How to Find Paying Gigs as a Professional Musician

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Hey, this is Matthew Ricks, and today on the Music

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Business newsletter, we got an email from a guitarist who's

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been playing for over thirty years.

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He claims will be one of the best.

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In his area, has over six hundred thousand dollars in gear,

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but he can't find a single paying gig. He started

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playing for free and wants to know how to find

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artists in his town who actually value his talent. So

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before we get started, I asked that you go ahead

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and just hit that follow button. Goes a long way

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to making this channel more visible to artists in the

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music industry. And if you have a question on the

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music industry that you'd like for me to answer, just

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go to Matthewicks dot com click submit your question, give

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me as many details as possible, and we'll answer it

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here on the channel. He says, Hey, Matthew, I'm not

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sure if you'll be able to help me at all,

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considering I am an artist who has it all together.

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He says, I've been playing guitar for thirty one years,

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and not to sound cocky, but I'm one of the

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best players in my area. But not to sound cocky, yeah,

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everyone around here knows it. I've put in the time,

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the practice, the gigs, the lessons everything. Well, thirty one years,

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that's a lot of practice.

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Good for you, Good for you for keep going.

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He says, But somehow I can't find a single serious

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gig in my area to save my life. But everybody

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knows how good you are.

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Everyone.

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I mean, you said you're one of the best players

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in your area, and everyone around there knows it, and

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you can't find a gig.

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Huh.

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I wonder if it's a personality issue. Anyways, He goes

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on to say, the only opportunities I see come across

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are the sixteen year old kids who just picked up

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instruments last summer and want to start a band. And

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when I practice with them, I can tell they are

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not serious.

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So you see the.

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Flyer in the music store or a Facebook ad for

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a bunch of sixteen year olds starting a band, and

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you're like, yeah, maybe, maybe, maybe, maybe they'll be worth

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my time because I'm one of the best in the area.

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I mean, look, I played in bands when I was sixteen.

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If we were going after a dude, actually, I think

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I was in a band that had a bass player

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that was like.

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Twenty five years older. Than us. He bought the beer

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for the practice, so that was cool.

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Sorry, mom, your baby boy drink before his legal age.

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Don't do that kids, by the way, it's not good.

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But yeah, what do you what do you expect with

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sixteen year old kids? You thought they're gonna be serious,

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so serious that they're hitting up a guy who's been

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playing guitar for thirty one years. But anyways, let's continue,

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he says. Or artists, So we talked about sixteen year

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olds who aren't serious because they're sixteen, he says, are

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artists in their twenties who think exposure is a form

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of payment. I'm sorry, but I'm way past playing for

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free beer and good vibes.

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Here's you're one of the best, he says.

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I've got over six hundred thousand dollars worth of gear, guitar, amps, effects,

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you name it. How many how many amps and effects

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do you have? For six hundred thousand dollars you buy

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an original one that Keith Richards used back in the sixties. Geez,

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so he's got six He's got over a half a

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million dollars in gear, and he's one of the best

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in his time. I've got over six hundred thousand dollars

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worth of gear, guitar, amps, effects, you name it. And

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I've worked my entire life to build that setup. What

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I mean, how many how many guitar you?

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You gotta have twenty guitars? You gotta have twenty guitars.

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And you kind of probably go to some auditions or

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tryouts or practices and you're like, oh, I don't know

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which one to brings, So I brought five, and you know,

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you got them all on display with a bunch of

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sixteen year old kids.

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He just started playing.

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He says, I've worked my entire life to build that setup.

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I'm not about to haul all that around just to

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play behind someone who doesn't respect the craft or even

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can't even keep time. Why would you bring six hundred

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thousand dollars in gear? Why you're you're playing with sixteen

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year old kids and you have six hundred thousand dollars

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in gear, and your outrage that you're not going to

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bring that around? No, you want it because your gear

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probably costs more than the house that you're practicing in

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with the sixteen year old kids and twenty year old

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who wants to just have you do it for free?

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I mean, this is just like massive flex, like, oh yeah,

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I'm the best, and I'm the.

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Best because I got the most expensive gear in my town.

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You don't say what town you're in, by the way,

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he says, he's not about to haul all of that

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around just to play behind someone who doesn't respect the

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craft or can't even keep time. If I'm going to play,

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I expect to be treated like a professional. That means

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making at least seven hundred and fifty dollars to one

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thousand a day show rate. You know, we've been getting

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some emails from bands who are playing like one hundred

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people clubs and they want to know how to get

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booked in an arena. We've had people who were excited

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about signing a record deal giving away fifty percent of

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their royalties. Is there just something going on in the

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world where delusion is just at an all time peak?

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So if you want to get paid seven hundred and

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fifty to one thousand dollars a.

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Day show rate day rate, which.

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I mean there's guys playing on arena tours that don't

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even make that much, but not that much, and that's

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what you think you should get with your six hundred

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thousand dollars of gear, and you're complaining because you're trying out.

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With sixteen year old kids. You think those sixteen year

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old kids have one thousand dollars laying around.

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To pay you when they play the parking lot at

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their homecoming.

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Huh. Anyways, let's continue. He says.

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The problem is he's narrowed down the problem and it's

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not focused at him. But anyways, he says, I can't

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seem to find artists who value my level of skill anymore.

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Everyone wants cheap or free, and it's killing me. I

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love what I do, but I'm tired of chasing gigs

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that don't make sense for where I'm at as a player.

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It's even playing guitar for thirty one years, so you

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could be anywhere from the age of thirty eight to

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forty eight.

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So you're.

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Trying to land a gig making one thousand dollars a

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month or a day. Sorry, thousand dollars a month would

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be a lot, but you want it every day.

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And you're.

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I mean, I'm forty four, so you're in my age range, and.

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You want somebody to.

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Value your gear, value your skills, and you're tired of

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chasing gigs that don't make sense for where you're at

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as a player? Well, where you at as a player?

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You didn't tell me what you've done. All you've done

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is told me how great you are and how everybody

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in your town loves you and thinks you're one of

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the best, and you got over a half a million

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dollars in guitar gear, and that you are tired of

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sixteen year old kids who just picked up there. And

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I bet you're like a dream theater. You're like a

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shredd er, aren't you just like playing with a bunch

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of sixteen year old kids who want to be blink

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on a two lulu? I mean, I okay, one, you know,

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you didn't put where you're at, so we don't know.

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I mean, you could be in a town of two

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thousand people and everybody thinks you're the best because you

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might be the only one who's actually got six strings

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on that guitar, and you don't want to play for exposure,

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and you haven't mentioned about starting a band, and I

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just I like this comment that you're tired of chasing

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gigs that don't make sense for where you're at. But

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you didn't tell me where you're at. You just tell

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me what you have and how great you are, and

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how you're so much better than everybody else.

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So he says, my questions.

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My questions are, how do I find serious artists who

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actually appreciate my experience and can afford to pay for quality?

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I mean, without knowing where you're at, I can't really

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give you a lot of because, like you could be

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in La or you could be in my birthtown of Wonderlake, Illinois,

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home of the Wonder Dog Restaurant, best hot dogs in Illinois.

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So how do you find serious artists who actually appreciate

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your experience? Most good bands they want their players to

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be good, okay, But most times people get hired, they

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like to be in a backup band, you know, for a.

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Singer or pop artist or whatever.

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Because you know somebody and there's the bro hang, there's

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the we'll be on the tour bus with them. I

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always like to call it the Puerto Rico test when

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I when I had a couple of companies and we

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were hiring people, it was do we would we like

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to go to Puerto Rico and and hang with this

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person for a couple of days. And if the answer

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is no, we want to hire them. Bands are like

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that as well, because you're going to be spending a

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lot of time with a band, especially one it's gonna

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pay you one thousand dollars a day. You spent a

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lot of time with them. I was hoping that was

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like a typo like you meant like seventy five dollars

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to one hundred, like, But no, you went seven hundred

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and fifty to one thousand for you because you're the

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best in your town. So how do you find serious

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artists who actually appreciate your experience?

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I don't think anybody cares.

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Nobody's going to care about your experience or how much

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gear you have if they hate you as a person.

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And this is email here kind of dripping with uh

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we'll call it self confidence. I struggle with it myself.

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Moment I get it, he says. The next question is

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is there a better way to network or get connected

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with professional acts that need a guitar player without wasting

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time on amateurs. See you just you're swooping in with

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this attitude that you're there, you're better than all of this.

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So when you do meet I mean, I can imagine

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you've probably gone approached artist until them. How great you are,

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And I can imagine you've gone and approached artist and

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let them know how much gear you have, and you're

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probably coming across no offense. That's pretty douchey because you

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are in this email. So how to network or get connected?

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Dude?

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The most the gigs, especially if you're like Nashville. I

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know guys who are well qualified for the gig, well qualified,

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and they do the trial and they don't get it.

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And the less superior drummer or less superior guitar player

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got the gig.

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Well why a couple of reasons.

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They were cheaper, they were younger, But more more than that,

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the other guys in the band were like, that's the

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you know, that's a cool dude, Like oh, I played with.

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Him a while back. That's a cool guy, X, Y

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and Z.

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That goes so much further than you just rolling in

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six hundred thousand dollars in gear for a tryout. And

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so I bet, honestly probably you networking is probably if

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you are anything in person like you are in the CMO,

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I would say networking probably hurts you more than anything

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because you're probably running around telling everybody how great you

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are and how you are so much better than all

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the other chumps in this town. You sound like those

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old like nineteen forty like Carry Grant movies where he's.

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Like, I gotta get out of this town. Like that's

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how you sound like, I'm so much better than everybody.

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I gotta get out of here without wasting your time

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on amateur It's like, what a I'm just gonna be, Like,

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what a terrible attitude to have. Like if I took

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that approach with this, like I'm not an answer in

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your email. You're not making a thousand dollars a day

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playing guitar, piss off peasant, Like, what a terrible attitude

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to have without wasting your time on amateurs. And then

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you wonder why you can't get a gig that pays

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one thousand dollars a day, he says, And at this

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point of my career, is there a better route like

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session work, studio work, or touring contracts that makes more

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sense than chasing live gigs? Well, touring contracts is a

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live gig. I mean you should have been doing session

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work and studio like. See, this is where the contradiction is.

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You're like, yeah, I guess you want to join a band,

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but you want to join a band and get paid

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right right out of the gate, And so that's why

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you're going after bands that are ran by sixteen year olds.

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I guess, I don't know.

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If you're as good as you say you are, you

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should be getting studio work, session work, and then touring

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contracts like you just want to get a tour, you know,

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and be locked in for a year making a thousand

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bucks a day. Yeah, so I don't I don't really

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understand at this point in my career, is they're a

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better route like live session work, studio work or touring

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contracts that makes more sense than chasing live gigs. I mean,

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unless you're talking about like touring contracts, like where you're

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gonna become a roadie or a guitar tech.

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But I know, I think you got too much expertise

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for that. I don't think you would ever allow that

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to happen. He says.

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I've got the talent, I've got the gear. We know

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we know, we know you got the talent. Everybody in

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your town talks about how you're one of the best,

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and we know you got the gear because you got

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six hundred thousand dollars in guitar gear and ams and pedals,

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and you got the drive.

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I don't know if you got the drive. I don't.

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I think that's that as as.

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The sixteen year old you try out with for We'll say,

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I think that's a cap because I don't think you

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got to drive.

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I think if you got to drive, you're not.

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I think if you loved playing as much as you think,

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you would take any gig just to be out there

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playing and not rolling around six on one thousand dollars

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in gear, you know, at the bar with twenty five

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people and you're playing next to a dartboard by your head,

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you know, rolling in six hundred thousand dollars in gear.

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So I don't think you got the drive. I think

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you got the ego.

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I think you got the air of self importance, But

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I don't think you got the drive. He goes on

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in the email. I just can't seem to find anyone

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who's serious. What is your definition of serious That they

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got to have a half a million dollars in gear,

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that they got to agree that they should get paid

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one thousand dollars a day, just like you should get

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paid one thousand.

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Dollars a day.

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Once again, I don't know where you're at, so you

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could be literally, like I said, in a town of

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two thousand people with six hundred thousand dollars in gear,

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and you're looking for someone to be an equal, it's

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not gonna happen.

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He continues.

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I'm tired of feeling like I'm too good for the

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gigs I'm being offered but not connected enough for the

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ones I just I'm tired of feeling like I'm too

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good for the gigs I'm being offered but not connected

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enough for the ones I deserve.

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What is you know?

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This is that band who wanted to you know, wanted

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to play arenas like we deserve it?

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What? What gigs do you deserve?

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Because you spent a lot of money on a bunch

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of gear that you're not even using because nobody will

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hire you because your ego is probably completely out of control,

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and you're coming on a tour and you probably you know,

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if you were to get on a tour, you'd probably

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like not be cool with a band director because you

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probably know more than him because you got the expertise

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and the gigs, and everybody in your town.

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Says how great you are. Hummer, Yeah, I know.

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Let me look look, look, look yep, even let me

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had to come. Let me, the Golden Dudle had to

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come see this email because she knows that. Wow, that's

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that's for real. You should you stop having the attitude

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that you're too good for gigs. If you really loved

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what you were doing, you would take any gig that

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made sense, that didn't get away in family or didn't

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get away of you losing money. But you just love

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to play, and you know gigs that you deserve. I mean,

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what do you deserve because you spend a lot of

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money on gear? I mean, and I once again, I

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don't know where you're at in the world, So I

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don't know what your town looks like. I don't know

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what the music market looks like. I don't think you

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deserve anything, he says. Any advice on how to bridge

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that gap would mean a lot. Yeah, I would tell

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you to stop thinking you're this important and that you're

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above everybody, because if you want to be in a band,

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you guys are all equals. If you wanted to get

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on a tour, there's somebody who's going to be a

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bigger star than you, And I just don't know if

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your ego would accept that, but.

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Thanks for the email. Good luck with the email again

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when you reach the seven hundred thousand dollars in gear.

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And if you have a question on the music industry

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that you'd like for me to answer, just go to

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Matthew rickst clicks to mit your question, give me as

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many details as possible, and until next time, I will

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talk to you later.