It’s Labor Day: Do you know how little your favorite local musician or band is probably being paid? Pipe in with your own experiences, comments.
Bright lights and big crowds don’t always translate into solid paychecks for rock bands.
On Labor Day 2013, consider this disturbing fact: I know plenty of hard-gigging West Michigan bands that are paid less for performances today than rock groups of a similar ilk who played bars and parties in the ’70s and ’80s.
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I’m not even talking about part-time musicians who are mostly in it as a hobby, but rather, immensely talented players who strive to do this for a living – playing five or six nights a week for what often falls well short of minimum wage when one considers the hours devoted to loading in, sound-checking, performing and tearing down again.
And this doesn’t even count all the hours of practice and rehearsals, or the time spent in the highly creative – and taxing – process of writing original songs.
A few years ago, while still at The Grand Rapids Press, I wrote about a popular local band that played three energetic gigs in three different locations on a single night, racing between venues, loading and unloading equipment, entertaining diverse audiences. Because they officially only got paid for one of the three (selling merchandise and CDs at the other two), their take for the night totaled $212 and five pitchers of beer. Split five ways, that’s $42.40 and a pitcher each, not counting the fact that the drummer had to replace various drum heads for about $82 before the marathon began. And it was, indeed, a marathon: They loaded in for their first performance at 2 p.m. and arrived home at 2:30 a.m.
An extreme example? Maybe, maybe not.
KEEPING A VIBRANT MUSIC SCENE THRIVING … AND SOLVENT
Don’t get me wrong: A fair number of upstanding West Michigan venues and corporate-sponsored events pay a fair wage for top-flight musical entertainment, but others don’t; some simply haven’t kept pace with inflation over the past three decades. Put it this way, according to a standard inflation calculator, a band paid $300 for a performance in 1980 should be earning about $850 for that same gig today – which I’m guessing is a rare occurrence.
I understand that it’s a competitive landscape for bars and live music venues these days and profit margins are slim. Many advertise and help promote band performances, provide food and beer, and otherwise give musicians a platform for their art. (And some musicians probably don’t do a great job of helping their cause when it comes to promoting their own shows.)
The support of enthusiastic fans is paramount. (Photo/Katy Batdorff)
Still, there’s a disconnect when artists in one of America’s fastest-emerging music scenes – boasting an astounding trove of talent – have real difficulty getting by as musicians and can’t even afford health insurance. Many take other jobs or depend on spouses to make it work. Despite that, you’d be hard-pressed to find a more generous bunch, with a host of West Michigan bands regularly donating their time for benefits and worthy causes.
But a working musician is just that, and the financial burdens can be overwhelming. One area musician recently told me how he and his band played regularly for years at a certain venue for little more than “gas money and free food” before they finally walked away, clearly frustrated by the situation.
He longs to eventually raise the bar “to respectful levels so we don’t have to hang our heads in shame while clubs are using us. It’s happening a lot in West Michigan, but a lot of guys stay hush because they gotta make a living.”
Indeed, it’s not unusual to find local performers – especially, younger up-and-coming acts – willing to play for free just to get a chance to open for national acts in front of big crowds at area nightclubs, festivals and outdoor amphitheaters, even if it’s counter-productive to efforts to “raise that bar.”
COMPELLING MUSICAL ART DESERVES A FAIR WAGE
Clearly, the love and passion for music keeps these artists going, but most deserve better: They deserve to be acknowledged – and paid a reasonable wage – for the compelling art they produce.
In a landscape filled with karaoke, recorded music and other entertainment options, we’ve somehow devalued live local music in the new millennium. Ultimately, audience habits are as much to blame as anything, with fans often willing to pay $80 or $100 or even $200 per ticket for a touring pop act, but balking at a $3 or $5 admission for a night of bracing entertainment by a hard-working local band.
My suggestion? On Labor Day 2013, hug some musicians you know – and better yet, gladly pay those cover charges, buy their CDs and T-shirts, and toss a few extra bucks into the tip jar.
You can also attend the West Michigan Labor Fest from 11 a.m. to 5 p.m. today at Ah-Nab-Awen Park in downtown Grand Rapids, with musical performances by Mick Lane, The Mustang Band, Jimmie Stagger Band, Rochelle & The Spoilers, Krystal Kleer and Cover Story.
— John Sinkevics
Email John Sinkevics at jsinkevics@gmail.com.
Copyright 2013, Spins on Music
‘…. a lot of guys stay hush because they gotta make a living.’
Would it be helpful to list the venues that DO pay musicians a reasonable fee? And to shame those that don’t? (Of course, “reasonable fee” would need to be determined.) Musicians could use social media to promote the good venues and educate those that need some work. If musicians open up about what they are getting paid and make that information widely-known, venues may have to start paying attention. If you don’t let your fans know how little you make, they assume you make far more than you do.
I would like this conversation to include the fee scale discussion Sondra has mentioned. I am part of LowellArts that hires musicians for our Lowell Showboat Sizzlin’ Summer Concerts and I know that we pay musicians at a level greater than many of the other community “free” outdoor concerts in the summer months that happen in our region. That said, unless I (we/LowellArts) have a basis of understanding fee structure to work from it is not possible to know if our pay is “fair”. Thank you for responding either here or by contacting me at LowellArts
Nice article, John, I manage/book Brett Mitchell & the giant GHOST. Brett is a full-time musician, plays solo and full band shows and is highly sought after and constantly touring all over Michigan. I was lead vocalist in a band in high school. That was in 1970. I specifically remember our 4 piece band being paid $500 for a school dance gig. I don’t need to tell you that, though all gigs are not like this, I have booked Brett’s band in a bar for that low in today’s market, occasionally. In such case, you dare not add up load in/load out time and travel time and divide by the pay or it would be discouraging. On the other side of the coin, I’ll be honest, the way I see it, live music does not always make the venue money. I understand some venues have a hard time paying bands. Sometimes I think it just saves them from going under or gives them a slight edge over the bar with no live music. But a slight edge is important. Brett and my methodology is to just be the best at our craft so the band is number 1 on its list when the venue gets ready to hire. A band who is respectful of owner and staff, keeping sound levels to their liking, giving a full show with reasonable breaks, being reliable, keeping the crowd happy without having to be a human juke box and not taking advantage of the generosity of the host with food and drink is going to be hired before a band deficient at those things. When you’re number 1 on the list, you can ask for more compensation. Most venue owners I deal with are honest with me as to what they can afford and we negotiate, if we can, to get them the show they want. I rarely do contracts and prefer email confirmations, but when a venue reneges on any deal, I simply do not book there again. That’s what all bands should do. If a band reneges on a venue, the venue should not book them again, it’s quite simple. They can only burn you once. Live music is making a comeback, I believe, and Michigan is recovering slowly but surely. I would love to see my artist compensated at the level I believe he deserves and until then we will just continue trying to be the best at what we do.
Back in the 70’s and 80’s, you played at the same venue for 5-6 nights a week. Now you’re lucky if you play 2 nights at the same venue. The older I get, the more I have to set up and tear down equipment and I play almost every weekend. When I started playing in bars, most musicians were my age. I find that most musicians playing on a constant basis are still my age. My kids see how hard I work at this and how much money I make and have no interest in playing in a band. And honestly, I don’t encourage them to do so.
Bravo, John, for taking time to bring light to the reality of a working musician. Integrity matters.
Making money playing music is hard. Thanks for bringing these facts into the spotlight today John.
Thanks for the discussion John. The North Country Flyers appreciate you brother! As a songwriter and band leader all my life, I’ve been able to make a good living – but – not without a lot of hard work and of course, support from friends and fans. People who support “live” music are the last best hope for humanity!!!! 😉
My thought is that years of summer free shows by radio stations which are the worst offenders for underpaying gigs have devalued the worth of local entertainment. The other side of the coin is that the casual user who does not follow a scene is left in the dust for finding quality entertainment sometimes. If you are 22 and into the bars scene nightly, you know who is awesome, but the 40 year old who could afford to support a real ticket price stays away in favor of really getting his targeting musical selection at Bikers on the Mall, or Thrifty Gardens.
About 15 years ago I was in a local band in Grand Rapids. We got a weekly, Wednesday night gig at the old Intersection. Those were the days before the Internet was ubiquitous and social media was obviously non-existent. We worked like dogs to promote ourselves, printing flyers (a new design every week) and handing them out and posting them all over town. This, of course, cost us a lot of money (printing, gas, time, etc.). The Intersection paid us a grand total of $25 a week. $5 each, per band member, per week! Being under 21 we had huge “X”s on our hands and didn’t even benefit by getting free drinks. We started drawing larger and larger crowds every week, with lines out the door. When we felt like we had enough clout, we asked for a Saturday night gig and to get paid from the take at the door. That night, we made $1500. The moral is, you’ve got to build that audience, create a demand for your music, promote the hell out of yourselves, and don’t be shy about asking for what’s fair. Should we have gotten paid more for the Wednesday gigs? Absolutely. But these bands need to be willing to build their brand by putting in the work. Supply and demand. If you, as a band, are worth more money, prove it.
On the plus side – That hard working band that played three gigs? I paid them for the one I hired them at that day!!!!
Great points John — thanks!
I’ve been a vocalist in one band or another since 1975. I am much more talented today than I was back then and I often make much less than I did back then. Just thought I would throw in that the equipment that the bands have to trap sport,, maintain, set up and tear down costs thousands more than they usually make in a year. Clubs and even larger venues (casinos) either don’t provide PA and/or lights or what they do have is in such bad shape you can’t use it. You also take a big risk every time you plug your equipment into some ancient electrical outlets. We’ve all payed those joints where you have a massive hum all night long because of shoddy electrical or eve had expensive equipment burned out.
Isn’t it a supply and demand thing? There are so many bands that do the exact same thing; when you have that kind of situation then of course an audience, a bar owner, or a booking agent are all gonna devalue it; because you can get it anywhere and anytime. As small as our town is I can walk into a bar in Grand Rapids any night of the week and hear someone playing Mustang Sally, Moondance, or any number of covers or originals that are rooted in very popular and mainstream rock and blues styles; why would I, as an audience member, put any value on something that is so readily and easily accessible??
I recently ran across this article, and I agree on so many points. This is the one I chose to reply to.
Corey, to put it simply, if you are at a venue and you hear the same old music over and over and you don’t like it-you’ll either stop going out or find another place that has a better band/selection. If you are there, and you are being entertained, there is value in that. Period.
New Flash: ATTENTION MUSICIANS…UNLESS YOU ARE ONE OF A VERY SELECT FEW, YOU ARE NOT GOING TO MAKE A LIVING PLAYING MUSIC.
I’m sure at one time a blacksmith could provide for his family but then, when the railroads came, he needed to think of another line of work, even though, I’m sure there were many smithies who could have been considered an artist in their field at the time.
What is the reason for this paradigm shift? A typical working musician will blame the audiences, club owners, too many entertainment choices or Karaoke instead of his peers. I ask you to really look around at your contemporaries.
After years of steadily slipping expectations, I now envision, when I see a sign on a tavern advertising, for example, “Acoustic Duo” tonight, two fat guys, sitting on stools, in hockey jerseys and silly hats, reading the lyrics off a music stand. Probably, only one of the duo should be allowed to sing and most likely one, if not both, are rudimental guitar players at best. Playing the odds, I’ll probably be 5 for 6 in my prediction. Where is the entertainment I’m playing cover for?
I could care less about how much time is spent practicing and writing songs, only that I am not being entertained in the here and now. Should the songwriter actually succeed in selling his/her eight minute composition about an old girlfriend/boyfriend on a commercial level, will he/she split the royalty checks with all the people that supported them during the lean years. I doubt it.
As for the 80’s, a time when people would pay a $10.00 and wait an hour and a half in an anteroom for a table to open up where they can sit quietly and enjoy a show, those days are, sadly over. However, in a time when restaurants are opening in Detroit at a furious pace, people spend extra money for craft cocktails and beer and still want to go out and have fun on the weekend, I think the musicians are the cause of their own fate. Too many awful singers reading lyrics is the reason for Karaoke.
“Hey, I can entertain better than that guy”. And now, they can!
Your opening statement was right on the money (so to speak), John. I was in a five-piece band in the early ’70s, and each of us could make $50.00 per man, per night, in local clubs. Today, a trio is hard-pressed to get that much. Forty years later. What happened? Disco. Club owners found out they could hire one guy to play records and pack the house.
That doesn’t happen so much anymore, but clubs still want to pay that “one guy” rate. Not only that, but coffee houses? Tips. Little promotion. And that’s for accomplished musicians with original material, who drive 40-100 miles just to perform for people who listen. “Exposure” is good when you’re just starting, but considerably over-rated when you’re trying to pay the bills.
Too bad there’s not a union for musicians…oh, wait….
Thank You Very Much For The Recognition Of All Of The Hard Work And Hours Involved Before The Entertaining Begins. The Entertainer Has This Feeling That Takes Their Complete Body Make-up Over—It Runs In Their Blood—They Can Not Help Themselves—-They Must Learn—They Must Perform. It Is What Allows Us To Be Used And Abused In This Business. I Thank You For Taking The Time To Notice Musicians And Writing The Article. Thank You Again.
The east side of the state is bad as well. I have been performing for almost 40 years and have never seen it this bad. It’s tough to have your craft taken so lightly.
Great and sadly a very true article. “Devalued” is certainly the word that sums it up. Compared to the 80’s it is certainly a joke at where the pay scale is today for both hobby musicians and even more sadly for the professional musicians. Way to many bands out there who are more than willing to play for the almost next to nothing pay scale which makes it difficult for everyone, and the venue/bars owners are certainly aware of this fact and know that if a certain band will not pay for what they are offering they can always find a band that will. Glad you mentioned the out of sight work that goes into putting on a one night show…Thanks for putting this out there.
You know, this is why the West Michigan music scene has ALWAYS been “emerging”. I remember in the 90’s it was the same way. This just hasn’t changed. The culture here simply does not support the arts in a sustainable capacity. Particularly the music arts.
I do speculate as to why this is. Are bars/clubs simply not profitable enough to share some of the pie? I know in some regions where liquor licenses are easier to obtain (and there are more venues per capita competing against each other) the bar gets raised immensely in terms of pay to musicians, which is directly commensurate to an audience’s willingness to pay for admission or drink/food premiums.
Or is it the unwillingness of some of the more talented acts in the area to stick to a minimum rate?
Then again, I think it’s a long-standing culture of cheapness that pervades this area. To say that this are is populated by tight-wads might be an understatement.
Meanwhile, those of us trying to make a living in the industry either visit Michigan in the summer or live here part time.
Very good question..My first real bar gig at the Shamrock was for $50 a night, Wednesday through Saturday. I was 15, my Dad told them I was 16 so I could get the gig. The year was 1965, and so glad to get that money. It paid for high school (CC ’69), I was able to buy clothes with my own money.
I’ve played many gigs for $50 a night over the years , but have also gotten paid over $1,000 a night in my hey day.
Fast forward 40 years and I’m backing up Larry Ballard again, and guess the pay?? $50.00
Given the standards of economy today, I believe live bands – whether weekend warriors or 5 nights a week gigs, should be able to earn enough to live on. If that means bumping up the cover charge – so be it! A band worth listening to, is a band worth paying for..
Great article and so true!
Contributing to this issue might be the fact that there are not many large clubs left. Loud music sounds best in large spaces (think Orbit Room, or Club Eastbrook, as it used to be called when “bar bands” played there). It’s very challenging to get a full band sound in a small room without being blisteringly loud. Our band (Paris Blue) works very hard at this.
What is fair to pay a local band for 3 sets of 80% cover songs?
great subject Johnny.yes there a lot of fine musicians working around here for peanuts,because the places they have to play in won’t pay them anything.i’m just grateful for their love of the music and dedication to go out night after night and play there hearts out to the people who do enjoy watching and listening to them.
The sad part is, after doing all that work, if a band does start getting paid well as they climb the ladder, they’re scorned by their peers as “sell-outs.” I’ve seen it more than a few times. Misery loves company, unfortunately.
It’s been my observation that it is not about the music or the band. It’s about selling beer. A venue has to sell a lot of drinks to pay a band a livable wage and still make a profit for itself.
Hi John, great topic!
Musicians, artists, sound and lighting providers – all really undervalued in the market today. Seems a bit of a vicious circle in some venues. Lowering the pay can lower the average quality resulting in lower attendance which leaves less for pay ….and so on.
Ironic that high quality entertainment gear has never been more plentiful and affordable but all the other increased costs that make up one’s overhead have more than erased that benefit.
Rock On!
I would like this conversation to include the fee scale discussion Sondra has mentioned. I am part of LowellArts that hires musicians for our Lowell Showboat Sizzlin’ Summer Concerts and I know that we pay musicians at a level greater than many of the other community “free” outdoor concerts in the summer months that happen in our region. (We also encourage the selling of CDs and other items to increase their income and do not take a commission … This has been very profitable for groups1…) That said, unless I (we/LowellArts) have a basis of understanding fee structure to work from it is not possible to know if our pay is “fair”. Thank you for responding either here or by contacting me at LowellArts (Lorain at 897-8545)
PS – our summer concerts series include high quality sound and tech support that the musicians do not need to bring in!
Thanks for this article John. And a sincere thank you to all the local musicians who donate their time for a myriad of causes.
Making a $100.00 per band member was the norm back in the day. We also used to play for and or a portion of the door years ago which sometimes meant it was a very lucrative night and sometimes it was not. Very few places charge covers anymore and if there is a cover the patrons know there will be another bar right around the corner that will not be, no brainer there. We really cannot forget the fact that many people, especially my age, do not do the bar scene any longer due to the fact that the probability of getting pulled over by the police now a days is pretty high, I know most of my friends refuse to do the bar scene. I also know a ton of bands that have been stiffed by club owners for not bringing in crowds, so a contract is highly recommended. With all the stuff mentioned in these posts we sadly just have to remember that the times have changed, and “sadly” not for the better for a working musician/band…Hang in there everyone…Side note, the $100.00 per band member was working in the Washington, D.C. area where I grew up..
I have been in the music business for over 25 years. Two points. Carlton Macksam mentioned musician’s unions. Want to be treated fairly? There is strength in numbers. Second, too many bands do not run their band as a business. Operating in the black market without a contract, they are asking to be underpaid and cheated, as they have no legal recourse. I’d be interested in whatever thoughts you have on these matters, John. Thanks
I was part of the Grand Rapids scene for many years before joining the USAF bands and music program in 1991. Another part of the “disconnect” in this conversation is the fact that prices of other parts of a nightclubs’ income stream haven’t risen and kept pace with inflation either. When you can still by $1 drafts and $1.50 cocktails, no one’s going to truly profit.
One commenter remarked about the need to “build your brand and audience”. Certainly you/we do but, at the same time, the club owner needs to have some “buy-in”. If only to ensure the club makes a profit. All need to work together and, respectfully, the crappy bands need to self-realize this and limit themselves to having fun in their garages. That will help immensely with the dilution of the market for the true professionals.
Another commenter remarked about having to hear “Mustang Sally”, “Moondance”, etc. over and again. Yeah, they’re “staples” of the genre but, do you know why bands play them? It’s certainly not because they love the tunes, it’s because audiences (of all ages) demand to hear them. Looking at the industry as a whole, there’s not a lot of “real” music being made in the rock/pop genre these days and probably not for the last 15-20 years. Very few catchy melodies…. no sense of lyricism in the text of the songs…. no message of any sort…. and the youngest audiences these days are, unfortunately (IMO), caught up in rap (to a lesser degree it seems) and hip-hop. The bulk of this “music” is simply noise to me as there’s no melody whatsoever, no accompanying harmony, just high decibel sound. What lyrics there are are generally (not always) racist, demeaning to all — especially denigrating to women, and contain lyrics that if performed in a nightclub could result in the club being shut down and the band being arrested — depending on locale.
Right now, it seems to be a lose-lose for most true musicians.
If we can get this article to the president or make it National News then we might get change..A lot of musician don’t know their worth so they are willing to do a lot of thing’s that make it bad for musician who know they are worth far more then club owners are willing to give and pay.So nothing is gonna change until the powers that be bring’s awareness to this problem which to me it’s as important as Homosexuality,Racism,and many other worthy cause’s that needs to be changed,Once it become news and talked about I think it will be important enough to people then we can @ least make club owners promoters and all the people involve to realize that there is truly a problem that can be look @ on both side’s and we can change the way the club owner do thing’s and the way the musician do thing’s as well…And it could be a better working relationship for the generation’s to come..
Interesting comments. I have been pondering this topic for a long time. My navel gazing thus far:
1) Musicians need to quit giving it away. “Excuse me, but that’s not enough” is a useful phrase.
2) Musicians *are* in business if they are contractors providing a service in a for-profit situation. Being aware of this basic fact could certainly help bolster #1 above.
3) There is nothing wrong with playing for free or paying to play: that’s what softball and bowling leagues are for.
4) How much do plumbers or hairdressers charge for their services?
5) If a venue can’t afford having a band: don’t have a band!
6) Supply and demand works for commodities: some musicians are great, some musicians are OK and some musicians outright suck—none are equal to each other and are therefore not exact substitutes for one another. The market would work to weed out the suckier musicians in a hurry if #1 were applied more regularly.
7) If #6 were instead true—that is, all musicians *are* equally substituted—it would be very easy for ALL musicians to get a raise: simultaneously say, “That’s not good enough.”
8) Venues need to understand that they have to promote their venues to the public as much as the bands should, and probably more since they have the same address all the time.
9) Musicians’ overhead is just as important as venues’ overhead.
Anyone posting here recognizes that the musicians we speak of play for vocation or avocation: there is effort and energies that should be rewarded equitably. There are so many more places to play for free (or cheap: pass a hat at a party and you might make more than at a venue). Houses of worship, tailgates, neighborhood block parties, beachside hootnannies, bonfires or barn dances, basements or garages with a few simple tweets or FB posts and anybody can play for free or chump change any time he or she wants to.
Interesting comments. I have been pondering this topic for a long time. My navel gazing thus far:
1) Musicians need to quit giving it away. “Excuse me, but that’s not enough” is a useful phrase.
2) Musicians *are* in business if they are contractors providing a service in a for-profit situation. Being aware of this basic fact could certainly help bolster #1 above.
3) There is nothing wrong with playing for free or paying to play: that’s what softball and bowling leagues are for.
4) How much do plumbers or hairdressers charge for their services?
5) If a venue can’t afford having a band: don’t have a band!
6) Supply and demand works for commodities: some musicians are great, some musicians are OK and some musicians outright suck—none are equal to each other and are therefore not exact substitutes for one another. The market would work to weed out the suckier musicians in a hurry if #1 were applied more regularly.
7) If #6 were instead true—that is, all musicians *are* equally substituted—it would be very easy for ALL musicians to get a raise: simultaneously say, “That’s not good enough.”
8) Venues need to understand that they have to promote their venues to the public as much as the bands should, and probably more since they have the same address all the time.
9) Musicians’ overhead is just as important as venues’ overhead.
Anyone posting here recognizes that the musicians we speak of play for vocation or avocation: there is effort and energies that should be rewarded equitably. There are so many more places to play for free (or cheap: pass a hat at a party and you might make more than at a venue). Houses of worship, tailgates, neighborhood block parties, beachside hootnannies, bonfires or barn dances, basements or garages with a few simple tweets or FB posts and anybody can play for free or chump change any time he or she wants to.
If you are playing a show out of town, I completely understand the desire to get paid, but if you sit there, playing a show two blocks from your house and want to get paid while there are touring bands that need gas money and shit to eat, fuck you. Don’t be a fucking twat.
We are a group of very hard working and talented musicians. We’ve all been in the game for 30 or more years each. We are getting paid the same and sometimes less than what we got in the 70’s. We work less because clubs don’t advertise their entertainment. Nor, are the clubs responsive to the difference between ‘great talent’ and ‘no talent,’ opting instead for cheap as it gets. As musicians we spend our money on new equipment and repair of equipment, gas money to get the equipment to the shows, time spent loading in, setting up, tearing down and loading out, marketing and building a following. Venues don’t seem to understand that your following is not going to travel miles and miles to see you. Bands rely on venues to offer something of value to their local clientele so the venue should also have a following. It is the band’s job to make the venue’s following happy. Don’t get me wrong, we can get our followers to travel pretty far to see us, but it is not always easy. My band spends a ton of time and money marketing our upcoming shows and the venues where they will be held using every available means possible. I would love to say ‘That is not enough,” however, I know that another band will play the same gig for less. Because of our love of music, we endeavor to continue to play as often as possible and continuously look for more ways to promote ourselves in a very lean market.
We are delighted to pay a cover charge if we want to go hear a particular act. But the venue needs to start charging at the door. I guess if there is no cover charge, we should be laying some money on the stage for the musicians…which we are happy to do.
Live acts should not be less expensive to see than a movie!