When Others Will Play For Free

And the market is flooded with cheap talent…

I hear grumbles, rants, and complaints all the time about all those “hobbyist” entertainers who bring the whole market down by doing free and cheap gigs.

And while I’ve touched on the topic here and there, I haven’t really tackled it head on.

So here goes…

what to do when musicians don't charge enough for their services

I’m going to lay out five strategies to deal with this below, but first, a very important…

Reality Check!

(DON’T SKIP OR SKIM THIS PART!)

  • There will ALWAYS be performers willing to play for free (or for low pay) – their motivations are not financial
  • Nothing we say, do, or bitch about is going to change that one bit – they’re operating from THEIR reality, not ours
  • There will ALWAYS be venues that won’t (or can’t) pay us what we’re worth, especially when there’s an abundance of cheaper talent available

Please spend a minute letting all of the above sink in. It’s critical to moving beyond this trap.

While you and I might be able to make really strong arguments about why entertainers shouldn’t perform for peanuts, that is never going to change the reality that they still will.

All the time.

So, the only real question is – – what are we going to do about it?

We’re not going to change them, so how do we continue to get paid well in this climate?

Here’s how I’ve done it…

5 Strategies to Get Paid Well (When Others Aren’t)

#1. Ask What You’re Worth and Don’t Look Back

(Stick to it!)

Know your value, and don’t play for less than that.

Period.

If that rules you out of a bunch of low-paying gigs, then so be it.

You will never get off the “cheap and free” gig circuit until you do this.

(And you might be surprised to get a few of those gigs anyways, but at your price.)

#2. Look For New Markets

They are out there!

If there’s a glut of cheap labor working the club, coffeehouse, or you-name-it circuit in your town, there are other places to do what you do and get paid better.

There really are.

Arts centers, libraries, community concert series, museums, schools – these types of “under the radar” gigs are often supported by grant funding or other community resources, and can pay significantly better than “for profit” establishments can.

#3. Become an Expert on Something (Anything!)

The second you can truly differentiate yourself from what those other acts are doing, and back that up with testimonials from people who’ve hired you, your rates make a lot more sense to the buyer.

They still might not be able to afford you, but they’ll be motivated to try.

I’ve been hired at my current rates in places that typically only pay a fraction of that, precisely because I have something unique to offer.

Yes, they might typically pay $50-100 for a guy with a guitar who sings songs.

And I too am a guy with a guitar who sings songs.

But my material is accompanied by deeply-research stories about the music, and I bring lots of experience as a performer who can really engage audiences.

Figure out what your assets are – what sets you apart – and make that the center of your pitch.

(If nothing jumps out at you, create something! This is your “tilt” that will help justify your rates.)

The more you sound like everyone else on paper, the more your value will be lumped into that same category.

#4. Become a Go-To Resource

Becoming an ally to the people who hire you is a great strategy for standing out and earning more than everyone else.

When someone can’t afford my rates, I typically send them a free resource guide I created on how to find grant funding to hire performers.

They’re grateful, they see that I am professional and dedicated to my field, and helpful to others.

BONUS – This also sends a strong message that other venues just like them are able to hire higher caliber performers by accessing these same grant sources.

#5. Play The Long Game

This is key.

Don’t expect to start quoting your rates with new vigor and seeing immediate results – – you probably won’t.

(Especially if you’ve been working too long for too little in order to match the current market.)

It’s going to take some time to adjust your marketing materials to reflect the fact that you are not in the “dime a dozen” category.

And for the market to adjust.

And for you to identify and start reaching out for higher paying opportunities.

But the time to start is now!

What’s Been Your Experience With Low Paying Gigs?

I’d love to hear about it. The “Comments” section is just below.


About The Blog

The Largest Online Gathering of K-5 Classrooms for Connected Educator MonthSince leaving a white-collar marketing job in 1992, Dave Ruch has been educating and entertaining full-time in schools, historical societies and museums, folk music and concert venues, libraries, and online via distance learning programs.

Along the way, he’s learned a great deal about supporting a family of four as a musician.

The Educate and Entertain blog provides articles, tips, encouragements, and how-to’s for regional performers (in any region) interested in making a great full-time living in the arts.

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48 Responses to When Others Will Play For Free

  1. Sandra

    It would be awesome if all the indie artists in this post do a tour and get paid nicely for it. Problem is finding the venues to book at that pays.

  2. Cynthia

    Hi! I am planning a Fall Bazaar for our church. I thought it might be nice to have someone perform a few songs during the event. As you might guess, we don’t have money to pay as we are fundraising too but we provide coffee and snacks. Since we will be doing this on Dec 2 in the morning, from about 9 to 12 noon, some Christmas carols will be great. Do you know any performers willing to do this for our parishioners? Thanks.

  3. Terry Parrett

    Great stuff- and also, kudos for using “they’re, their, and there” within 2 sentences of each other and getting each one right! I will absolutely read anything else you write on that basis alone! But great content as well, thanks for writing it!

  4. Andy Alexander

    Most performers that really put in the time and work to have an entertaining professional quality show won’t play for free. They know the value of their performance and if the venue won’t pay it they walk away. Conversely, most people that will routinely play for free (excluding benefits, etc.) usually suck. As a promoter, I haven’t found many acts worthy of being on our stage that will play for free nor would I expect it. I am constantly bombarded by substandard bands that really don’t have a clue what it takes to have an act that will draw people through the gate. Sure, they’ll play for very little but you get what you pay for. When a good band, that I would otherwise hire, has a reputation for playing for free pizza at a club in my geographical market area, I definitely factor that into my decision to book and what pay to offer.

    • Chris Dunnett

      VERY well said Andy! I wish there were more people in the booking world like you 😉

      • Andy Alexander

        It is a buyers market in the live music business. A lot of really good bands play at bargain prices. I often wonder why a promoter would put crap on his stage just because it’s cheap or free. Good bands are an investment, bad bands are just an expense. If a venue will put substandard talent on their stage because it’s cheap, it is probably nowhere you want to perform anyway. Remember, only bands that have proven drawing power can make big money.

        • Bob Farley

          Re: why some places hire bad bands–I’ve found many times that audiences in these kinds of places (which for me are the bars, sports bars, wine shops, any place where music is an afterthought) can’t tell a great band from a good band and sometimes even from a bad band. Especially if they’re related to somebody in that band. The expectation has been set very low for many, and to rise above it isn’t something that’s noticeable to this set of promoters and audiences.

    • Dave Ruch

      Absolutely Andy, the cream rises to the top and should be rewarded accordingly. It’s great to have your perspective from this side of things.

  5. Andy Alexander

    Musicians need to objectively evaluate that their craft is truly at a professional level. Is it the same caliber as what you would expect the work from a licensed plumber or electrician to be? If not, some improvement is needed. It may be that the musician does not have the inate talent to be a professional performer and should be playing music just for their own enjoyment. If a musician can entertain at a level where the audience is willing to pay for the experience, the pay should be at minimum what someone working in the trades is making for their time. Don’t give it away. It’s hard to become a $1000 call girl when you have the reputation of a $50 hooker 😉

  6. Karen

    Thanks for this. I plan to share it with a guild I belong to and with other performers. This is a tough leap to make when you are desperately trying to build a fan base. It’s worth the risk.

    • Dave Ruch

      Hi Karen – I wouldn’t necessarily advocate for this approach if your goal is to build a fan base. I think you could probably accomplish both goals simultaneously, but the quickest way to build a fan base would obviously be to play as many shows as possible, regardless of the pay. This article is speaking more to the professional or semi professional performer who relies on gigging for some or all of their income. Sometimes, both of those things are true (you want to build a fan base AND you need to be making decent money performing), but not always.

  7. Chris Dunnett

    Dave, once again a great post! Yes, unfortunately there will always be musicians willing to play for free (keep in mind those of you who do…as soon as you play for “free” you are really paying to play…gas, travel, parking etc). I live in Nashville where the new 18 yr old that just came to town will play for free and yes, I have lost gigs because of it but I TOTALLY agree with your 1st point and although I do sometimes negotiate I have no problem turning down a gig if it’s below my worth and wish more musicians did the same. The 1st rule in business is…once you give away something for free you won’t get the same person to pay for it.

    I recently turned down a music library deal for one of my tracks (don’t worry, I’ve signed many) because they wanted an Exclusive deal (common), 100% of the Publishing (standard) but, also wanted 50% of my Writers Share (WTF???) If anyone wants to read the full scoop on it and why it’s OK to say “NO,” I’ll copy my blog post on it below. Be strong fellow pickers! 🙂

    100% of Zero

    Often as a musician (or in any field where fees are negotiated) there is a saying something to the effect of 50% of something is better than 100% of nothing. However, I recently realized that is not always the case.

    First, a brief overview of songwriting income and how it’s split. In the songwriting world much of the income from a song is split between the people who wrote it and publishers. In a nutshell version, half of the song’s income goes to the writer(s) and half to the publisher(s) so if you wrote a song with another person and neither of you had signed away the publishing you would both get half of the writer’s share and half of the publisher’s share, essentially 50/50. Now let’s say you both wrote the song yet your co-writer had signed a publishing deal then his publishing portion is split between him and his publisher. Breakdown = you get 50% (your writer share and your publisher share), he gets 25% (his writer share) and his publisher gets 25% (his publishing share. Get the idea? This is a very general example but should get the idea across. Obviously there are many ways this can be divvied up but this should give you an idea of how that works. The writer should ALWAYS retain his portion of the writer’s share. Since a publisher helps to get a song placed (among other many duties) it can be very beneficial to give up your publishing share to a publisher as it can mean much more revenue and other successes down the road. Hence, 50% of something is better than 100% of nothing.

    In the Film/TV music world a music library basically acts as the publisher so the same standard applies. If I sign a song that I wrote by myself to a music library they typically become the publisher and therefore get the publisher’s share and I get my writer’s share. Often when a song is placed there is also an upfront payment (sync fee) which is typically split 50/50 also. One thing about music libraries unlike conventional music publishers is that often the deals can be “non-exclusive” which means I can have the same song signed to multiple libraries. Some deals are “exclusive” which means I can only have it signed to that one library. There are goods/bads to both but that is all beyond the scope of this blog for now but just know both types of deals exist in the Film/TV music world.

    Now the meat of it all. Recently I was offered a deal from a library ( we won’t mention any names but they CouldB and Entertainment company you might Google …oops, did that slip? 😉 ) that was an Exclusive deal (OK, I’ve done those before) they get the entire publisher share (again very standard) BUT also wanted HALF of MY writer’s share? Say what??? That’s 75% of the entire pie! I even had to email them to make sure that wasn’t a typo. Nope, that’s their “deal”. As Dr. Evil would say…”How about NOOOOOOO… you crazy Dutch bastard!”. OK, so I don’t know if he was Dutch (nothing wrong with that) but he definitely was the other. I literally had to wait 24 hours before responding to their offer to avoid telling them they could bleep bleep bleep themselves and just replied with a professional “No thank you”.

    I had mentioned this to other industry professionals and they also felt this company was out of their minds and I truly hope no song writers out there ever sign this kind of deal. No writer should EVER give up their writer’s share to someone who was NOT a writer of the song. This is a case where 100% of zero WAS better and here’s why. The exclusive deal meant I could not pursue other avenues with the song…now I can. I have also hung onto my integrity as well as my writer’s share and stuck up for my rights as a creator. Why would I give half of my writer’s share to a party that DID NOT write any of the song? Too often musicians give in to a bad deal out of desperation and fear of saying “No”. It’s OK to say no because sometimes 100% of Zero can be a better deal.

  8. richardwise

    Dave– the problem is that the public thinks it is perfectly OK for musicians to go unpaid,and yes,getting grants,etc.. you do nothing to solve that.Learn the facts?? Dave, are you oblivious to the mismanagement and utter wrongdoing that prevails in the biz today?? perhaps,and you can well afford to be ,as you are thriving in a totally separate corridor,where the music industry cannot touch you.your way will not work for everybody.i don’t know about waiting for someone to save me,,,,but i do know about speaking up!!thats where the PC comes in.you do not speak out against the unfairness and the wrongdoing,and that is why you do not know about the backlash and the blacklisting..and FYI–
    1-Payola is alive and well
    2- re-titleing was invented by music publishers, not musicians,and the harm done to the artists is mind-boggling
    (just 2 examples)

    • Nathan Sieg

      This all sounds like commercial music vs. indie approach. Whenever I read what Dave has to say I’ve never thought that he was offering advice on how to make it big in the industry. It’s more about honing your craft and how to attempt to make a living at it. Sure, chasing grants and all that might not be ideal for someone who wants to be on a major label or I may even go so far as someone who just trying to do this and make a living at it. I don’t feel Dave has ever said “follow these steps and you will be successful, 100%”.

      My belief is, with the inherently as indie musicians, we are speaking out against the biz. We are taking matters into our own hands and saying “ya know I’m not going to wait around for xyz to happen”. I think most of us on this forum are just trying to figure it all out and Dave’s writings are certainly not gospel and I think he would agree. He’s always said he’s just a resource.

    • Dave Ruch

      Richard – with grant funded work, musicians get paid. I’m not understanding your point. I guess you’re saying that because the audience hasn’t paid an admission charge for some events, they THINK the musicians are playing for free? That has not been the case in my experience, and there’s usually an announcement in the beginning and/or the end where the presenter or the artist clearly states that funding has been provided by XYZ organization or entity. I’ve never gotten the impression that people assume I’m playing for free, and I also don’t get the impression that people are no longer going to support any events with an admission charge now that they’ve attended an event that was free for them. I DO get the sense that some percentage of the audience at these grant-funded events are people that are not “music fans” per se, and DON’T seek out musical entertainment at clubs and the like. I view it as a big positive to reach some of those folks with what I do, but you may disagree there.

      You’re right that I don’t speak out against the music “biz” because I have nothing to speak out against. As you say, my work really doesn’t intersect with the music “business” at all – I’ve purposely structured it that way – and the whole point of the 2 1/2 years worth of articles I’ve been writing is to help others who might want to follow a similar path. That’s why the blog is called “Educate and Entertain,” not “Success in the Music Industry.” I understand this approach is not for everyone, and your realities might be far different than mine, but you if anybody should know that’s where I’m coming from – you’ve been here since almost Day 1! And I really appreciate your contributions.

    • Tom Hipps

      richardwise, you obviously didn’t read (or chose to ignore) Dave’s intro to this article. Enough people like yourself are grumbling and complaining… Dave is offering solutions. Yes, there is corruption and unfairness in every walk of life… it’d our choice whether to succumb to it or rise above it. I make a living playing music in lounges, supper clubs, private parties, assisted living communities, etc… I don’t play any schools or museums like Dave does, so your statement about him being in a different realm may be true, but a making a living performing music can also be made in more conventional ways. It isn’t a cakewalk, but I’m doing it.

  9. richardwise

    Dave, i posted no negativity(is that a double negative?) about grants–what i say is that it leaves the problem intact,and goes around it. i would take a grant if i could get one,maybe i will some day.but there is still an elephant in the living room.in a way you are right that there is no point (i did not skim)in crying about free players,etc…,and also 3chord Dylans(including Bob)and dope-headbangers can go unpaid,for all i care.But say nothing?? hmmmm..
    i have said for years that there is absolutely nothing wrong with taking a clearly adversarial tact in this area– there should be a “Save the Musicians” charity with a focus on consciousness-raising. if musicians started “working it” like those girls that don’t want their hynies grabbed at the office anymore– things could change.if you are pro- free music– i’m anti-you.(too vague??).dont be P.C. –learn the facts and make a new P.C.(or C.P.C.)
    rant over

    • Dave Ruch

      Hey Richard – sorry if I misread your thoughts on grants. I don’t see them leaving the problem intact though, if the “problem” is performers who will work for low wages.

      As for a “Save the Musicians” campaign, I guess the point of the article is that we musicians can save ourselves. I’m not willing to wait around for anyone else to save me, are you?

      When you say “learn the facts and make a new PC,” you’ve totally lost me. I have been learning the facts and making my full-time living as a musician for over 25 years now, and have found ways to circumvent some of the “low pay” traps that are out there. That’s all I’m trying to offer up here.

      And as for free music, there will always be concerts and other events that are free and open to the public, where the funding to produce the event and pay the performers comes from other sources. I’m not against any of that.

  10. Bobby Wynn

    My experience with low paying gigs (most of them to date, LOL) leads me to believe that your acceptance of them leads to a corresponding low rate of respect for you as a musician/performer. ( for laughs check out “musician exterminator” on YouTube). This is how many people view musicians. Audiences at low paying gigs tend to be lower quality audiences (!) as well, paying much more attention to their beer than the performance. Why? Because they paid more for it! It’s the same as if you bought a pair of shoes for 29$, you simply aren’t going to value them as much as the pair you paid 290$ for. Thanks for the blog Dave, it’s helping me to make a much needed transition. BTW my first forays in music performance were made in prison, with my then church outreach group. Got a lot more respect there than when I went “professional”, but of course I had a captive audience.

    • Dave Ruch

      Totally agree Bobby; low rate of respect for you, and often a low rate of “self worth” develops too (“there’s no good paying gigs anymore…”). And to your point about the $29 shoes vs. $290 shoes, this goes for the people who hire you too. Time after time, it is the venues that have paid you the most that are the most happy with your show, and want you back again. Go figure!

  11. Tryn Rose Seley

    This is a fantastic post, Dave. It’s good to know one’s value, make a special niche, and with professionalism, become the ‘go-to’ in my area. Thank you, and keep up the good work!

  12. Richard

    Hi Dave,
    Excellent advise on strategies to get proper pay!!

    It can be tempting to take the odd low-paying gig when things are slow, but it really does set a precedent.

    I’m a full-time musician in Alberta, Canada, where the economy has been really struggling for the past three years (due to the oil business slump), and is very slowly coming out of it.

    Because of this scenario many venues have been opting for young, indie artists and university combos, all of whom are happy to get a few dollars and a free dinner.
    One strategy that I’ve used is to not lower my rate per hour, but offer a client the option for a two hour booking instead of the usual three hours. This often works and it maintains my rate standards.
    Thanks for your solid, real-world advise, Dave! I’m going to pursue new markets as you suggest!
    Cheers • Rick

  13. Joe LaRosa

    Your suggestions are spot on. There will alwys be groups will play for free or little more than gas money. This is especially true in the Big Band genre. While we employ a sliding scale, at the end of the dayI believe that all musicians have to ask themselves a simple question: If you don’t respect yourself, why should anyone else?
    While amateur groups trying to pass themselves off as professional groups hurt our genre, those groups along with other who do open rehearsals which are usually little more than guys’ nights out, actually end up sending some work our way. About 10-15% of our dates come from people who have gone out, heard and seen some of these other groups. Foks are often turned off by the lack of profesionalism – musically, appearance-wise, and amount of time between tunes.

    We are frequently asked to perform for free. While we will give a discount to grassroots nonprofits, we have found that when you do a freebie for one group, you end up making one friend and dozens of enemies. Nothing spreads faster than the word that you performed for free.

    About once or twice a year we get contacted by panic-striken event organizers who “booked” a group to perform for free at their event only to have the group cancel after they take a paying date. Ultimately, you get what you pay for.

    • Dave Ruch

      Great advice Joe, and if our clients get great service and a great show from us, they are getting what they paid for!

  14. Tim Seston

    Dave – Great blog entry. You hit the nail on the head with your opening Reality Check – Music is such a part of our humanity. It’s accessibility as well as its complexity are why we have such a broad range of people creating, listening, performing, and experiencing the joy of music in all forms. You are right to state that financial gain is not the motivation for many and so “the market” has to be defined by each professional performer. You offer a great set of strategies for your readers. I look forward to more of your entries. Back home from a great weekend in Philadelphia at KindieCOMM. All the best – Tim

  15. Nathan Sieg

    Oh very good point!! I think you have just cleared out a lot of frustration I’ve been experiencing for months. I am (maybe should say was) in the kids music/kindie scene. I think it’s hard enough to get communities, families, etc to see the value in kids music b/c at most events it’s a filler. Or people think of Barney and Kids Bop and they DO NOT want that at their event. So there’s a stigma there that doesn’t scream “pay me for this!!”. I have found it is NO problem to get people excited about my music AT a show but it’s hard to get them to pay for it. (either in ticket sales or CD/t-shirt/etc sales) So what’s the best option then? Like you mentioned grant money, or event sponsorship in my case, serve well to get the artist what they need to make the gig worth it but there’s still no responsibility on the attendee’s end to commit to your craft. All they see if FREE and do not know what happened behind the scenes to get that artist up on stage.

    So now they think that artist will play for free (not saying savvy people won’t pick up on what’s really happening) and falsely assume that artist is independently wealthy or doing music as a “hobby”. I am not saying sponsorships and grants aren’t a good road to travel but at some point people have to be willing to contribute to what’s happening….right?

    I guess I think if I were to go see a band I liked at a local club, I don’t expect to pay nothing to get in. Is kindie, or any other genre people are doing on here, any different?

    • Dave Ruch

      Hey Nathan – thanks for jumping in here. See my comments on Richard’s and Andy’s posts. Would love to hear your thoughts.

  16. richardwise

    you said true things,Dave! all true.
    i have seen it this way–
    1- the areas that do not pay are not markets
    2- the places that do not set a proper stage for an artist and at least attempt to maximize the audience experience may claim to be venues,but are not.
    that said…i must say that exploiting grant money is more of temp/fix than a proper solution.it really takes the audience out of the equation.the audience still gets free music and is not made to think how this occurs. the cycle must be broken!!

    • Nathan Sieg

      I tried to reply to you Richard but it put it as a standalone comment. Anyways…would love to know what you think

    • Andy Alexander

      As I have mentioned before, getting paid by grant money is like receiving a welfare check from the government. It isn’t for real. Having people pay their hard earned dollars to experience you performance is where it’s at.

      Event producers are the “talent gatekeepers” in the live music industry. Too many of them will present the music of their musician friends or those willing to play for free or cheap. This usually results in a substandard performance and a negative spiral in the venue’s attendance. Then they will say that there is no money to be made presenting live music. Raise the bar!

      • Dave Ruch

        To each his own Andy. As I mentioned when we last discussed this, you are operating from a “for-profit event producer” mentality, which is only one of many ways in which the performing arts industry functions.

        And it sounds like you’ve been very successful with your festival and other activities. which is awesome. You have lots of good experience and advice to share. But your model is not applicable when we talk about, for instance, artists going into schools – should the kids be paying an admission charge? Or should the musicians not be getting paid in this case? How about a performance at a public library that is educational and entertaining? Sometimes, music IS free for the audience, and the venues hosting it are not profiting from it in any way either. Sometimes the performance fulfills an important part of the organizational mission of whomever is sponsoring the event. There are lots and lots of scenarios.

        • Nathan Sieg

          Good counter points here Dave. You’re right, when it comes to community events like libraries and schools…no the artist shouldn’t expect the kids to pay an entrance fee. I think, especially for me, this is where frustration lies with the genre. It’s SO multi-faceted and can be utilized at so many different venues that there doesn’t seem to be one set of rules to follow that get you want you want all the time. And I know that’s why you do these blogs. Like one of your key points was to continue to expand your markets. Not making money doing the school thing? Try a different approach. The artist has to be flexible and fluid.

          But I also know that many artists, like yourself, are doing this to bring home the bacon. I was/am more on the side-project spectrum and can’t devote as much time energy to the craft as I would like. So it’s understandable that some readers are thinking more on the “for profit” spectrum b/c heck…they want to make one! It’s also tough b/c the intensity any one of the artists experience from their fan base and venue base will vary from market to market, state to state…heck even town to town. My area…bone dry for kindie. I can get all the out of town gigs I want but those are often at the same budgets at anything I get in town.

          This today has been very insightful for me and has given me the opportunity to think about decisions I’ve been wavering on for a while…i’ve gained some great perspective.

        • Andy Alexander

          I think there is a difference in being an educator putting on a grant funded music program as opposed to being an entertainer paid with tax money.

          Most corporations that sponsor free performances do it because it makes good business sense. They will reap the benefits of this down the road.

      • Joe LaRosa

        Not all grants are government grants. Foundations, community groups, local businesses and even corporations underwrite performances – especially those open to the public.They often work together.

        Unlike welfare, performances are earned!

        Your comments sound a bit elitist!

    • Dave Ruch

      Interesting perspective Richard, thanks as always for commenting. You are not the first person to express some negativity towards using grant funding to make performances available to the public. I tend to feel differently, and have been able to get in front of lots of audiences that are NOT the usual “consumers” of live music through grant-funded projects. I see that as a plus. But your point is well taken in terms of the audience’s “stake” in the performance. I would note that with all grant-funded performances, it is incumbent on the venue AND the performer to make it very clear to the audience how the performance IS being paid for – it’s often with a tiny portion of their tax dollars.

  17. Rebecca Harrold

    Love your blogs. You are very helpful, insightful and generous with your knowledge. Thank you!

  18. Russ

    Sometimes I do free gigs in the hopes of increasing my exposure, selling CDs, and possibly getting offers for paying gigs. More often than not, none of that happens. Still , I feel I need to play out and I succumb to the temptation to do it for free. I like busking, no expectations, just performing. It’s a challenge.

  19. Andy Alexander

    Low paying gigs are often stepping stones to ………..more low paying gigs.

  20. Andy Alexander

    Low paying gigs are often stepping stones ……………..to more low paying gigs.

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