[Harp-L] Appropriate compensation for gigs

["Tobe Terrell" <tortoise@xxxxxxxxxxxx>]

I have not posted anything previously, because, at my level of skill, I
don't think that I could contribute much to the huge store of harp knowledge
that I have benefited from on line.  But yesterday a subject was raised in
which I have some experience, so I thought I would hold forth a bit.  The
subject as identified by Joe and Cass Leone, who provided an interesting
analysis was: "How much does one charge for a gig."  With all due respect, I
think that that is the wrong question.

For a number of years, until I sold it last month, I owned a restaurant
where we provided one of the more popular music venues around Gainesville
Florida.  We showcased local talent supplemented with an occasional
individual or group that was traveling through.  Compensation was always at
the top of the agenda in booking anybody.  The place gave me a chance to
watch the attitudes of the players at different phases of success in the
transition from day job to full-time performer.  Below are a few
observations that don't apply to those folks who are in such demand that
they have to pick and choose which gigs to accept.

1.    Decide why you are playing in front of an audience.  If you are doing
it because you eventually want to be rich and famous, forget it.  The people
who make it are the ones who do it because they love it.

2.    Remember that money is often the impediment that comes between you and
the current venue and possible future venues and if you step onto the stage
dissatisfied, it will be reflected in the way that you play.  Be sensitive.

3.    Develop an entrepreneurial point of view.  Play in places that pay you
more when you promote yourself and bring in new business.

4.    Avoid fixed payments that are set ahead of time.  They promote
disappoint and resentment.  If you fill the place with people who came to
see you and the place has a bigger crowd than expected, with the owner
smugly feeling like he has gotten the better part of the deal, you might
feel taken advantage of.  If few people show and the house loses money, the
venue wont like it and might resent you for the lack of a draw.

5.    Negotiating for a set payment places a barrier between you and the
house where you are playing.  It makes you adversaries instead of joint
venturers.

6.    There may be a few players whose talent is so obvious that they never
have to promote themselves.  But most of the ones who move higher on the
ladder do it by not waiting to be discovered.  They make up flyers, call
their friends, get on line, develop a web page, call the local newspapers,
give away demo disks to radio stations, etc.  You know the drill.

7.    Any venue can be a good venue.  Look at it as an opportunity.  If the
amount offered isn't enough to pay your gas, suggest a more flexible deal
and get busy promoting.  Don't dispute the amount.  Just ask whether they
will share the additional revenue with you when you bring a bigger crowd
than usual and work out the details of how to determine the amount.  If the
person that you are dealing with is inflexible, maybe it is the wrong place
to play.

8.    Accept the verdict of your public as to your value.

9.    Look at things from the point of view of the club owner who has fixed
expenses and depends on the whims of weather and fickle public for his
livelihood.  If you can understand that point of view, maybe they can
understand your point of view.  If you think that you are doing the house a
favor by playing there and the house thinks that they are doing you a favor
by letting you play, it is an unhealthy arrangement.

10.    I never set a fixed payment for any band who played at my place.  It
was always a joint venture.  Some did quite well and others didn't draw
anybody so that the only audience was the people who showed up for the food.
I always let the band charge whatever they wanted to charge and to collected
it whatever way they chose.  Some collected a cover charge at the door; some
asked that a cover be added to the check; some passed a tip jar during the
performance; some placed a tip jar on the stage or at the exit; some
suggested a figure to be put in the tip jar, some said nothing and did
nothing.  But it was always the performers decision.  That system put them
in the position of promoting themselves with me only acting as their coach
and cheerleader.  I made a lot a friends in the music community under this
system.  Over the years, I had a few musicians who said that they would not
play unless there was a fixed payment.  Some are quite good players, but,
for the most part, their success as performers has not changed much.  They
have accepted their own value of themselves rather than the public's value.
Associate yourself with a venue who will work with you to determine what
that value is.  If you can't find a place to play that will joint venture
with you, call friends and do a house concert.  Developing this kind of a
mind set will transform you from the employee mentality to that of an
entrepreneur and pay off in the long run.

I hope that there is somebody out there who can distill something of value
from the above and that it doesn't sound preachy.  In return, I will be
seeking your advice in Kansas City on how to improve as a harp player.  See
you there.

Tobe Terrell