A plethora of opportunities exist on a global scale for artists to do just that, and they come in a number of forms, hosted in a number of places. Residencies are often the catalyst for new projects and collaborations among artists, and can be the experience that opens the door for new ways to move forward in your career.

Here we go, let’s dive into the heart of the matter to help you understand the different types of music residencies and how to get one:

1. The Two Types of Music Residencies

In the US, the term “residency” holds two rather different definitions. One is centered around performance, and the other focuses on creation. Let’s walk through them together.

Residency (n): The fact of living in a place. When an artist says they have a residency, they are either referring to a residency at a venue (performance), or a residency associated with a program or organization (creation). In both cases, the artist is stationary. Venue residencies mean the artist has recurring performances in one space, and artist residencies see artists living in or working in a space for a set period of time. The nature of these residencies are extremely different, and therefore sit in stark contrast to each other when it comes to what a musician can gain from participating in them. Your goals as an artist determine which one of these is a better fit for you. Which creative muscle would you like to work more on – presenting finished work, or finding new ways of creating it?

2. Concert Residency

When an artist agrees to perform X number of shows over a given period of time at one location, they have a concert or performance residency. You’ve likely heard about Adele’s Vegas residency, “Weekends with Adele” which started in November of 2022 and has just been extended to run until June 2024. The singer performs two shows every weekend at Caesar’s Palace, one of the most well-known hotels and casinos in Las Vegas.

This is a great example of a music residency on a large scale, and how their terms can vary. While Adele only performs on weekends, Usher (who just ended his Vegas residency after 100 performances), did three shows a week. Billy Joel, who holds the longest artist residency in the US, has been performing one show per month at Madison Square Garden in New York City for the last 10 years. This is because concert residencies allow artists to negotiate their terms with venues, and only agree to what they know they are comfortable with and capable of.

This is a big advantage of having a concert residency. Artists can agree to a series of consecutive shows back-to-back, or choose to perform on a weekly or monthly basis. Pay is also negotiated, and can either be a flat rate per show or be a percentage of ticket sales. The final contract depends largely on what the venue needs and how available the artist is.

Las Vegas residencies are only the tip of the iceberg that is recurring gigs for artists – they exist everywhere. Should you begin to take note of the performance schedules of local venues in your vicinity, you are guaranteed to pick up on who performs there on a regular basis. It is common for venues to routinely book acts that they know will attract crowds, no matter the place. It is as common for DJs to have weekly or monthly residencies at nightclubs as it is for musicians to have weekly gigs at their local jazz bar, or for independent artists to have monthly residencies at a reputed performance venue in their city. Residencies are available and accessible to everyone.

2.1 Who to Contact

The person you should get in touch with if you are in pursuit of a concert residency is the booking agent of the venue you’d like to partner with.

Rather than trying to contact the bookers of every venue in your area, start by observing a venue’s programming over the course of a month, take note of any recurring acts, and figure out whether your music aligns with the type of energy and crowd they expect their current acts to bring. If you believe to be a fit and see yourself being a valuable addition, it can be as simple as walking into the venue at opening hours and asking a staff member to put you in touch with their booker.

Remember, this endeavor is mutually beneficial for you and the booking agent; you get a consistent gig, and they get stability in their bookings, eliminating their need to find someone to fill the slot you’d occupy. With this in mind, be confident in your communication and they will respect your initiative. If you already have someone who manages gigs for you, they will be the ones in charge of outreach and negotiation.

2.2 What to Prepare

The secret fast-track to reaching an agreement such as this one is to give your potential employer the least amount of imagination to do as possible. This means showing them what it would look like if you were to already have the deal you’re hoping for. Therefore, footage from a past show is a huge bonus. Give the venue an idea of what a show of yours would look like. Are you an energetic performer? Do you fit their vibe? How engaged are you with your audience? These are questions bookers will no doubt be wondering, so if you have proof, this will be very powerful.

If you don’t have videos of any gigs but would like a concert residency, your first step would be to book a small gig, fill the room with friends and family, and get someone to document how much fun it is to attend a show of yours. Even one solid teaser can go a long way.

If you’re not sure where to start, Groover hosts artist showcases around the world that anyone can apply to perform at. Keep an eye on our website for the next event we host in your city – we’d love to see you there!

2.3 Pros and Cons

There are a number of reasons why some artists lean towards residencies while others stay on the go. Whether you are an independent or signed artist, the pros and cons remain the same.

If you are still unsure about whether or not a concert residency is for you, here are some factors to weigh out:

Pros:

• Residencies are easier than traditional touring
  • Your ability to stay in one place is by far the biggest advantage – this means no physical or emotional toll on your body or mental health that often comes with constantly being on the move.
• Authenticity for your audience and comfort for you
  • Because you perform at only one location, the consistency of your stage setup, crew you work with, and familiarity of the venue make you all the more comfortable as an artist, which shows in your stage presence. This means you perform better, creating a more authentic experience for your audience, which can lead to stronger connections with your fans.
• Negotiating power and creative control
  • Venues need you as much as you need them, so you hold a certain amount of contractual power. This allows you to negotiate your terms – how frequently are you performing, and how much are you getting paid?
• Performance practice and content
  • Performing is a skill, and concert residencies are the perfect playground. With every show, you can improve and alter whatever you think needs work, with the knowledge that you can try again next time if it doesn’t work out. On top of getting more comfortable on stage, you also get consistent opportunities to film your shows, and use the content to grow your fanbase online.

Cons:

• Limited reach compared to tradition touring
  • Residencies require listeners to come to you, as opposed to you going to the listeners. This can limit your reach in terms of expanding your fan base on a national or international scale.
• Remaining stationary no matter what
  • Being under contract with one location means you may not be able to travel for other opportunities or events should they arise, especially if last minute. Residencies will limit your ability to leave your city on a whim, depending on show frequency.
• Being bound to your agreement
  • Though contracts are good for you in terms of knowing you are booked consistently no matter the outcome of your last show, this also means that you will have to complete your contractual obligations, even if you realize it may not be for you. Once you’re locked in, it can be difficult to cut your residency short, though you may be able to use your personal relationship with the venue to come to an alternative agreement.

3. Artist Residency

Rather than being a means of displaying finished work like concert residencies, artist residencies are hosted by organizations, institutions, festivals, or communities and offer a space for artists to create. Most residencies are interdisciplinary, and bring together a number of creatives from various fields to work together and learn from each other over a set period of time. Many artist residencies are live-in and are offered everywhere around the world, meaning participants live together on site for the duration of the program.

3.1 What is an Artist Residency

The day-to-day of an artist residency consists of workshops, exploration of their surroundings, delving into the history of their craft, putting on exhibitions and performances, and much more. They are essentially creative camps, and every day is like a masterclass.

Location, duration, and what these residencies offer depend on the host organization and what their mission is. Unlike concert residencies, these programs are controlled entirely by their host, and artists are merely participants. Some residencies bring together musicians, photographers, designers, sculptors, painters, and the like, while other residencies are solely music-driven, accepting only singers, writers, producers, composers, etc. It’s worth noting that the latter are less abundant and more selective, but there are a growing number of “writing camps” being hosted that serve a similar purpose, and are solely focused on music.  

As we all know, some governments offer more funding for art programs than others, so payment or lack thereof depends largely on where your residency is located and which institution it’s being run by. Some residencies are government funded and cover travel and housing costs, also providing supplies and resources to their artists, while others require payment for housing, or ask that you bring your own materials. Very established hosts such as big festivals or long-running programs will pay artists as opposed to the other way around, offering grants or fellowships on top of providing space and resources. Make sure to read the fine print of the residencies you’re interested in so you know what is being asked of you.

3.2 How to Become an Artist-in Residence

Traveling to a new place to meet like-minded people and create art is a dream – naturally, such opportunities are in high demand. This is why artist residencies have applications that artists must complete in order to be considered. They are meant to showcase your abilities, intentions, and expectations. Here’s how to navigate the selection process.

3.3 Applying Strategically

Just like any other vetting process, you should be prepared to prove why you deserve a spot in an artist residency. This does not mean showing off, but rather being transparent about what you’re looking for and what you would offer to that specific program. Try putting yourself in the shoes of the admissions team; if your application is too broad, they may not see why you belong in their particular program. Personalize your application by catering to the residency you are applying for, and do so for each one you apply to. To cover all your bases, you should:

• Understand the mission of the program
  • While some residencies focus on creation and collaboration in general, others are hosted for specific reasons or follow specific themes. Does the residency you’re interested in have a mission? Is it for a particular type of artist or do they value diversity above all? This will help you complete the rest of your application more strategically.
• Customize your artist statement to them
  • While keeping their mission in mind, explain what drives you to make music and what value you would both provide and gain as a result of being included in their roster. Convince them that it would be mutually beneficial – do you have previous experience in workshops? Have you taught or attended seminars or masterclasses before?
• Put together a portfolio
  • Applications will ask for work samples, so be ready to provide some of your past work. Select these samples carefully; if they are looking for diversity, offer them various works that may differ from each other in style. If they are hoping to host a specific type of artist, show them your personal take on that genre or theme so they know you fit their criteria. You can always get feedback from a professional on our platform in case you need a second opinion.
• Update your web presence
  • Social media, websites, and streaming profiles should be up to date no matter what, but if they’re not, now is a good time to sift through them with a fine-tooth comb, making sure they are a good representation of you and your character. It’s ok if your work dates back to many years ago – it will show how your sound has developed over time, which is a positive thing. Be proud of your growth!

3.4 Pros and Cons

Now that we have a thorough understanding of the difference between concert and artist residencies, we can compare the two more clearly. One is performance, and the other is process, offering a completely different set of pros and cons to consider. The advantages and disadvantages of artist residencies include:

Pros:

• Traveling and changing your environment
  • Leaving your current studio to work at another already does wonders for a fresh mindset, so imagine traveling to another country to do so as well. This is one of the biggest reasons artists apply to such programs.
• Meeting new collaborators
  • On top of learning from each other, participants also bond over the experiences they have and the work they make as a result. Your likelihood of meeting artists you will eventually work with on projects is just as high as your likelihood of making long-term friendships.
• Sources of inspiration
  • We never know what our next spark of creativity will come from, and artist residencies provide so much “newness”, you are bound to touch on something you’ve never explored before. Whether it’s another artists’ work, your surroundings, or a new technique you picked up,  you are guaranteed to find something that will push your creative boundaries.
• Unfamiliar resources
  • Your host may provide materials you’ve never used before, giving you an idea of how to upgrade your workflow back home. In music-focused residencies, you might use an instrument, DAW, or plugin that you’re unfamiliar with, expanding your proficiency in music creation and allowing you to get a more well-rounded understanding of how other artists work, and what works best for you.

Cons:

• Lack of control
  • Because you are entering a program that is hosted by an established group, you do not have much control or input in the finer details of their residency, such as how many days they are available, what their schedule will look like, where they’ll be living, who they’ll be working with, etc. All of this is organized for you, which is a double edged sword for some.
• Charges
  • Each residency differs in terms of financial obligation or compensation. It may be that the perfect artist residency for you charges an application fee and additional costs for housing, materials, visas, etc. If you’re lucky, you’ll be a shoe-in for one that covers these expenses for you, or better yet, pays you to be there.
• Time off from regular life
  • Another double edged sword is the isolating aspect of artist residencies, which often see artists working abroad for a month or two at a time. Though some might be drawn to these programs for this very reason, others might not appreciate how much commitment residencies require, which can pull them away from their usual process. 

No matter the type of residency you feel best suited for, it is guaranteed to help you grow as an artist. Whether you are practicing your stage presence or learning different methods of creation, either one is a great step forward in your climb to being a creatively fulfilled artist. We hope this clears things up for you – best of luck!

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L’article Types of Music Residencies and How to Get One est apparu en premier sur Groover Blog.

1. Start with vocal training

Think you’re tone-deaf? Luckily, studies show that singing talent isn’t innate – it can be learned. Taking singing lessons from a skilled vocal coach or voice teacher is essential to develop your singing voice. A singing teacher can teach you vocal techniques through voice training, improving your vocal range to hit those high notes, teach you to master your larynx with breath control, and help you find your unique resonance, tone, timbre, articulation, and style.

2. Vocal exercises and warm-ups

Regularly practicing breathing exercises, vocal exercises, and warm-ups will strengthen your vocal chords, increase your vocal stamina, and enhance your overall singing ability. This will also improve your vocal health and prevent straining or damaging your voice, all while opening up your range to help you stay in tune. While you sing those high pitches, make sure to take care of your diaphragm and vocal cords to ensure the longevity of your singing career.

3. Join a choir or singing group

Singing in a choir or vocal ensemble will provide you with valuable experience in harmonizing, blending, and performing with others. A choral group will also give you the opportunity to learn from experienced singers and gain confidence on stage. To get in, you may have to audition or demonstrate your ability so sing into a microphone, which will serve as pointed goals for your singing practice. Rehearsal schedules can also help some people stick to practicing.

4. Develop your musicianship

Learning how to read sheet music, understanding rhythm, and training your ear through ear-training exercises will greatly improve your musical abilities and make you a more versatile singer. Learn how and when to use your head voice and chest voice, and practice your diction to find your unique style.

5. Expand your repertoire

Explore different genres and musical styles to broaden your vocal abilities and repertoire. Experiment with various vocal techniques such as belting, falsetto, and vibrato to add depth and creativity to your singing. Don’t forget secondary aspects like tone quality, warmth, and lip openness.

6. Work on your stage presence

Stage presence is crucial for any performer. Practice your performance skills, develop an engaging stage persona, and work on your posture and body language to captivate your audience. Whether you’re an opera singer on a stage or if you’re singing in a recording studio, how you position yourself is a subtle but indispensable aspect of learning to sing.

7. Take advantage of performance opportunities

Whether it’s open mic nights, talent shows, or local gigs, seek out opportunities to showcase your talent. Performing in front of an audience will build confidence, help you refine your skills, and gain exposure. All singing careers start somewhere, so sing loud and proud in that bar basement!

8. Utilize technology

Record yourself singing and use the recording to go over and critique your performance. Once you’re confident, share your singing abilities on platforms such as YouTube, SoundCloud, and social media. Create your own channel or page, record cover songs, and interact with your growing fanbase.

9. Seek professional guidance

Some choose to pursue a bachelor of music or attend a music academy, but you can also consider finding a reputable music school or vocal studio where you can receive comprehensive training in singing, songwriting, and music theory. Enroll in private lessons to receive personalized coaching from experienced instructors. They’ll not only teach you technique, but voice exercises you can use on your own.

10. Network and collaborate

Connect with other musicians, songwriters, producers, and industry professionals to expand your opportunities. Collaborations with other artists can help you gain exposure and build a following, and you can learn techniques from them along the way. Whether they’re classically trained or self-coached, every artist you’ll ever meet knows something you don’t.

11. Work on your songwriting

Developing your skills as a songwriter will allow you to create original music that showcases your unique style and voice. Write and compose songs that resonate with your audience and reflect your personal experiences. If you can sing lower than most, make sure your songs show off your resonance! If you’ve got a unique style of articulation, spend time on your lyrics to make sure you shine.

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12. Overcome stage fright

Many aspiring singers struggle with stage fright. Maybe you can hit a high note in the booth or in voice instruction, but as soon as the lights hit you, and you can feel the crowd, suddenly it feels like your lungs have forgotten how to breathe. Work on techniques such as deep breathing, visualization, and positive affirmations to combat nervousness and perform at your best.

13. Stay dedicated and practice consistently

Just like learning the piano, trumpet, or cello, becoming a famous singer takes time and effort. Stay committed to your craft, practice regularly, and continue to refine your skills.

14. Consider online voice coaching

The music business has evolved a lot in recent years. Online voice lessons or vocal coaching through platforms like Skype can provide guidance and feedback from experienced professionals, even if you are unable to attend in-person lessons.

15. Stay inspired and learn from great singers

All entertainers should study the techniques and performances of famous singers who inspire them. Analyze your idols’ vocal style, breath control, stage presence, and use of dynamics to improve your own singing.

Conclusion

Remember, becoming a famous singer is a journey that requires patience, resilience, and continuous learning. Starting with vocal coaches or a singing and performing group can help you get started, whether you’re a soprano, alto, tenor, baritone, or bass. With determination, passion, and the right training, you can reach your full potential and work towards achieving your dream of becoming a renowned singer.

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L’article How to Become a Famous Singer est apparu en premier sur Groover Blog.

Playing alone in your bedroom is very different from playing on stage. An open mic is a low-pressure way to see how you feel in front of an audience, get over stage fright and meet the people who book shows in your neighborhood.

Updated October 2026. Many NYC open mics listed online have closed or switched to comedy, so we checked every one below: each had a current listing or announced dates when we checked. Days and times change often, so look at the venue’s page before you go.

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Contact booking agents, record labels and pros of the music industry directly through Groover 👇

How do open mics in NYC work?

Most NYC open mics use a sign-up sheet that comes out 15 minutes to an hour before the show. Some go in order of arrival, others draw names from a hat, so arriving early doesn’t always guarantee an early slot. Expect 1 or 2 songs, or 4 to 7 minutes. Many are free; others have a small cover or ask you to buy a drink. And many “open mics” in New York are comedy nights, so always check that the one you pick is for music.

Whether it’s your first time playing live or you just want more practice, here are the 10 best open mics in NYC to check out, from Sunday to Thursday, plus two bonus jams for the weekend.

1. Pete’s Candy Store (Williamsburg)

Where: 709 Lorimer St, Brooklyn · When: every Sunday, 5pm to 8pm · Sign-up: from 4pm

Pete’s Candy Store is a cozy Williamsburg bar whose Sunday open mic has filled its little back music room for over 20 years. Bruce Martin hosts, and it’s free. The list fills up fast, so get there for the 4pm sign-up. One tip: the same room runs comedy mics on weekend afternoons, so make sure you come for the 5pm music one.

2. Random Strangers Jam at Shrine (Harlem)

Where: Shrine, 2271 Adam Clayton Powell Jr Blvd, Manhattan · When: every Monday, 8pm to 10pm · Sign-up: in person by 7:45pm

This one isn’t about playing your songs: it’s about playing with strangers. Every 5 to 10 minutes, half the band sits out and 2 or 3 musicians from the audience take their place to improvise a psychedelic funk rock jam on the spot. No covers, no standards. Shrine’s listing says drums, keys, amps and mics are provided, so bring your own instrument. The organizers describe it as a free jam session.

3. The Joy of Ranting at The Windjammer (Ridgewood)

Where: 552 Grandview Ave, Ridgewood, Queens · When: every Monday, around 9pm · Sign-up: in person from 8:45pm

Run by the Footlight, a Ridgewood arts space, and usually hosted by Tim Shea, The Joy of Ranting is a friendly mixed-media open mic: songs, poems, comedy and whatever else you’ve got. The motto is “impress us with your weird”, and the weirdest act can win $5. It’s a good Queens option for trying something new in a relaxed room. The night takes the odd week off around holidays, so check Footlight’s page first.

4. FRIGID Open Mic (East Village)

Where: Under St. Marks, 94 St. Marks Place, Manhattan · When: every Tuesday, 9:30pm (doors 9pm) · Sign-up: at the door

FRIGID’s Tuesday night is one of the most eclectic open mics in the city. Names are taken at the door and drawn from a hat at 9:30pm (late arrivals go to the end of the list), and each act gets 7 minutes, with a light to warn you when time is nearly up. Music, comedy, storytelling, magic, dance and clowning are all welcome: the only rules are no mess and nothing that breaks fire codes. Tickets were $7 plus fees on the fall listing.

5. An Beal Bocht Cafe (Riverdale)

Where: 445 W 238th St, Bronx · When: every Tuesday, 9pm

Up in Riverdale, this Irish cafe and bar hosts a weekly open mic with Eric Sullivan every Tuesday. It’s one of the few regular music open mics in the Bronx, and a friendly neighborhood room to start in. If you play traditional music, come back on Sunday afternoon (3:30pm to 6:30pm) for what the cafe calls the Bronx’s longest-running Irish trad session.

6. Otto’s Shrunken Head (East Village)

Where: 538 E 14th St, Manhattan · When: every Wednesday, from early evening · Sign-up: on the night

Otto’s Shrunken Head is a tiki bar between Avenues A and B whose Wednesday open mic for musicians has become so popular that the old late-night jam was dropped to make room for it. Performers usually play 2 songs. Start times have varied between 5pm and 6pm, so check Otto’s events page for the week. Order a tropical cocktail and enjoy one of the most fun rooms in the East Village.

7. Brooklyn Music Kitchen (Clinton Hill)

Where: 177 Vanderbilt Ave, Brooklyn · When: every Wednesday, house band from 8:30pm · Sign-up: sheet at reception from 7pm

Ever wanted to play your own song with a full band? At Brooklyn Music Kitchen’s Wednesday open mic, you can perform with the BMK house band, solo, or over your own backing tracks. To play with the band, request up to 2 songs online by Saturday night for the following Wednesday: the first can be any song, even an original (send a link), and the second comes from the band’s list. The band takes up to 10 requests a week. Whatever you choose, you still need to sign the sheet in person when you arrive, and get there early.

8. Jalopy Theatre (Red Hook)

Where: 315 Columbia St, Brooklyn · When: every Wednesday · Sign-up: sheet at 6pm, names drawn at 6:30pm

Jalopy calls itself the only home for folk and traditional music in New York, and it’s also the team behind the Brooklyn Folk Festival. Its Wednesday open mic welcomes everyone: names are drawn from a hat, and each performer gets 1 song or 4 minutes. Depending on bookings, it takes place in the theater or the tavern. Perfect for folk, bluegrass, old-time and acoustic songwriters.

9. Ashford & Simpson’s Sugar Bar (Upper West Side)

Where: 254 W 72nd St, Manhattan · When: every Thursday

Sugar Bar was opened in 1996 by Nickolas Ashford and Valerie Simpson, the soul songwriting duo behind “Ain’t No Mountain High Enough”. Its Thursday open mic is still going, with a different host each week. It’s a great room for soul, R&B and jazz singers. Check the Entertainment page on the Sugar Bar website for this week’s host, and call ahead for times and cover.

10. Smalls Jazz Club late-night jam (West Village)

Where: 183 W 10th St, Manhattan · When: every night, 11:45pm to 4am · Entry: no cover for musicians

For jazz musicians, the late-night jam at Smalls is a rite of passage. After the last set, a different host leads a jazz jam every night until 4am, and musicians get in without paying the cover. It’s standards-based, so know your tunes and wait to be called up. Smalls also runs afternoon jams on some days.

Bonus: two weekend jams

Tone’s Bluegrass Jam at Sunny’s (Red Hook): every Saturday night from 8pm to 1am, this historic waterfront bar at 253 Conover St hosts a bluegrass jam where everyone is welcome (21+). Bring your banjo, fiddle or guitar and join the circle.

Vocalist Jam at Jazzcultural (Theater District): jazz jams rarely make room for singers, but this new venue from the Smalls team runs a Vocalist Jam in its cafe on Sunday afternoons (2pm to 6pm). No advance reservations. Check the Smalls/Jazzcultural calendar for dates.

5 tips for your first open mic in NYC

• Check it’s a music night. Many NYC open mics are comedy only, and schedules change. Look at the venue’s page or Instagram the day before.
• Arrive for sign-up. Even with a hat draw, you have to be there when the list closes.
• Play your strongest song. With 1 or 2 songs, pick the one you know inside out rather than the one you finished last night.
• Be ready fast. Tune before you go up and keep your setup simple: the night moves quickly.
• Stay and listen. That’s where you meet other musicians, find collaborators and sometimes land a gig. Have a QR code or link to your music ready.

| Read also: Best Open Mic in London: The 10 best places to be heard in London

Now that you know where to play an open mic NYC, it’s time to test them out! If you’re looking to book shows or get guaranteed feedback from professionals in the music industry, check out Groover.

L’article Open Mic NYC: The 10 Best Places to Be Heard est apparu en premier sur Groover Blog.

The catch: many London open mics listed online have closed, moved or turned into comedy nights. So we checked every one on this list.

Updated October 2026. Every open mic below had a current listing or announced dates when we checked. Days and times change often, so look at the organiser’s page before you go.

Are you looking for gig opportunities ⬇️

How do open mic nights in London work?

There are two ways to get a slot. At most pubs and bars, you sign up on the night: arrive when the list opens, add your name and wait for your turn (at busy nights like the Dublin Castle, the list fills fast). Some organisers, such as London Unplugged, ask you to book in advance online. Slots usually run from 2 to 3 songs or 7 to 15 minutes. Some venues provide a full backline (amps, drums, keys), others only a PA and mics, so check what to bring. Entry is often free for performers.

Here is our selection of the 10 best places to be heard on the open mic London scene, from Monday to Thursday, plus a Sunday bonus.

1. The Dublin Castle (Camden)

Where: 94 Parkway, NW1 7AN (Camden Town) · When: every Monday, 7pm to 11pm · Sign-up: on the night from 7pm

The Dublin Castle is a Camden institution, and its Monday open mic lets you play on the same stage as Madness and Amy Winehouse did. Each act gets up to 10 minutes, set-up included, on a full backline: guitar and bass amps, a drum kit and a PA, run by a sound engineer. That makes it one of the few open mics where bands are as welcome as singer-songwriters (there’s no keyboard, so bring yours). Sign-up happens at the venue only, in order of arrival, with no advance bookings. It’s free, and it’s busy, so get there early.

2. The Spice of Life Blues & Jazz Jam (Soho)

Where: 6 Moor Street, W1D 5NA (Leicester Square / Tottenham Court Road) · When: every Monday, doors 7pm, music from 8pm · Sign-up: at the door, before 8pm

In the basement of this Soho pub, Dove Jones and his house band, The Connection, host a blues, jazz and soul jam every Monday. Singers are as welcome as instrumentalists: depending on the night, the host calls up to 4 singers, 4 guitarists and 3 each of drummers, bassists and horn players. The backline (PA, drums, keys and amps) stays set up, with a sound engineer all evening. Musicians who sign up at the door by 8pm get in free, but a spot on stage isn’t guaranteed. Otherwise entry is £8. 18+.

3. Ronnie Scott’s Jazz Jam (Soho)

Where: 47 Frith Street, W1D 4HT (Leicester Square / Tottenham Court Road) · When: every Monday, late show · Entry: £10, free for musicians and MU members

Once the main show is over, London’s most famous jazz club opens its stage to a jam hosted by trumpeter Andy Davies, with a different house band of British jazz players each week. Expect bebop and hard bop standards by Miles Davis, Wayne Shorter or Charlie Parker: this one is for confident instrumentalists, not first-timers. The club says its jam alumni include members of Ezra Collective, Sarah Tandy, Binker Golding and Daniel Casimir. Students pay £6.

4. SongMiners at The Old Crown (Holborn)

Where: 33 New Oxford Street, WC1A 1BH (Tottenham Court Road / Holborn) · When: every Tuesday from 7:30pm · Sign-up: at the venue from 7:30pm

If you write your own songs, this is the one. SongMiners runs a listening room in the quiet basement of The Old Crown, where the audience is there to hear you, not to chat over you. Around 10 to 15 artists play each night, and a resident artist gets a 3-week run to try something different. All genres are welcome, poets too, but backing tracks aren’t. You can also sign up by messaging @zongminers on Instagram on the day. Entry is free, with drink discounts for performers.

5. Spirit & Soul Open Mic at Troy Bar (Hoxton)

Where: 10 Hoxton Street, N1 6NG (Hoxton / Old Street) · When: every Tuesday, 8:45pm to 1am · Sign-up: on entry

Troy Bar’s Tuesday night is made for singers. Hannah Khemoh hosts, with Oscar Stieler on keys and experienced musicians backing you on a full backline, so you don’t need to play an instrument to perform. The sound is soul and R&B, and the night runs late. Entry was £8 on recent listings. If you play, come back on Wednesday for the Hoxton Jam (8:30pm to 1am), where a crew of session players jams with whoever turns up.

6. Bubblebath Open Mic at The Fiddler’s Elbow (Camden)

Where: 1 Malden Road, NW5 (Chalk Farm) · When: first Tuesday of the month, 7:30pm · Sign-up: on the night from 7pm

Bubblebath is a friendly, experimental night with a loyal following on Meetup. Each act gets up to 7 minutes, and the stage is open to musicians, singers, poets and comedians alike, though not to full bands. It’s pay what you will: donations cover the sound technician. Since it only happens once a month, check the next date on the Bubblebath Meetup page.

7. Ram Jam Records (Kingston)

Where: behind The Grey Horse, 46B Richmond Road, KT2 5EE (Kingston station) · When: every Wednesday, show from 7pm · Sign-up: raffle at 6pm

Hidden behind a pub, a two-minute walk from Kingston station, Ram Jam Records runs one of the best-equipped open mics around London. They provide a guitar amp, a bass amp, a piano and a drum kit, so solo acts and bands can both play, and backing tracks are allowed (bring a USB stick). Slots are picked by raffle just after 6pm, so there’s no guaranteed spot and no advance booking. Acts usually play 1 to 3 songs (2 on busy nights). Open jams run before the show and again from midnight. On the third Sunday of the month, there’s also an afternoon jazz jam where you can sing or play with a live band.

8. London Unplugged (Chiswick and Clapham)

Where: George IV, 185 Chiswick High Road, W4 2DR (Turnham Green) on Wednesdays, and The Alexandra, 14 Clapham Common South Side, SW4 7AA (Clapham Common) on Thursdays · When: doors 7:30pm, first act 8pm · Sign-up: online in advance

London Unplugged’s Wednesday night at the George IV has been running for 11 years, and a new Thursday night has just started at The Alexandra in Clapham. Here you book your slot in advance on the London Unplugged website: new dates open about 2 weeks ahead, and your slot is only confirmed once you get an email. Each act plays 3 songs, which is longer than most open mics. The night is strictly acoustic: solo, duo or trio, no backing tracks, amps or drums (a cajón is fine). A house guitar and keyboard are available if you ask on the form. 18+, with ID.

9. TAM Open Mic Wednesday (Elephant & Castle)

Where: Temple of Art and Music at Mercato Metropolitano, 42 Newington Causeway, SE1 6DR (Elephant & Castle) · When: 2nd and 4th Wednesday of the month, 7pm to 10:30pm

TAM, the Temple of Art and Music, is a grassroots venue inside the Mercato Metropolitano food market. Its fortnightly open mic is hosted by guitarist Patrick Hinds, with free standard backline for performers. All genres are welcome, from jazz, rock and blues to spoken word, and first-timers are encouraged. Free tickets are available on Eventbrite.

10. The Candlemaker (Battersea)

Where: 136 Battersea High Street, SW11 3HP (Clapham Junction) · When: every Wednesday, music 8pm to 10:50pm · Sign-up: on the night from 7:30pm

Run by the same team as the Dublin Castle open mic, the Candlemaker’s Wednesday night is calmer and suits singer-songwriters, duos and instrumentalists. Each act usually gets 15 minutes, set-up included, and originals and covers are both welcome. The venue provides mics, DI boxes, a desk and a sound engineer: bring your instrument and cables. A few slots can be booked in advance through the organiser’s website. Free for performers and audience. 18+.

Bonus: Mike King’s Sunday Session (Barbican)

Where: Piano Smithfield, 14 Long Lane, EC1A 9PN (Barbican) · When: Sunday, singer sign-up from 11am, music from 12pm

Ever wanted to sing with a live band? At pianist Mike King’s Sunday Session, singers perform backed by piano, bass, drums and sax. Bring a chord chart or lead sheet in your key. Singers buy a ticket in advance on Eventbrite (£10), then sign up at the door. Dates are announced one at a time, so check Eventbrite for the next session.

5 tips for your first open mic in London

• Check before you go. Open mics change nights or take breaks without much notice. A quick look at the organiser’s page, Instagram or Meetup saves a wasted trip.
• Arrive early. Lists fill fast, and the first acts often play to a fresher, more attentive room.
• Play your strongest songs. With 2 or 3 songs, pick what you know inside out rather than the one you finished last night.
• Be ready in 2 minutes. Tune before you go up and keep your set-up simple: the night moves fast.
• Stay and listen. That’s where you meet other musicians, find collaborators and sometimes get offered a gig. Have a QR code or link to your music ready.

The open mic London scene is full of opportunities for emerging artists

Playing open mics, or even just going to them, is a great way to hear local live music and meet the people who make it. Ready to learn more about the live music scene in the UK? Here are our favourite small music venues you should be playing at. And if you’re heading across the Atlantic, check out our guide to the best open mics in New York City.

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L’article Open Mic London: The 10 Best Places to Be Heard est apparu en premier sur Groover Blog.

Otherwise, here are some tips on how to book your own tour as an independent artist.

1. Book your own tour at the right time and plan ahead

Before you book your own tour, make sure you have a solid live set prepared and music to promote. Tours should ideally be scheduled around an album or EP release. This gives artists an opportunity to play their songs to new audiences, sell physical copies and merch, and boost the visibility of their project. Some venues will book shows up to a year in advance, but most venues book from 2 months to 6 months out. Decide how long you want to go on tour for, as this will also determine how far in advance you need to plan ahead. Booking a month long tour is a lot more work than just booking a one or two week tour.

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Looking for a booking agent? ⬇️

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2. Figure out which cities or towns you want to play in

To figure out which cities or towns you want to play in, you can use a couple different techniques.

• Find out where your listeners are on streaming platforms

If you have already released music, check your statistics on different streaming platforms to see where your listeners are located. Spotify for Artists shows you how many people are listening to your music in each country, but also in each city. If you know you have a lot of people listening to you in Boston, for example, use this to your advantage to book a show there. If most of your listeners are in Italy, why not plan an Italian tour?

• Reach out to your community on social media

Don’t know where you want to go on tour? Reach out to your community on social media to ask them where they are from. What city would like to see you play in? Who knows, maybe one of your fans even hosts awesome house shows in their small town where you can organize a concert.

• Stay with friends: minimize your housing budget

Some venues will provide housing for touring bands, while others leave it up to the band or booker to find separate accommodation. This can often be a big part of the budget of going on tour. If housing is not provided by the venue, try to book shows in places where you can stay with friends for the night. Maybe your bassist has an aunt that lives in Philadelphia and can host the band after the show. Use these personal connections to your advantage. You can always reach out to your community on social media to see if there are fans willing to host you.

• Focus on a specific geographic zone when you book your own tour

Most of all, concentrate on a specific geographic zone when brainstorming cities and towns to plan your tour. Think logically so that you’re not spending each day driving 10 hours to get to the next venue. Touring is tiring and good practical planning can make all the difference.

3. Make a logical road map to minimize travel time and costs

Once you have a list of locations, make a logical road map to minimize travel time and costs. Most bands tour around in a van so that they can transport their instruments easily, but some solo or duo acts have toured by taking trains and buses. Decide which mode of transport is most suited for your band and the locations you need to get to. Determine how long it will take you to get from one location to the next, and factor in some days off if you need to. The dates of the shows you book will also be dependent on the venues. Give yourself the flexibility to propose a couple dates to the venues in question rather than just one.

| Read also: How should you approach a live music promoter

4. Research potential venues

Researching potential venues takes time but is the most important step in booking a successful tour. Be realistic about the kind of venues you could be playing. What size venues are appropriate for the popularity of your band? The best technique to research potential venues is to see where similar indie artists have played. Check their Instagram accounts to find their tour poster. Have they played in any of the cities on your list? Another great way to research potential venues is by looking up concerts directly by city by using Bandsintown or even Facebook events.

5. Beyond traditional concert venues: think outside the box

If you’re willing to get gigs outside of traditional concert venues, there are many options to choose from. Sofar Sounds hosts intimate shows in unexpected locations such as museums or private homes. Three artists are chosen to perform short 20-30 minutes sets per show. You can apply to play a show in over 400 cities around the world through their website. Another place you can look when researching places to play is on college campuses. Often universities will host concerts for their students and this can be a great opportunity to get some new fans! Other unconventional music venues include libraries, record stores, coffee shops, or breweries. Even playing a live set at a local radio station could be a good way to diversify a traditional tour!

6. Find local bands to share the stage with when you book your own tour

Another great way to book your own shows in other cities is to reach out to local bands and propose to share the stage with them. If they are interested and think it could be a good match musically, you’ll have a way into the local music scene immediately. This can help with organizing the show but also with getting people to show up if the local band already has an established fanbase. You can also propose yourself as an opening act for bigger touring artists in your genre. If London is on your route, the open mic scene in London is another easy way to meet local musicians.

7. Pitch your live show

Pitching your live show and your music is an important step in getting the attention of music venues. Make sure that you contact the right person in charge of booking for each venue and prepare your pitch. Include a concise biography, links to your music and a live video if you have it. You should also include details about your set, most importantly the length and how many musicians will be on stage. Sell your project and why it would be ideal for that particular venue. If you have notable media coverage and brief details about past shows and the crowd you draw, let them know. Most importantly, let them know the dates you will be passing through their city and when could be available for a show.

8. Discuss finances and define your budget

If you get a positive response from the venues, be prepared to negotiate and discuss finances. Different venues pay their artists in different ways, so make sure you understand how payment will work. Don’t wait until you arrive at the venue to figure out how you are getting paid- you may not be getting paid at all. Once you have this information, you can create a budget spreadsheet to calculate profits after expenses and if you need to adjust your budget in any way.

9. Prepare your merch

Having merch on tour is a great way to make some extra cash and also have something to offer at the end of the show. Of course, the most common merch is selling physical copies of your music, either CDs, vinyls, or even cassette tapes. T-shirts, hats, socks, keychains- get creative with it. If you are limited on budget, you can go the DIY route and make homemade merch that doesn’t cost much. I burned about 50 copies my first EP on CDs one by one to bring on a solo tour in Italy and made handmade seed packets to go with the theme of my most recent EP “Fleuriste”. Use merch as a way to express yourself and add depth to your musical project! If you want some more ideas related to merchandising, check out our article on the topic.

10. Stay organized, promote your shows, and book your own tour!

Above all, you need to stay super organized when you book your own tour. This means organization at every step of the way. Keep a spreadsheet when researching concert venues by location to organize contact information for each one. Once you start booking shows, keep all the details in one place for the payment for each gig, hours for sound check and the show, and accommodation. A spreadsheet dedicated to expenses is also necessary, where you can keep track of what you spend and what you make- this includes selling your merch as well.

Once you have the organization down, make sure to promote your shows as much as you can and be active on social media! Create Facebook events for your gigs and boost posts on Instagram to target audiences in the cities you are playing in. Make a tour poster to list all the places you’ll be playing in. Sign up for a Bandsintown artists profile or Songkick so that your shows will show up on the platforms. Doing all this will boost your chances of potential fans coming out to see you play live!

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Discover all the booking agents you can contact on Groover 👈

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L’article How to Book Your Own Tour as an Independent Artist est apparu en premier sur Groover Blog.

What are the different types of concert promoters and what exactly do they do? Not every concert promoter will be right for your type of project so it’s important to do your research. Some promoters will have relationships with concert venues that book only specific genres like punk or rock bands. Others will be more targeted towards indie music venues or even have connections with music festivals. You don’t need to be signed to a record-label or have an artist manager to work with a music promoter! Want to know how concert promoters can help you grow your fan base, promote your music and boost your visibility? Here is everything you need to know!

1. What does a live music promoter do?

A live music promoter is an event manager who effectively organizes and sometimes ‘owns’ a gig. If there is a particular music venue you want to play at, in many cases you’ll need to contact a promoter and not the venue itself.

A music promoter hires out the venue, decides who plays, decides the price of the tickets and is responsible for paying performers and sound engineers. They’re also the person who either makes a profit or a loss at the end of the night. A music promoter can be either a single person or a promotion company. 

One of the biggest music promotion companies in the world is Live Nation entertainment, who promote gigs at a grassroots level as well as huge, internationally recognized festivals. They also own music venues of varying sizes in multiple countries.

Larger live music promoters often run several gigs at different music venues simultaneously. Obviously the promoter can’t be in two places at once so sometimes the person running the event on the day will be a person called a ‘rep’, short for ‘promoter representative’.

2. How do I find a music promoter?

If you’re ready to play a gig and try to headline a show at a local venue, it’s time to find a music promoter. Playing live and touring is a great way to do some general promo around your project, bringing you closer to reaching new audiences. You can get creative by putting up posters and flyers to advertise beforehand and sell CDs and merch after the show. Use your concerts as a publicity opportunity to invite professionals from the music business to see you play live. Who knows, maybe you’ll find a music manager who can present you to the right record labels or booking agencies!

The best way to get a feel for the live music scene you want to be a part of is to go to some gigs! Keep in mind that you’ll be more likely to run into the actual show promoters in person during smaller concerts. When the gig has finished, seek out the person running the operation and introduce yourself. Be friendly and courteous- nobody wants to work with a rude artist! 

Also be sure that the music promoter works with artists of your genre – you don’t want to approach a heavy metal promoter if you’re a folk singer-songwriter! 

If you have friends of a similar genre who play live shows, ask if they can put in a good word for you with music promoters that they work with. You could even ask them for email addresses that you can use to get in touch with potential promoters in your area.

A lot of music promoters will have a contact email or submission form on their website. Promoters are always on the lookout for new talent to work with, especially for smaller gigs. It can be tough to sell out venues for emerging artists, so start small and work your way up.

If you’re an artist with an already established fanbase and you’re looking to play festivals and bigger shows with high calibre artists, a booking agent may be a good option, as they can do most of the leg work for you. 

| Read also: How to find a booker?

Groover is a platform with an easy submission process that can help you connect your music to live music organizers and booking agents without you having to spend hours seeking out contact details. With one click your music and portfolio can be sent to high profile events industry professionals!

3. What is the difference between a booking agent and a live music promoter?

You may be asking yourself- what is the difference between a booking agent and a live music promoter? The terms are sometimes used interchangeably, but they are not necessarily the same thing. Booking agents and live music promoters are both involved in the concerts section of the music industry, but their roles and responsibilities can differ.

A booking agent usually works on behalf of the artists, helping them secure gigs and performances. They are responsible for negotiating fees, contracts, and other terms of the performance with the venue or event organizers. They typically receive a commission on the fees earned by the artist for the booking.

On the other hand, a live music promoter usually works on behalf of the venue or event organizers and are responsible for booking artists, arranging logistics, marketing the event, and ensuring its success. They often take on financial risks and may receive a percentage of the ticket sales as compensation.

In short, a booking agent represents artists and helps them secure bookings, while a live music promoter works on behalf of venues or event organizers to organize and promote live music events.

4. How should I approach a live music promoter?

When approaching a music promoter, be sure to let them know what gigs you have already played, if you’ve previously released music and if you’re releasing more music in the future. 

Having good branding as an artist can be just as important as making good music. If you have a press kit, be sure to send this over to the music promoter so they can get a feel for you as an artist. Learn how to be your own business manager and properly pitch your project! Having a strong social media presence is always a bonus, as music promoters can see that you have an engaged fanbase and you have a platform to promote their show.

| Read also: How to write the perfect press kit?

They may also want to see a video of you performing live so they know that you sound just as good in person as you do on Spotify and Apple Music! This doesn’t have to be a feature-length film- a short clip is usually sufficient. 

5. What are music promoters looking for?

Live music promoters want to help develop new talent and increase their profile as an artist, but they also need to make money. They need to get fans to buy concert tickets so that they can make a profit!

If you know you can definitely sell some tickets for a gig you’re playing then be sure to let the music promoter know this! Gig promotion is a business after all and the promoter wants to make sure they will make a return on their investment. Be honest about how many tickets you think you can sell; exaggerating your ticket worth will make you seem untrustworthy and won’t end well.

If you’re supporting another artist at a gig, a live music promoter will usually want you to play a set of around thirty minutes. Make sure you have enough material to cover this amount of time before booking any shows.

Most importantly, music promoters want to be booking bands and artists with potential. If you work well with a promoter and put on a great performance, they are more likely to book you again and give you better opportunities with more established artists. 

6. What type of deal is best for me as an artist?

Different music promoters pay artists differently. 

Some promoters don’t pay artists at all. If this is the case, consider if the exposure you’re getting from the gig is worth the potential financial loss. You may still be expected to cover your own travel expenses and food and drink costs, even if you’re not getting paid.

Other music promoters may agree to a guaranteed, flat fee for your performance, usually paid to you after the show. In some cases, if you sell over a certain number of tickets, you will get a small commission as well.

Some promoters may only pay you if you sell a certain number of tickets. If this is the case then be wary, you may bring down a substantial number of people to the show and still receive no financial compensation. 

If you are an aspiring independent artist just starting out, a flat fee deal can ensure you get paid for your work regardless of how many tickets are sold. If you have a loyal fan base already, a flat fee deal with commission on top can lead to more revenues.

7. Which music promoter is best for me?

Playing shows with smaller live music promoters can be a great way to get involved in your local music scene, meet new people, and support smaller businesses.

Larger promotions companies can also be very helpful though. If you wish to play shows outside of your hometown, a larger company that you’ve already worked with closer to home may be able to organize gig opportunities within their company in other towns and cities, introducing you to new potential fans further from home.

| Read also: How to book gigs outside of your local area?

Live music promoters are a crucial part of the music and events industry and can give you a great platform to grow your fanbase. No matter the venue, put on the best performance you possibly can- you never know who might be watching!

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L’article What Does A Live Music Promoter Do?  est apparu en premier sur Groover Blog.

1. Could you tell us more about how the idea of Muso came to life?

Muso came together in 2017 when Brandon (one of the co-founders) was a venue manager and was finding it difficult to find new artists for his venue. He had a roster of a few artists that were on rotation but wanted variety and didn’t know where to start. He discussed this with two friends, Jeremiah and Alan. The latter of which was a touring artist. Alan’s insight was that artists had a similar problem when it came to gigging. The old method of walking into local venues with a disk of their music and a resume was time consuming and usually fell on deaf ears. Venues either had their own contact or used an agent to book their venues so how were young upcoming artists to break into this space without a network or experience?

The three of them started interviewing venues and artists around Melbourne to find out if this was a common problem. It was. They started Muso so that venues and artists could have an easier way of finding each other. Venues needed a way of vetting an artist to see if they were right for their venue and artists needed a direct line into all local opportunities. The Muso marketplace was born.

2. How does Muso work?

Muso allows artists to create a profile that acts as a ‘digital EPK’ of their work, including their music, photos and a biography detailing their style, influences and where they have played before. This is then broadcasted to venues looking for artists to fill a gig.

Artists can receive offers from venues which are logged on their Muso account. Once the gig has been completed, there’s no need to raise an invoice, Muso does it for you. Artists can track the expected date of payment through their muso account.

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Looking for live opportunities?
Get in touch with bookers ⬇️

3. How has Muso helped artists so far and what’s the best way for artists to use the platform?

Since launching in 2019, Muso has helped over 5,000 artists book over 30,000 gigs in over 500 venues around Australia. In 2021 alone, Muso paid £4M to artists in gig fees. What they are most proud of is the many artists who started consistently gigging with Muso and have since created a sustainable living which has transformed being a musician from a passion to a primary income.

4. What would you say has been Muso’s biggest success story to date?

The first musician to use Muso in Sydney, Australia was an artist called Little Green. With her feedback, she helped shape the product from the ground up. Through Muso she has played over 36 gigs, including opening sets for large acts, launch parties and virtual events. She was also connected to the Muso network which began a snowball effect that eventually ended with her being signed by Lemon Tree – the same label that represents Tones & I.

5. Tell us a little bit about Muso’s future projects.

Muso continues to look to improve the platform and find more venues that are looking to expand their offering to live entertainment. Through this, we hope to create more paid opportunities for artists around Australia and the UK. In the future, Muso hopes to become a global company, allowing artists to tour internationally.

| Apply to the current music springboards – Don’t miss any more opportunities !

Read also :

• How to find concert dates?
• Where to perform in NYC as an independent musician?

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Send your music on Groover and get in touch with the best media and professionals of the music industry !

L’article Looking for gigs and revenue opportunities? Interview with Muso est apparu en premier sur Groover Blog.

Today, we give you an article that will help you understand how to book a show outside of your city, along with some of the important and precautionary measures we recommend you take. This is one of the biggest challenges for independent artists who want to find a place in the music scene these days.

Have you ever wondered what the rhythm of concerts and festivals will be like when the pandemic settles down and the sanitary situation allows for live music? We don’t want to miss your concert either, so check out the list of tips we’ve prepared for you!

1. Build your audience

The greater purpose for an artist doing a show outside of their city is to get to know their audience. Of course, this may not be the case for every artist, but when an artist is just starting out and wants to stand out in a new place where the independent scene is lively, it is important that they build a loyal audience.

It is quite common for fans in a city to contact you directly through social media and ask for you to play in their city (so pay attention to the people who contact you, they are the gateway to a concert outside of your city!).

In addition, you can also think about some different strategies in order to reach your audience:

• When promoting releases, make your music promotion strategy unique and standout through certain local media (digital media, local and university radio)
• Take polls on your Instagram profile about which city your followers would most like to see your show
• Analyze streaming statistics (search the cities and countries where people listen to your music)
• Create a group with your fans on Facebook or WhatsApp and speak with them directly!

Also, you can look for opportunities in other ways. For example, you might be invited to a show with an artist from another city who already has a more consolidated audience. Another example is participating in a festival, where there will already be an audience for the festival and for other artists. In other words, try to be creative when it comes to building your audience and getting the know them, the relationships you build will be valuable for the day your artistic project travels to different cities.

Groover is a great platform for you to expand your musical promotion into other cities and even other countries. Click on the link below to check out all available curators and music professionals on Groover:

Find the best curators and pros for your music promotion campaign on Groover

Some of the curators and pros available on Groover

2. Find local producers

A key step to playing a show outside of your city is to find local producers. It’s no use trying to organize a DIY show outside of your city or with a producer who comes from abroad. A serious local producer knows their city’s music scene, the right venues and especially the local audience.

This is not a simple step. There are two possibilities: the producer is interested in bringing your band to play in their city and will contact you for a conversation and probably negotiate a proposal. Or, because you want to do a show outside of your city you look for a local producer who would be keen to help you out for a commission. Know that the first is more common for obvious reasons: the producer already knows your project and the potential that your show has to make money.

But, if you’re planning mini-tours for your launch, don’t hesitate to contact local producers by digging through other bands’ events on Facebook and seeing who the organizers are or even contact artists directly and ask who they’ve worked with in that city. And if you meet someone who knows a local producer, it will take half the amount of work to take off. Remember, in order for things to happen you need trust on both sides, just as you need to understand that building this type of relationship requires planning and patience.

On our platform you can also find managers, concert agents and programmers of festivals and live houses. Send your music to them!

| Check out: What is an Artist Entrepreneur?

3. Plan and advertise in advance

Putting on a show requires planning and publicity. However, a concert outside of your city will require even more effort in these aspects. People who know your project and live far from your hometown will likely attend your show. But, it may happen that the information does not reach them. Often, the event’s producer or promoter doesn’t have a lot of money to invest in the promotion and will bet on organic communication.

This whole process of playing in another city is a collective effort, so you should also bet on the strategy that will be most effective for you. Another important point is: make people who don’t know your music come to your show. This  is not the easiest thing to do/accomplish. Before, people went to concerts like people go to clubs nowadays. Usually today, people will only leave the house and pay $20 to attend an indie band concert that they don’t know about if there is something extra. For example, a friend who is going to celebrate their birthday, an after party, a date or an invitation from a friend.

For this, it is possible to put strategies in place with the event producer, such as:

• Promotions that offer tickets and merchandising (like “tag three friends in the post, comment and follow the profile and compete for a pair of tickets and a t-shirt”, or rather, “share the flyer, bring 2 friends and get a free shot at the entrance”)
• Invest in sponsored posts on your social media (targeted towards the target city)
• Distribute and post your show flyers with a QR Code directly linking to your music
• Distribute flyers at cultural centers and independent music venues
• Create a sense of anticipation around the show: broadcast a message, post videos of rehearsals, or prepare something special for that show, for example.
• Plan a different show

If you’re starting to build an audience in a specific city, make the show a unique experience and don’t limit yourself to just meeting schedule and ticking off items on your checklist. Try to create something different, for example, a different setlist, invite a local artist to participate in the show, or meet your audience at a bar after the show.

| Check out: How to make your music known on Youtube?

4. A team

We know that for the independent artist to bring a team on tour, it can be very expensive considering that most emerging artists don’t necessarily make a lot of money. However, this is essential for a band that wants to become professional to start looking for people who can work alongside them, become familiar with their sound, the people who make up the project, and their work pace.

It is common for an artist’s manager to be able to accompany the artist from every part that precedes the show to the technical part (sound check and stage set-up). All steps are critical. So, if in any of them you feel that you are going to need help, don’t hesitate to call someone.

| Also read: Who and when do you need a team to accelerate your music career?

Also know that having someone from the outside is always important to provide support and not let yourself be overwhelmed by possible disappointments (small audiences, lack of equipment, unforeseen events, etc). In fact, all of this depends a lot on the structure that will be offered (does the venue offer all the equipment? sound technician? roadie? a box office?). It is recommended to have at least one person who knows you to accompany you! As doing a show outside your city is not something that happens every month, investing in all the small details will make a difference in your first experiences. 

| Check out: All you need to know about Music Royalties

6. Try and do a show with a local artist

One of the key elements to a successful independent music scene is to implement the basis of exchange. The United States is perhaps the best example of this. There is such a solid independent scene over there that we often don’t even notice it because it doesn’t export itself (and that doesn’t mean it doesn’t work). Creating a solid network of contacts is the most important thing to build a culture of independent concerts. So, we suggest that before doing a show exclusively for you in another city, try to get to know the local scene in that city. That way, you can propose a show with an already known artist. There are many legitimate advantages to doing this:

• Strengthen ties between independent artists and build a network
• The local band is already connected with the producers, the venues and the local audience
• Increase your audience
• Offer in exchange a show by that artist in your city

| Also read: The Ultimate Spotify for Artists Guide to Boosting your Streams in 2021

7. Play in a festival

Being invited to perform at a festival outside of your city is always very advantageous. The exchange between artists is more intense, there is usually a larger audience, more producers and a larger budget! But you don’t have to wait for the sky to fall or have direct contact from the festival organizer to make this happen. Always subscribe to the notices! There are numerous websites to check out and find festivals in your city, check this one out!

Another very interesting port is the concerts and festivals organized by the city hall or even cultural centers. In this scheme, it is common for the fee to be higher, as well as the structure offered is usually better. This will bring advantages for you to be able to leave your city with a team and present a quality show.

| Check out: How to write a good biography to promote your music?

Conclusion

There are many advantages to playing a show outside of your city. In big cities there is a lot of competition and bonds are usually weaker or slightly more on the surface. If you build an audience in a central city where the independent scene is thriving, it can bring a very advantageous strength and contact with a slightly more unknown audience. Introducing your art to people from other places is a unique experience. In addition, you will meet new artists, new regional music genres and new dynamics of the independent music scene.

Check out this video and find out how to use Groover as an artist

We know this is every artist’s dream! But it’s important to be pragmatic before going out there. The first step is to expand your music promotion outside your city, cultivate good relationships (a faithful audience and/or professional producers) and plan your tour well. It’s common for many bands to go bankrupt because of poor planning. So sometimes it’s better to wait for the right time. The show is the deepest exchange you will ever have with your audience, so know that if you do a show outside of your city, you must do everything within your power to speak with people at least once a year and convince them to have you play in there city!

Finally, all of this is only viable when trying to create true bonds. In addition to the personal determination of the artist and his team, seeking to relate to those who believe in the power of independent music is essential to start performing outside of your city.

– Translated by Betty Gonzalez Gray –

Submit your music to curators and music professionals in your country and around the world by clicking here!

L’article 7 tips on how to book a show outside of your city est apparu en premier sur Groover Blog.

]]> https://blog.groover.co/en/tips/write-tech-rider-live-shows/ Fri, 02 Jul 2021 08:16:58 +0000 https://blog.groover.co/?p=12858 Got live shows coming up? Maybe you found a booking agent for you or your band, or you booked gigs without an agent, and you’re now ready to go on…

L’article Tech Rider: How to write a good tech rider for live shows est apparu en premier sur Groover Blog.

]]> Got live shows coming up? Maybe you found a booking agent for you or your band, or you booked gigs without an agent, and you’re now ready to go on tour! Therefore, it is incredibly important that you know how to write a good tech rider for your upcoming shows.

What is a tech rider? Very simply, it’s a list of technical stage instructions that allows the venue where you will be performing in, as well as the engineers who might work the gig, to be ready for your technical requirements. It’s a document that contains all of the relevant information on your band and it is an incredibly important communication tool.

In my personal experience as a touring engineer, I have seen a variety of tech riders and today, I want to share with you the 7 most important points that should never be missing on your own tech rider!

Are you looking for live opportunities? 👉 Explore here

1. Include your Line Up and Equipment List in your Technical Rider

In the first part of your tech rider, it is good practice to introduce the members of the band, mention their names and which instruments they will be playing. The idea is to give the venue a quick overview of how many people they are expecting and the kind of instrumentation. This can be done as a simple list but it can also be presented with a well organized table that highlights the band members, their instruments or for example, whether or not they are going to use an amplifier or a DI (Direct Injection) box … venues and engineers will be very appreciative if you do this!

In the image below, you can find an example of a tech rider from a fictional band.

| Check out: How to find a booker?

Line Up and List

2. Backline in the Tech Rider

In a live show setting, it’s fundamental to familiarize yourself with some technical terminology. One of the most common terms used is “backline”. The backline refers to all of that equipment that is going to be required on stage for the artist(s) to perform. This includes guitar amps, bass cabinets, drum kits… but also music stands, stools, mic stands, tables and more. 

This list outlines everything that the artist needs from the venue to put on the show. This must be agreed to in advance, in order to allow the venue to rent equipment, if necessary, and avoid terrible surprises on the day of the show. 

In some occasions, backline can include instruments such as guitars, basses, synthesisers or pianos; this will depend on the size of the venue and their availability. 

The artist should specify any preference in brands or gear makers for example:

• A Vox AC30 Tube Amplifier for electric guitar is preferred but a Fender amp is acceptable too. Tubes must be in good condition.
• A 5 piece professional drum kit (Pearl or Tama preferred). Include the size of the drums and let the venue know if the drummer will be bringing their own cymbals, kick pedal… etc.
• Specify the size of any table: give dimensions and mention what the purpose is going to be (“require a table for an Ableton Push”)

3. Input List and Stage Plot

An input list is a list of all the audio lines that will be necessary for your show. This list, will highlight every single stage connection that the engineer is going to be making and it gives them an idea of how many channels are going to be required of them for the show.

Depending on the size of the venue and the relevance of the band, an artist might specify which preferred microphones they would like to see in the set up and for which instrument. 

Keep in mind, that an engineer will likely organise this list in the way they see most fit to the situation, keeping in mind what the requirements are. 

It’s great practice to let the venue know if you are going to be bringing any of your own microphones and remember that you usually provide the 1/4 inch jack cables (TS) for your instruments, while the venue takes care of the microphone cables (XLR). Confirm it in your tech rider to avoid surprises.

Often, input lists are followed by a stage plot, a rough block diagram that shows where each band member is going to be placed on the stage. This is important because it allows the venue to account for space so that they could begin to set up, prior to your arrival, and then only make minor changes if necessary.

Tech Rider: Diagram of the stage plot

4. Monitors and Front of House (FOH)

Once again, depending on the size of your act, and the size of the venue, your band might be able to make specific requests with regards to stage monitoring and front of house. In this section of the tech rider, it’s key to specify how many monitor speakers you will require, if each band member requires an individual monitor feed or not, if you will be needing in ear wireless monitoring or not, etc… 

Similarly, you can specify what kind of effects you might need on the FOH mix, your requirements for the PA system, and for the mixing console. Make sure to specify if you will be bringing your own engineers and, if possible, put them in touch with the venue or production manager to agree on what their requirements are. 

Very often, emerging artists and smaller acts don’t have their own engineer and they will be looked after by the in-house venue technicians. This might sound strange, but it is okay to specify if you have any preference on what language the engineers speak and to ask for them to be “sober”, for example.

Don’t forget to mention if you require any specific outboard gear to be used for your set and if you need to be able to use a Dante network to send information to and from stage and/or record your performance!

5. Try to Include your Setlist in your Tech Rider

If possible, try to include in your tech rider a list of all the songs you are going to perform. There are a few reasons to do so:

• It gives the venue and the engineers an idea of how long the show is going to be
• It provides a cue sheet to understand the different sections of the concert
• It is useful for lighting design
• It can be used by the venue for your royalty allocation (artists should receive royalty payments for live performances through organizations like ASCAP or BMI if their songs are registered)

6. Specify Additional Requests and Hospitality in your Technical Rider 

In this section of the tech rider, you can include all other relevant information: what time the set up is going to be, when the line check and sound check will take place, how much time you will need for soundcheck, etc…

But also, this is the section in the tech rider where  the act can ask for any hospitality resources such as:

• Food and Beverages
• Changing/Dressing Rooms
• Any other miscellaneous items (towel, tissues…)

7. Fill In your Contact Information in your Tech Rider

Last but not least, the tech rider should have all the necessary contact information for the venue to be able to contact you in case something needs to be clarified or if there are any points that need to be discussed and arranged.

| Read also: Who do you need on your team to accelerate your musical career and when?

– Written by Giorgio Schipani in its original version, translated by Betty Gonzalez Gray – 

Connect with hundreds of industry professionals on Groover now! Check out our platform and click here!

L’article Tech Rider: How to write a good tech rider for live shows est apparu en premier sur Groover Blog.

]]> https://blog.groover.co/en/tips/how-to-find-booker-easily/ Wed, 24 Mar 2021 11:30:34 +0000 https://blog.groover.co/?p=10784 The booker, also called booking agent, is the person in charge of finding concerts for artists, and of organizing their shows. Looking for a booker who can fill your calendar…

L’article How to find a booker? 5 tips to find and hire one easily est apparu en premier sur Groover Blog.

]]> The booker, also called booking agent, is the person in charge of finding concerts for artists, and of organizing their shows. Looking for a booker who can fill your calendar with concert dates? Follow the advice of Baptiste, founder of the booking association Riche Idée.

1. Is your project ready ?

Every year, anywhere between 100 and 200 artists contact me on Groover to convince me to include them in the catalog of my modest concert house. Without even judging the quality of their musical proposals, I am sometimes surprised by requests sent by very very young projects with barely a few singles and a handful of concerts on the clock. Do not make the mistake of exposing your project to skeptical feedback when it has not yet reached a minimum of maturity. Give yourself time! As a general rule, I tend to advise artists not to approach agents until they have completed at least ten concerts, especially in their region of origin. The only notable exception: projects experiencing very rapid success (streaming, advertising, etc.) that want to turn it into live shows quickly, before the buzz subsides.

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Get in touch with a booker on Groover ⬇️

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2. Do you really need a booker ?

When determined and well organized, some artists manage to get signed and perform several dozen concerts per year without any outside help. If you are in this situation, do not neglect the possibility of continuing your musical journey independently without a booker. First is a matter of efficiency. When dealing with venue programmers (or bookers on Groover), a motivated artist will often be able to defend their project better than an overwhelmed booker. The other argument in favor of doing it yourself is obviously financial. In exchange for their canvassing work, a booker will collect income from each group concert, sometimes even when the opportunity does not arise due to their work. If you manage to bring your project to life on stage by yourself, it may be interesting to wait before approaching any agency. The objective? Wait for the proposal of a booker who can really get your project off the ground financially and artistically (tours, festivals, etc.).

👉 Check out : How to find concert dates? 5 tips for playing live!

3. Who is the right booker for my project ?

After sending email after email and making call after call, you are now convinced: your music project needs a booker in order to grow. However, it remains to be seen which one! Like the world of labels or concert halls, today, there is a wide range of potential stage partners for musical artists. Of course, many musicians dream of allying themselves with one of the major national or international agencies which represent the heads of the music business. Next to these ‘hot shot’ agents, there are also small associations (like Riche Idée) and independent agencies that support emerging artists to help them lock in their first tours. More established artists will also be able to approach bookers specializing in a musical style, a region or international export. Before starting all over the place, establish the necessary qualities of the ideal booker for your scenic development (size, ambition, catalog, etc.). You will save time and avoid always unpleasant refusals.

👉 Check out : Why and how to get constructive musical feedback?

4. How to get a booker’s attention ?

Like in love, booking is a question of feelings and emotion. Let’s be clear: it will prove to be nearly impossible to convince a professional in the music industry to represent you if they do not fully appreciate your musical universe. However, the art is not everything. You must also demonstrate to your future booker the seriousness and potential development of your project. This is particularly the case on Groover where professionals receive several requests per day. My advice: highlight your scenic assets. More than a clip or a long playlist, a booker will appreciate being able to view, from the first exchange, a live video of one or more titles of your project. Accompany this video with a short personalized message describing your live experience and ambitions. Keep in mind that a booker must reach a minimum of concert dates for his prospecting work to be profitable. The more the group seems ready, available and ready to tour, the more your proposal will hold their attention.

5. How to work well with your booker ?

Well done, you have finally found an agreement with the booker of your dreams! A great step in the right direction for the life of your musical project that you must now elevate. As an artist, you must understand the constraints and the expectations of your new playing partner. In other words: make it easier for them so that they can maximize the search for concert dates. Even if you are now “free” from seeking opportunities from venues, you must maintain an active role in the group’s agenda. This includes, for example, informing your booker of your calendar for the upcoming months to the best of your ability: when you are (un)available, discographic projects, media visibility, etc.

You should also be attentive to the opportunities targeted by your booker. Of course, it is not necessarily a question of saying yes to all the proposals submitted. Having said that, I tend to advise young artists not to be too demanding in the first weeks of collaboration.“It’s been too much travel”, “the room is too small”, “the fee is too low” … Comments like these can hurt your representative’s motivation. If you want to develop your project, you should, rather quickly, lock down the concert dates and shows. This will be an excellent sign for both the music industry (media, festivals, venues …) and to your booker.

6. To sum up

The more you perform, the easier it will be for a booker to obtain new dates, the more your project will be exposed, the faster you will progress in the musical landscape … There is no shortage of recent examples of groups and artists who have benefited from this virtuous circle. Now, it’s your turn !

👉 To build your professional entourage further, here are tips to find a music manager

 – Translated by Betty Gonzalez – 

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Get in contact with bookers now! ⬇️

L’article How to find a booker? 5 tips to find and hire one easily est apparu en premier sur Groover Blog.

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