Not really, but it's been a couple days. This gap in posting was due to our travel through Texas, a very big, mostly flat, mostly empty state. I'll figure out a way to post regularly on tour, 'cause I know you're worried.
Don't get me wrong, I like Texas. Both my parents are from Texas. To say I don't like Texas would be to say I don't like myself. I was conceived there, and while that's gross that I know that, I was BORN in Colorado. This puts a permanent skew on my view of the state.
We first stopped in the vast urban sprawl of Houston. Had a nice meal and realized you couldn't pay me to live there. Nice people, but I'd rather not have to fill up with gas just to go to the grocery store.
Similair story in Dallas. Upon talking to Andrew Portwood's (guitar, FGF) uncle (who fed and housed us, thanks dude!), you realize that Texans have a completly unique mindset about the world. While partially conservative, it represents a fiercly independent statehood. This independence has produced many, many fantastic musicians.
From Selena to SRV to Los Lonely Boys, Texas is a hotbed for musical creativity. The first time I played in a club was on 6th street and I'm excited to go back to a club called Maggie Mae's to play on the 28th of June.
On the last night of our trip back to CO, we slept without a tent on the sand in the Sand Dunes National Park. It was absolutely freezing, but reminded me that while a vast sprawling state full of highways like Texas is great for music, nothing inspires me like the natural world for making music.
Saturday, May 31
Monday, May 26
People who help your music
There are a lot of other people besides your band-mates who will contribute to your musical successes.
Take for example friend and photographer, Sari Blum. We just posted some of her work on http://www.frogsgonefishin.com . Her shots are exactly what I would have imagined live-music photography to look like: a grainy texture that captures several emotions on-stage. Make sure and check out her work on the site.
Of course, we are lucky to be able to afford Sari at this point. She's a friend and that helps (the first time you ask, anyway). But it is people like Sari who are crucial to any band's success. There are forty-thousand tasks to accomplish on and off the stage if your group has a shot at being successful.
Anybody who helps a band focus on their music and not these other 39,999 tasks is doing a huge part in letting creativity exist outside of business and image, a separation some believe is necessary for creativity to exist in the first place.
While some believe it is the very economic demands of the artists that create the art in the first place, one thing is certain. We couldn't be more Grateful for other artists like Sari, and people like our road-manager and audio-engineer, Jack.
They are the people that make the people that make music happen.
Take for example friend and photographer, Sari Blum. We just posted some of her work on http://www.frogsgonefishin.com . Her shots are exactly what I would have imagined live-music photography to look like: a grainy texture that captures several emotions on-stage. Make sure and check out her work on the site.
Of course, we are lucky to be able to afford Sari at this point. She's a friend and that helps (the first time you ask, anyway). But it is people like Sari who are crucial to any band's success. There are forty-thousand tasks to accomplish on and off the stage if your group has a shot at being successful.
Anybody who helps a band focus on their music and not these other 39,999 tasks is doing a huge part in letting creativity exist outside of business and image, a separation some believe is necessary for creativity to exist in the first place.
While some believe it is the very economic demands of the artists that create the art in the first place, one thing is certain. We couldn't be more Grateful for other artists like Sari, and people like our road-manager and audio-engineer, Jack.
They are the people that make the people that make music happen.
Saturday, May 24
New Orleans is the coolest city in the world
I really think that from the perspective of musician, one could claim NOLA to be the best slash coolest city in the world.
Today, as we drove through the Mid-City, Bayou St. John area of New Orleans, we stumbled upon the Bayou Boogaloo Festival. This festival is one of many like it which occur all year in Louisiana and New Orleans, the culmination being the almighty New Orleans Jazz and Heritage Festival at the end of April/beginning of May.
These events embody the city's heavy musical mojo, and today's Boogaloo was no exception. The grounds, situated between the calm bayou and Carrollton Ave., were filled with music from four stages, artisans and vendors, not to mention many happy N'Orleanians abound. In another US city, such a production would likely involve a high ticket price, given the level of talent performing. But yesterday and today, thirty bands performed at zero cost to me, the music consumer.
How, you say. I have a friend who likes to call paying for music (performed or recorded), "music tax". Aside from the fact that he says such things just to bother me, it raises an interesting debate about how much the intellectual property that is music, should cost.
In New Orleans, there is no debate.
In New Orleans, the short-term profit of a music festival is greatly ignored when compared to the effects of what would happen if there weren't a long-term, stable music scene in the city. Especially in post-Katrina life, Jazz Fest and Mardi Gras aren't simply the yearly clock by which New Orleanians execute their livelihoods and daily lives. They are the economic lifeblood of the city.
If the musicians go away, the city goes away. This is the New Orleans Music Equation.
Today, as we drove through the Mid-City, Bayou St. John area of New Orleans, we stumbled upon the Bayou Boogaloo Festival. This festival is one of many like it which occur all year in Louisiana and New Orleans, the culmination being the almighty New Orleans Jazz and Heritage Festival at the end of April/beginning of May.
These events embody the city's heavy musical mojo, and today's Boogaloo was no exception. The grounds, situated between the calm bayou and Carrollton Ave., were filled with music from four stages, artisans and vendors, not to mention many happy N'Orleanians abound. In another US city, such a production would likely involve a high ticket price, given the level of talent performing. But yesterday and today, thirty bands performed at zero cost to me, the music consumer.
How, you say. I have a friend who likes to call paying for music (performed or recorded), "music tax". Aside from the fact that he says such things just to bother me, it raises an interesting debate about how much the intellectual property that is music, should cost.
In New Orleans, there is no debate.
In New Orleans, the short-term profit of a music festival is greatly ignored when compared to the effects of what would happen if there weren't a long-term, stable music scene in the city. Especially in post-Katrina life, Jazz Fest and Mardi Gras aren't simply the yearly clock by which New Orleanians execute their livelihoods and daily lives. They are the economic lifeblood of the city.
If the musicians go away, the city goes away. This is the New Orleans Music Equation.
Friday, May 23
Routing a Tour
One of the biggest challenges when deciding to head out on tour (especially considering $5/gallon gas) is the route you will employ to get from city to city. Here's a recent scenario:
Frogs Gone Fishin' is booked for the 20th of June in Crested Butte, in the mountains of western Colorado. We knew we needed to be in Austin, TX by the 26th. The 22nd is a Sunday so by the laws of the live-music gods, we cross that date out.
By way of Myspace we got a gig in Flagstaff, AZ on the 24th. Simultaneously we received offers in Durango and Canon City, CO. Both of these gigs would involve back-tracking and wasting that ever-so-precious gasoline.
After many phone calls and several pissed-off promoters, we managed to score the 21st in Durango (before driving through the desert), and Phoenix the 25th... a smooth transition, despite the long drive to Austin the next day.
Such haggling and struggle would not be necessary if the price of gas and state of the environment were not such as they are. Back-tracking through the Arizona desert with a Chevy Suburban and non-aerodynamic trailer would not have been as big of a deal in the early 90's, but now is considered economic and environmental suicide.
So while this post began as musings on human logistic problems, it is really the economics of how we get around that is going to make touring more and more difficult for the travel that we musicians must do by necessity. Pretty soon we will need to find an alternatively fueled vehicle that can both get us where we need to go, and do so in an economical and environmentally responsible fashion.
Frogs Gone Fishin' is booked for the 20th of June in Crested Butte, in the mountains of western Colorado. We knew we needed to be in Austin, TX by the 26th. The 22nd is a Sunday so by the laws of the live-music gods, we cross that date out.
By way of Myspace we got a gig in Flagstaff, AZ on the 24th. Simultaneously we received offers in Durango and Canon City, CO. Both of these gigs would involve back-tracking and wasting that ever-so-precious gasoline.
After many phone calls and several pissed-off promoters, we managed to score the 21st in Durango (before driving through the desert), and Phoenix the 25th... a smooth transition, despite the long drive to Austin the next day.
Such haggling and struggle would not be necessary if the price of gas and state of the environment were not such as they are. Back-tracking through the Arizona desert with a Chevy Suburban and non-aerodynamic trailer would not have been as big of a deal in the early 90's, but now is considered economic and environmental suicide.
So while this post began as musings on human logistic problems, it is really the economics of how we get around that is going to make touring more and more difficult for the travel that we musicians must do by necessity. Pretty soon we will need to find an alternatively fueled vehicle that can both get us where we need to go, and do so in an economical and environmentally responsible fashion.
Thursday, May 22
Connectivity
Today we are working in New Orleans on some ways to make things more connected on the web regarding the album, tour and marketing for both. There are YouTube video links on Facebook and links to this blog on MySpace. The idea is to catch a potential listener in whatever preferred listening habitat they enjoy, and give them both breadth and depth in their listening and viewing pleasure.
Booking continues to be a struggle, but persistence paid off in another gig in Durango for the beginning of July. Now that we have all of these shows booked, its time to decide how we can make the fleeting moments an audience member experiences meaningful enough for them to come back the next time. Lights... big lights.... and smoke machines... that's what we need.
Booking continues to be a struggle, but persistence paid off in another gig in Durango for the beginning of July. Now that we have all of these shows booked, its time to decide how we can make the fleeting moments an audience member experiences meaningful enough for them to come back the next time. Lights... big lights.... and smoke machines... that's what we need.
Wednesday, May 21
Booking Shows
Booking your band in cities where you have never been, much less played before is a tedious task.
It starts with the Cold Call, which goes something like this:
"Hello, Cowboy Saloon Bar & Grille"
"Hey this is Trevor from Frogs Gone Fishin', a band from Colorado and we were interested in setting up a date".
If the promoter doesn't immediately hang up....
"What kind of music?"
"Funky, dance, rock, reggae. Mostly originals..."
If the club owner or promoter is chill enough to let you speak beyond this point you might just get to play and with a prayer, get paid for doing so.
The above conversation is assuming you are able to a) find a club in Randomtown, Mid-Western State, USA that b)even has live music and not DJ's and c)will let an unknown band submit or play at their venue. For every 20 venues phoned, I would estimate 5 will answer and 1 will entertain the idea of your band performing.
Persistence and resources (pretty much just the internet) are tantamount. Once you get to know certain promoters in certain towns who realize bands take years of solid gigging to become popular, your life as independent booking agent gets easier.
Just be nice, knowledgeable and above all, persistent. Remember, weddings, bot-mitzvahs and community service gigs at elementary schools have their place too....
It starts with the Cold Call, which goes something like this:
"Hello, Cowboy Saloon Bar & Grille"
"Hey this is Trevor from Frogs Gone Fishin', a band from Colorado and we were interested in setting up a date".
If the promoter doesn't immediately hang up....
"What kind of music?"
"Funky, dance, rock, reggae. Mostly originals..."
If the club owner or promoter is chill enough to let you speak beyond this point you might just get to play and with a prayer, get paid for doing so.
The above conversation is assuming you are able to a) find a club in Randomtown, Mid-Western State, USA that b)even has live music and not DJ's and c)will let an unknown band submit or play at their venue. For every 20 venues phoned, I would estimate 5 will answer and 1 will entertain the idea of your band performing.
Persistence and resources (pretty much just the internet) are tantamount. Once you get to know certain promoters in certain towns who realize bands take years of solid gigging to become popular, your life as independent booking agent gets easier.
Just be nice, knowledgeable and above all, persistent. Remember, weddings, bot-mitzvahs and community service gigs at elementary schools have their place too....
Tuesday, May 20
Band Buddies
Many band members hate each other. Creative tension is inevitable in any group or organization and life on the road and in the studio puts extra stress on everyone. I've heard bands like Weezer don't speak to each other at all, unless the are in rehearsal or about to go on stage.
How creativity perpetuates itself in these situations boggles my gourd. How can you playfully bounce around musical ideas whilst knowingly disliking your bands members? Your personality is your musical personality. I suppose it really breaks down to the dynamic of the style of music you play.
Improvisational music requires pitting your musical personality against those you play with. This manifests itself in a myriad of musical variables. The drummer might perceive a song as dragging and sluggish while the bass player thinks the tune is rushing. A singer might have to strain over the volume of the drums while articulating a passage.
This is different from music that involves no improvisation. This isn't to say that music that is purely compositional isn't creative or malleable.
I just know that the dynamic give and take between me and my bandmates' musical personalities reinforces our friendship (friendships which were present before we started playing music to begin with, thankfully).
And to all the bands that don't get along: music is a unifying force and employing that force will only help your musical efforts.
How creativity perpetuates itself in these situations boggles my gourd. How can you playfully bounce around musical ideas whilst knowingly disliking your bands members? Your personality is your musical personality. I suppose it really breaks down to the dynamic of the style of music you play.
Improvisational music requires pitting your musical personality against those you play with. This manifests itself in a myriad of musical variables. The drummer might perceive a song as dragging and sluggish while the bass player thinks the tune is rushing. A singer might have to strain over the volume of the drums while articulating a passage.
This is different from music that involves no improvisation. This isn't to say that music that is purely compositional isn't creative or malleable.
I just know that the dynamic give and take between me and my bandmates' musical personalities reinforces our friendship (friendships which were present before we started playing music to begin with, thankfully).
And to all the bands that don't get along: music is a unifying force and employing that force will only help your musical efforts.
Monday, May 19
Marketing Music and Your Band
There are an incredible amount of options available today for bands to advertise their music on-line and on the street. In the process of promoting ours we have gone through myspace, virb, reverbnation, facebook, evite and a slew of other sites designed just to get the word out.
I'm left to wonder how many sites we must be missing.... we also focus on print ads: newspapers, specialty publications, posters, handbills and fliers. One thing is certain, you can never be doing enough to get your product our there.
I'm left to wonder how many sites we must be missing.... we also focus on print ads: newspapers, specialty publications, posters, handbills and fliers. One thing is certain, you can never be doing enough to get your product our there.
Friday, May 16
The Final Countdown
21 days until summer tour...
32 days until the album drops...
Frogs Gone Fishin', has just announced that we will release our debut studio album, "Tell Me True" on June 17th. We have been working on the tracks for over a year in Nashville, Denver and the seclusion of the Colorado mountains. It's a very fun album to listen to and I cannot wait to start touring under it.
Tour starts on the 6th in Denver at The Walnut Room with the Boulder Acoustic Society, so I'll be leaving New Orleans on Tuesday with Andrew Portwood (vox, guitars) to drive the tour-mobile (mid-90's Suburban) to Colorado to meet Steve (bass) and Mark (drums/perc) and start rehearsal.
One final note: I purchased a Paul Reed Smith Hollowbody II this week. It is one of the most beautiful guitars I've ever played and sounds like a complete monster when you plug it in. For about a year of rent money, I invested in an instrument which I'll have forever. Nothing can come close to the creative propulsion produced by a world-class instrument.
32 days until the album drops...
Frogs Gone Fishin', has just announced that we will release our debut studio album, "Tell Me True" on June 17th. We have been working on the tracks for over a year in Nashville, Denver and the seclusion of the Colorado mountains. It's a very fun album to listen to and I cannot wait to start touring under it.
Tour starts on the 6th in Denver at The Walnut Room with the Boulder Acoustic Society, so I'll be leaving New Orleans on Tuesday with Andrew Portwood (vox, guitars) to drive the tour-mobile (mid-90's Suburban) to Colorado to meet Steve (bass) and Mark (drums/perc) and start rehearsal.
One final note: I purchased a Paul Reed Smith Hollowbody II this week. It is one of the most beautiful guitars I've ever played and sounds like a complete monster when you plug it in. For about a year of rent money, I invested in an instrument which I'll have forever. Nothing can come close to the creative propulsion produced by a world-class instrument.
Monday, May 12
A Case of the Mondays
Monday means the start of the business week for most people. For the self-promoting musician, the week never stops. Gigs last until late at night, yet other businesses (booking agencies, the post office) open as usual in the morning. Unlike other industries, most live-music happens on the weekend , while most business -type-business gets done during the week for the full-time player.
I get a great feeling from being productive and am lucky enough to be working on the release of an album, our summer tour, and the planning and execution of a festival in Colorado next summer all at the same time. So...back to work on a Monday.
I get a great feeling from being productive and am lucky enough to be working on the release of an album, our summer tour, and the planning and execution of a festival in Colorado next summer all at the same time. So...back to work on a Monday.
Sunday, May 11
Went down to the crossroads....
Last night's gig served as a personal crossroad in my musical life. It was likely The Zoo's last gig until those of us who have been in college for the last four years again visit New Orleans for a musical reunion. Who knows how long it will be until that day.
I'll be back. I love this town and am playing music on tour with Frogs Gone Fishin', guys I went to high school with who I am now fortunate enough to record and tour with.
Last night was probably around the tenth time The Zoo has played the Howlin' Wolf, not to mention all the other clubs (Tipitina's, The Maple Leaf) we have played, or sat in at. It wasn't the rowdiest or biggest crowd we've had by a long shot (opening for Talib Kweli was around 4,000 people), but I could feel a respect for the musicians I play with coming from the club and audience that simply wasn't there four years ago when we started.
We managed to bring around two-hundred souls to that club four years ago and you know how they repaid us? Confiscating all our beers and some other personal items backstage. Granted I was yet to be of legal age at the time of that first Zoo gig, but this is New Orleans now people. This was a far cry from the free beer and backstage privacy we received last night.
The music industry is funny like that. There is not an even continuum of advancement, like in other professions. You are shit on until you break the threshold of the musical community (New Orleans has a very small and penetrable scene, thank god). I suppose this blog will attempt to highlight the crazy incongruities and idiosyncrasies in the music business as I move forward into my professional music career.
As I leave the deep south crossroads in New Orleans and head out on tour, I'll keep everyone posted on how I see this crazy business along with stories about some well known musicians, my experiences promoting, marketing, writing, and existing in the world of music.
Saturday, May 10
My First Time
Blogging is something I’d never given much thought toward. I’ve been happy spending my time writing and performing music, recording albums and promoting concerts. Under the context of these activities, I’ve learned that many different kinds of people love music. I’ve also learned that while our generation thirsts for new and better music, it becomes increasingly difficult to seek out this new stimulus in an age filled with Clear Channel Radio and MTV.
Not that these institutions don’t have a purpose in our musical world. They serve the musical needs of teenagers at an adolescent phase when image invariably holds precedent over substance in life and music alike.
All too often these preferences which we are comfortable with in high school carry over in to our adult lives. We never pause to ponder or think that there might be more out there than top 40 radio.
In my postings I'll try and offer a perspective for those curious about the music industry through the eyes of a recent college graduate (BA Psychology, Tulane '08) which will highlight life on tour, musings on music and the trials of promoting a festival for Summer '09.
Not that these institutions don’t have a purpose in our musical world. They serve the musical needs of teenagers at an adolescent phase when image invariably holds precedent over substance in life and music alike.
All too often these preferences which we are comfortable with in high school carry over in to our adult lives. We never pause to ponder or think that there might be more out there than top 40 radio.
In my postings I'll try and offer a perspective for those curious about the music industry through the eyes of a recent college graduate (BA Psychology, Tulane '08) which will highlight life on tour, musings on music and the trials of promoting a festival for Summer '09.
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