A Practical Guide For Local Bands in Miami Pt. 1: The "Right" Attitude
I've been in the Miami music scene for a long time now.
In 2004, I came back to Miami after going to college at Florida State University in Tallahassee after a 4-month stop in Orlando. While I was living in Central Florida I had put together and wrote an Underground Literature and Art Zine called Alternative Lexicon, that only had one issue.
When I got back down here one of the first people I met was local promoter Michaelangelo "Cancer Mike" Mulero. After seeing Alternate Lexicon he approached me about writing a local Miami music zine called UnScene Zine. UnScene Zine quickly faded because of internal political reasons, and I went off on my own to write and publish Unite Magazine. Both were one-hit wonders like Alternate Lexicon.
Either way, while writing both zines, I had done several concerts and shows, including a couple at Churchill's Pub, a live music and fashion show at Purdy Lounge, and a Hurricane Katrina benefit concert at the Polish American Club.
Also in that time I started (and quickly ended) a Record Label called In 3rds Records with some friends, and managed a few bands until their unfortunate implosions.
Then came REVMiami. Personally, last year was a whirlwind of writing, arts, music, concerts, and a 6 month stint as a part-time promoter to try to make a living (I was laid off from my day job in February and needed to make some money while I looked for another job). Over those 6-months I think I ran, did sound, or promoted almost 30 shows.
The main reason why I'm writing about all these things is just to say, "I've seen a lot." I've worked the in's and out's of local Miami music shows from just about every angle possible: sound engineer, door guy, promoter, band manager, record label exec, and, of course, local zine writer and publisher.
Through the years I've seen bands rise and fall, get popular, get unpopular, play in front of 5 person audiences, then play in front of 500 person audiences, get signed, get dropped, and the list goes on and on.
Lately, I've been looking more critically at how busiensses approach the industry and how they try to be successful in it. Also, being a promoter, you get to really feel the attitudes of certain bands and what they expect from playing local music.
The General Attitude of Bands
Obviously, all bands have very different attitudes. For the most part, you have two extremes, and then a spectrum between.
Bakehouse Art Complex
On one end there are the eternally gracious and humble musicians. The bands and performers who have this attitude are an absolute pleasure to work with. You tell them a time to play, and they thank you for giving them a slot. You ask them if they would mind passing out flyers for the show, and they already have a Facebook event set up and are more than happy to help promote.
But, unfortunately, this attitude does have it's downside. Often the gracious band lacks the "edge" that gets them moving forward. They're hesitant to promote their band because they don't want to "bother someone," and they also get taken advantage of by less honest promoters.
On the other extreme are the prima donnas. I don't have to paint a clear picture of this kind of performer because the stereotype fits it perfectly. Difficult, uncooperative, and think that the entire music industry is to suit their demands.
But, to put it in perspective, I have yet to work with a successful band that has a purely prima donna attitude. Sure, sometimes they're pains in the ass, but then again, they probably deserve it because they work their asses off to make their bands successful and have strict demands to work with them.
Typically, the prima donna bands are the ones who don't promote, don't have a following, haven't accomplished anything in the music scene, and yet come with an attitude of take, take, take. "How much am I getting paid?" "I deserve a prime slot." "I don't need to promote."
Let me put some perspective on it, though. Being in a band is not all that it's cracked up to be, so it's understandable that the idealistic dreams of sex, drugs, and rock n' roll have clouded a bands ability to clearly run their business with any sense of reason.
Not to mention, I would be willing to argue, particularly in Miami, the whole negative attitude develops from the dynamic between promoters and bands. Do promoters get the blame or has this attitude always existed? Are many promoters assholes to deal with difficult bands or did bands become difficult to deal with asshole promoters?
Essentially it's a chicken or the egg argument. Discovering "why" it's happened isn't as important as getting out of the circle of negativity.
The "Right" Attitude
I hate to say this because it may burst the ideal that a lot of bands have for themselves, but like it or not, the Music Business is just as much Business as Music (if not more).
Then again, I also am a gigantic advocate of hobbyists and weekend warriors. Unfortunately, a lot of bands don't understand that difference, and putting it in perspective dictates a band's general attitude.
The Morning Flesh Project during their Big City Breakdown Filming
Musical hobbyists have the luxury of being choosier with what they do, but then again, why would they? If it's just your hobby, then should it matter if you play at 11 o'clock or at 2 in the morning, besides having to deal with being tired the next day? Your own personal interest in building an audience to become successful isn't that important, right?
I understand that any musician wants people to hear their music, it's just natural, but if you don't want to put in the work to be a popular band, then why expect to have audiences and crowds of popular bands that put all their free time, and often quit their jobs, to pursue their goal?
On the other hand, if you do want to become a largely successful band, you can't do it without working your ass off, often fruitlessly. In the following weeks I'll be putting up posts on strategies to build an audience and what it takes to be a successful band, but most importantly is the professional attitude and approach you take with almost all of your business interactions.
The truth of the matter is that there are two levels to the music industry: 1. the performers (in front of the crowds), 2. the support groups (behind the scenes).
The foundation of the Music Industry is grown out of how these two groups interact. In most cases Support Groups have an inherent advantage over Performers, because Support Groups have the resources to make Performers successful. Not that it's required. Many bands go it on their own and become successful through their own efforts. But then again, most people want to be in bands, not Promoter, Record Execs, Public Relations, etc.
The vast majority of interactions are based around Performers proving to Support Groups that they are worth their time, money, and effort investments so that they, in turn, are rewarded monetarily for their efforts.
Of course, when Performers gain any level of popularity, then the entire script gets flipped on it's head. Support Groups then make every effort they can to lure Performers into their camp, so that they can make more "guaranteed" money off of successful Performers.
The problems start happening when Performers think they're a bigger deal than they are, or when Support Groups underestimate the usefulness of Performers.
It's actually a very easy problem to solve: practical and honest communication through respectful empathy and understanding. Honesty is the key because Performers and Support Groups both need to acknowledge that they are dependent on each other to help grow their own businesses, and they both are trying to sell each other on what they're trying to accomplish.
If a Band were able to say to themselves before being booked, "I know we only can draw 15 people, so if a promoter is willing to put us in a decent slot, then it's more for our benefit than theirs, because they aren't really going to make that much money off having us play," then it gives them proper negotiating footing when they are agreeing to work with a Support Group.
On the other hand, Support Groups need to give respect to bands, and be upfront and honest with them about the bands role in their business. Openers are openers, headliners are headliners. It doesn't hurt to let a band know that, it let's them know where you view them in relation to how they can help your business.
As long as no one has a completely delusional idea of who they are and where they stand, then it should never, ever become personal and negative - even though music and art is inherently personal. If a band doesn't follow through on what they're supposed to, or if they're pains in the ass, then don't book them. If a promoter "screws you over" then don't play shows with that person.
But as long as the expectations and demands are on the table, then both parties are able to either accept or deny the other parties terms of agreement. With self-clarity, each party can be clear with what their agreement requires to make both sides satisfied with their cooperative efforts.
The biggest equalizer will be diversity and choices. The more the scene can grow then the more options Performers and Support Groups will have with who they will and won't work with, which will lead to a more positive and active scene.
Bad business people will get pushed out of the scene, because no one will want to work with them, while it also opens the scene up to bands that aren't the most popular, yet hardworkers, because there will be more concerts and shows overall.
Part 2: How To Build An Audience In Miami (coming soon)
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- Notorious Nastie and Mychael Ghost: A Friendship Forged in Rock n' Roll High School
- Fireside Social - Booze, Balls, and Rock n' Roll: Meet Your New Favorite Band, Pt. 2
NOTE FOR COMMENTS: Do not flame or leave obnoxious comments, THEY WILL NOT BE APPROVED. Constructive criticism should always be welcomed by any artist, but don't be a d-bag, show some class. Thanks. - REVMiami Staff
Good insights man. Especially appreciate the honesty of the piece about communication between the support team/performers...and bands knowing their place.