FEATURE: What Do I Expect From My Band

 “Playing in a band, why?” I don't know how many times I heard this sentence many years ago when I was still teaching. Let's now take aside the (mainly) men who are already in everyday working life and ultimately never find a common appointment for rehearsals or the time for personal practice. At least 60% of all typical students between the ages of 14 and 18 already had one back then Their only focus was on being able to play the main riff or solo of their favorite song, then sitting on the bed uploading it to YouTube as quickly as possible, sending the link to their friends and then counting the clicks. Playing a whole song, nope, practicing and partying with friends, nope, developing your own personality on the instrument, nope, and so on. Everything is far too strenuous and, above all, it takes far too long until the first measurable results appear.

The cruel YouTube fixation seems to have subsided a bit recently, but there are still huge differences in what the individual musicians expect from a band that couldn't be bigger. This feature is intended to help you avoid as many pitfalls as possible, at least in advance, in order to experience as much fulfillment as possible in your musical career. So then, what do I expect from my band?

1.) “What kind of music do we actually want to play?”

No matter what points still need to be clarified within a band, at least 50% of all energy will be spent on this point. The problem lies in the different perspectives of the individual musicians and the associated prioritization of their respective activities. If we take as an example a constellation of absolutely equal musicians who meet for the first time for a preliminary discussion, everyone who has already found themselves in this situation will be familiar with the hours-long discussions.

Whether you want to cover or turn to your own titles can be discussed relatively quickly, but once you have decided on the second option, all barriers are usually broken. Everyone tries to focus on a certain style as much as possible and often reduces their fellow musicians to mere vicarious agents. This has never worked and never will! Only if all musicians present want to practice the same style and cite similar role models or influences can one expect a functioning system.

Of course, there are technically outstanding musicians in the professional sector who can play any style and almost any song, but these are purely economic arguments. Of course you can do it like with the DEAD DAISIES, for example, in which guitarist David Lowy, completely unknown himself and fairly talented as a musician, but heir to his father Frank's multi-billion dollar empire, has an impressive stable of musicians for hire of the caliber of Glenn Hughes, Dean Castronovo or Doug Aldrich holds. This works as soon as money flows, but never at the beginning of a career.

2.) Goals

Along with the first point, the second point must also be considered. When the author of this article was still a young Springinsfeld, everyone, absolutely everyone, who could even hold an instrument wanted to become a professional musician. The economic sky in the music industry was full of violins, the advances from the record companies were generous, the salaries were high, and the parties were lavish. The fact that these days are long gone is shown not only by the tiring discussions about tenths of a cent when it comes to musicians' participation in the income of streaming services.

To put it bluntly, 1% of all musicians can make a living from music, of which 49% probably play in well-booked tribute or cover bands, 49% teach and maybe 2% play their own songs. If it goes up, I estimate that a maximum of every thousandth band that plays their own songs will generate a relevant income where ALL musicians in the band can survive on the income. Mind you, survive, not the whirlwind that is often conveyed in the media.

It therefore makes sense to talk about how much you are prepared to give yourself up to this torment and how high your capacity for suffering is right from the start of the band. The statement “We’ll see how well it goes and if it’s worth it, we’ll do it full-time” is nothing more than a paraphrase for “we’ll remain hobby musicians forever”. This is by no means reprehensible, but here too it is important to make the necessary personnel decisions as early as possible. Only those who have the same goals will work together effectively.

3.) Financing

How do you recognize professional musicians? They ask about payment at the first conversation! ;-) OK, the saying is very provocative, but at least it corresponds to my experience. In this regard, you can Don't be angry, but unfortunately this attitude is usually accompanied by the loss of any illusion of the glamorous part of the music. Nevertheless, the financial area always creates a lot of sources of stress of all kinds. Starting with the rehearsal room rent (“the drummer takes up the most space and uses it the most, he should pay more”), travel costs (why should I pay for the other musicians’ travel with my money), technology (“the singer should “pay for the vocal system alone”) and much more.

Ultimately, for the sake of peace, you usually can't avoid having a “treasurer” and later possibly management. I can only recommend that all of the band's income initially be used for ongoing costs such as: B. to take rehearsal room rent and pay out the remaining surplus in equal parts. I would pay every musician who puts on a paid show between 10 - 20% of the fee as a commission, because as a contact person they usually have more work with this show.

It becomes difficult when the band is purely a hobby business, i.e. a loss-making business, and costs are incurred. The only option that helps here is that one person covers all the costs, but then also receives all the income and pays the other musicians proportionately, or everyone sets up a standing order for the costs incurred. I used to chase my “colleagues” for months for €10, something like that just gets annoying and kills any mood.

4.) Punctuality

A very popular topic. Even though Germans have a reputation for being very punctual, and this is undoubtedly the case compared to other countries, everyone has their own idea of when and where they should be. If no one takes it too seriously and everyone comes as they want, the whole thing might still work, but if one or two musicians prevent the other colleagues from starting on time, in my opinion that is nothing other than anti-social behavior.

If a rehearsal starts at 4 p.m. and I have access to the rehearsal room, I'll be there at around 3:30 p.m., set up my stuff and warm up so that we can start at 4 p.m. If your colleagues can't do it that early, you can't start the rehearsal until 5 p.m., no problem, but deliberately making your colleagues wait because you're poorly structured isn't an option! There is always a traffic jam or something special that causes a delay, but this always has to be an exception.

5.) Preparation

Actually a topic that requires no explanation, but is still a very popular point of contention. Who doesn't know that you can only play a song up to a certain part, because then a colleague can't play his part (yet). “I still have to practice it…” What does that have to do with colleagues? You don't meet in the rehearsal room to catch up on your personal finger exercises! It is also very popular for singers to sing the lyrics from sight. It's best to do it two days before the performance and then cover the stage floor with sheets of text. The maximum amount of embarrassment is only surpassed by a music stand on the stage.

People meet to discuss arrangements, practice singing, everything that concerns ALL musicians. You can also play certain parts as a loop to keep everyone safe, but showing up to the rehearsal unprepared is an absolute nonsense.


6.) Personal commitment

Sometimes it feels like there are 2 types of musicians when it comes to work that goes beyond operating their personal instrument. Some do everything, others do nothing. I don't know how many times I've personally tried to assign certain responsibilities within a band, for example one person takes care of loading the van, one does the billing, one maintains contact with technology, etc.

There seems to be this polarization, especially among musicians. I've seen musicians who simply leave their equipment on stage after the show in the sense of "someone will take it with them." That wasn't the case, i.e. H. There was still a lonely bass system and bass on the stage the next day, maybe it's still there today. To what extent you can live with that, everyone has to decide for themselves, but such openly displayed disinterest in the unpleasant work surrounding the band rarely creates a good atmosphere.

Conclusion

In principle, these days you can be grateful for any musician who strives for the anachronistic path of making music in its purest form. Prefabricated loops, DAWs with incredible possibilities and a richly laid out Internet table with countless playalongs contribute to the fact that you hardly want to indulge in the effort of a rehearsal with corresponding social obligations.

However, anyone who has ever experienced the energy of a synchronous band will forever ask themselves how they can transfer even 1% of this feeling into the synthetic world. Nothing can be compared to the experience of the moving air that a great band gives off and only those who know this feeling know why every plugin manufacturer, every programmer and every IT designer does everything they can to be the protagonists of the analog world with their instruments , amplifiers and rooms at least optically to copy.

For my part, I've found that it only makes sense to work and spend time in a room with people you really like, or at least respect to a high degree. Investing time, money and passion in people with whom you would rather not go out for a beer after work has never worked and will always lead to a split in the medium term.

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Additional Informations:

The landscape of the music industry has undergone seismic shifts in recent decades, with technological advancements, changes in consumer behavior, and evolving industry dynamics shaping the opportunities and challenges for musicians. In this comprehensive exploration, we delve into the multifaceted aspects that influence the success prospects of a music band in today's rapidly changing musical ecosystem.

I. The Digital Paradigm:

A. Streaming Platforms:
   1. Streaming platforms have revolutionized music consumption, providing unprecedented access to global audiences.
   2. Bands can leverage these platforms for exposure, but the vast catalog of available music poses challenges for standing out.

B. Social Media and Online Presence:
   1. Social media platforms offer direct communication channels with fans and avenues for self-promotion.
   2. Maintaining a consistent and engaging online presence is crucial for building a loyal fan base and industry visibility.

II. Industry Disruptions and Opportunities:

A. Independent and DIY Movements:
   1. The rise of independent and DIY (Do It Yourself) approaches empowers bands to retain creative control and revenue.
   2. Navigating the complexities of self-promotion, distribution, and marketing requires strategic planning and adaptability.

B. Impact of Technology:
   1. Technological advancements, such as home recording and digital production tools, democratize music creation.
   2. Bands can harness technology to produce high-quality music without the need for extensive studio budgets.

III. Diversification of Revenue Streams:

A. Live Performances:
   1. Despite challenges posed by the COVID-19 pandemic, live performances remain a critical revenue source.
   2. Bands must explore innovative ways, including virtual events and live streaming, to connect with audiences in the absence of traditional gigs.

B. Merchandising and Branding:
   1. Merchandising, including apparel, physical music formats, and branded merchandise, contributes to a band's income.
   2. Building a strong brand identity enhances marketability and fosters a deeper connection with fans.

IV. Challenges in an Oversaturated Market:

A. Oversaturation and Discoverability:
   1. The sheer volume of music available online poses challenges for bands seeking visibility.
   2. Effective strategies for standing out include targeted marketing, niche targeting, and collaboration with influencers.

B. Algorithms and Playlisting:
   1. Algorithms and curated playlists on streaming platforms heavily influence music discovery.
   2. Understanding and navigating these algorithms can significantly impact a band's reach and potential success.

V. Industry Networking and Collaborations:

A. Networking and Relationship Building:
   1. Building relationships with industry professionals, influencers, and other musicians is vital.
   2. Networking facilitates opportunities for collaborations, exposure, and access to valuable resources.

B. Collaborative Projects:
   1. Collaborations with other artists, producers, and brands can expand a band's reach and introduce them to new audiences.
   2. Strategic collaborations can lead to mutually beneficial outcomes in terms of creativity and promotion.

VI. Globalization and Cultural Exchange:

A. Global Reach:
   1. The globalization of the music industry allows bands to reach diverse audiences worldwide.
   2. Cultural exchange and embracing diverse influences contribute to a band's versatility and appeal.

B. Cultural Sensitivity:
   1. Bands must navigate cultural nuances and sensitivities to avoid missteps in an interconnected global music landscape.
   2. Embracing diversity and understanding local markets enhance a band's global success potential.

VII. Adaptability and Resilience:

A. Industry Evolution:
   1. The music industry is in a constant state of evolution, requiring bands to adapt to emerging trends.
   2. Resilience in the face of setbacks and the ability to pivot strategies are essential for sustained success.

B. Fostering Innovation:
   1. Innovative approaches to music creation, promotion, and distribution set bands apart in a rapidly changing landscape.
   2. Embracing new technologies and exploring unconventional avenues contribute to a band's long-term viability.

Conclusion:

In the contemporary music landscape, the success prospects for a band are intricately woven into a tapestry of digital innovation, industry disruptions, diversified revenue streams, and global interconnectedness. While challenges such as oversaturation and algorithmic influence persist, bands armed with strategic planning, adaptability, and a commitment to innovation can navigate the complexities of the industry and carve out a meaningful and sustainable path to success. Ultimately, the modern music landscape offers unprecedented opportunities for those who approach their craft with creativity, resilience, and a forward-thinking mindset.