call at any time. Whether I'll be prepared to mend fences with the traitorous weed, well, I don't know. We'll cross that bridge when we get to it.

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