In this article I’ll be focusing on a few essential steps for getting repeat (and new) gigs as a musician outside of the band you’re in. This is something I do a lot of, and I’ve seen a lot of people fail horribly at it. A lot of this is really obvious stuff for experienced musicians, but they’re all things that you really need to remember.
DON’T BE AN A**HOLE
This is by far the most important thing when it comes to getting repeat gigs, and very much applies to bands as well – not to mention any sort of role in the music business. Do what you are asked to do, and make sure you get along with the people you’re working with, even if you think they’re idiots. You don’t have to be a sensationally good musician as long as you’re easy to work with and can help pull off a project with minimal fuss.
If you however show up with an attitude and behave like a rock star, you won’t get asked back. Simple as that. Keep in mind that people in local music communities talk to each other. If you’re generally being a dick, most people will know and they won’t call you if they need someone for a show or someone to sit in with a band.
BE PREPARED
It is rather obvious, but so many people are incapable of doing just this. Make sure you get a list of what you’re going to be playing and whatever info you might need (key signatures, what version of a song and so on). Make sure you’re up to speed even before showing up for a rehearsal. That makes for a great first impression, and is something the band leader definitely will remember for later opportunities.
Unless it’s material you already know inside out (which is extremely rare), write down notes for everything. Find your own system when it comes to making notes that will help you remember the important stuff for each and every song you’ll be doing.
Obviously showing up on time is a big one. Factor in extra time for traffic, especially if a location you’re not familiar with already. And if you’ve got a lot of stuff you need to set up, be there half an hour early. It’s a job, and don’t make people wait.
KNOW SOME MUSIC THEORY
Seriously. For doing freelance gigs in a variety of settings, at least a basic level of theory is a must. You may not have be proficient at sight reading, but you definitely have to able to transpose quickly and figure out stuff pretty much on the fly without needing to practice everything for at least 3 days. And obviously a well trained ear when it comes to pitch, intervals and «normal» chord sequences. Personally I’ve had to go on stage and play songs in a different key than before without having time to practice on it.
One time I had to transpose a song on the fly due to a keyboard player forgetting to hit the transpose button. I realized what had happened as soon as I hit the first chord halfway through the first verse, and had to «wing it» for the rest of the song – including the solo.
Not an easy tune either fwiw. End result was good. Panic is not an option.
That’s where basic music theory and knowledge of common song structures can be a real lifesaver, and prevent you from looking like an absolute idiot. Sometimes sh*t can happen, and with a decent level of music theory you can easily get through a gig without any big issues – and whoever is hiring will love you for it.
THE GEAR
Use the right gear for the job. Unless you’re filling in for a metal band, don’t show up with a Dimebag guitar and a huge 5150 stack or a massive drumkit with 15 cymbals and 8 toms, or something ridiculous like that.
More often than not when doin guitar gigs I can get away with a Tele, Les Paul and a Strat – depening on what is required. A Telecaster is great in that it’s really dependable, stays in tune and works for most things. Handy for when you need drop tunings and such as well.
Amp wise, a little combo usually is more than enough. The Boss Katana is great for quick, compact rigs. Couple of pedals in front and you should be more than fine.
More importantly though is making sure your sh*t is working properly!
Not to mention – have backups for near everything.
Old and dead strings, scratchy pots, bad tubes, poorly intonated guitars, drumheads or sticks seconds from breaking and so on – stuff like that is inexcusable, and will make sure you come across as incredibly unprofessional and unreliable.
Sure, it can sometimes happen that a string breaks, a battery dies, or you have a bad cable. That’s why you bring backups and have them within reach. 😉
HAVE AN OPEN MIND
When you do get hired for freelance gigs, remember to keep an open mind going into it. You may be required to play stuff you don’t really like, but it’s your damn job to pull it off and look like you enjoy doing it.
An attitude that reeks of «this stuff is beneath me» will shine through. Trust me on this. It’s something I’ve seen often, and pretty often from people who only listen to and play things within a certain genre. Jazz guys, folkies and metalheads (to pick some examples) are all as bad as each other when it comes to this. And for doing these kinds of gigs, genre snobbery is something you can’t afford.
And lastly…
DON’T BE AN A**HOLE!
This really can’t be said enough times…
Anyway, those are some things I’ve found to be crucial for doing gigs outside of a regular rock band environment (although some of them do also apply to every band and musician). And obviously, be as good as you can be on your instrument of choice.
Good luck on your gigs!