Tag: diy

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Job Board News

Your to-do list is killing you. Long live to-do lists.

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There was a time in music when being really good at one thing was enough to secure some form of employment. If you could talk to people in radio about new music and sound convincing, you could get a job. If you could hustle merchandise at shows and keep good records, you could get a job. If you understood how to find and contact music writers about new artists, you could get a job. As long as there was one thing you could show others you understood how to do better than they themselves could do it, you could find a job somewhere in music.

For better and worse, those days are now long gone.

In today’s music business, having a plethora of skills is key to securing employment more often than not. The budget for staffing is tight across the board in music, so employers are actively seeking individuals they believe can fulfill the needs usually met by a team of people. As a result, simply knowing how to do one or two things really well is no longer enough to justify the need for someone to give you a job. Aspiring professionals today need one or two strong skills, as well as several other skills or talents that can be applied to whatever role they seek. If you’re looking to do publicity for example, writing and sending clever emails is no longer enough. Those competing for publicity roles today are good at emails, cold calling, social media outreach, and they have a good ear for finding new talent because, more often than not, they started their own PR firm and have already worked with several small time artists they know through school or friends. These people are essentially unpaid professionals, and they have already worked on everything that a paying role would ask of them and then some. That is what you have to assume anyone competition with you for a job has already accomplished, and you need to make sure you do some of those things yourself if you want to even be considered for a role in this industry.

It wouldn’t be possible for me to outline everything you need to do in order to make yourself appear as a strong candidate for any job in the industry as the needs for each individual role will vary greatly from job to job. I can, however, help you make one change to your current behavior that will enable you to expand your skill set while still refining the skills you’ve already developed. To do this, you need to recognize that your current to-do list is a mess, and you should also understand most other people have horrible to-do lists as well because they, like you, expect to much. They seek to ensure they do everything they can to position themselves for employment, and through doing so create a list of tasks so daunting that completing the tasks can feel next to impossible. The reminder of how much remains undone eats away at you in time and, slowly but surely, you begin to doubt your ability to reach the next level of this business.

To fix this, not to mention simplify your life as a whole, throw out whatever to-do list you currently maintain and start creating today lists instead. By this, I mean creating a new list of goals each and every morning that outlines everything you need to do that particular day in order to be ready for the next morning. The amount of things you need to do in a week or month will not change, but the feeling you have toward what is left unaccomplished will because you won’t be looking at several days or weeks worth of work at once. Instead, your brain will see 5-10 things that, with hard work, can most likely be accomplished between sunrise and sunset on a single day. With each completed task, that already small list shrinks, and as you near the end of your daily to-dos your confidence in your ability to maintain this level of output over the long haul will grow.

But how does this help me find employment in the music industry?

Good question. Employers at every level are going to expect you to tackle multiple projects at once, and each of those projects will have their target completion date. If you tell yourself you can do it all at once you’re only going to end up frustrated and exhausted, but if you break down your longterm goals into manageable daily chores your ability to progress on each item from day-to-day will flourish. Your brain will stop worrying about the overall deadline and start concerning itself more with tasks at hand, which in turn will relax your mind enough so that you are able to think clearly and creatively amidst the chaos of this business.

I’m not going to lie to you: Finding steady employment of any kind in music today is next to impossible, especially if you’re just starting out. The competition for any job, big or small, is fiercer now than at any other point in the history of the entertainment business. This frustrates job seekers and complicates the selection process for most business owner, but at the end of the day it’s actually a blessing because it means only the truly talented and hardworking individuals end up working full-time. The people who find themselves in a position to influence real change not only know how to make change happen, but they possess the organizational skills needed to make the most of the opportunity they have been given.

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News

How to Land Gigs if You’ve Never Played a Show Before

The following post is the latest in our ongoing collaborative series with Sonicbids.

For brand-new bands, landing that first gig can sometimes be a catch-22 dilemma: Booking agents and talent buyers want acts that draw a crowd, but you’re still trying to establish yours. How can you begin to cultivate a local following if you can’t score a show?

Luckily, booking isn’t so cut-and-dried. Maybe you can’t convince a mid-size venue to take a chance on you, but there are other routes to building your fanbase for live shows. Here are five realistic options for working your way up to securing those bigger gigs.

1. Open for more established bands

Talk to local bands who are booking at the level you’re reaching for about opening slots. If they’re iffy about allowing you to join a bill, offer to perform a short set for free. Make the most of the opportunity by manning the merch table, where you can interact with interested attendees. Let them know how to find you on social media and to stay tuned for your next date.

[How to Score an Opening Act or Support Slot and Expand Your Audience]

2. Play free shows on slower nights

Venues aren’t too keen on featuring fledgling bands on Fridays and Saturdays, which is fair, because even clubs that are true champions of their local music community are still businesses with plenty bills to pay. If you can’t get in on a weekend, try organizing a show on a slower night, and offer to perform for free. Get a few bands to join you, so there are more reason for folks to come check out the show, or try a weekly residency for a month or two to help generate a buzz.

3. Hop on an existing event

This is different than asking to open for a more established band. Why not offer to play a set at an upcoming pop-up market event? If your music is danceable, you should try the same with a reliably well-attended DJ night. Any event that doesn’t already feature live music could be an opportunity for your band to add that component – and earn yourself some new fans, too. Same with the previous two options, performing at no cost to the organizers is usually your best bet for convincing them to accept your proposal if you have no existing track record.

4. Organize a show at a nontraditional venue

If you can’t book at a club, turn another spot into a temporary music venue. Know someone who’s willing to host performances in their home? Can you convince the owner of a local business – a restaurant, a clothing store, whatever – that a one-off concert could be mutually beneficial? (It definitely could be!) A free event is ideal in these kinds of situations, but you can ask for donations to help raise funds for the bands and host.

5. Use your social media following as leverage

While venues and booking agents do want proven results in terms of show turnout, bands that haven’t performed much or at all can use their social media followings to demonstrate their expected pull. (Tips for growing your following can be found here.) If this method doesn’t help you land a Friday or Saturday night gig at the club you’ve got in mind, refer to the aforementioned four ideas for working your way up to that level.

Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible.

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News

Tracking Physical Sales At Concerts: Why And How

The following post is a guest piece from one of our favorite industry lifers, Christopher Bianchi. Heed his advice.

When I started off playing in my friends basement, the thought of “tracking our music sales” was something that had literally never crossed our minds back then…Although it should have and I’m glad now of having grasped the concept many years later of how important it is to not only TRACK how many units you’ve sold but also to REPORT THEM with the proper outlets so they count.

Why?- There is the obvious- so the band or artist knows how many units they have sold. Then things stem further based on the situation such as: the booking agent or concert tour package. This is a way the agents and promoters all over have knowledge of your band and how it’s truly selling. From there they know how to appropriately place and book your size rooms, tours, festivals and events. That stems onward further into Record Labels. As an unsigned band- the label will see the proven sales numbers as a strong reason to invest in a partnership with your band. They can see that you’ve put in the work, time and effort to make noise and can now step in to help take things next level. This is also how you chart on Billboard with your first week and total sales.

Stemming even further from this- Endorsement and Partnerships will want to see hard proven sales numbers as a way to base there investment into that particular band or artist.

How?- This is surprisingly enough an outlet that goes unnoticed so very often with all sizes of bands. How to properly track and also register the sales you make?

You are going to need a few things in order to do so:

1. A Barcode for that particular album, single or EP. (These can be purchased often for a few dollars from numerous websites online. You purchase and register the title to that barcode- all done right on the website such as: speedy barcodes.com. From there you are on your way. They will send you a download of the barcode that you will use for registering via soundscan as well as adding to the official album back of the artwork when printing. You will use this barcode number to input the album with Atvenu.

2. Register the barcode to Nielson Soundscan. This is a VERY IMPORTANT part of the process. Soundscan are the title tracking company responsible for keeping all the numbers on file for sales. You must go to “Register A New Title” and input all of the information of your release. Album, EP, or Single. Add the release date and the barcode  number with the rest of your information. Then hit submit. It takes a few days to register into the official system.

3. Atvenu– This is the platform that the artist uses to enter in all show and concert data such as: Date, Venue, Amount of Albums Sold, Cost. From here this is where on after each event you will submit the number of physical sales. The app runs a simple $10 per touring month for any artist which is WELL WORTH the investment to PROPERLY track your album sales. You simply add the album, barcode number and at the end of each show you have a line where the venue rep will sign (From any iPad,phone,etc)

Then you are able to submit easily that nights sales. The app then tracks all numbers and reports to Nielson Soundscan on your behalf every week.

Why not just report to Soundscan myself you ask?… Great question. That is because the Nielson system only accepts sales from certain special accredited sources. You must be a professional Record Label or something of the like in order to submit sales yourself. It also costs A LOT of money yearly. In order to do so independently, you must submit sales through a platform.

When it comes to digital release- these sales are automatically reported to soundscan via CD Baby, etc. However, to ensure especially in the physical department- It’s always the best bet to hand register each title.

Now PULLING official Soundscan reports are a whole different thing but luckily digital sales report to you monthly and physicals will be tracked through again the atvenu app!

Good luck and keep rocking!!

Christopher Bianchi is an Artist Manager at Mercenary Management who has been involved with the business side of music since he was just 14. Now in his late twenties, Chris lives with his wife, Kayla, in Ohio and spends his days helping artists of all sizes reach the next level(s) in their careers. 

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News

One Surefire Way To Guarantee Instagram’s New Algorithm Doesn’t Hurt Your Career

The big panic in the world of social media in 2016 has been the rise of algorithmic feeds and the competition amongst brands, bands, and artists it is believed to create. YouTube, Facebook, and Vine have already implemented algorithms that are designed to show users what the system believes is most important to them first as opposed to what is newest on the site, and with each change came a wave of panic from those who rely on social media to raise awareness for their latest products, tours, or related offerings similar to what we are experiencing as of late in relation to Instagram. The truth is, however, that those who are already reaching thousands or even millions of users have far less to worry about than those with only a few hundred followers, and even then there is very little to be concerned about as long as you’re doing the one thing we all hope to find whenever following a new account online: Quality content.

Yes, despite the rumors that the only way brands, artists, and bands will be able to reach followers moving forward is by encouraging them to opt-in for notifications every time an account posts a new image, the real answer to the so-called “algorithm apocalypse” is the same answer to the question of how one amasses a sizable following in the first place. Aside from family ties, the quality or perceived quality of content being shared is one of the biggest factors in determining placement in social media algorithms. In theory, if you have an account with a large amount of followers you have most likely earned those follows through sharing great content, and as long as you continue to post content that is meaningful to your followers then your reach will continue to thrive. Some followers may be lost, but if so it’s only because their previous actions on that platform rarely involved engaging with your content, and if that is the case – does losing them really matter at the end of the day? You might not reach as many people, but those who actively engage with you will be retained, and those who haven’t been engaged will remain inactive. If that makes the entire idea of worrying about algorithmic changes feel silly it should because such fears are largely unfounded.

Regardless of whatever algorithmic hurdles are placed on reach by social media platforms those who create quality content will always rise to the top. Their rise might be a bit slower than it would have been in the days when everything was shared all at once in real time, but then again it might not. Throttling the flow of content in a way guarantees more people will see the best content available, which means they will be spending less time seeing and engaging with things that don’t really interest them. This act of internet time saving encourages engagement by quickening meaningful discovery, and as long as you’re producing the best content you can create people will discover your work regardless of the invisible math behind how they find it.

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The rise of Cousin Stizz and what it means to be the ‘complete package’ in 2016

There is a lot of confusion among young artists today over what exactly it is that labels, managers, and everyone else in a position to help their career are looking for when seeking new talent. Most rock and pop bands believe they need to have strong social media skills, decent sales, and as many tour dates under their belt as possible. This is true, but those three elements are not the only things considered when someone is deciding who to work with next. Rappers, for example, rarely tour before being signed, and most give the bulk of their music away for free through mixtape releases or one-off singles. The return on their investment in creativity may not be recuperated as fast as those who sell their every creation, but it does allow for rappers to share part of themselves with a digital audience that many bands and performers from other genres never manage. Still, what is the value of a following if those who believe in you most are not willing to financially back your art?

In 2016, the best way to establish yourself in a way that attracts people who have the power to take your career to the next level is to offer what is often referred to as ‘the complete package.’ The definition for this ‘package’ can vary greatly from genre to genre, but the core elements remain the same. You need a strong online presence, of course, as well as a sizable following from people who are promoting your work without you having to ask them to do so every other day. You need people to hunger for your next move, and when you take that step you should be controlling the development of whatever comes next from the ground up. If you’re making a video, you should develop the idea and find a team to make it a reality. If you’re going on tour, you should design promotional materials to help spread the word. You also need to know how and where your music fits into the greater entertainment industry. Do you know what your audience looks like? Where do they live? Do they buy albums, or just singles? Do they prefer streaming music over purchasing physical products?  Knowing this will not only make you more likely to succeed, but it will also enable you to better connect with those who support you most.

To further illustrate this point, let’s take a quick look at one up and coming independent artist who is poised for international stardom solely because of his relentless work ethic. Cousin Stizz is a twenty-four year old rapper from Boston with one mixtape to his name and a recent digital single (“Super Bowl”) that has received coverage all over the hip-hop blogosphere. Though his presence in the rap world has only been known outside his hometown for under two years Stizz has already attracted a large online following thanks to a combination of quality material, free downloads, constant interaction with listeners on social media, live performances, and, perhaps most notably, incredibly high quality music videos that showcase both his talent and his personality in ways simply hearing his art can never achieve. Take a look at his recent video for “No Bells,” which finds Stizz exploring his hometown with his crew while rapping along to the popular Suffolk County mixtape cut:

This is a video created by an artist who has surrounded himself with similarly driven people who understand the value of quality content. For the sake of comparison, here is a video from Future, one of the biggest rappers in music today, which was released around the same time as the clip for “No Bells”:

If I hadn’t already told you Cousin Stizz was an independent artist and that Future was a Billboard hitmaker, could you tell the difference when watching these clips? Probably not.

The same comparison could be made between any track Cousin Stizz has released and any hit from today’s rap heavyweights. Quality control is key to Stizz, and he does everything in his power to ensure he only delivers the best music he is able to create. From there, Stizz promotes his art with high quality visuals, as well as cover art, and a steady, but not overwhelming flow of promotional messaging through social networks. More often than not, fans that hear or see his art tweet about it themselves, and Stizz makes it a point to retweet those promoting his work so that he doesn’t need to sell his art himself. Why should he? Stizz may know his music better than anyone else, but he also understands that word of mouth is perhaps the most powerful tool in new music discovery. It’s far easier for your friend to get you to check out something new than it is for the unknown creator of that thing to get your attention. Stizz puts in his work up front, and the reaction from his audiences dictates how his creations are promoted moving forward.

Any industry pro looking for new artists to work with would be a fool to not consider Cousin Stizz because he, somewhat ironically, doesn’t appear to need help at this point in his career. From an outsider’s point of view, Stizz is able to create quality music and videos, receive coverage from essentially all major music outlets covering his genre, book shows across the US, and have his every move promoted, celebrated, or otherwise discussed by a wide array of rap fans on the internet. Cousin Stizz has found a way to establish himself as a reliable brand in a world of artists who often struggle with consistency, and that speaks volumes to anyone in a position of power. With the industry being as cutthroat as it is, most of the so-called ‘gatekeepers’ of the industry are looking for talent that, if anything, merely need more money to better do what they are already doing on their own. It’s not about changing or improving who an artist is, but rather empowering them to be a better version of who they already are. Cousin Stizz is ready for the big leagues, and his body of work, as well as his promotional strategy, tell us that without him having to open his mouth.

You might be not be a rapper, but there are lessons you can learn from the hustle of Cousin Stizz. First and foremost, quality is everything. You can release singles, an album, or even five albums over the course of a year, but if your quality is not consistent you will quickly see a diminishing return on time spent. The digital age has lead us to believe everyone needs to be making something new all the time, but that isn’t necessarily true in music. The artists who succeed most often are those who put as much time, focus, and effort possible into each new step they take. Be it a tour, recording new material, shooting videos, designing promotional materials, or even writing tweets, quality and honesty are everything. Be real about who you are and what you want, share those ideas with the world in the most creative way you can imagine, and then engage with those who connect with what you’ve released. Leverage their belief in what you’re doing to convert more to your art, and in time you will have an army behind you that every label, manager, publicists, and booking agent cannot deny. You don’t have to accept their offers for help, but at least you’ll know they are available and that you’re on the right path with your career.

James Shotwell is the Digital Marketing Manager for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him onTwitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Don’t rely on social media to tell your story

While Googling “jobs at Poler” back in 2014, I came across a quote from Drew Dayberry who does Creative / Product and Brand Development for the company:

"My goal overall is simple, keep the Internet and the digital world a wild place. A place where brands can co exist with everyday people without buying their way into their lives. There is still a lot of it to discover and tons of never been dones so there is no reason we should all hide in those social networks.”

The site doesn’t exist anymore (here’s a cached version), but that quote has stuck with me over the years. As bands, brands, and people, we are filling up social networks with lots of our “stuff.” Photos, memories, travel stories, births, wedding, new songs, your latest video – and for anyone not on a particualr social network, well, they’re hidden.

So here we are in 2016, and there is certainly still a lot to discover. There are “tons of never been dones,“ and not just with whatever hot new social media network of the day happens to be.

Today bands and labels are expected to sit on social networks and clack away with specials and semi-persnonal interactions with their legions of fans. Peopel who work in the field are expected to be experts within a year, and grow, and engage in brand new ways. Email lists bustle with tour dates and links to iTunes and Bandcamp. Epermeral videos on Snapchat and / or periscope, interactions that disappear like sparks in the night.

But where is the nightly podcast from a band in the studio, or stories from the road? Reatlity TV shows thrive because they’re cheap and they’ve got interesting stories. Your band, your label, you art – you’ve got so many stories bubbling inside you. You don’t need to scatter your stories to the social media winds and hope they find root somewhere – you have an amazing audience already in front of you hanging onto your every word. By using the world wide web your stories can remain for fans who discover three years from now, and who even knows if we’ll still be using Twitter three years from now?

Seth Werkheiser is the quiz master of metal trivia at Skulltoaster. He’s also the founder of some music sites you may have heard of, including Noise Creep (2009) + Buzzgrinder (2001). He’s anti-Facebook, anti-clickbait, and anti-growth hacking. You should most definitely follow him on Twitter. Yes, right now.

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How to Make the Most of a Crappy Turnout at Your Gig

This post is the latest in our ongoing content collaboration series with the fine folks at Sonicbids.

It’s probably one of your biggest fears as a musician. You’re pumped for your upcoming gig, you’re ready to hear some noise, but when you make it onto the stage, your heart drops as you see the audience is practically empty. For any number of reasons (weird weekday, bad weather), you have a crappy turnout. Your first instinct may be to jump off the stage and run out of the venue, hoping in vain that no one even notices you were there, but pause for a second, and ignore this urge.

It’s too late to get more people to the show, but as long as you do have an audience, you need to play for them. At worst, it’s still a practice opportunity, and at best, you might make a few more diehard fans who greatly appreciate the effort you put in despite the circumstances. Just because there’s a bad turnout doesn’t mean it has to be a bad show, so here are some tips for making the most of a crappy turnout.

Use it as an opportunity to have more personal interactions with the audience

One of the few upsides to a small turnout is that you can see the individuals in your audience better and personalize the show more than you typically could. Make the show intimate. Treat the few people that are there like they’re a group of your friends, and make them feel special for coming out. If you see a funny shirt, comment on it. Ask someone else what the best bar in town is. Ask if anyone who knows your music has any song requests. The specifics don’t matter – it’s much more about letting your audience know their presence is noticed and valuable. This is a great way to create fans who want to see you again (and maybe bring a few friends next time!).

Take advantage of the low-risk atmosphere to try out something new

Another pro to playing for a small crowd is that if anything you do isn’t received well or just falls flat, you haven’t screwed up in front of hundreds of people, and you can calibrate your act for future, larger shows. It’s actually the perfect space for getting honest feedback without alienating too many people. Now, the content of this “new thing” is entirely up to you. It can be a brand new song you just finished up and haven’t gotten any feedback on yet. It can be a personal story you’ve thought about incorporating in your show. Whatever you do, be honest with the audience members that this is the first time you’ve done it. They’ll feel extra special that they’re the ones getting the sneak peek, which will make them compassionate even if it doesn’t pan out.

Give it 110 percent

It might seem counterintuitive, and you may not be in the right mood given the state of the crowd, but you should actually try and go above and beyond when you’re playing for small turnouts. They deserve your best effort anyway, but even more importantly, everyone in that audience is perceptive enough to know you must be bummed due to the turnout, so if they get a truly kickass show anyway, your attitude and performance will blow their expectations out of the water. Rise above the circumstances and show the crowd – all nine people that may be in it – that absolutely nothing gets you down, and you put your heart and soul into your music no matter who’s watching. This is how you leave a lasting impression. People love talking about a great experience that they and only a few others were a part of, so you may be surprised how the word spreads.

Stick around until every single person has left

This goes beyond just working the merch table after the show is over (though you should definitely still be doing that). This is the point of the night where you can solidify a lasting connection with the concertgoers. If you’ve successfully implemented all the tips above, then you should be catching your listeners in very high spirits, which you can capitalize on. Ask people how they’re doing, what they liked about the show, and what they didn’t like. Exchange as much contact information as you can, and let them know how they can interact with you in the future. If you’re financially comfortable enough to part with a shirt or EP for free, use that to “seal the deal,” as giving away free merch is a sign of gratitude that will continuously remind them of you. Ultimately, show how grateful you are that they gave you your time, and convey that this is the kind of musician you are all the time.

Playing to only a few people is not on many musicians’ bucket lists once they’ve gotten used to bigger crowds. This is still no excuse to not give it your all. If you’re ever in this situation, take a deep breath and use everything in your arsenal to make it a great night. You’ll be amazed by how meaningful that small show might become.

Katarina Underwood is an editorial intern for Sonicbids.

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Location, Location, Location: Why You Should Choose Your Home Carefully

The following post is the latest in an ongoing collaboration with the fine people and artists of Muddy Paw PR.

I grew up in Los Angeles and don’t remember a time without music being in my life. When I was in school we’d spend all our weekends at the Whiskey, Troubadour, Largo, and all the other tiny theaters around. It’s funny that when you grow up somewhere you don’t really see it the same way everywhere else does. So many people move to LA to pursue their dream of music and there I was taking it all for granted.

The thing is, the music industry is not what it once was. The internet giveth and taketh away–and the scene is much more fractured now. Despite LA being a hotbed of music and culture, it may not actually be the best place for what you want to do. Write country? Go to Nashville.  Hip hop?  Tons of thriving scenes there right now–Houston, for example. EDM? Detroit sounds pretty good. Not to mention once you’re making money from your music California is not the most business friendly place in the world.

From a songwriting perspective, where you live and where you are can play a huge role in how you write. I consciously try to avoid it nowadays but I’ll put a ton of LA in my songs because there’s a ton of LA in my head. And by going to other places you can also reset your creative process a little bit and get inspiration for new songs.

Everyone has a different creative process but for me, getting out of the chaos and sprawl that is Los Angeles has really helped me focus on my music and other projects. Yes, I’m that guy. The guy you meet at the bar who says “I’m from California” and everyone rolls their eyes. But at the end of the day, where I live in Texas there’s a thriving music scene–studios, mastering houses, etc. And the best part? I was talking to the host of a small showcase the other day and he started negotiating with me for what they’d pay for a 15-minute set. He was worried their budget was too low. I tried not to laugh. In LA you’d be lucky to get a Pepsi.

Charlie Wolf & The Small Calamities are an indie rock band led by Texas-based singer/ songwriter Charlie Wolf. His unique observational storytelling style was inspired by folk music, though he allowed rock and pop to define his energy and upbeat spirit. By turning everyday thoughts into compelling lyric ideas, he creates what has been called ‘a wry and catchy commentary’ and ‘observational folk pop’. This blend of genres makes for a very special approach to song-writing, as every track feels catchy and accessible, yet deep and thought- provoking all at once. For Fans Of: The Mountain Goats, The Weakerthans

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The Introverted Musician’s Guide to Performing

The following post is the latest in our ongoing content collaboration series with the fine folks from SonicBids. If there is ever a music related topic you cannot find covered on our blog we highly recommend giving their site a visit. Heck, go ahead and make them a bookmark. They’re great people doing great work for the same reason as us: They want to see the industry continue to grow for many years to come.

Being a musician involves wearing many hats. Most great musicians have mastered the art of both practicing their chops alone, and displaying those chops in front of large crowds. As an introvert, you may feel more comfortable practicing alone, but that doesn’t mean you can’t be an amazing performer as well; you might just have to change the way you approach performance in order to make it work for you. Here are some tools introverted musicians can use to improve their stage presence and overall performing abilities.

1. Throw away the misconceptions

Many people (including introverts themselves) have misconceptions about what introversion actually means. Susan Cain, bestselling author of Quiet: The Power of Introverts in a World That Can’t Stop Talking, points out that shyness and introversion aren’t the same, even though most of us assume they are.

“Shyness is the fear of negative judgment, and introversion is a preference for quiet, minimally stimulating environments,” she writes. Barbra Streisand, for example, is someone that most of us would immediately identify as being comfortable in front of other people, but not so, says Cain. “Barbra Streisand has an outgoing, larger than life personality, but a paralyzing case of stage fright: she’s a shy extrovert.”

Another misconception is that introverts get stage fright. But even if you’re a shy introvert, that doesn’t necessarily mean you have performance anxiety. (By the way, if you’re curious to see if you’re a shy introvert or not, you can take this online shyness test developed by researchers at Wellesley College.) Most shy people are moderately shy and can get by just fine in front of people despite their shyness. It’s only when this shyness becomes extreme that it can lead to cases ofperformance anxiety (which, by the way, it something you can conquer, just as other performers like Barbra Streisand have).

2. Develop a pre-gig routine

Just like in other areas of DIY musician life, introverts have the upper hand over extroverts in some ways when it comes to performing. Psychologists have found that introverts often make better public speakers than extroverts, because introverts tend to take more time to prepare and think things through. So while your extroverted bandmates might be chatting it up with fans or other musicians before the gig, you can feel justified in taking this time to go over the setlist in your head, warm up your voice, or simply spend some quiet time alone.

3. Prepare some topics for between songs

Sometimes the most daunting thing about performing is not playing the songs, but thinking about what to say between songs. Because introverts don’t tend to be as quick on their feet as extroverts in social situations, it could be a good idea to prepare some topics beforehand to help fill those awkward silences if you’re the one tasked with talking to the audience.

4. Know when to fake it…

As Cain has pointed out, introverts don’t always act like they feel. “Introverts are capable of acting like extroverts for the sake of work they consider important, people they love, or anything they value highly,” she says. This is because of a phenomenon she calls Free Trait Theory, which says that people are born with certain natural dispositions, but can successfully act against these dispositions when pursuing “core personal projects.” So even if you don’t feel like going up onstage every time you have a gig, you can learn when to turn on the extrovert tap, so to speak.

5. …and when to be real

At the same time, going too far into Free Trait territory can be dangerous for your stage presence, if not for your personal health. According to research from Cambridge University, faking your personality for too long could lead to health problems such as decreased immune system functioning. Plus, there’s always the danger that you could get tired of pretending to be an extrovert onstage and come across as fake and awkward.

It’s also important to remember that performing onstage isn’t the same as interacting with people at a party or a networking event; while it may serve you well to act more gregarious than normal in a networking situation, you might actually have more luck capturing the attention of fans on stage simply by being real. Sometimes you can actually exude more energy simply by standing stoically rather than jumping around like a spastic monkey.

6. Take time to recuperate

Both extroverts and introverts need time to recharge. Research has found that extroverts feel less stressed at work when they take time throughout the day to be social. If this is the case, then it would follow that the opposite is true for introverts. If performing takes a lot of your energy, then naturally, you’ll want to take time after each gig to regain that energy.

Even if you don’t feel comfortable at all onstage, it may help to think of performing as part of your art, just like writing songs or recording an album. It may be the part you dread the most, but for your fans, it could be the best way to experience your music. You may find performing exhausting, but if you learn to do it right, your fans will find it exhilarating. And after all, isn’t playing music all about creating amazing experiences?

Casey van Wensem is a freelance composer, musician, and writer living in Kelowna, B.C., Canada. You can hear his musical work at birdscompanionmusic.com and read his written work atcaseyvanwensemwriting.com.

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The 10 Essential Steps You Need to Take to Get Your New Band Off the Ground

The following post is the latest in our ongoing content collaboration with the fine folks over at SonicBids. If you ever need advice on life in the industry and you cannot find it here, we highly suggest giving their blog a shot. In fact, just bookmark both our sites and improve your quality of digital life tenfold.

Getting your new band off the ground isn’t exactly as easy as it sounds, and it doesn’t sound that easy in the first place. So where do you start?

With so many great bands out there, it’s not always easy giving people a reason why you’re special or why your songs are worth their precious listening time. However daunting it may seem, it ispossible, and you can do it. Follow these essential first steps to get your band off the ground now.

1. Choose a strong band name

The first thing you need, of course, is a name. A great band name should be catchy, original, and above all else, it should give an accurate picture of what your band is all about. Try not to stress out about finding the perfect band name instantly. Relax, jot down ideas when you have them, and take your time choosing a name you’re going to be proud to stand behind.

2. Decide on your sound

One of the biggest killers of bands with great potential is when “creative differences” arise and completely destroy productivy and your momentum. When you’re first starting out, it’s a great idea to make a simple decision as a group as to what you want the band to be all about. This will sidestep a ton of confrontation down the line and provide direction to work with. As time goes on, it’s important to keep an open mind to healthy change and growth, but in the early stages, it’s a wise choice to agree on focusing the group’s energy in a particular direction.

3. Decide on your image

Hand in hand with the sound of your band is your image. Ideally, the musical decisions dictate the branding ones, but either way, image really is half the experience. By taking the small amount of time necessary to decide how you want the band to look, you’ve suddenly doubled your marketability. You don’t need to all wear matching bowties like a barbershop quartet, but hey, if it’s appropriate, go for it!

4. Create and sign a band agreement

Sooner or later, you’ll thank yourself for writing up a band agreement. A band agreement is a contract agreed upon by all members of the band that can outline responsibilities, schedule commitments, song ownership, finances, and more. You may never need to use it, but it’s always a smart choice to be prepared.

5. Write your first songs

Once all the preparations are set, it’s time to get down to the music and start writing songs with your new band. Songwriting can sometimes be intimidating because you’re putting yourself out there to be judged by anyone, but try your best to keep those thoughts out of your head when writing, as they’ll only hold you back. Don’t get frustrated if things don’t come out perfect on the first try. As time goes on, you will undoubtedly progress and grow as a songwriter. In the beginning, focus on sending people a clear, honest message on what your band is all about.

6. Agree on a rehearsal schedule – and stick to it

Just like how you’ve gotten good at your instrument by practicing, your band can only get good by rehearsing consistently. The sooner you schedule regular rehearsals, the sooner your band is going to be on the fast track to glory (or at the very least, stop sucking). Round up the crew, fire up iCal, and set those biweekly dates ASAP.

7. Get your online presence up and running

You’re a band in the 21st century – act like it! Bands communicate the same way as everyone else: the internet. Set up a tightly knit social media presence, website, and EPK, and use them to their full capacity to reach out to potential fans and industry people. Just make sure you follow these steps in order and have your image planned out before you go posting bathroom selfies to your Instagram.

8. Create your email list

The wise older brother to modern social media, the email list is the old-school steadfast method to reach out to your soon-to-be fans. In a world where organic Facebook reach is dwindling more and more, this is a tried-and-true method to reach out to fans directly – don’t sleep on it.

9. Book your first gig

The time has come. You’re ready for the stage. It’s time to book your first gig, but the most important thing is to do it right. Choose the venue, the line-up, and the date wisely. You want people to go home talking about how it was the night of their lives, how they can’t wait to do it again, and mostly… about you! Don’t rush your first gig. Make it a memorable occasion, and you’ll have many more to savor.

If you’re short on personal connections with venues, Sonicbids is the easiest way to get your music in front of a network of 20,000+ promoters and talent buyers who are looking to book up-and-coming bands. Get more details here.

10. Record your music

Finally, the recording process. You gotta have music to get your band off the ground, and that music’s gotta be good. Before you record, find yourself an engineer you trust. This is going to make the difference between an amazing experience and a near-death experience. You might get a couple gray hairs during the recording process, but when you hear the final product of something you wrote, there’s truly no feeling like it.

Max Monahan is a bassist and a writer living in Los Angeles. He spends his time working for an audio licensing website and shredding sweet bass riffs.

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