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Don’t forget to say thank you

October 27, 2015 by youngperf

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As you pursue performance opportunities, you will meet a lot of people that manage the shows, venues and events you are participating in. These people work hard to organize the performance opportunities, so any appreciation you can show them, will be remembered. Many of these organizations are non-profit entities and many events are managed by teams of volunteers who are passionate about helping the young performer market. Whether it is a single event or a longer term relationship, taking the extra step to say thank you, and express in some manner your appreciation, is extremely important. We recently received a framed photograph of a band from CT, Gravitonik, that participated in the Young Performers Club 13 and Under Showcase. The photograph was signed by all the band members and it was accompanied by a nice note thanking us for the opportunity to perform in the event. This type of thank you is extremely rare. It demonstrated that the band genuinely appreciated the opportunity and that they loved being part of a quality event. If the relationship is longer, you may need to be more creative, so your thank you has more emotion and thought behind it. Relationships in the music industry are usually short-term due to school and other committed activities, but every relationship can have value in your future. Not sending a proper thank you can result in you not being recommended for future events.

Saying thank you for opportunities presented you don’t pursue is also important. If you are contacted for a performance opportunity, stating “I am not available” is not acceptable. It is best to state how much you appreciate the opportunity, and that you would have loved to perform in the event if you didn’t have another commitment. A response like the one below is more appropriate as it keeps the door open for future opportunities.

“This event sounds great, and I would have loved to have performed. Unfortunately, I have another performance that evening. Please keep me in mind for future events as we would love to get involved with your organization.”

In saying “I am not available”, it sounds like you simply are not interested. In this scenario, the event manager may not contact you for future events.

It is a small music community in the young performer market, so establishing your reputation early will favorably impact your career development.

Look at the thank you as an opportunity to continue to promote your brand. If you send or post a flyer, as an example, it is possible it will get reposted on the event’s social media pages.

Some ideas for ways you can say thank you follow.

  • Sending a framed photo of the performer at the event
  • Sending a handwritten note. Get some custom stationery for this purpose
  • Posting an appreciation and thank you flyer on your social media sites
  • Sending a CD of original music if available
  • Sending a tweet about the event
  • Sending a promotional item (t-shirt, hat, wristband)
  • Posting a review online about the event
  • Sending an invitation and ticket to a future event you are performing at
  • Sending a note along with your performance schedule
  • Sending a small gift ($5-$15)
  • Sending a flyer you have created on your performance
  • Sending a flyer with the lyrics from one of your original songs and have it signed by the band members
  • Bring a small token of your appreciation to the event. If it is a seasonal time, you can provide something that is festive such as a decorated pumpkin, small plant or basket of sweets

Saying “thank you” is all a part of the marketing process. It helps your brand, shows you are respectful and professional and it keeps you connected to the organizations and event managers presenting opportunities. If you get in the habit of taking a few extra minutes to say “thank you”, people will take you seriously and will not hesitate to call you again.

 

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The qualities we look for in young talent

October 9, 2015 by youngperf

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Talent is a big part of the talent review process, but there are so many other qualities that make a performer standout and shine in the spotlight. Below are the qualities we feel are important when evaluating talent. Believe it or not, we can assess performers very quickly on these qualities. A performer with his/her head down and closed eyes, no facial expression, no stage movement, no audience engagement and no dynamic energy will score poorly in an overall talent assessment. The best way to score favorably is to do a lot of gigs, and get comfortable performing to all size crowds in all types of venues. Your confidence level will shine, and it will be evident to the audience. Sometimes the smallest gigs can end up being your best performance. I love to tell the story about a band that performed at the 2015 Yankee Homecoming, to nothing but empty chairs. People arrived throughout the day claiming their spot on the ground for the evening concert, and they had no plans on watching the current concert going on. In this situation, it is easy to tone down your performance and take it easy on stage, however, the band actually performed to the empty seats as though they were filled with hundreds of people. This is not easy to do, but you must never show how discouraged you may be with the show outcome, and at all times should put on the best show you know how.

Stage presence/personality

  • Does the performer move around the stage and take the mic off the mic stand?
  • Does the performer show respect for band mates and others on stage with him/her?
  • Does the performer lift off the ground or show movement to the music at any time during the performance?
  • Does the performer make eye contact with the audience?
  • Does the performer engage with the audience and get them to respond to his/her music?
  • Does the performer feel the music and move rhythmically to the music?
  • Does the performer look like they are enjoying themselves all through their performance?
  • Does the performer naturally respond to the music?
  • Does the performer have confidence and command of the stage?

Likeability

  • Does the performer genuinely show they care about their music?
  • Does the performer show they care about the audience’s acceptance and enthusiasm for their performance?
  • Does the performer smile and show their everyday personality on stage?
  • Does the performer perform as though they are the only one in the room, and ignore the audience?
  • Does the performer stick around to engage with potential new fans?
  • Is any of his/her performance forced and unnatural?
  • Does the performer show they are having fun before, during and after their performance?
  • Does the performer show they are down to earth and approachable?

Genuine passion

  • Can you visibly see the performer’s passion for his/her music and their love for live performing?
  • How real are the emotions the performer shows on and off the stage?
  • Does the performer want to keep playing?
  • How willingly does the performer engage with fans
  • Does the performer smile and demonstrate positive energy when he/she is performing

Connection

  • Is the performer connected to the audience or could he/she just as well be performing to an empty room?
  • Does the performer comfortably make eye contact with the audience?
  • Does the performer get the audience participating in their performance (clapping, singing, and dancing)?
  • Does the performer talk to the audience and interact in two-way communications?

Setting goals and building a One Sheet and resume is important to staying focused and showing growth as a performer. We see performers who month to month show they are growing, while others perform the same songs they did six months prior and don’t seem to challenge themselves. Have a plan and focus on how you can get more attention in such a competitive industry. If you are a writer, keep putting out new songs. If you are not, find someone to write for you and get into the recording studio. Be aware of all these qualities and score yourself following each performance. Then ask others to score you and see how the assessments compare.

 

 

 

 

 

 

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What makes a good gig?

June 5, 2015 by youngperf

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Artist to artist you will hear many answers to the question, What makes a good gig?  We recently posted this question on our Facebook page and received some great responses.

The audio quality, supportive staff, and flexibility to sing what you like, an audience that is respectful of the performer, paying attention and not talking loudly.–Emily Stephan

 In my opinion, a great gig is defined by how well the audience reacts to you. It doesn’t matter if it is five people or 500 people. If they like you they like you, that’s all that matters.–Sara Achorn

I think that no matter the set length, whether it is one song or one hour, connecting with the audience is the most important aspect of a great gig. It makes the gig more fun for you and for the audience!–LaurenWeintraub

  I think the key to a great gig is the level of connection between the artist and the audience. This is in part the job of the artist, but also just as much about the willingness of the audience. If an audience is really into my set, no matter the size, we’ll both have a great time. I think part of the fun of performing is trying to figure out what works with different audiences. If I’m playing in a small venue, it’s generally easy to make a connection and get more in depth with the audience. I try to perform to a wider audience’s needs if I’m playing to more people. I love both situations! Although it doesn’t usually matter too much, but around 45 minutes is the perfect set length for me. It lets you build a set fully from start to finish. I also love if I’m able to play originals and covers!–Sam Robbins

 When searching for gig opportunities it is important to keep your priorities in mind and make sure the gig satisfies a good number of them. Otherwise, you will be disappointed.
Here is a list of some of the priorities the Young Performers Club has when searching for gig opportunities:
  • Good sound quality and a dedicated sound technician
  • An interested, engaged and attentive audience. Long running festivals and concerts tend to draw a decent size crowd
  • Comfortable venue  that has food and ample seating
  • Performance flexibility with sufficient time and the ability to perform all types of music, including originals
  • Venues that enhance resume development and have prestige
  • An active audience that is focused on the performances and participates by dancing or singing along
  • Affordability for the artists and the organization
  • Potential for PR opportunities and exposure to other artists
  • A good size audience beyond direct family members; peer presence and support is key

It is OK to pass on gigs you feel does not meet some of your priorities. It is also a good idea to participate in all types of gigs including festivals, concert, fundraisers school events and openers, as it provides you well rounded experience at performing in front of all different size crowds.

Many artists start to pass on gigs that require no compensation which is close minded as every gig can provide referrals to future gigs.

Best of luck and don’t get disappointed as it takes many calls to the same person to land gigs.

 

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What level are you at?

March 22, 2015 by youngperf

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What type of artist are you?

It is always a good idea to set goals and priorities each year, as it is a helpful system for tracking your progress in your music career. Everyone starts somewhere, and over time if all goes as planned, performers rise up the ladder to new levels of career excitement. The Young Performers Club has its own level system they utilize for tracking an artist’s progress. When we receive calls from new artists we immediately assess what level they are at so we know best to how to structure a development program for them, and help them acquire the experience they need for future success in the industry. Rating yourself, compiling comments and getting industry feedback will help a lot in your future development. Be aware and honest about where you are at. What is real in the online numbers, and what is inflated through financial investment is hard to determine, however, engagement is one real number you can start to track. As an example, if you post a video on YouTube and receive no comments or likes, that should indicate you need to do a better job getting the song out to your fan base.

If you ignore the importance of goal setting, it will be a more challenging road ahead! Start by determining what level you are at.

 

 Level 1- Launched

Launched and fully committed to a career in music

Knows who they are as an artist

Opens for top “A” level artists

Performing at top venues and concerts on a national level

Extensive resume with hundreds of gigs

Comprehensive and intensive artist branding

Significant online presence and highly active in social media

Strong online engagement (likes, comments, shares) with limited boosting

Fully engaged in social media

Success licensing music

Favorable chart positions on YouTube and other music sites

Signed or managed by a reputable company

Financially dependent on performance/music sale income

References from “A” level industry executives

 

Level 2-Ready

Strong local and regional presence

Original music online on YouTube

Strong fan base across multiple social channels (Facebook, Twitter, Instagram, Reverbnation, and YouTube)

Good online engagement (comments, likes, shares)

Performance experience locally and regionally (100+ gigs)

Performances at top venues in the region to good size crowds

Most want to advance to level 1

Music recognition in publications and music awards/nominations

Articles in publications and industry references

Opener for “B” level artists

Gets selected for gigs and highlighted in industry publications through submissions on music sites such as Reverbnation

Professional artist package

Professional videos and photos

Have music showcased on top sites for added visibility

Is branding focused (professional logo and consistent image)

Has participated in nationally recognized tours

Has a “one sheet” containing all career accomplishments

Have a dedicated manager and or booking agent for managing their gig, PR and recording activities

Practices on a committed and frequent schedule, and utilizes high quality producers, coaches and teachers

Obtains paid gigs and sells some music online

Has a committed genre

 

Level 3-Newbie

Getting feet wet performing

Performing at local festivals and venues to small crowds

Guest performer experience with higher level performers

Participating in local and regional competitions

Starting to explore writing and recording music

Has an online presence, but engagement and fan following is weak

Posting low/no budget music videos (do-it-yourself)

Starting to develop an online presence

Participates in a local music program each week

Starting to build an artist resume

Toggles between different genres

 

Level 4-Explorer

Not certain of what type of artist they want to be

Just learning and not sure what direction to go in

Performs/practices mostly at home

Performing locally (school events, local community centers, age friendly venues, local festivals, etc.)

Limited online presence

Apprehensive about taking the next steps

No artist branding

 

Once you start performing, give us a call and we can help you organize your priorities and establish a branding program. It is advisable to do this when you transition between Level 4 and Level 3.

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The Importance of a One Sheet

March 20, 2015 by youngperf

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A One Sheet is a concise summary of all the important information you want prospects and industry influencers to know about you. Rather than having to compile the information for each opportunity, it is already done for you, and it makes it easy to submit to prospects. It is commonly used in the following situations:

• Applying to performance opportunities
• Selling your album/EP/songs
• Sending information to producers, artist management companies, and industry executives/influencers
• Sending information to publications for PR stories
• Admittance into industry events
• Submission for award programs

Over time your One Sheet will be revised as new goals or achievements are realized, so don’t feel your resume is not impressive enough to have one. Almost everyone has an online presence, photos and performance links, so you can start with them first. It is a good idea to maintain a performance record of all your activities so it is up-to-date and nothing gets missed. Just record the gig, gig date, contact information and performance description.
While you can customize the One Sheet to fit your information, some of the components frequently seen on One Sheets follow:

• Recent photo (one professional close up and one live shot)
• Band members names and instrument
• Summary of top gigs
• Social media links
• Website and other site links such as Reverbnation
• Summary of original music, who wrote it and the title of each song (indicated if they are copy written)
• A bio highlighting major achievements, career highlights and goals
• Link to Press Kit
• Management and booking contact information and their logos
• References and quotes
• Links to recent articles and PR pieces
• Performer’s logo
• Label information
• Upcoming tours planned
• Information on recent awards and special industry recognition

By starting to compile your information you will be headed in the right direction. You will appear more serious about your career and overall will look more professional. It is important you are clear, concise and to the point so it is an easy quick read. Remember those you are sending this to get hundreds a day and have little time, so make sure the important facts are up front and jump off the page.

We have included the One Sheet of a prior Grand Finale Finalist, The House on Cliff. The band is touring the US and has recently relocated to LA where they are working on new songs with top producers. They use their One Sheet frequently for performance opportunities and industry engagement.
Get organized and create your One Sheet today!
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Tune In: What Judges Look For

March 8, 2015 by youngperf

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The Young Performers Club competitive showcases focus on the full performance including showmanship and technical abilities. The most common comments we hear from our judging panels is that the performers don’t own the stage, they don’t make the song their own, they lack confidence and don’t connect strongly enough with the audience. The judging structure includes fourteen different performance criteria which they score on a scale of 1-5 with 5 being the highest. It is a good idea to review the areas they focus on before your performance, and determine what you need to do to score some 5’s. There are many categories that are in your control and they can be considered easy points to earn. It is clear that performers who are dynamic and energetic on stage will do well in competitive events. Also, performers who show originality rise above the pack. The performance criteria included on the judging sheets follows:

  • Confidence
  • Creativity
  • Stage Presence
  • Eye Contact/Audience Engagement
  • Styling
  • Rhythm
  • Originality
  • Technical Skill
  • Vocal Skill
  • Consistency
  • Smile Bonus
  • Audience reaction
  • Enthusiasm/personality/Are they having a good time?
  • Technical dynamics

If you are performing in a band, it is important that the band be well-balanced and relate well to each other on stage. If all band members are doing their own thing, they will not appear as tight and some band members will stick out more than others. For all performers, it is important that they own the music and feel and show the rhythm of their songs. In our showcases, we rarely see performers smiling and looking like they are having a good time, so practice this when you are preparing for the showcase and identify sections of the songs where you can show your personality. Having two songs to perform enables performers to show some diversity. It also presents a challenge as both songs need to be consistently strong. You don’t need to perform originals to score in originality as you can make covers your own by working on a unique arrangement.

Be prepared and score yourself in the above categories to see where you are the weakest. Then develop a plan for getting the scores consistently strong across all categories. We have seen performers improve considerably from one show to the next, by focusing on the complete performance. Best of luck, and contact us any time you have any questions.

 

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20 Mistakes Young Performers Make

March 7, 2015 by youngperf

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1. Not including your contact telephone and email on your website and social pages

2. Not sending thank you notes to the show or venue directors on the events you participate in

3. Not being current in your social media posting activities

4. Not including fan photos and posts on your social sites and website

5. Not liking and posting comments on other performers pages and sites

6. Not including all the links to your social pages on your website and in the About section of Facebook

7. Not communicating your schedule and other music commitments with your band members

8. Missing practice time and being inconsistent in your practice commitments

9. Not acknowledging and thanking people who post nice comments on your social sites

10. Not dressing properly for each gig; if it is a formal gig don’t wear sneakers or graffiti tee-shirts

11. Posting BAD videos that have poor quality sound and visuals

12. Posting uninteresting news on your sites

13. Not showing evidence of your development as an artist; show new videos, photos and accomplishments

14. Not posting short teaser LIVE videos; this takes minutes to do and shows your fans what you are working on.

15. Not showing your passion as you perform! If you don’t show your love for your original songs nobody else will either

16. Not keeping the band in balance…band members need to connect with each other through their entire performance

17. Not opening your eyes and looking out the the audience…It is okay to get emotional when performing, but if you look like you are asleep up there you will lose the audience and it will be hard to get them back!

18. Smile for the cameras! Find spots in your songs where you can smile out to the audience. It can completely change their focus on you.

19. Standing still! Take the boredom out of your performance and keep on MOVING! If you are frozen to the stage, you will look like a scared beginner up there. Even if you have an outstanding voice it will not be enough to get the audience tuned in.

20. Not changing the tempo of your performance. Songs that all sound the same and are slow moving will most definitely impact the audiences enthusiasm.

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20 Tips for Live Video Shoots

December 12, 2013 by youngperf

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Twenty things to focus on when you shoot live video performances

  1. Smile and show you are having fun
  2. Keep your eyes wide open; it is fine to show emotion with shut eyes, but not through the whole song. If you look like you are falling asleep, you will most definitely lose the audience’s attention in minutes
  3. Engage with the audience and fans; get them to clap, dance and sing-a-long
  4. Make sure there are close up shots, especially of the instruments
  5. Make sure the background noise doesn’t make it hard to hear you
  6. Shoot from different directions to take advantage of different lighting
  7. Make sure there is a lot of movement on stage and make sure it is not all the same
  8. See if you can get the audio feed from the venue so you have the best quality sound with no background noises
  9. If you are a band, demonstrate you have stage dynamics and connect with ALL band members
  10. Use a tripod to eliminate shakiness
  11. Find another band fan to shoot separately and edit your two videos together
  12. Don’t select songs that are too long
  13. Dress the part and look like a star
  14. Trash the backwards hats as they take away from looking like a polished professional
  15. Kill it and do everything ten times bigger than you would in practice
  16. Show that you feel the rhythm of the song
  17. Add an introduction and closing
  18. Move closer to the audience and get them to participate
  19. Stand tall and not slouchy
  20. Make sure you have strong mic control so the vocals are clear; during soft melody sections make sure the instruments are not too overpowering
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No Room for Jealousy

December 12, 2013 by youngperf

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No room for jealousy in successful bands — cooperation rules

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Talent spurs success, but the longevity of a band depends as much on its working environment.

Sadly, increasingly in the Young Performers’ world, jealous bickering and turf battles are tearing bands apart. Or worse, chatter and gossip undercurrents instill deep emotional scars that make it tough for a band to move forward harmoniously. An ugly incident of posting the word “faggot” on a band member’s wall is one recent example of the damaging behavior.

Jealousy often shows up when one band member gets more industry attention, has more professional training, gets more compliments or has more lead time in the band.

If hurtful behavior and jealousy are not addressed immediately, the band becomes unproductive, explained Patty Duffey, founder of the Young Performers Club and Music On & Up. Simple decisions and day-to-day band management are challenged and valuable time is wasted. Sometimes the scars jealousy causes can’t be erased.

When asked for bands to comment on their experiences with jealousy on the Young Performer’s Facebook page we received many helpful quotes.

A lot of kids forget the word band means sticking together with a common interest. Putting aside your own interests and putting the group first is the priority. The word commitment means that the band members are relying on each other to make sure their relationships come first. If they do not respect each other, and have a genuine interest in each other, then it will reflect on the group and their music.

Duffey recommends that all performers understand upfront the meaning of being “a band mate.” Specifically, Duffey counsels performers to learn that the relationship they have with each other is as important as the music they create and perform together.

In her words: “collaboration rules.” A band is more than a group of performers—it is a business, with its own inherent relationship qualities. Duffey encourages performers to flip negative energy into positive support so all band members can thrive.

Bands can uplift and inspire one another by cheering for one another at competitions and posting positive comments on each other’s social media sites,” Duffey suggested. In some cases, they can even write music, organize concerts and support charity events together. Band members can learn so much from each other through this friendly collaboration.

Duffey feels most strongly about bands listening to each other and learning from observing each other. It is all too common for bands to dart out the door as soon as their set is over. When this happens, unfortunately the last band up has no audience. In a recent event Duffey managed for Tunes-for-Tots, she required that all 30 performers remain for the duration of the show. The event turned out to be a big success with a great audience remaining until the end.

Other challenges members bring within their bands:

  • Wanting more time in the spotlight
  • Disrespecting each other’s opinions and decisions
  • Disagreeing about standards for practicing and performing
  • Refusing to communicate openly with each other when discord arises
  • Arguing over band finances and budget issues
  • Cancelling gigs they previously committed to doing
  • Showing up late or not showing up at all to practices
  • Not putting the time into their own development
  • Failing to agree on song choices or genre focus
  • In working with her own popular band p.o.p. ALERT (in photo above with The Always), Duffey addresses these issues by establishing three criteria upfront:
  1. Frequent meetings
  2. Insistence on listening to everyone’s opinions without any unilateral decisions.
  3. Utilizing a working communications agreement that addresses many of the day-to-day management items.

Duffey inspires all band members to remain professional and set a favorable example for, in the end, collaboratively creating brings greater performances that extend far beyond the music.

As Duffey so wisely notes from her years as a leader in the young performers’ music industry:

Successful bands genuinely love being together.

Gail Jones, Blogger Pros

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Communication Agreement

December 12, 2013 by youngperf

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THE GLUE THAT HOLDS BANDS TOGETHER: AN EFFECTIVE COMMUNICATION AGREEMENT

Successful bands practice and love performing together, but how much do they communicate about the band’s business activities? The truth is that most bands focus too little time and attention on the glue to hold the musical team together to soar to new heights: communications.

Young performers are driven by the passion for their music, but generally are not business people. Hence, they often neglect—or don’t know how—-to establish upfront an effective communications strategy for managing the day-to-day activities of the band.

As the founder of Music On & Up’s Young Performers Club, artist manager, and an entertainment consultant to many musicians, I have witnessed so many bands fall apart due to inadequate communications. The most frequent communications problems result from:

• Inconsistent practice commitments
• Calendar conflicts
• Disagreement on song selections and genre
• Band members not making the band a priority
• Band members involvement in other music activities

Any communications problems—no matter how insignificant they may be perceived initially—can break up even the most talented band!
In addition, there are so many diverse parties, besides just the performers themselves, involved in a band’s success. Therefore, I advise my bands set themselves apart at the beginning by creating a Communications Agreement. This document should provide an understanding of the band’s practices, expectations, development and marketing activities. Most bands will respond, “We get along great and don’t need one.” Without this document, bands will most definitely face relationship challenges.

It is essential, from day one, that the band members work together to develop the Communications Document. The document should contain all aspects of the band’s communication, and be updated monthly in the event revisions are necessary.

The most important question is, “Who is the Band Manager”? Every band member can’t be the manager. It is best to have someone outside the band take on the manager role. If a parent is the manager, I recommend parent agreements be created. If a band has family members involved, I caution that many more challenges often present themselves with so many others controlling and influencing major decisions. The agreement, therefore, needs to address potential family dynamics.

Some recommended components of a Communications Agreement follow:

• Band management role and responsibilities
• Development plans
• Approval structure for utilizing outside professionals
• Band image and genre
• Marketing focus and responsibilities
• Online marketing policy
• Equipment needs, budget and purchase plans
• Song writing plans
• Public relations—decide who approves all online and print PR activities.
• Future goals and commitments— do a three tier plan, with the top goal being tier 1, followed by the second most important goal as tier 2, and the third targeted goal as tier 3
• External support—identify who approves and recommends outside coaches and consultants
• Financial investments and band member commitments
• Approval of music activities outside of the band
• Gig management—a process for choosing what gigs to do and who organizes gig details
• Termination clause conditions—under what conditions is a band member terminated

Every band member should sign the Communications Agreement. Band issues need to be addressed as they arise, or they become bigger and tougher to manage.
Set yourself up—and APART from your competition— for ongoing success in staying together as a band. Don’t be in the majority of those other bands who avoid clarifying an effective communications plan upfront.

By taking this agreement seriously from the inception of your band, you can keep your band tight in all communications, both verbal and musical.
Best friends often become great band mates. This communication document can serve as the glue that continues to hold the band together through new levels of success.

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