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No matter how many bands I talk to, it never ceases to amaze me how poor a job bands do trying to book them selves. Let's face it. Getting your band booked is like looking for a job. Whether you are looking to work in a Fortune 500 company or looking to cut someone's lawn, it's all the same. You are seeking to provide services that you wish to be paid for. Why should performing in a band be treated any less seriously than working on Wall Street?

Think about it. The boss (talent buyer) is looking for employees (bands) to fill (book) a position (gig) in his company (club/venue). However, for whatever the reason, band members often do not see it like this. If bands approached every club like is was a large company, and treated every gig like is was a "day job", the bands would be surprised how their perspective, strategy and results would change.

Below is a list of do's and don'ts when it comes to booking your band and dealing with talent buyers. Also, check out Tom's tips along the way.

DO:

• Research. Save your self the time, money and aggravation of not having your calls returned by finding out what type of format the club caters to in advance. Find out what bands usually play the club and let the talent buyer know that you follow what entertainment he typically books. Why waste money sending out a press kit of an original hard-edged band to a club that books all Top 40 cover bands?
   
• Speak to the right person. This actually is part of your research. Know who to talk to. Who books the bands? Is it the manager, an in-house promo guy, exclusive agency, etc.? Blindly leaving messages on answering machines does not impress to anyone that you are serious about playing the club. Leaving a demo with a bartender or bouncer to give to the right person is also a waste of time. I have a better chance of finding Bin Laden than your demo does finding the person who books the bands through a bartender. Seriously though, whenever you blindly send or deliver a press kit, you take a real chance that it will never reach the person who actually books the bands. It is more impressive and effective to send mail and or e-mail directly to the person who actually makes the decisions, rather than just sending it to "owner/manager", "booking agent", or worse yet, "to whom it may concern". 
   
• Be professional. You wouldn't walk into a job interview without a resume and references, would you? So, why would you approach a talent buyer without information about your band. The things I find most important are:
  
  (1) a tape or CD of the band (don't get hung up too much on the quality. Good talent buyers can hear through the production or lack thereof.);
  (2) a picture of the band (preferably an on-stage action shot);
  (3) a song list (a current list, not songs you want to learn or used to play);
  (4) a list of places the band has recently played; and most importantly,
  (5) a list of places that you are scheduled to play.
  
  Trash the bio! The fact that the band members have played together since they were potty trained or that the drummer's father was in a famous Jazz band is simply not important. Even less important, is how many bands the members have been in prior to the current project. Obviously, those bands didn't work out or the members would still be in them. Talent buyers book what is hip, here and now, not what used to be good. Bottom line, clubs want bands that sound good, that can turn a room into a party, and that have a following. See "Don'ts" section for more on press kits.
   
• Invite the talent buyer to see you live. I think the best, and only, way to truly see what a band is all about is to see them play out. In minutes, the talent buyer will discover how good the band is, how a crowd reacts to them, and what the band's following is like. Naturally, you want the purchaser to see you in the best rooms possible. To increase the likelihood that a talent buyer will be able to catch you in these rooms, I suggest you give the buyer a few options of clubs and dates where to see you. It is also impressive if you put the buyer's name at the door.
  
  IDEA: Instead of spending money on a press kit or CD, you could mail a talent buyer a five dollar bill. Enclose an invitation to see the band live and tell the buyer that the five dollars is for the cover charge at the club that you are inviting him or her to. A person will feel more obligated to go and check you out once you put the cover charge cash in their hand.
   
• Sell yourself. Tell the talent buyer why your band is right for the room. Use a hook. Explain how your band is different, or the same, as the bands that currently play the room. Face it. Life is sales. From getting a date, to getting a job, it's all about how you present yourself and what you have to say. Remember, sex sells. If you have an attractive woman in your group, why not let her approach that male club owner? I, in no way shape or form, am suggesting anything illegal or immoral. I just feel that you need the right tool for the right job. Personality also goes a long way. Ask your self, "What is the best way to impress the person we are trying to sell the band to and who is the best person to make the sales pitch?"

• Be persistent. If you don't get a call back, call again. I have never gotten annoyed with anyone who has called me repeatedly. In fact, I booked a couple of bands because of their persistence. Of course, if the talent buyer isn't interested, and lets you know that, don't push it. Find out why the interest isn't there (i.e. format, availability, etc.) so you know what to look for in the future at that particular club. If there is no interest, I suggest a periodic follow up call to see if things have changed such as format or even the person who books the bands.
  
  
• TOM'S TIP - Here's a little dirty trick you might try. Before you call the talent buyer, call the club a number of times in the weeks preceding and ask when your band is playing the room. If there is a shred of communication at the club, the person answering the phone will ask the talent buyer about the band. After a few times, the talent buyer might be interested in who this requested band is. What a coincidence. You happen to call the talent buyer a week or so after this band has become a topic of conversation. Oh, and just for the record, it doesn't work on me!

DON'T:

The "Don'ts" can potentially hurt you as much as the "Do's" can actually help you. Believe me, I have experienced every single thing listed below. Some of them are pet peeves of mine. Some of the things listed below are common among band members (and agents). I refer to these people as, "business prevention specialists."

• Never leave a message for a talent buyer to call you back with the club's mailing address. Don't laugh. You have no idea how many calls I get like this. I would NEVER call anyone back who is so stupid, unmotivated and unprofessional that they can't figure out how to get the club's address on their own. Show some initiative for God's sake! Talent buyers are far too busy to be an information hotline. Ever hear of the Yellow Pages?

• Don't waste your time with a verbose write up about the band that's filled with poly-syllabic adjectives or pretentious prose. The fact is, all of these eloquent explanations and dramatic descriptions of the band and their music sound alike. I could probably list ten or twenty words that are in every press kit I have ever read. To be honest, I haven't bothered to read one in years. They are rarely accurate and are more of an ego booster for the band members than an effective promotional piece. I want to see and hear the band perform, not read an essay by some thesaurus-thumbing ink slinger.
  
  
• Don't let money be your sole motivator. Unfortunately, many talent buyers have limited budgets. Sometimes, it's just shrewd business. Sometimes, it's just a really cheap club owner calling the shots. Often, it's both. The business in the club scene isn't what is used to be. Bands are rarely booked solely as entertainment any more. Bands are most often booked, and usually priced, based upon their ability to bring business to the club. If you have to play for less to "get your foot in the door," do it. If you don't take that initial shot for less money, you may never have the opportunity to prove your self and secure the gig. However, make it absolutely clear that you will expect more pay down the road once you have proven that your band can put asses in the seats. If you don't talk about it up front, you may pigeon hole yourself into a price.
  
  Once you've proven yourself, then you should ask for more money. Rarely will a club owner say, "Hey, you guys are doing really well, you deserve a raise." If you are doing well, don't worry too much about losing the gig for renegotiating your price. The fact is, a club owner is not going to get rid of a band that is making the club money.
  
  
• Don't walk into a club on a busy Friday or Saturday night and expect to talk to the manager about booking your band. First of all, the manager will most likely be far too busy to take the time to listen to a sales pitch that he has heard a million times. Secondly, the manager will know that your band isn't playing that night since you are at his club. He probably will further assume that the band isn't too good since you are at his club on a weekend night rather than out playing somewhere.
  
  
• Don't try to be something you are not. If your band does cover tunes that are considered by the masses as Top 40 or Thrash, tell the talent buyer exactly what you are considered. Don't tell the talent buyer what you think your music is. This is the number one reason I like to see a set list from a band. It seems that most bands want to be everything to everyone. It just isn't going to happen. Every band has a certain sound or signature to the tunes they play. This sound is as important as the actual songs that are played. However, a Metal band trying to alter their set list to play a dance club, isn't doing anyone any good. It will be a disaster. Know what type of band you are and market yourself as such.
  
  Here is sample of a typical conversation I have had with many bands:
  
  ME:       What type of music does your band play?
  BAND:  What kind of stuff do you usually book at the club?
  ME:        I book all kinds of stuff. What do you guys play?
  BAND:   Well, it's sort of a versatile high-energy, dance, rock and roll sound with an alternative, hard edge, party feel . . . very dancable. Our material varies from classic rock to the new stuff . . . basically, whatever you need us to play. We can do it all.
  ME:         Send me a set list and a list of dates and clubs you are playing.
  
  Again, don't laugh. I have had nearly the exact conversation dozens of times with band members and agents that were being completely serious. Conversations like that turn me off, big time. They prove to me that the band has no real identity and, therefore, can't have any real following.
  
  
• Don't lie your way into a room. Some bands are under the delusion that they are so good that once they play at the club, nothing else will matter such as format or following. These unfortunate few believe that they will blow the club patrons away and impress the talent buyer so much that rebooking is inevitable. Trust me. The only thing that will get blown away is your chance of ever playing that room again. There is no quicker way to get on the black list than to tell a talent buyer one thing, and then do another.
  
  If you are heavy, say so. If all you do is show tunes, say that too. Of possible greater importance, if you don't have a great following, don't claim to be able to pack the room. Focus on your strengths, don't lie about your weaknesses. A lot of this, however, I blame on lazy talent buyers. If a buyer does his homework, rather than relying on a less than truthful band member or agent, he won't be fooled or have unrealistic expectations of the band.
  
  
• Don't believe the rumor that many clubs exclusively book through a certain agent. Naturally, agents would love for all bands to believe that they exclusively book certain rooms. It serves two purposes. First, it precludes bands from soliciting certain rooms, thus leaving more openings for the agency bands. Second, it serves as additional incentive for a band to sign with an agency. The fact of the matter is, I know of very few rooms that exclusively book the bands of any one agency. And even those clubs book local bands on their own.
  
  Don't get me wrong, I'm not knocking agents. In fact, there are some terrific agents out there. I'm just trying to dispel the myth that many clubs are unreachable because they do a considerable amount of business with a certain agency. Let's be realistic. In today's tough nightclub market, a club will book ANY band that will make them money. If you want to play a room, go for it!
  
  TOM'S TIP: If an agency tries to stop you from playing a room, depending on the circumstances, there is a good chance they are breaking State as well as Federal anti-competition laws.

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