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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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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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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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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No room for jealousy in successful bands — cooperation rules

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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