Working as a Pro Performer in the 21st Century

Working as a Pro Performer

in the

21st Century

An up to date gathering of current information, pertaining to working full time as a performer; locally and internationally.

Copyright

Copyright © 2018 by Anthony Michael

Published by: AMC Publishing

www.anthonymichaelcreates.com

All rights reserved. No portion of this book may be used, duplicated, reproduced in part or in hole, transmitted in any form or by any means, electronic or mechanical including photocopying, recording, or by any information storage or retrieval system, without prior written permission from the author and publisher, except for brief quotations in a review, or where permitted by law.

The information contained in this publication is intended to be educational, informative, motivational, philosophical, inspirational and not for diagnosis, cure of any health, treatment or emotional instabilities, nor for the purposes of personal endorsements of products or systems, deliberate product advertising, or guarantees of financial gain.

Digital ISBN: 978-0-9942771-3-8

1st Edition, November 2020

AMC Publishing

Melbourne, VIC, AUSTRALIA 3053

Gold Coast, QLD, AUSTRALIA 4217

Table of Contents

Title

Cover

Copyright

Introduction

1 - The Modern Music Industry

2 - Skill Set Requirement/Education/Promotion

3 - Types of Performers, Experience & Requirements

4 - Psychology of Performing

5 - Types of Audiences + more psychology

6 - Dealing with Distractions, Pressures & Expectations (hecklers-karaoke buffs-wannabes-condescending-comments)

7 - Agencies, Agent/Managers, Contracts, Dealing Direct

8 - Venues/Establishments - Management

9 - Live Corporate/Big Venue Shows/Session Muso

10 - The Travelling Gig: Pros & Cons

11 - The Cruising Industry - The Last Frontier?

12 - Cruising Industry Clientele

13 - Cruise Ship Musical Performer Appointments

14 - Medicals, Training, Insurance, Guest Comments, Appraisals, Revenue & Ratings

15 - The cruise ship performer; Perks, Inclusions, Pay, Taxes

16 - The 5-star Hotel Industry

17 - 5-star Hotel Skill Set Requirements

18 - Residencies/Long Term Contracts - Pros & Cons

19 - Equipment/Live Setup

20 - Studio in a Suitcase - Recording yourself & on the Go!

21 - The Travelling Performer - (Passport, Visas, Baggage, Flights, Hotels, Insurance)

22 - Yin & Yang - Good and Bad = Life Experience

23 - COVID-19

Acknowledgement

The Author - Bio

Literary works by the Author

Website/Social Media Links

The Music of ‘Tranz Mystique’

The Music of Anthony Michael

Introduction

Before I commence this exciting insight into the world of 'live' performing in the present era, I would like to stress a few points. First of all, this is not a book written for 'professional' entertainers, who are already out there doing the hard yards. I say that first and foremost, so I don't cop any ill sentiments about the facts I've stated, or the simple truths that what I've written, is not gospel to them. Agreed! Hopefully, I may receive support or empathetic praises, for telling it 'like it is' - although many pros in the industry, may, or will have had different experiences to my observations, knowledge of the industry, and personal experiences.

Some pro-performers, however, may find it beneficial in some areas. Entertainers, performers, artists, do possess 'ego', and in saying so, some may sneer or laugh at such a publication - just as many musicians may think that they could've easily written the Katy Perry, Lady Gaga, or One Direction catalogue. Of course, they would be extreme multi-millionaires for life! Certain people from any discipline, may have a full cup of whatever in their hand, and are not willing to pour some out to assimilate fresh, or unknown, or even re-packaged knowledge. Hopefully, you're a tad curious as to what follows from here on.

In saying the above, I invite anyone that may have an empty cup, half filled, or willing to pour some out of their full cup, to embrace some form of interest or even enlightenment, into what I have to share. I'm writing about this subject matter, because I've been involved in the industry for over two decades.

I do not possess a degree in live performance from a well-established educational institution - meaning a certificate that hangs from the wall (only in ‘composition’, ‘synthesis’, and ‘education’). Universities or musical institutions, may assess their students, based on performing a prepared repertoire for their peers at the institution's auditorium, a classroom, or an arranged one-off public performance at some public venue. I know, as I've studied music at a University, and hold a degree or two, but instead majored in composition, electronic synthesis, and education (don't ask me where my original degrees are - they're certainly not hanging anywhere)!

My actual self-awarded degree in live performance, is earned playing out in the 'real world' - not hung up on a wall. I remember I wanted to be involved in one of the University's concerts the music performance department was scheduling, although I wasn't part of the performance major course. I was however, included as a 'specialty' act. After the concert, the head lecturer said I was a natural at performing, and didn't show a hint of nervousness, and performed well.

She questioned as to why I didn't major in performance. I had no idea what more they could've taught me. I was already out there doing it! I don't think she was going to enhance my performance of 'Living on a Prayer' in any way. A classical repertoire … um sure, but I'd be struggling with work, plus I was never good, or passionate about performing classical music.

I didn't need a certificate to inform or assure me that I was qualified to play 'Piano Man' in a quiet bistro, 80 miles from town. If you actually played the harmonica riff on a harmonica, you may have received your Master’s in performance! I wasn't surprised at the head lecturer of performance's encouraging response, and no, that's not my pride or ego talking. I had gigged 'live', out in the 'real world' for some years. Playing to my own peers at that University concert, and not a bunch of arrogant, rude, nasty loud drunks, was an actual breeze, and a relief! I haven't 'done it all', but I think I've done quite a bit!

I have written numerous semi-psychological/philosophical books on the subject of life progression, self-improvement, self-help, personal growth - call it what you will. I like to share my experiences or thoughts, of what I've experienced in life thus far, to anyone who wants to read about it, or listen. Certainly, the patrons or guests that I perform for, are always super anxious to find out what it's like behind the scenes, and always ask how does one get into such a trade. That sort of inspired me to collate my knowledge and experiences of live performance, in this book.

Sweet little Annabelle, who has the voice of an Angel, or David, who's a Billy Joel fanatic and mimicker, may want to know what it's like working as a full-time performer, or how to break into the industry, once they've completed senior school. I cannot disclose all there is to know in 10 minutes, but I'm happy to share as much information as possible. At least now, I can direct them to my website, www.anthonymichaelcreates.com, or to online book retailers. A little bit of advertising here! Perhaps in the future, I may get a casual post at an educational institution, spieling about what I've experienced and written (… where's that dusty degree?).

I write non-fiction, and fiction books. It's a passion and wonderful meditation, hence why I thought I'd write about a subject matter that I've personally have had experience in. Yep, for sure, millions of performers or entertainers around the world, could write a book about the 'scene', or their personal experiences, and I can only say with encouragement and honesty, why not?! Some have seen or experienced more than I! Whether they can be bothered, or want to write about it, or share it with the world, is another matter.

Then there's a difference between an autobiography or biography, and the specifics of making a living out of live performance. I love talking to other performers, and hearing their stories, experiences, or thoughts about the industry, and sure they'd easily fill 200 -300 pages or so. Photos and video footage, are so inspiring and cool too!

I hope what I have written, will at least clear the fog a little with those that are wishing to perhaps take on the challenges of performing live in public, and to some, making a living out of it. It may excite some, and it may scare the living daylights out of many. There's nothing worse than signing an overseas contract for 4 - 6 months, cancelling local bookings for that period of time, renting your place out or even selling shop, rehearsing day and night, maxing out the credit card on a new performance wardrobe - and then hating the gig!

Worse still, your employer or the establishment, may fire you prematurely! You may not even get that opportunity to make the first move! Some entertainers may last a few weeks, some may endure the whole contract - once. Some will get the drift and go with the flow, and become a master of burying the hatchet with the negatives of the industry. They may be the lucky ones that can transform a difficult insecure trade, into a full-time gig. There's 'horses for courses', so you will hopefully find your niche. Of course, competition is fierce, so a first opportunity, should be taken with all seriousness, and upheld, maintained, or improved upon.

I must also forewarn you. There may be elements to this book, that seem quite negative, pertaining to performing live. I don't believe I would have to educate anyone in dealing with live performance issues, if we all got up on stage, rocked the crowd, received standing ovations, became legends, and walked the streets 10 feet tall! That may happen is some, or most situations, most definitely - especially if you are a great performer.

What I deal with throughout this book, especially in the 'psychology' chapters, is how to handle situations that may 'differ', from our expectations or visualizations, of being a success on stage, every time we perform. Not every gig, will be a rosy experience, and when you give it your all, and have usually 'wowed' the crowds in the past, but fail to do so at certain gigs, it can emotionally drain, or anger a performer. We artists, are very fragile, temperamental, and emotional, when our talents and efforts, are not appreciated.

Be prepared to face those situations every now and again. As the saying goes, being forewarned is forearmed. We will not get to choose our audiences, venues, demographics, or preferences most of the time (unless you have a fan base following), because we're performing to 'make a living'. At times, we will have to accept what's offered to us, and it may not be a match made in heaven. Learning to deal with the 'reality' of working as a pro performer, will definitely transform most complexities, into miniscule issues.

This is part of the 'professional' package, we will be displaying, every time we take on a gig. At book's end, you'll feel more confident in tackling almost any gig. You'll be able to handle the great times, and the forgettable ones, without too much concern. You will have 'graduated' to pro status, and show fellow peers, that negatives, can be turned into positives. I will have achieved my ultimate goal in writing this publication.

Uplifting audiences, creating fabulous memories, inspiring and changing people's lives, displaying one's virtuosity, sparking revenue, achieving constant personal highs, buzzes, and rushes, and making a living out of it - is what 'live' performance is all about! It's a blessing! Enjoy the read, and good luck with your future endeavors as a professional performer.

1

The Modern Music Industry

Times have changed since yester year. There was a time when venues were filled to the brim with patrons, most nights. Entertainers back in the heyday, and we're talking anywhere between the 50's - 90's, were almost working 7 days a week. Some were gigging twice or three times a day!

Vocalists, keyboardists, pianists or organists on a Saturday, may have performed at a wedding at 2pm, a cocktail set or two at a hotel lobby lounge starting at 6pm, and then off to a Rock gig at a nightclub starting at 10pm 'till 2am or so. A 12-hour day filled with 3 gigs, might have been common for the 'in demand' performer. That sometimes happens on occasions presently (if you're brilliant)!

These days, unfortunately, the above scenario is a rarity. The weather or seasons, also play a large role these days. The industry may 'die' for a little bitty post-Christmas (a month or two), or in the winter season. It's not that people cease to have a drink at their favorite watering hole on a Friday night, or get married, or dance in the Winter months, but the volumes of patrons may dwindle due to the cold, or nasty weather. Some venues, may have outdoor bars and setups, and during rainy seasons (especially in tropical climates), crowds and revenue, would diminish for a period - and that's a warm, dreamy climate.

Holiday seasons, festivals, the weather, the economy, trends and society in general, can dictate the popularity of an industry or venue. If the Hotel industry is struggling, entertainers will be reduced, and perhaps replaced by 'pipe music' (background music). If the cruising industry is the new vacation hub to experience, and it's a current booming industry, then more entertainers will be required. At the end of the day, it's based on the financial budget of an establishment, how much they value live entertainment, and the state of the economy. You need butts on seats, or you'll go bust!

What makes this industry more insecure as the years go by, is the competition. More gen Y musicians and entertainers, want to pursue music full-time. Certain gen X performers, are still doing the rounds, and even some baby boomers, are still gigging in their 70's. With reality shows such as 'The Voice', 'X-Factor', and 'Whatever Nation's Got Talent', most performers yearn to make music - be it recording, songwriting or performing, a full-time profession. Some will settle with obtaining a music teaching degree and make a living spawning future wannabes.

The work is 'out there', but in limited quantities. Also, certain industries, especially the cruising industry, are exploding. Hotel groups, airline groups, and movie companies, are getting into the act. A floating Ritz Carlton will be launched in the next few years. Perhaps other hotel establishments, may follow suit. A floating Virgin cruise liner, will be launched at a similar time too. Disney will be expanding their fleets too. Current or historical cruise liners (Royal Caribbean, Carnival, Princess, Holland America), are also expanding their fleets, and improving their ships too. I'll be talking about cruise liners in future chapters.

Hotel chains are not lowering their prices (they're only getting higher), only 'cheaper' during the 'quiet' season. Therefore, when the economy takes a dive, their revenue shrinks, and as a result, workers are laid off. The entertainers, are usually the first to be affected. Whether conditions are minimized, workdays reduced, pay reduced, or casual work becomes the new norm, the entertainer cops the full grunt of the company's economic crises. Also, new management or so called 'revenue' or solution experts, may take over the reins, in an effort to increase profits for the company. You guessed it … they usually start off with entertainment!

It's not that a venue may not be producing enough revenue to pay an entertainer, or have entertainment multiple nights a week, but it's always about earning more profit each year. Humans, industry and corporations, are greedy. It's not enough to have happy campers enjoy the night's entertainment, and still emptying their pockets, or maxing out their cards in their establishment. Establishments want the above, plus more cash coming in.

Raising the prices of their food, beverages, room rates, are usually the norm, if a company desires more revenue. Increasing the volume rate of patrons in all seasons, not just the popular months or occasions, should be another. Improving their marketing strategy, and catering to the masses or a select elite clientele, would also help. Ridding of the entertainers is so lame, common, non-original and amateur, in my strong opinion. There's nothing intelligent about increasing revenue, by simply cutting costs - especially entertainment.

Unfortunately, they will implement all the above to make more revenue, but if the numbers or volume of patrons are not consistent, or do not increase, then certain factors have to be taken into consideration. A company will always start with its employees. It will either be pay reduction, reducing work hours, or being let go altogether. Once again, our dear entertainer is usually the first to be affected. Naturally, if a venue isn't being filled, and the performer/s cannot save the day, they'll be let go, or their remuneration and inclusive perks, reduced. An outfit, may have to cut members from the equation, plus take a pay cut!

I've walked into a beautiful Hilton bar in a funky part of town, and bored to smithereens just listening to Jazz CDs. I love listening to jazz, but I could be doing that at home, without listening to a hotshot patron brag loudly about their financial conquests on their phone over Miles Davis' 'So What', or watching bar tenders and servers, text like zombies, on their smart phones.

If there isn't a beautiful view to admire, a warm vibe, or the surrounding isn't sheik or special, I'm out of there. People in the bar, and even a T.V. showcasing cool music clips, sporting events, concerts or movies, would help a little too. Of course, you've realized that there was no live entertainment. Hilton lobby lounges or bars (and other reputable traditional 5-star establishments), without a piano, stage or live entertainment, is becoming quite common in certain countries. Hang on, they may still have the piano in the lobby on display, for aesthetic purposes (plus it's been paid for, and not a rental)! Main city locations, may be the last frontier - at least on a Friday and Saturday night!

Is it really that bad? Umm … in reality, the work has diminished compared to yester year, but thankfully, it's still out there - just not in droves. As with competition, one's skill level, popularity (especially with social media), appearance or aesthetics, and willingness to work on the cheap, will be a major factor with obtaining work. The above will also be a critical factor if one is to convert a hobby or passion, into a full-time profession. Having a likeable, friendly personality, and attitude, will also go far. You'll also have to network heaps, and may even accrue multiple agencies - if you want to be working consistently.

Who you associate with too, will also factor in as to how healthy your performance career will fair. It's true in some instances that it's 'who you know, not what you know', that will ring true in your favor at times. I've certainly been blessed with opportunities that have far exceeded my skill set or talents, but have grabbed them with glee, and then worked my butt off to maintain my position - or build a healthy reputation. Always remember, there's someone out there waiting in the wings, for a shot at the title. Whether they're better or not, is not the issue, as enthusiasm and hunger, can also grant them opportunity.

This brings us to reputation. How much you work as a pro performer, will depend on your skill set, contacts in your black book, how often you want to gig, and your reputation. 'Word of Mouth', is a number one seller, with spreading the word about your talents. There are many performers out there who are geniuses at playing their instruments, singing, accompanying, or are known around the traps for their experience, but many may have bad reputations too. Some singers are labeled 'divas', or hard to work with, some musicians are labeled arrogant and too egotistical, some performers are labeled as being 'overrated'. Some may have bad taste in wardrobe selection, general appearance, or hygiene too!

Performers displaying complete professionalism, with high quality instruments or equipment, and a friendly hard-working attitude, will most likely be inundated with a multitude of work opportunities. Some may not be the best players, singers or performers in town, but the above traits, are what fellow performers and entertainment heads of establishments, admire. Would you want to work with a brilliant diva such as Whitney Houston's character in 'The Bodyguard', or someone less skilled and less versatile, but easy to get along with? One-night stands, may be tolerable, but working a contract or residency weekly or monthly with a 'diva', may be the equivalent of having a gun put to your head!

In certain establishments, patrons or guests, will have the opportunity to fill in surveys relating to the establishment's offerings and services. Management will also be assessing whether the entertainment provided is suitable, or to theirs, and the crowd's liking. There are many 'hawk eye' type of Food & Beverage managers, hiding somewhere in the venue, or even right in front of the performer, analyzing and assessing the quality and standard of the performance.

There is pressure no doubt, with performing live. You could be a hit in your own garage or studio, or in front of your peers, but a complete flop out in public. Some gigs will be out of this world, some will be average, and some will be totally forgettable. Some experiences, may have you throwing in the towel regarding a full-time career in performing … period! It may be hit 'n' miss for a certain period of time and some nights, tours, or contracts, will reward you with the highest of satisfaction. You'll be proud that you're a performer.

You'll also be making the choice or decision regarding what type of professional performer you desire to become. Professional doesn't have to mean 'full-time'. Performing in public, possessing a reasonable standard of musical skill, and getting paid by an establishment, is regarded as being a professional. A busker can be either - amateur, hobbyist, or professional. Whether you choose one night a week, a few nights, a local residency, or a full-time long-term contract in an establishment locally or overseas, will be up to you.

Some entertainers have other skill sets or disciplines, may own their own business in the music field or some other trade, and some teach or songwrite, on the side. Some will depend totally on performing consistently each week, perhaps each month, and some, on a permanent 'full-time' basis.

This brings us to the question of whether it may be possible to make a decent income out of performing. That depends on what else you have happening on the income receiving end of things, and how much you want, or need to earn. Your assessment of what's a decent paying gig, will be based on your experience, background, reputation, hours required, and type of gig. We'll go into different types of gigs that are most common in later chapters, and roughly look into how much they may pay.

All I can reaffirm, is that only a select number of establishments, may pay a decent income. A contract gig offered in a 5-star hotel in the 80's and 90's in Dubai, may have paid off a mortgage in a few years! That is no more! It's a 'dog eat dog' world out there, and the competition is fierce and 'cheaper' - entertainers have to find multiple ways to survive.

Have I made the 'live performance' industry, sound desperate and dull? You should be thankful I haven't written about the 'recording industry'! You may as well purchase a book on 'How to win the Lottery'! The beauty about performing live, is that there is work out there, beyond your local neighborhood, city, state or even country. It's all about you, and what you have to offer as a musician, entertainer or performer. Most full-time contracts, are usually offered externally from 'Western World' countries. This is not a stereotypical statement or fact, but continents such as Asia, Island Resorts around the world (Seychelles, Mauritius, Fiji, Tahiti, Bora Bora, Caribbean, Maldives, Tenerife), and the cruising industry, are the last frontiers for full-time contractual work.

Once again, I have to stress, it's up to you, and what you require or desire, out of performing. If you want to chill in your neighborhood, and happy to work for bits 'n' pieces, well, you've found your niche. If you want to tour the world, or experience other countries, cultures, or make a full-time living out of it, then you'll have to say bye bye to home base for bits at a time, or for a while. That would mean taking a break from the 'local music scene', and stepping aside for others to make their mark. Also, personal commitments, obligations, and health status, will play into the equation too.

Performing 'live', can be fun and exhilarating. It can be what you want it to be, and more. Then there is the 'Yang' side of it too. It can suck in some instances. You could almost compare it to 'getting it on' (if you know what I mean) - it's not always going to be like you imagined! At times, you'll be in Heaven! A professional performer, should always be aware that each gig, will have its challenges. If you're on par or even exceptional at what you do, you should be able to tackle most situations 99.9% of the time.

Choosing where you prefer to perform, or what's appropriate for your style, may also be a choice decision coming from you. If you have no choice or say in the matter, then using your pro attitude in preparing for such a