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Real Life Touring. A Social Media-Fuelled Tale.

February 15th, 2009 | No Comments | Categories: Geek · Gig stuff · New Music Strategies · tips for musicians |

House Concert peopleSo, we’ve been back in England a few weeks. I’ve even had time to do my busiest week of masterclasses ever! (more on that later, I promise)

For now, it’s time to round up some of the lessons and tips from our house-concert-based, social-media-driven jaunt to the US over christmas/january.

A few salient points to start with:

  • most of the gigs were booked by people we know via Twitter.
  • all but one of the gigs were house concerts.
  • we did 5 masterclasses – 3 in houses, one in a pub, one in a Uni.
  • in 7 weeks, we spent 2 nights in hotels, which we didn’t pay for anyway.
  • we made more money per gig than we ever have playing clubs/coffee houses (read: we actually MADE money, net, after paying for everything.)
  • we met more amazing people on this trip than ever before.
  • very few of the people at the gigs could have named a single other solo bassist.
  • moreso, very few of the people who came to the shows had heard OF us before, let alone HEARD us. Media exposure was not a prerequisite for attendance.
  • we have about 5 hours of video to pick through of the shows.
  • we have invites back for twice as many gigs as we played.
  • nobody got rich.
  • nobody planned to get rich.

Let’s break these down:

Most Of The Gigs Were Booked By People We Know Via Twitter:

the usual method for getting gigs is something like; “google venues and promoters in an area >> email promoter or venue >> send package >> agree to do gig for door money >> minus commission >> with food included if you’re lucky >> book hotel nearby for somewhere to stay”. Add other steps if a) promoter has no idea who you are and wants to put you on a double bill with someone who’s a ‘name’. The upshot is, it can often take 3 or 4 gigs in an area before you make any money. After the show’s booked, you contact local press and radio, send CDs, bios etc, and hope they cover it, so people will hear you and then come to the gig. Sometimes this works. often, it doesn’t.

Method for our tour: “talk to lots of people on twitter >> make friends >> allow them to discover music as they get interested in who we are >> tell them we’re touring >> invite them to host gig >> Book in the dates” – the audience is a shoe-in, cos most people can fairly easily find 15-30 friends who are up for a crazy night of music making in a house. It’s a nuts idea, it’s fun, and it has the added benefit of being validated by a friend of their’s… if Tracy/Linda/Angela/Steve/Gus etc are willing to book this, it MUST  be good. The person who books the show then emails the links to what we do around (no need to send out CDs) so people have an idea what to expect. Everyone comes to the gig, eats, listens, buys CDs, and we go home with money and loads of new friends. Win-Win.

All But One Of The Gigs Were House Concerts:

if we get offered non-house-concert gigs, we take them if they’re fantastic. They have to be AT least as good as house concerts to be worth doing. We’re no longer desperate for somewhere to play. The show we did at Grace Presbyterian church in Long Beach was an amazing night. And we got to see Vicki Genfan and Jim Bybee play too. Win-Win.

We Did 5 Masterclasses – 3 In Houses, One In A Pub, One In A Uni:

masterclasses in houses are great fun, and a fab way of a) sharing knowledge on tour and b) making a lil’ more cash. We did classes on looping, bass stuff and ‘social media for musicians’ – again, arranged by the people hosting the house concerts. I usually do a pretty big bass class in Northern California, and it has in the past paid for my entire trip. I didn’t need to this time, so was able to do a much smaller, more focussed class, for people experimenting with solo bass. Win-win.

In 7 Weeks, We Spent 2 Nights In Hotels, Which We Didn’t Pay For Anyway:

at each of the house concerts, we stayed in the house where the gig was. That’s not always the case with house concerts, but on this trip, it worked really well like that. In most places, we also had another day or so to hang out and see the area. The hotel nights were a thank you from Modulus for all the masterclasses and clinics I do using their instruments all over the place.

We Made More Money Per Gig Than We Ever Have Playing Clubs/Coffee Houses:

so much of what happens on tour is built on the promise of imagined success; ‘if you do *** then *** will surely happen’ but rarely is anyone willing to underwrite it to that degree, and so the artist takes a lot of the burden of risk… With house concerts, there’s no chance at all that you’re suddenly going to find yourself making millions of dollars. But there’s also less chance that you’re going to find yourself in debt and unable to pay the bills. The financial arrangements are generally straightforward, friendly, and sensible. Guarantees are kept at a level where they work for everyone.

We Met More Amazing People On This Trip Than Ever Before:

guess that speaks for itself. My music life is full of encounters with incredible, inspiring people. At house concerts we just get way more time to get to know them, to make friendships that will last. Ultimately, I’m WAY more interested in people than ‘success’. If I can combine encounters with magical people with a sustainable touring model, I’m happy. House concerts do just that. Win-win.

Very Few Of The People At The Gigs Could Have Named A Single Other Solo Bassist:

SO often gigs by bassists are largely populated by other bassists ogling their wikkid skillz and monster tech. As much as I love spending time with bassists, it changes the gig if they’re over-represented in an audience. Singers never have to play to entire audiences of singers. It’d be weird. So to play to rooms full of people who have little idea what looping is, don’t know any other solo bassists, and so are listening to what I do as music first and last is REALLY inspiring. I love it. It makes me a better musician.

Very Few Of The People Who Came To The Shows Had Heard OF Us Before, Let Alone HEARD Us. Media Exposure Was Not A Prerequisite For Attendance:

we had precisely ZERO mainstream media coverage for these gigs. No radio, no TV, no mags no nothing. At least partly because these are private events at people’s houses, and so we weren’t about to be giving the addresses out to total strangers. There are ways for people to get to the gigs if they contact us, but it’s not about broadcast at all. No, most of the audience were friends of the host, people brought in because the host said it was good, put their house and money behind it, and believed in what we did. It paid off. We had no shows that were less than wonderful. Made loads of new friends, and sold lots of CDs. Win-win.

We Have About 5 Hours Of Video To Pick Through Of The Shows:

the digital footprint of house concerts is probably about 10 times that of a normal gig. People are excited and talk about the show. Often the attendees are geeked-out, tweeting and facebooking the show from their iPhones and N95s, filming it, taking pics and posting them online, and in many cases, streaming it. The Milwaukee show has now had nearly 300 views on Ustream.tv. Everything is amplified.

Not only that, but after watching the Milwaukee show, we were invited to play in Philly. The show was booked because of the stream. Lovely Linda Mills saw the gig, sent me a twitter message, booked it, promoted it, and the show happened. All in about 3 weeks. Win-win.

We Have Invites Back For Twice As Many Gigs As We Played:

at house concerts, everyone there is a potential booker. they all have homes they live in, and may want to book a show. Loads of people went away inspired to book us next time we came, and also to start doing shows for their friends. That’s GREAT news.

Nobody Got Rich / Nobody Planned To Get Rich:

this is so far from being driven by the rock ‘n’ roll myths it’s untrue. No-one’s getting rich doing house concerts. But no-one’s doing it to try and get rich. It’s sustainable, people-centred, low-impact, high-value touring. It’s cheap to put on, flexible, engaging, original, exciting and artistically elastic. You can do the kind of show in a house you could never get away with in a club full of drinking punters expecting to dance. And you can go home making a profit, paying your bills, with time and resources to make more music for the next time you come round.

This tour was probably my favourite tour I’ve ever done. Every gig was more fun than playing the Royal Albert Hall. The people were amazing, the hosts were incredible in their generosity and still grateful to us for coming and playing. The audiences were attentive, engaged and loved it. There really was nothing bad about it at all.
Yesterday on Twitter, someone suggested that while my soundbites were enjoyable, the reality was different. (see the whole conversation here ) Our experience on tour says this works. Says it’s real. Says it will continue to work.

So, were you there? What did you think? Have you done house concerts? how did they go? please post your thoughts on house concerts/social media/the future of touring in the comments below…

(the picture at the top is of about half the audience/musicians who played at the inauguration house concert/party we co-hosted with Kerry Getz in Newport Beach – an amazing bunch of musicians, from all over the place, playing amazing music)

Similar Posts elsewhere in this blog:

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No Comments so far ↓

  • matt stevens

    This is 100% the future of gigs , very inspiring

  • Otir

    Do you know that you are re-inventing the tupperware concept but for music? that’s a great concept imho 🙂

  • Geoffsays

    I think as the “music Industry” continues to crumble away, house concerts actually get back to the basics of connecting music to people (=fans). It’s literally social media in the flesh. It wasn’t too long ago that that’s how things were for the most part. Brilliant musicians playing to small clubs and on front porches. Music was a spontaneous thing and many of the brilliant died penniless and broken. BUT, the music lived on (in some cases, more than a century, in the case of Lead Belly, music that dates back to the 1870’s and made famous again in the 1990’s by Nirvana). Today we have the internet! A simple way to reach a thousand or two fans, enough to make a living from. What better way to service your fan base than to play small, intimate shows for. Something that gives them value and intimacy.

    For the majority of musicians now, it’s not so much limo’s, grammy’s, and high dollar deals. It’s about making a living, however big or small, doing what you love. And IMHO, house concerts are the wave of the future.

    Steve and Lo, you are visionaries. you know damn well where the future of the industry for most lie. AND you make a living off it. What a joyous way to live!

  • LEMills

    Thanks for sharing your time with us, too! We’re still talking fondly about your visit here and are hoping you two will be able to return soon.
    The squeaky chair awaits (and if it weren’t for the UStream watchers, who would have noticed?)!

  • tapps

    excellent post. i really agree that the house concert model is gaining traction, for great reason… they work. and i’m thankful that you did make your way all the way out here to milwaukee… my friends and family are still talking about the show 🙂 (plus, it was awesome hanging out and being dorky with you two)

  • Paul Bell

    Great post, really excited about the whole idea of playing small venues to people who want to hear the music. Must take the plunge and book some in.

  • Trevor Raggatt

    Thought I’d weigh in from the point of view of a house gig promoter (how poncy does that sound?)… OK, as someone who’s been holding them in our house for the last year.

    Steve’s spot on about the amazing atmosphere which you get at a house-gig. They’re not that usual this side of the Atlantic (in the UK) yet but I can’t recommend the experience highly enough.

    A little history about how we started – one of those really organic things. Chatting to some singer-songwriter friends about an impending birthday got into a banter mode… we could put on a gig for your birthday, save buying you a present, ha ha ha… yeah you could come and sing in our garden, ha ha ha… yeah (pause) OK… so we did! Big party, two friends Susy Thomas and Beth Rowley (her boyfriend, Ben Castle and guitarist Paul Wilkinson) each doing a short set… It was such good fun that we said to ourselves “We’ve got to do this again some time!” A month or two later we went to see Susy again at a house gig and that just cemented the idea.

    Our first opportunity was when another friend from the States, Victoria Vox (http://twitter.com/victoriavox/ http://www.victoriavox.com – singer, guitarist, ukelelist extraordinaire) was over here on a short tour staying over at our house. Perfect opportunity so we went for it and again it was GREAT! AND all our friends LOVED it! That was early summer last year and since then we’ve done one every couple of months or so. All arranged pretty organically asking singers and musos we’d got some personal connection with. Pretty much everyone we’ve asked has been so up for it.

    I think that organic thing is so important. For us it’s not about “being a promoter” it’s about hearing some music that we love being played by people we like a lot and sharing it with friends and family. It is in effect a private party with some great music.

    Like Steve says, we don’t “promote” it other than asking friends. The capacity for the gigs is only 24 – which makes enough for a good audience, enough money to make it worth the artist’s while but is still nice and intimate. So we send an invite to Facebook chums, friends at church, family, people we meet up with at gigs and each person pays a tenner for a ticket. Strictly it’s a suggested donation which goes to the artist in its entirety.

    Facebook’s been a great way to let friends know about it (and to let other singers we know about our house gigs – for future reference, if you know what I mean!!). There’s been no difficulty in filling each gig (although there is inevitably a bit of running around chasing etc) and, again like Steve says, we’ve now got friends asking to get a ticket because we’re having a gig BEFORE they know who’s playing!

    Our next one? Well, that’ll be next Saturday – with a certain Mr and Mrs Lawson. Another example of the power of social networking media. Steve is a Facebook chum and, of course, was receiving all the usual notifications about events, photo uploads etc. We went to see Steve and Lo playing at a fave club and while my wife and I were listening to their set where whispering to each other, “We really MUST ask them to do a house gig…”. After the set Steve spots us and strides over and says “Hey! Great to see you! So when are we going to do one of your fabulous house gigs then?” Suffice to say, the negotiations weren’t too tricky from that point on.

    Oh, and before you ask. Sold out… weeks ago! And there will only be three bassists in the audience and only four people who’ve ever seen Steve and Lo before. Pretty typical and we’ve told all of the others to expect to be blown away!

    So, if all this rambling has whetted your appetite to either host or play at a house gig our advice would be to dive in with both feet. It’s a bit of work but it’s the best fun ever and an incredible way to enjoy great music with great friends.

  • Emily Baker

    hmmm….serious food for thought Mr Lawson xx

  • Sam Bass

    Thanks for the insights. I am wondering – as far as I read here, this will only work for small bands or maybe even only for solo musicians.

    I’m thinking about what this would mean for my band – we play Swiss rock – too loud for someones living room 🙂 We would have to find a path “in between”.

  • Jim

    I think you guys did an amazing job, and creating 20 people at each market guaranteed to be dedicated to your music is fantastic than 100+ who are just trying to get the bartender’s attention.

    I don’t think this will work the exact way for every artist (it would be much harder for full bands), but it’s a fantastic example of how the independent musician can use resources to recruit “tribemembers” or whatever you want to call them to help promote the music. The rest takes care of itself. It makes me want to setup your next show in Nashville!

  • Kaleo

    Cool Blog. I like to get more info. on who books gigs on twitter.

  • Neil Alexander

    Fabulous, Mr. L. An extraordinary “re-inventing” of the entire idea of performance/audience. (or a return..?) Alot of what I’m thinking has already been said in these comments. I’ll just through back my fav line: “sustainable, people-centred, low-impact, high-value touring”. WORD.
    But I have to Agree with Sam Bass – it’s not necessarily going to work for NAIL – too load for the living room, perhaps? – but with some cleverness on our part, we “re-invent” what we do to match the venue, on a gig per gig basis. The potential is astounding. Matt Stevens: “This is 100% the future of gigs , very inspiring.” Again – WORD.

  • Mike

    Thanks for sharing. New coined term: MicroGigging? Twitert? TweetGigging?

    Thanks for sharing!
    -M

  • John Albert Thomas

    Thanks for the paradigm shift. Between your post and one by David Nevue, I am rethinking my musical future. Connecting with fans is the real benefit.

    JT

  • elizabeth!

    I also do house concerts during my tours, and I have started doing them at home in NYC, as well. They are so much fun, and a great way to connect with real people on both a musical and personal level.

    Elizabeth

  • Martin England

    Living rooms are the best venues. There are no flat-screen televisions or Bud Light banners to distract, just the warmth and welcoming of live music. I performed at two house concerts over the weekend and netted nearly $600. If you think about where our culture is going (people like the comforts of home now more than ever), this whole concept just ticks.

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