Are You Really A Professional Music Artist?
In the live music entertainment industry “making it” means different things to different people. To some it could mean making millions or getting a major record deal; to others it may mean touring as a side man with a renowned major A-list music artist or being a first call session musician with a major record label. Whatever “making it” means to you as an entertainer, you must remember that to “make it” as a musician totally supported by music alone, music must be the most important thing in your life and that includes everything and everyone. It is equally important to have a firm understanding of what it means to be a professional music artist.
When I use the term “professional music artist” I am not referring to being paid or monetary compensation, I’m referring to the conduct, aims, or qualities that characterize music artists during live performances. A music artist having or not having a professional image and a professional musical presentation is a major factor in the decision process when a booking agent or artist manager is evaluating whether or not to work with that artist.
This essay is centered around self-evaluation questions and should allow you or your music group to consider this question: Are you really a professional music artist?
When I scout a band or music artist I do it without their knowledge. I do not wish to have them know that I am present, because I want to observe their persona. I arrive before they do and if they begin their performance without a complete instrument tuning (i.e. A-440 tuning note, a concert Bb-tuning note, the use of a chromatic tuner, or everything tuned to the piano, etc.), I immediately leave.
I ask you to see where you are in these observations. You don't have to answer them for me, you need to answer them for you;
1. When you are singing or playing do you just try to make it through the tune or are you singing and playing like you really, really mean it?
Are you just trying to make it through the song? Or do you really mean it? At some point in time, nearly every musician or singer has been guilty of this infraction. When it comes to trying to “make it” (whatever that means to you), this is what separates the “I will be” from the “I want to be” candidates; especially the ones that just run through practice as opposed to those who rehearse. You must sing or play each song like you really mean it! I have listened to groups who go through songs as if they are some sort of fillers in a recipe. You have to own it and everyone present must be able to see and hear that when you are on a song.
Many excellent and powerful singers will make some of the ugliest faces that have ever been seen, if it means reaching that note or conveying that emotion. If you are concerned about how might look during that instance, chances are that you will wilt at that moment and will simply try to just make it through the song.
2. Do you believe that every time you play a song, the audience owes you applause?
One of the most disheartening feelings an entertainer or musician gets, occurs when he or she does not get applause after performing a song. However, the audience does not owe you any applause. If anything you owe them and you have to earn it. They are present to be entertained and have often paid money, either to see you or they paid the venue for the opportunity to be there; you have to earn applause.
For starters, your song or performance must be captivating, stimulating, have dynamics in the volume and tone, tight clean breaks, constructed reprises, instrumental/vocal call-response, controlled disciplined solos, and you should make good use of vamps to connect and transition in and out of songs. Usually, if you are in tune, polished, engaging the audience in well-rehearsed introductions, have good song form, and present a well-rehearsed synchronized clean final progression (preferably ending with a V-I), that means that you are capitalizing on tension and release in your performance and they will give you applause every time.
A well-rehearsed professional music artist or group would not present anything less than that.
3. When you are playing who is it that you think you are playing for? The audience, or other musicians that you feel might be present?
Remember that you are not performing for yourself or any musician that happens to be present; you are performing for the patrons in that audience. The fact that you may be able to play a scale all of the way off your instrument, sing notes two to three octaves above middle-C, play chords as thick as a 13th, or play a hammer on and off licks at will does not mean the same thing to an individual audience member as it does to another musician.
The audience wants to hear you play a groove and connect with them. They will not be keeping score of your licks. That doesn’t mean audiences can’t appreciate those things, because they do, but when you do it, do it for them. Don’t get caught up in the “who’s the best” syndrome. Remember that no matter how good you are, there’s always someone out there who is better.
4. When your gig is over, is there anyone present that simply can’t wait to see and hear you again?
Is there anyone yearning to see you again? You must give people a reason to be captivated by the presentation of an entertaining show every time you perform. Do you start and return from breaks on time? Or do you try to get away with whatever you can?
It’s painful to see a band when, after every song, the members are standing around looking at each other wondering what is next, or a band member with their head down looking at a repertoire list or a song sheet trying to figure out which song to play next. Having band members standing on stage motionless waiting for their turn to sing or play, is not engaging to the audience. To an agent like me, that indicates that the group simply runs through songs in practice, if they in fact practice. It’s clear they didn’t rehearse a show if they are stuck on “what's next?”.
If they had rehearsed their show, every member would know that to keep up the energy during the entire performance, everyone must know which song is next, what key it’s in, and where the tempo is to present an automatic succession of the material. Professional musicians and entertainers make sure that the audience is totally spellbound and under their power.
If you take an internal observation of your band's live on-stage appearances and presentations and find failing points in the above that apply to you, you're probably not ready for prime time, let alone the big time. I would encourage artists, groups, and bands to engage in self-evaluation and search for what works positively for their group's persona, public image, and live stage presentations to improve what appears professional to your audience.
The desire to work with professional entertainers and bands are reasons why I established a business as a live music booking agent and artist manager and created a live music booking agency. I love high-caliber live music performance and I love exciting shows. Every time a down beat is approaching it's time for professional music artists to get down and play that groove.
Michael Scott, CEO J Jams Entertainment LLC. Talent Agency
