Success Stories : Amber Rubarth (how to be a full-time touring musician)
2009-01-13
Amber Rubarth is a 26-year-old singer/songwriter from Reno, who only started playing music five years ago, but is making a full-time living touring, including four tours of Europe, booking it all herself.
She’s also one of the happiest musicians I’ve met.
Most musicians I know feel it’s tough, but Amber seems to glide through it all effortlessly.
How does she do it? What can other musicians learn from her approach? I interviewed her to find out.
Highlights: (full interview below)
- building your network by helping others
- interning with a booking agent, to understand what’s needed
- prove to each venue that you’re going to promote
- let your email signature do the hype
FROM PICKING UP A GUITAR TO A PAYING GIG WITHIN A FEW WEEKS
There’s an interesting lesson in how you started. When you decided you wanted to play music, you immersed yourself into the local live scene and started performing publicly within a few weeks of picking up a guitar.
Yeah. I had literally picked up a guitar for the first time just three weeks before going to my first open mic. I had songs I wanted to play. I wanted to see and meet other musicians, and understand what the scene was like.
I was just excited about doing music and wanted to saturate myself, so naturally I thought, “Be around other musicians.” Get in there, see what other people are doing, share what I’m doing, and see what people think of it.
I was extremely shy. I remember the first open mic I did, people were looking at me on stage, and I thought, “Why is everyone looking at me?” And I had to remember, “Oh, right. I’m playing.”
If you immerse yourself anytime you’re getting into something, it’s like learning a language: if you’re surrounded by it, it’s a lot easier.
Especially with the music community because everybody is so nice because they’re doing what they love. You know? The sense of community and being able to talk to people and hear people and get response from people about what you’re doing. Everybody went to the same open mic every week and hung out - it was a nice little group.
Also I just didn’t know any better. I just thought, “Oh, you’re doing music? Me too! So I’ll go hang out with you.”
Then you got your first paying gig right away.
I had only done the open mic for about four weeks. I was still playing C, G, and sometimes F. I really wasn’t experienced at all.
But one day, a couple friends and I just walked into a coffee shop with our guitars and started singing, as a joke - because we were nerdy like that.
The manager of the coffee shop called me the next day and said, “Hey, what would we have to pay you to come back every Sunday?”
We said $20, thinking that was for all three of us to split, but when he gave us $20 each we thought, “Oh my gosh! We’re making money!”
Then you really turned this into a scene, bringing in other artists, right?
Yeah. We played that place for about a year, but we would invite other musicians to come play with us, and started creating a scene. Then people would ask us to do other shows.
I started bringing other artists that I liked into Reno. If somebody was playing in San Francisco or Sacramento I would contact them and say, “Hey, we have a growing music scene here in Reno, and if you want to play here I would be happy to book you.”
So I actually had a lot of people at one point contacting me to be booked, where I had nothing to do with the music part, I was just booking. I did it just to learn about it.
WORKING FOR A BOOKING AGENT
Then you interned for a booking agent, and learned a ton.
There’s a Hilton in Reno that’s a big music venue with national acts. I called the booking agent there and just asked if I could intern for her - basically just kind of follow her around for a day.
I told her I was a musician, just getting started, and wanted to learn about the booking from the booker’s end, because I didn’t know anything about it, and there weren’t many musicians in Reno who knew about booking things other than a coffee shop, you know, like booking real shows.
People like her probably don’t have a lot of people asking for their expertise in something. It’s a show of respect to the people who do know what they’re doing and letting them know that you want to learn - and that you’re willing to help in whatever ways that you can help. Even if it’s just grunt work, you know?
She was really nice and had me go in there every week to help her out with filing or whatever. She would show me press kits to show me what they did book and what they didn’t book. That was really helpful: rather than trying to learn everything from a musician’s point of view, branching out and asking, “What are these people receiving?”
What are the biggest lessons you learned from working with the agent?
As a musician, make sure you’re providing something - not just asking for something. Let the booker know whether you can bring people out, or whether you’re going to do all that you can to get the media involved. Let them know that you’re putting effort into it.
Tell them straightforward, that you’re reaching out to people on MySpace, that you’re going to write a press release up and ask them for a media list. They like that, even if it takes them an extra minute to send out their media list, they like knowing that you’re putting the effort in and that you really want to make it a good show. That you’re not just expecting to go there and have a built audience and have them do all the work. You know?
A booker receives tons of press kits. Certain ones are going to stand out and certain ones aren’t. So what is the difference? What does that?
Following-up. A lot of press kits sat there because nobody called and nobody asked about it.
There’s definitely a point where people can follow-up too much, but I think that if you’re just consistent and looking for an answer, whether it’s a yes or no, and understanding that these people have a lot on their plates and they’re shuffling through everything. Remind them that you really want to play there or that you really think that it would be a good fit.
There were all of these factors that I had never considered yet - and then I kind of got a little taste of that.
Then this agent started helping you, more than you expected.
She started booking me as an opening act for some of their bigger shows. That wasn’t what I went there for. I didn’t even really think that that would happen. I didn’t think that I was ready to play there. I really didn’t expect her to book me.
But when you put yourself out and you’re trying to learn something, and you’re trying to help somebody along the way, I think people want to help. Especially when you’re eager to learn, you know?
People do really want to help. It brings you more of the community feeling - that sense of family - to what you’re doing.
It’s easy to think that the business people are on the other side, but when you actually start meeting them and working with them you understand that everybody is on the same side - getting into music because they love something about it.
ADVICE ON BOOKING TOURS
Booking your first gig outside of Reno - in San Francisco - how were you able to do that?
I just Googled “music in San Francisco”, which is what I do any time I’m going to a new place really. Also finding out who does a similar thing to me, and where they were playing.
I put a press kit together, and sent it to the venue. I had built a website that was simple but had everything, and showed that I was playing a lot of shows in Reno. I just told them, “I haven’t played outside of Reno, but I would really like to play in San Francisco and I’ve heard about your place.” I’d seen a couple other people who’d played there, and they had really liked them.
I was just enthusiastic in wanting to do it and being willing to put the effort into bringing people out. Enthusiasm does a lot. It doesn’t have to be hyper crazy enthusiasm, but I think it’s just good to be really into it, and letting them know that you’re putting your best effort into it. People enjoy seeing that.
Then let’s pretend you you wanted to play somewhere you’ve never played - like Atlanta. How would you approach it?
Maybe we should pick a different city, because when I was at the Folk Alliance conference, I met Eddie from Eddie’s Attic, a top venue in Atlanta. He told me, “Come play Eddie’s Attic any time you’d like. Just come in.” So I would just do that.
Interesting! Good answer. So just by being out and about at Folk Alliance, you meet people that would book you in Atlanta. Let’s pick somewhere else. How about Billings, Montana?
Yeah. Let’s do Billings, Montana. I would start online, searching “Billings Montana concerts” or “music”. It will come up with venues, newspapers, or people’s MySpace pages with listings.
I’d find a venue that’s a good fit and that makes sense first. Then I’d first contact the venue by email, so that I can write a better introduction.
Then it’s important to ask for a specific date! I learned this when I was booking gigs in Reno for others. A lot of people would write and say, “Oh I’d love to play in Reno. When would be good?” But you can’t do that. Instead just pick a day, like, “April 27th or April 28th I’m available.” Because then people can look at their calendar and say, “Oh yeah. I do have that day.” or, “I don’t have that day - but the 29th would work.” That’s a huge thing. You don’t want to leave it open. You want to tell them specifically what day you want to be there.
So a booker says, “OK. I can fit you in on Tuesday March 15th.” Would you take it if they gave you a Tuesday night or would you say, “Hell no, I want Friday!”
It all depends. If you deserve a Friday then you should ask for a Friday and if you deserve a Tuesday then you should take the Tuesday. You know?
Ideally, yeah, everybody wants to play on Thursday through Saturday nights. Especially if you’re new to an area, you shouldn’t be too picky, but you shouldn’t be a pushover either. But if you can do a Tuesday and you think it’ll work then do a Tuesday.
Then how do you bring people to the show?
Usually venues will have a media list that you can use. Especially for a town like Billings, Montana. They probably will respond to a touring artist. More so than New York City, for example, because there’s just so many musicians.
I’ll write up a press release, then email it to the radio stations and the print people. You can write one press release for a whole tour, just changing the little bit of it that has the specific contact information.
Getting some excitement, putting posters out, contacting people, doing media and stuff like that. Let them know that you’re doing a show and then practice for the show to make sure that you’re going to give them something that’s really good that’s worth the excitement that you’re stirring up.
You’ve always found a great advantage in smaller towns, whether Reno or Europe.
Doing smaller towns is really good, especially when you’re starting. I do the same thing in Europe where I’ll go to, say, Eastern France and it’s the best show. It’s even better than doing London or Paris because it’s places like this where people are really responding. The newspapers are really excited about having somebody out there. It’s great to get into the small places. Don’t just do the obvious cities.
LET YOUR EMAIL SIGNATURE DO THE TALKING
Your email signature has been really successful for you. (Example printed below.) Can you tell us more about it?
--- thank you for listening, i like you a lot. http://myspace.com/ambeRrubarth NEWS FLASH: Featured Artist on NPR’s “All Songs Considered” - Request her at www.NPR.org “Washing Day” (co-written w/ Adam Levy) chosen as 1st Place Winner (Lyrics) in International Songwriting Competition! TOURING NOW All Over the Place to Find You (and sleep on your couch!) 10.21 (BRUSSELS, BELGIUM) Sounds Jazz Club 10.26 (YORK, UK) House Concert 10.29 (LONDON, UK) House Concert 10.30 (LONDON, UK) Monkey Chews 10.31 (BO, NORWAY) The Bull Inn 11.1 (ARHUS, DENMARK) Cafe Lobby 11.2 (COPENHAGEN, DENMARK) Drop Inn 11.6 (SOMERVILLE, MA) Somerville Theatre 11.14 (SAN DIEGO, CA) Y1 Studios 11.16 (SAN JUAN CAPISTRANO, CA) The Coachhouse 11.17 (LOS ANGELES, CA) Room 5 11.21 (NEW YORK, NY) The Bowery Ballroom *The Paper Raincoat* 12.6 (LONDONDERRY, NH) Tupelo o/f LOUDON WAINWRIGHT! 12.11 (LOS ANGELES, CA) Hotel Cafe *The Paper Raincoat* 12.13 (SAN FRANCISCO, CA) Palace of Fine Arts *The Paper Raincoat* Listen, Stalk & More from the comfort of your home. http://myspace.com/ambeRrubarth Now on Facebook too, oh boy! ---
When you write an email, you don’t want to brag, at all. It comes off bad. But you do want to show them that you’re putting a lot of effort into it, and want them to know a little clue of what you’ve done.
So having it in your email signature is a really good way of doing it. That way, you don’t have to say, “Oh and by the way I won this contest and I just opened for this person.” You don’t want to have to say it, but you want them see it. So the email signature is a great tool for that.
My email signature has all my upcoming shows, contact information, and a couple quotes. Right now I have a quote from NPR and an international songwriting contest.
I’ve had bookers contact me back and say, “Oh wow - I see that you’re opening for Loudon Wainwright,” or “I see that you just got played on NPR,” or “I see you’ll be at South by Southwest.”
I’ve had bookers say that that was the reason that they wrote back, was because they saw that. They’re getting tons of emails and need to just be able to quickly see if they’re interested in checking it out.
TAKING IT TO THE NEXT LEVEL
Now that you’ve done over a thousand shows, is there any difference now between that initial apprach you took, and what you’re doing now? Or is it just lots and lots of that?
That’s a good question. It is just continuing doing that. But bookers can can see my history and that I’ve done it for five years. That isn’t really that long, but when people are consistently moving toward something for an extended period of time, it moves more from just excitement for something new, to something where people know that they’re doing it for real.
It’s become more of an identity. I’m not new, I don’t feel new at this anymore. I’ve played at least a thousand shows.
Because I return to many of the same venues I’ve played at before, I don’t need to put a lot of effort or time into booking anymore. New places also contact me to play. If I’m doing opening shows for people, they’ll be asking me or I’ll ask them. It feels more grounded now - more established - like there’s a foundation to it. So it doesn’t take as much effort.
How are you able to make a living doing this? How much do you make for an average gig?
I usually get about $250 to $300 for a smaller solo show where I can bring some people out. Not a particularly crazy night. If I do house concerts or something private, I’ll get between $600 and $1200.
If I’m overseas it’s different because of the exchange rate. I make a little bit more there because the dollar is worth less.
I’ll take $0 if I’m doing an opening spot for somebody I really want to open for. Usually they’ll pay at least $50 to $250. But if there’s something where I’ll be getting great promotion or the opportunity to open for my hero, I would probably pay to do it!
But really, most of the money comes from CD sales. The only way that I’m able to tour is because of CD sales.
How do you turn this from a few gigs into being a full-time touring musician?
If you put enough effort out - and you’re contacting enough people about it - and people like your music - then they’re going to respond. You’ll have some response and it’ll build. If you’re constantly building on what you’ve previously done, it’s going to work.
It’s important to not have a backup plan. If you want to be touring, you should not have a job. Make it work. Any time you have a backup plan, you can always fall back on it.
If you really decide you want to do something, you should do it. People surprise themselves when they have to make something work. Being fearless and creative with how everything’s being done.
At least if you just want to be touring and supporting yourself with it I think you can, I think anybody can do it, really.
Thanks for the interview Derek. Very useful nuggets from Amber, especially the carefully crafted email signature.
Wow! What a lot of useful information! This is one of the greatest posts I have read. Amber really breaks promotion and touring down into simple, manageable pieces.
Great article, I agree it's extremely important to NOT have a plan B. A plan B is a pyschological excuse not to give 100%.
Check out the book overachievement by john eliot. He's spent decades interviewing top business people, athletes and musicians and found that most of the rules about success were wildly inaccurate.
Most importantly, he said all of the top performers never ever have a plan B. If it's really what you're passionate about, you don't need one.
The email signature is a sign of VERY bad netiquette. Whenever I see someone with such a large signature (which generally takes more bandwidth than the message itself) it leaves a very bad taste in my mouth. But then again, I'm not a music promoter.
(Similarly, I really hate boilerplate signatures which provide a page or two of "confidentiality" legalese which generally has nothing to do with the message itself.)
I think a more friendly signature would just provide the next one or two shows, and then a link to the band's full calendar. That also has the advantage of not becoming outdated, in case someone's looking through old emails for whatever reason.
Fluffy: I thought so too, but it's important to be open-minded to what's really working instead of being prejudiced against any particular idea in advance. Amber's stories are proof that this kind of signature works, so I highly recommend it now. -- Derek
Great interview! What a unique perspective. She obviously has one very specific trait that is working in her favor - she has this quirky, creative charm. I haven't heard her songs yet, but I love the fact that she says '... I like you a lot' in her signature, and has a song called 'You Will Love This Song'. I will totally remember her and want to check her out just because of that - she has interest and personality.
The 'no backup plan' is a pretty daring way to go. Everyone has a different threshold for that kind of thing. Responsibility and where you are presently 'at' are also a factor - like if you have a mortgage and kids. Having it that together when you are in your early 20's - awesome.
Great grassroots success story!
We need more interviews like this - real world examples of what's working and what's not, especially from artists that are doing well in a niche market.
I agree! I'm going to be doing many more like this. -- Derek
Wow Derek! It's articles like these that keep me coming back to your blog! GREAT insights and I love the specifics! More, please!!
Great advice, I hope many musicians will really take this to heart.
fran
Great questions D, thanks for sharing!
This is indeed the way it works. But on the otherhand… there’s not much time left for actually practising / composing music when you’re all the time busy booking tours. At least for me, when I organize a tour, I hardly get to practise music.
Smart gal. Very insightful. I agree with the e-mail sig/netiquette comment. But who am I to argue with success. Also, she uses humor a lot in her blurbs, which I think makes people look favorably on an individual...
Derek, this is awesome information for anyone (including myself) who's starting out and is looking for a point A from which to start! Thanks a million!
Great post. I especially appreciate that Amber tried things out from the agent's point of view to learn how to make a better booking inquiry herself.
I do agree with Bram, that booking and promoting shows takes an immense amount of time and it would be great to hear how Amber balances that with practicing and writing. Any chance you could ask her that as a follow up question? It might really help a few of us out. Thanks D!
great interview, Derek! Amber is awesome and she keeps inspiring me!
Marina
WOW! Now I know why I Love this gal, so much, what dedication and simple stick-to-it-ness.
Thanks for this interview, I am now going to share this with ALL the musicians I represent and encourage them to allow some of this to sink in.
Again, thanks to you both,
HUGS2YA,
Kat
Princeton, NJ
This is what I found most important.
"People like her probably don’t have a lot of people asking for their expertise in something. It’s a show of respect to the people who do know what they’re doing and letting them know that you want to learn - and that you’re willing to help in whatever ways that you can help. Even if it’s just grunt work, you know?"
I'm really impressed with people who are eager to learn. Those are the ones I feel are most likely to succeed.
As for not having a backup plan, I understand where she's coming from. I was never so motivated as when I felt I had nothing to fall back on and HAD to make it. That gave me the incentive to make take some emotional risks in pursuit of a career.
However, I've given career advice to athletes and I always tell them to have a plan B and a plan C. The reason is so that they don't become one-dimensional. The athletes I knew who, in addition to training hard, also paid attention to school work and had good family and friend relationships, were actually better athletes than those who defined themselves only by their success in sports. That way, when they had a bad day in competition, they were able to shake it off.
And backup plans are important for athletes who run into misfortunes which end their competitive careers. They are able to find fulfillment in other ways. On the other hand, if they have viewed sports as their only career path, it's a harder transition for them.
I've seen some athletes and their families go heavily into debt to support dreams of a professional sports career, something that most will not achieve. Having a realistic plan B and plan C would have kept them from mortgaging their souls for something that was probably unreachable.
Still, if you are going to pursue a sports, music, or arts career, giving it your all when you are young, don't have a family, and don't have a mortgage is the time to do it. Give it a shot before you have too many bills to pay and too many responsibilities.
Nice one Amber - fantastic to see it working for an indie artist.
Nice work too Derek uncovering the Amber story!
Great interview, Derek.
Nothin more to add
Amber is amazing. She works her ass off and is always so nice to everyone she comes into contact with. What a good person. She will be famous. No doubt about it. And she sings on my new record
and didn't even ask for much money or anything and added so much. She is incredible. Great stuff, Derek.
Derek - this is quite helpful and encouraging. I'm curious how this advice would look different (if at all) if directed to a rock band as opposed to the singer/songwriter.
Thanks again and looking forward to more!
Congratulations to Amber for doing it!
Thanks Derek for all the work that you do!
Dave
What a fantastic interview with a brilliant woman!
I never thought to tell anyone about it but I do the same thing with dates and it's amazing the effect it has. For instance if I want to meet someone I'll always throw out specific dates instead of suggesting that we "get together sometime".
I love the bit about the back-up plan too. I think it's about setting up conditions for success instead of failure. If you have a a job that you can't take off to tour then obviously you're not going to make it touring all the time. But maybe you could get a part-time job that you can do from your computer anywhere. That could support the outcome of being a full-time musician instead of hindering it.
AMAZING!
My entire outlook has been changed.
Why didn't I think of this?
I have some heavy planning and thinking to do.
Thanks for sharing.
TJR
www.tjrmusic.com
www.musicworthbuying.com
PS: My (part time) day job no longer block this site!
Hooray!
Thanks and Congratulations on your success Amber and many thanks to you too Derek for this interview.
Singing/Songwriting is my oxygen and I have always wanted to "make a living" from doing it but instead chose to follow a "safer" career path for the past 20 years. Just got laid off for the fourth time a couple of months ago and have used this time to get real and do a lot of soul searching. I'm gonna go for my dream now and give it everything I've got. Heartfelt thanks again to you both for awesome tips and insights.
Rock on!
Luciditee
Derek: If you got up one day and hung your shingle out as a dentist, civil engineer, set dresser, real estate agent, pastor, ballet dancer, sharpshooter, or boat builder without knowing how to fix teeth, spec a drainage ditch, decorate a stage, sell a house, interpret the bible, balance on one foot, hold a gun, or keep a dingy from sinking, you'd be laughed at.
But declare yourself a singer-guitarist without knowing how to play the guitar? No problem.
Yes, music is an art. Sensitivity, passion, emotion, and authenticity are all essential elements of being a great musician. But music is also a craft. Technique, vocabulary, a sense of history and trained ears are equally indispensable.
If you are going to call yourself professional, you better darned well be one. It never fails to amaze me how this doesn't count if what you call yourself is "musician."
Amber's not that bad, but she's not that good either. She needs to spend some time in the shed. She needs to lock herself in a room and STUDY Joni Mitchell records. She needs to take music as seriously as she does promotion.
Recommendation to your readers: listen to a cut from Amber's MySpace page and then follow it with a listen to 24-year-old Joni Mitchell's "Cactus Tree," the last song on Song to a Seagull, her debut album.
My apologies, but I think this needed to be said.
I agree - especially the part about "don't have a back-up plan".
Thanks a lot for the interview Derek. And thank Amber for us for giving such marvelous insight.
It's funny because she portrays her experience and her methods in such a simple way.
It's as if there is not much to it. Kind of like Nike's 'Just Do It' motto. I'll add 'Just Dot It (and don't forget to do it'
What impressed me the most was
"But really, most of the money comes from CD sales. The only way that I’m able to tour is because of CD sales."
If she's a full time touring artist making at least $300 a show playing solo, with occasional house concerts tripling that sum, and if her CD sales are her real financial backbone, then she must be making a pretty a nice living out of it. It helps ALOT to know this.
Of course we must all take into account that her music is extremely accessible. I'm not sure her success is equally as accessible to all bands, but still,
congratz to Amber.
Keep it up.
Great interview! Amber rocks. I really enjoyed reading about some of the processes she goes through when touring.
Derek: Excellent point about going with what works vs. prejudice. Allow me to amend my statement, then: I think you should have two email signatures, one brief one for communication with everyday people (i.e. friends and people you don't necessarily want to alienate), and one verbose one for communication with music biz folks.
Basically, target your signature like you target your communications.
It's always nice to hear some concrete examples about how someone found success. There are other ways of doing it no doubt, but I find it helps a lot to know how someone else is doing it. Thank you!
Thanks Derek. This is exactly the kind of thing that helps someone like me.
I now work through agents (in Ireland, UK, Holland and Germany) because I didn't have time to book AND tour and work on the music. Mind you, I also have two small children which is wonderful but doesn't help with time issues. The downside is that I don't get to play countries where I don't have agents. Like others who've commented previously I would like to hear from Amber how she balances it and would also like to hear more views on the email sig issue before I delve into changing mine!
I think her good looks might have something to do with her success too. Great honest interview. Great blog. Thanks.
What everyone needs to keep in mind is that Amber is a SOLO ARTIST. I've been successfully DIY booking my band for 3 years all over the nation (20 tours over 41 states, 400+ shows), and trying to make a living on tour revenue is not nearly as easy when you're paying 4 people. Being a solo artist also opens up a lot more venue options (coffee shops, houses, etc) that full bands cannot play. So for those of you young guns in a band who've just read this article and are getting stoked to quit your job and hit the road, connect with some full bands that DIY tour before you make some unwise decisions.
nice
I agree with Ted. I've been in bands and around other people in the arts. It's always the same. As soon as they start talking about the "biz," I know all I need to know about them. There is too much focus on promotion and too little on music (or playwriting or painting or whatever). This is why most of it is so freakin' boring. The best way to be noticed is to become so good you can't be ignored. What other advice do you need?
Think of athletes. Do they make the cut because they had a good email signature?
This is a fascinating snapshot — I was inspired, jealous, and wowed!
I would also love a 2nd interview to know answers like:
- how does she handle healthcare?
- how / where does she live (not so that I can stalk, just so I can get some perspective)
- how does she handle transportation, especially flying with a decent acoustic guitar?
- What does she mean when she says "making a living"?
- How can I open for Amber?!
As a presenter - and booker since I don't have anyone else I can task with that, and musician for that matter...
I really found that Amber's interview has LOTS of good stuff.
Asking for a specific date or range, touching base and being responsive, taking initiative for media releases and contacts instead of hoping the presenter does it all. Yeah - I like those things a lot!!
Note *Being willing to send a sample of music that is representational of the gig you are asking for... don't send highly arranged and orchestrated music of a trio when you're asking for a solo acoustic. Please...
Follow up booking with a firm commitment and check to ensure the presenter has it on their website and still remembers who you are...
About a month before the gig, check back with presenter in email to list what you're doing for presentation (and do it). This ensures you're in the loop and the gig is still on without insulting the booker/host.
Thanks Derek -- You are bringing us great stuff. Must be a pro...
Great! Thanks
Insightful interview. Whenever you want to play somewhere else just type "Favorite-city music" on google. Simple as it sounds but I never really thought about it.
Thanks a lot.
Carlos
I love the part about not having a back up plan....good advice....thanks for the inspiration, love, cy
This article has inspired me into an idea. Here in Minneapolis we have several independently owned music stores. I'm going to go into some and ask to do an in-store solo acoustic appearance and CD signing. I know that concept in itself is not revolutionary, but I wonder how many of us indies think to go right into a store and ASK if we can come in and do it? I would think it's a great way to drum up a little extra business for them too, while I get some nice exposure and hopefully some CD sales.
Great stuff ! The part that I liked the most :
"It’s important to not have a backup plan. If you want to be touring, you should not have a job. Make it work. Any time you have a backup plan, you can always fall back on it."
It confirms me that I've been doing the right thing ! And even if it's not working like her yet, I've been able to make money out of my session works (I'm a keyboardist).
I'll read the article about session work too of course ! Thanks !
Mathieu
Excellent interview, what really surprises me is when she says: "But really, most of the money comes from CD sales. The only way that I’m able to tour is because of CD sales" This is just the opposite of what we're hearing about these days of free/illegal download and Record companies starving, CD shops closing, etc...
I'd like this interview, it gives me tested ideas to use to further my own musical exploits.
Now what I'd like to see is this same interview with a full (3-5 piece) band.
Keep the good info flowin'!
Great interview, Derek!
I am just now going through a careful look at my life and deciding (again) that my material can serve others. But to do that, it needs to be heard!
Amber's comments are simple, easy to understand, and provide me a good road map to the next steps.
Amber's story proves that you can take brand new, undeveloped beginner talent, market well, and reach success. The moral for me: my music is already ready for market-- the job now is marketing it with dedication.
I enjoyed the interview with Amber. She re-enforced what I'm always telling my artist. I tell them if they would work as hard at doing music as they do at their day job, they wouldn't need a day job. Amber made the needed commitment to become a working musician.
WOW..... What an eye opener!
Keep these coming Derek
.....Angela Steele Management
I just shot this out to my Twitter community. Fantastic article for ALL musicians to read. Well done!
Congrats Amber! It's nice to see someone with not only a positive outlook on the music industry, but someone who REALLY enjoy's what they love to do. I love what I do also.
)
I play solo acoustic music and tour regionally (MA,CT,NH mostly. I work full time plus play Thursday-Saturday.I would love to play music full time!
I also had a few questions:
1) Do you play covers/originals or both at your venues?
I know a lot of clubs perfer one or the other primarily.
2) What do you do for health insurance?
I live in MA and it's required that I have it or we pay hefty fines.
3) As for international touring, how did you go about getting booked over there? Do you travel with a group or are you alone?(same question for national tours: USA)
Great work and keep doing what you're doing. Thanks Derek for the article! Very helpful.
(also if anyone wishes to check out my music, feel free to visit:www.myspace.com/kenmacy
Cheers,
Ken Macy
Very good read! It's hard to make money in music these days. Please check out THE RYDE at www.myspace.com/therydeband
Thank you for sharing this valuable interview with Amber Rubarth. You give encouraging and practical ways of achieving our music goals - for this I appreciate your help and friendship.
Robert
Thanks for posting this, Derek! I like the mention of working for the booker and seeing things from that angle. I'd like to have that view.
With love and gratitude,
Joel Laviolette
and Rattletree Marimba
I recently wrapped up a fantastic online "integrated marketing" course through Berklee College of Music (Marketing 201) and Amber is doing precisely what the instructor, Mike King teaches through the course. Of course it gets into specifics from creating a goal for your tour, defining budget, and promoting, etc., a good 4-5 months before you take off on your tour. I learned that there truly is a musical environment out there that supports the indie artist. There are a couple of independent music store associations that are networks of music stores that you can approach, request to sell some of your cds on consignment, (because you are doing a show in their city) and request on in-store acoustic performance, (or band performance if they have that set-up). The owners or managers are likely to give you the contact info for the local indie/college radio station contacts for interviews/reviews, on-air performance, etc, and the local press contacts if you ask them.
I think Amanda is right regarding being of service to other people, making their jobs easier by assisting them in helping you meet your goals.
Anyway, it is a great course and I only wish I had the opportunity to take it ten years ago when I first started playing. I don't think I would have felt as "rutter-less" after my first cd.
Derek has been incredibly helpful as well. Thank you so much for your passion and helpful tools and information!
Cheers,
Patty Medina
Now, that is how to do it - I will take from it what I can.
It is interesting what Ted P. wrote about Amber, because at the root core of it, she's touring around the world making a living a a musician, and I can certainly learn a lot from what she said. Yes, she might not be Joni Mitchell, but she has a great style all her own. Plus, look at the publicity this email post has generated, as well as the comments on her myspace page. I went there, and liked what I heard, and became her friend. At least one of the 30,000 some friends that she has! That's more than I have, but she's right about building momentum and putting steam behind what you do. Perhaps she isn't the Guitar Hero of the Century, but I don't feel that you have to be that way to get your point across. I live in Fort Collins, Colorado, and there is a blossoming indie music scene here that has some great acts, not the best of the best talent. I think Amber is right when she talks about the enthusiasm and energy that you bring to a gig. That's what gets you fans, not how well you play. If one focuses solely on that, I feel that the initial joy of why one did this in the first place is lost. But Amber just broke it down into a creative, spelled-out down to earth manner about how to do this. It is certainly good info that I can use, and what I can't, I'll leave. Thanks for a really practical post, Derek.
Dave Jacoby
I started playing in taverns at the age of 13, back in one my home towns
Gooding Idaho. After about 40 + years of the night club scene, I now enjoy just writing and producing my own music, and I say to all you musicians, it has its ups and downs just like anything else, but if you enjoy doing that...that's all that counts.
Been doing the same thing as Amber but picked up a few tricks from her. Now I only wish I was a young as her(lol).
Great interview,
Toke
I have been lucky enough to meet AmbeR & see her play ONCE {we both played at the Williamsburg songwriters contest}& she is still in my mind...she is a sparkle of amazing talent & everything else...i am so happy you did this interview...she continues to be humble & adorable...she deserves to take on the world..just like she is...i'm a forever fan & inspired up the wazoooo by her& her music which is so quirky & real...rock on...thanxx DeREk..
LuV<
ReW*
Hi everyone!
Wanted to send answers to the questions you asked... thank you so much for reading this (and a HUGE thank you to Derek for interviewing me!)
I'm still new at everything and am learning every day, so I appreciate all your input... this is definitely not the only way of doing things, just what i've found so far.
-- EMAIL ETIQUETTE --
i use a separate signature for booking vs. personal stuff, but so far i've found bookers / etc. have commented positively on this.
-- MORE TIME ON MUSIC, LESS ON PROMOTION --
this is the most important thing to me in my life right now is making the time to improve as a musician and songwriter. glad you brought it up. i have been off balance the last two years with putting more time in promotion than into studying, writing, practicing because I was trying to make ends meet which meant a lot of touring, booking, planning, etc. my resolution this year is to spend more time with instruments, less on the computer.
i just got a new guitar book by adam levy, called "play the right stuff" which is helping me... i'm also writing / practicing / playing 4-6 hours a day now (6 days a week), as was recommended by stephen king for anyone to do with their chosen art (check out his "on writing" book, it's brilliant).
I do need to lock myself in a shed and write, practice and listen more. I grew up without being around much music, so I have a lot of catching up to do.
-- BACK UP PLAN --
i'm lucky to put all my energy into music without having many outside responsibilities (family, mortgage, etc.). i believe in giving yourself fully to what you are doing, but i don't think it must be 100% career... it could be giving yourself fully to having a family, playing music on the weekends and owning a house with a fireplace (probably healthier in fact). i am all about not having a back up plan though and if something goes terribly wrong, throw myself fully into doing something else without a back up plan. just me though, at this time. i think we rise up when it's expected of us or we have no other option, so that's helped me a lot.
-- BAND vs SOLO ACT--
my roommate and i have a new band called The Paper Raincoat http://myspace.com/thepaperraincoat - it's great for learning (Alex Wong and I switch between lead vocals and I also get to play keyboard, bass lines, glockenspiel, drums, he plays guitar, glock, bunch of other stuff) but yes it is very much harder touring with a band. we've been doing it for one year now, self-recorded and self-released an ep (at our house, spent only a few hundred dollars total on it) and still we are in the hole $2200 in a year. which was funded by our other projects.
i would love to hear from a band how they make a living at it, i think it's much more difficult to start, but also can be much more rewarding. also, driving over 100,000 miles across the country by yourself and spending 10 weeks a year mostly alone in foreign countries can get pretty lonely.
i feel like these days publishing / placements is where it's at. it's a world i don't know much about yet but would like to....
-- MAKING A LIVING --
i have very low expenses and don't spend money on much I don't need (everything I own fits in two suitcases)... but pressing cds, travel expenses, instrument upkeep, etc. all adds up. plus, you have to pay for a lot of things before you get money from it (buying cds, flying to shows, etc) so i still feel like this is an area i'm learning how to improve on. i don't have health insurance, but do have that as a goal for this year.
one other thing i've really made a point to do with CDs is make the packaging interesting. my first cd came in a round tin can. last EP had 1000 limited edition canvas wall paintings i made by hand that you could hang on the wall and it held the cd in the back. i think getting creative with stuff lets the audience know you care, plus it's fun to do.
-- OTHER ?s --
* i live in brooklyn, new york, in a cold apartment.
* used to have a little green civic, but now take public transportation whenever possible, rent car when needed, europe i do completely by train.
* i play 98% originals, have thrown some tom waits / bob dylan / guns n roses in....
* booking internationally = same as here. travel alone for the most part. now i stay mostly with people i've met there, hostels are also great.
thanks everyone! hope i got all the questions, great feedback.
.ambeR
Thanks Derek,
Very positive networking grassroots personal, Amber seems fresh and willing to put herself across within her agenda that she has organised to suit her realms in learning her art n craft (music n Bizz)as she was'nt knocking on about how pro she was...
Just level thinking and getting involved other than having an agent to book her up without her finding out for herself to create her own bandwith in the music globe, this once learn now becomes a nac like writing a song or riding a bike, so fair do's you have to have a net for networking...
Most comments i feel are quite fair subject to strokes for folks, your feedback blog/panel were revealing themselves without going into exceptions, so that added a real edge to a very good interview taste for yourself theme as a running torch for all aspiring musicians young-mature with or without a job...
Point of the balance is the bridge to somewhere that helps to make it and keep it working, love all of the feedback inputs said ways, it all added spice to a serious music toast to the hardworking sister, in that been up with the booking buzz seem to have helped her on the road where she must have caught up with the songwriting/composing side of her artistic skills as most benifit from been in that position i certainly write from experience while on the moves...
Blessings to you Derek and the charming sister Amber will take a listen, respects to all for Calendar year 2009 beyond stay strong for music live and studio wise, hard work is no surprise as do our appetite, there is a saying of "Work Hard, Live well, Laugh often and Love Much"...
These I have felt while reading thru all this email from CD-Baby bro Derek a serious fellow grass-rooots souljah, you make us independents artists/singer/songwriter/labels producers-promotion workers proud to share such great realities of the tried and tested paths/journeny's that we may indeed encounter if we go on and try knowinig why? yes really cool and i did enjoy, thus the extended texts...
Stay free spirited in music for much more oneness of overstanding in the voyage we love...
Peace
Wayne@mwm
Very interesting, although I have
done the hard yards years ago in the
same manner I pushed myself with
agents and ended up with management,
and ended up in all different shows
and on t.v. and films, but here in
Australia they have abandoned alot
of venues that were once upon a time
instead poker machines have taken over, but I do understand all this
I just feel there is no market here
for what im trying to do, although
if all goes well after I have sorted my living arrangements we
may have a venue anytime at this
place I know and we will then film
our live concert. but great stuff
thankyou
Great article! Thanks, Derek.
And for those of you who haven't been lucky enough to see her play live yet: you're in for a real treat when you do.
this is so insightful. Thank you Derek AND Amber for spelling it out so human-ly, which in the end, is what you want the experience of offering your music to be, in my experience. I too use the email signature to great success, but like the suggestion of "fluffy", I keep the show listings to the current couple coming soon, and links to the rest. Whatever works...good new years kick in the heiny to get going...
so cool. thank you.
I wish you could all read my chapter in the Billboard Books release "Tales From The Rock 'n' Roll Highway". Even with gigs, you need a plan B, even if it's another gig. When you fully commit to a career on the road as I have done for over a decade, failure is not an option. You must have options. Because I was successful as an Indie for so (too) long, my original plan B expired. My college degree is worthless (Old IT). So what to do? Plan A+ !!! Kick it up a notch. I've mutated from an indie into a concert musician. For all of you out there who long to do this and nothing else, beware, as it may take a lifelong sacrifice and dedication beyond your imagination and faith in your talent. If you are ready, go out there with plan A, B, C, etc. Make them all music, and please study your craft intensely as you tour. Never listen to the negative people that tell you what you do "sucks". I was a beginner, too, and managed to get paid while on the job.
Finally, your legs might fail you sometimes, but your fans will carry you.
Bless The Road, Always
Kayte Strong
Wow! Derek, you are such an inspiration. The bottom line her is 'Just Do It'!!! Most people don't even ask for gigs, they wait for the phone to ring. Being proactive with almost tunnel vision is definitely the key to success. My story with KINDERJAZZ for the past 12 years is just to persevere.
That was very informative!
I'm a solo Acoustic Warrior, like Amber, and she made a couple points that I'd like to reiterate (for anyone who didn't catch her quickly mentioned golden pearls of wisdom):
1. Small towns really do rock! I'm based in southern California and playing there all the time and trying to get good crowds out to shows three nights a week there can give you a heart attack (in fact it did give me a heart attack a few years back...and I had no health insurance...and still don't...thank you California tax payers for the angioplasty! Health care for the indigent - it's nice when you can get it.) I travel a lot now to small towns in Colorado and Utah (and play in southern California less) and find it incredibly satisfying playing for small town rednecks and hippies who don't even know what myspace is! In fact, I sometimes play small bars in ski towns and the owner at the end of the night will ask me if I know any other great musicians that might be able to come play at his bar (because no-one ever calls him trying to set up a date) and asks how soon I can get back there to play again. There are plenty of untapped small towns where you will get paid better than in big cities and the audiences will be bigger and more appreciative and you'll easily find a couch to crash on at the end of the night.
2. Simplify, simplify, simplify. Amber says she can fit all she owns in two suitcases. That's pretty essential info people. The majority of my gigs pay between $150-300. After paying for gas, the occasional hotel room, a new alternator for my stupid truck that broke down on the way to a gig last weekend (installed by a redneck friend/fan in the backwoods of Colorado for the price of a case of beer), rent for the cheap apartment back home, and the dreaded re-fretting of my guitar, that doesn't leave ANY money for toys, nice shoes, fancy recording studio sessions, or nights out on the town. The less you need, the less you need to make to keep on living the dream. I'm sure Amber would agree that even with some success, it's by far not a fancy, easy life...but you get by and love the satisfaction of getting paid for having fun.
I get pretty lonely at times on the road, too...I'm sitting in a hotel room in Utah right now alone....10 degrees outside so I splurged on a cheap hotel room for the night...I've got a radio interview and then playing a show in Cedar City tomorrow...stoked to be reading such an interesting interview! Having to pay a band wouldn't make any sense financially, though. The simpler you make it, the more possible touring becomes. I get a lot of satisfaction hearing the bartender tell me at the end of the night that I rocked the place as he hands me the same amount of money they paid the local 5 piece band the night before.
Next time I see you on the bill at the Coach House, Amber, I'm gonna get on that bill as well and I'll see you on the roof after we sound check for a pow-wow. I'd like to know if you always play at places that have sound systems or if you travel to foreign lands with a small P.A. I've been trying to find someone who can invent a P.A. smaller than the Bose system that can fit into my backpack. Extra bags cost a lot of money on airlines these days!
Great real life stuff, Derek. Thanks!
John Sotter ~ Acoustic Warrior
cool interview Derek and Amber. I agree it's about being open, positive and thinking about what others are looking for and what their needs are. Along the way, there are those who bolsh over anyone or never say thank you. Harbour no bitterness and don't become like them. They're like this usually for a reason, because their attitude got them nowhere, and bitterness is easily contagious. So the trick is to move on, move forward, keep shining, stay real. That's what Amber seems to have done and good on her.
Warmly,
Donna Williams
http://www.myspace.com/donnaandtheaspinauts
Thank you, it was a great interview, and I'm motivated to do things better for myself!
Great interview, indeed it would be nice to read some more.
About the plan B, with A-lix our band we've done 2 years without (breaking even but without rent or hotels) and it's now been 1 year with a plan B. I find out both are complementary but personal equilibrium is necessary too. Sometimes have a place on your own to come back to (which you can't really afford if on tour) is very useful mentally.
Cheers, V.
Yes I Ambert Rubarth
This ya experience is a positive vibration... So positive that you shared it on this ya blog with I&I independant artist.
Lot of RASpect!
http://www.carlosdenicaraguayfamilia.com
Rastafari
Hello All,
Yes this was a great article!
Getting started with capital sometimes I find is a huge hurdle at first. Trying to keep the roof and getting the music going, without deviating from being around music and "doing" music, can be a huge challenge.
I have been lucky and things are getting better certainly!
Thanks again for a great article-
Sat-Nam[I salute the Truth in you]..both. Committed-flow is IT,smile.I went on a 2&1/2 months contract to Holland/Belgium(Schowburg Theatres),and ended up 4 years performing & working with Theatre Companies... as well as,Caribbean/Surinamese Youth there. 2009 ON..is primarily, for worldwide-performance/workshop-tours with(a} Afrika Heartbeat/California,& (b)Parry's Pan School[Steelband,Rep.of Trinidad & Tobago]...Ase! One Love...Val.
Hi Amber, I'm a gospel artst from the Bahamas and I need a booking agent in the US
Great post! Very useful information. I'll sure be taking these notes into my band's booking efforts!
Thanks as always Derek
Inspiring interview Amber - the information about specifying dates when booking is very interesting. I need to try that. I'm not shy to ask for gigs but I don't think I've ever specified a date..... And I'm taking another leaf out of your book. Here's the gigs I have managed to secure!
http://www.deviantdidg.com/gigs.html
Indidginus online elsewhere:
http://www.myspace.com/indidginus
http://www.facebook.com/pages/Indidginus/23657524010
Well done & congratulations on your success so far. I hope that 2000 and fine brings us all abundance, happiness, flow, boundless enthusiasm & lots of gigs/CD sales
Michael.
HI AMBER/DEREK. THANKS FOR THE INFORMATION, WELL:I'M AFRICA/REGGAE ARTIST LOOKING FOR AGENT IN WORLD MUSIC AREA. I NEEDS HELP IN AREA OF BOOKING,
THANKS AND GOD BLESS.
J.J.RAWLINGS
Hi Derek,
Thanks for all the information and ideas.
I always read with interest about your
meetings and travels for music promotion !
I continue to sing whenever possible. I have
not been able to keep up on updating my
website, or checking CD Baby, but hope to
remedy that.---Best to you, Marti Lynch,
Singer/Songwriter/ Recording Artist
I could offer my interesting and various vocal program for the tourists from all over the world.
i played at a house concert amber also played at put on by drew pearce in mill valley california about 2 or 3 years ago. my girl and i bought her CD. actually both of them. something new in the tin package and unfinished art in the canvas painting package. we loved something new because it had a lot of songs and they were all good. then we listened to the unfinished art and i guess we didn't get the joke because i distinctly remember us talking about how there were only like 4 songs on the disc! 4 fabulous and awesome songs but a little confused at the $20 price tag when her old album was $10 and had so much more bang for the buck. but in any case, i first saw her at club passim opening for lindsey mac (another cellist who i went to school with and went to the show for...i had never heard of amber rubarth.) and i have been stalking her ever since...at least online...
and i have wondered to myself and to friends why i am not more successful at touring. and now i think i know why. i think it's because i don't really believe in myself enough. 18+ years playing cello..19+ years playing piano..6 years as a throatsinger...10+ as a beatboxer..bucket drummer for 6 years..last night (a sunday) i went to downtown mountain view (super little town home of google, but hardly a scene..there's four bars..) and i played buckets and pots and pans for six hours and walked away with $180. you'd think i would have the confidence to really start touring and MAKING it. there's really nothing holding me back but my own limitations i put on myself. it's crazy that i make more money playing plastic buckets than i do playing cello. plenty of bucket players i have met have said they have hopped on a plane to some random destination with a pair of sticks and $50 in their pocket with no back up plan on how to get back and that they've done real well and had a ball. maybe i should do that?
also, i feel like i need a band to back me up. i do solo gigs all the time and play on the street alone, but have always thought that i need a band to tour. i guess maybe it's because i envision it being not as fun on my own. but maybe i should put some serious thought into doing more solo gigs. all these other comments about how touring with a band is different because you split up the money are so on the money (pun intended.) maybe that's why i recently bought a looper!
also, i agree with the whole CD sales thing. i don't even have a mixed and mastered CD. i just burn copies of my cd on my computer and wrap them in a sheet of paper with black and white cover art. when i was touring mexico with the ginger ninjas on the pleasant revolution (a 5,000 bicycle odyssey with a pedal powered PA system from northern california to the bottom of mexico...epic...check it out..pleasantrevolution.net) i sold lots of cds, often to folks who didn't really speak much english, but i guess just liked cello and beatboxing and was able to get by and keep going because of those sales.
anyway, great article and i love you amber rubarth..i can't wait to see you on jan 25th at bay area sound studios..and then i'll have bragging rights that i've shared the stage with the likes of the most amazing and talented and played on npr and winner of a kajillion contests amber rubarth not once, but TWICE!
afterthought: i'm planning a bike tour from canada to mexico for this summer...anyone wanna come along? anyone ever thought about doing musical bike tours? it's really great on saving $ for gas and you end up with a really nice ass. also, it's all environmentally friendly and stuff. plus, you get to slow down and take your time getting where you're going because it's not about the destination...it's about the journey..and..it makes a lot more sense to stop in the little towns and organize shows off the beaten path..
Wow! that is amazing! I started playing guitar in december and this iformation is exciting! I already am learning so much. (It might help that I have a musical family)I wonder, would Amber mind an email from me? maybe she could help me out.
Great article, Derek!
this is incredible! Love the email signature idea. Visit http://www.grassrootsy.wordpress.com for other indie artist promotions ideas.
Yes,
Very helpful. The two most helpful points for me were:
ASKING for a media list, I had a media list but the venues list can help me round out mine.. or point me toward the Most Useful publications for their area
Make a request for a specific day. I feel this helped me a lot. Dont' know why I missed this one.
Great interview Derek, as you may remember I had trouble finding a way to promote myself, this seems like a good way to start
Thanks for all the great stuff in here
-David
Thanks Derek and Amber for making what had always been for me an unclear path, simple.
This is very inspiring!! I am very moved by the passion of Amber,she is very lovely! and I am also so appreicated for the great efforts by Derek!!
Definitely some super insightful tips from someone who is living out a real dream. Much appreciated! Booking has always been something that I thought I should leave to someone else but I feel a bit more confident in the idea of doing myself after reading this. Thanks guys.
young'ns take heed - this gal's advice is right on!
I've been playing 20 years now and it took me a lot longer to play 1000 gigs!
Awesome work Amber.
Keep it up! =)
You certainly have the look, ambition & [most importantly] love-inspired-passion for what you are doing.
Thank you for taking the time to share your experiences with us. =)
Excellent interview/material as usual Derrick.
Sincerest & Most Humble of Regards,
Forever In Love With Existence & All-That-Is-And-Will-BE,
-TIGER M [Thursday]
-2:02 AM (1/29/2009)
thanks for tip on signatures very useful.
All the best.
What a great interview! I really liked what she said about helping others. I think it's really important to put yourself in other people's position and make sure you understand how each aspect of the business works. People really appreciate it and it builds community.
Thanks Derek!
Pretty much usefully covers it I think Derek. Persuading promoters to hand over substantial guarentees, when you have a professional band and crew to pay, accomodate and put up in hotels however, is a harder egg to crack and one I've struggled with for decades. Also, Artists playing trans-nationally, should be aware that some territories will tax your gross
This is a great article. I especially like the bit about email signatures. I would like to read something similar from a non-acoustic bands point of view. (at least 3 members)
I love this article, very insightful. We will definitely put this info to great use. Everybody reading come check out my Anti-All Female Hip Rock Band "Mzery Loves Company" @ myspace.com/mzerylovescompany
Great work Amber - thanks for sharing your story.....and you too Mr Sivers.
John Harley Weston
Thanks, Amber! Great tips, but what I admire the most is that you've been able to maintain your enthusiasm. The fact that you are still excited about music and still growing as an artist is what makes you a success in my eyes. Kudos!
I read this interview a couple of weeks ago. It genuinely changed my outlook on how I'd like to approach my music career from here on out.
"It’s important to not have a backup plan. If you want to be touring, you should not have a job. Make it work. Any time you have a backup plan, you can always fall back on it."
That single paragraph was the most resonant part for me. Thanks a lot for providing this for everyone.
I just wrote a blog post addressing this idea from a personal standpoint called The Greatest Valentine I've Ever Received
I've been telling aspiring musicians not to have a back-up plan for years! Thanks for the vindication Amber! And Derek!
It was a good article. The one thing that has to be pointed out is she is a girl and she happens to be very cute. So her early experiences were probably running on this. Ugly guys don't get invited to do anything only knowing C,G,F chords, just doesn't happen. Then she took herself to another place in time by being a willing intern. That is where she really showed her courage and willingness and looking at the "business" of music changed everything. Very smart move. Great article.
I loved this article - very well written. I wrote down: It's important to not have a backup plan. Be fearless and creative with how everything is being done. I LoVE that! Of course as said ealier sometimes ppl have responsibilities that may make their options look different... first of all a mortgage is a FREE CHOICE IMO, but kids, parents that need your financial or physical help, etc. of course... but I think the spirit of what she said it right-on.. anyone can do anything if they commit to it 100%. If you try to commit to too many things... not so certain an outcome.
TOTALLY agree about not having a back-up plan... I was making a living as a singer/songwriter in Austin, I moved to a different city due to a family situation, and when I realized I had to start over with no local contacts, I took a waitressing job and guess what - my career took a huge back seat. Thank goodness this restaurant closed and I decided not to look for another job waiting tables - I am back in action and moving at a pace I have not been moving in a year! Thanks, Derek for the article, and thanks, Amber for the inspiration!!!!
Derek, I am so glad that after meeting you at Folk Alliance, you let me know about your blog,etc.
Amber Rubarth, one of the sweetest, most adorable person I've ever met! She found me on MySpace a few years ago, and as soon as I moved to Boston a year and a 1/2 ago, I went to see her at the legendary Club Passim in Cambridge. She is truly one of a kind. She is diligent, hard working, kind, humble(as evidenced by her follow-up remarks and thankfulness for critique!), and extremely
talented. Everyone I know believes that she is right on the verge of superstardom. I tell all my friends to listen to Amber, and I've bought a lot of her CD's to give to friends.
Because of my first meeting with Amber, I met my first client, Joel Ackerson-a good friend of hers from the coffeehouse days back in Reno. I can honestly say that because of Amber I became a booking agent and manager.
Amber has what every singer/songwriter needs, something that sets her apart from the crowd. Her music is quirky and fun and totally from the heart. When she sings "I like you a lot"-you can feel the raw emotion of the situation. And her networking skills are wonderful because they are not forced or pushy. She gravitates to those she is supposed to meet.
Thanks Derek, for the awesome interview with one of my favorite rising stars!
Great job, Amber! And great job, Derek, for sharing Amber's story. I learn best from seeing what others have done specifically. I'd love to read more about people who have been successful in the music business. Have you ever talked with anyone who's been successful at making money by only selling music on line?
Amber and Derek, thank you so much for sharing.
A very useful article, I'm a little jealous of the music scene there...I've never found the same sense of community on open mic nights here (North of Engand, UK), and I'm sure if I'd rolled up in a coffee house and started playing I'd have been thrown out, not booked and paid!
Thanks so much for the article, insightful, helpful... All the Best,
Mike Droho
what an inspiring post. there are so many lessons to be gleaned from this success story. now, if i could just be a little more outgoing....
Amber's not that sweet and adorable....I'm a touring singer/ songwriter too. I became aware of her after seeing a post of her's on craigslist--she was looking for a gig in my town. Offered her a shared bill, which she declined--which is okay. Went to the show she did end up booking to support, and she was stand-offish and unfriendly (to a fellow artist?? Not cool). Later, reached out via Myspace to ask her a logistical question about touring, and she didn't even bother to answer.
love it! the only thing i don't like is MYSPACE. ugh. ugh. and ugh again. artists, please don't force us to go there. it's a real turnoff. get a real site.
I'm a little late to the party on this post.
But I felt compelled to reply.
There are some really good insights here, especially as a former "Wanna Be Touring Musician". And many of this insights apply to any business or venture you desire chase.
The one main concept I see as probably the most important and the one used to start my design company. There is only Plan A there is NO PLAN B.
If you have a plan B, I felt the risk of my inherent laziness taking over, "if this doesn't work, then I've always got..."
If you are passionate about what you want to pursue. DO THAT. Life is too short to screw around in stuff that doesn't make you excited to get up and do it everyday.
I fully believe if I hadn't figuratively and mentally torched the bridges behind me I never would have been successful in business.
I had to make it work, to pay the rent, feed the kids, etc... Plan A Was the only option.
Cheers,
Michael
What a great post! I love it when struggling musicians do well for themselves. Nice site!
I do a free Internet Marketing class for entrepreneurs and musicians All are welcome to attend.