Open mic at The Alley

Fair warning: this post is a bit of a drag.

It’s been awhile, folks. It’s not for lack of effort, believe me. I’ve tried, unsuccessfully, for the last several weeks to play and post. A touch out of luck, I suppose.

Four weeks ago I went to the Roxy and drew too late of a number and just couldn’t make it to my slot.

Three weeks ago, I walked into The Alley and was promptly turned away because they had to shut down early for the night due to water issues.

Two weeks ago I was on vacation (which was awesome - another post another time).

And last week I tried the Roxy again with the same result - too late of a slot and the vibe was really off that night. You get 10 minute slots there, and after the first hour we were only on the third person…

Tonight was looking to the be the same result at The Alley. There were so many players there I didn’t even get to draw a number because they ran out (though I arrived early and was at the front of the pack to sign-up, everyone literally stepped in front of me over and over until I was at the back). I was about to turn and grab my things, but the host, Tony Medina, is a good dude and decided to start things early and gave me the new first slot. Saved the day, Tony.

I was grateful, and going first at a crowdy-rowdy bar can be a little, well, difficult. On top of that, I had planned an instrumental set because I’ve had a cold and gotten very little sleep this week. I played Uluru, a brand new song called February that has no recording but I’m very excited about, and Sounds Like Us.

I played well, though I’m not 100% sure because the room was so loud I couldn’t hear a thing. I started to get upset (as one does when being shouted over - especially in a room full of musicians) but then I started to experiment. I played as softly as I could and the room got a little quieter. I played as loudly as I could and listened as the room shouted back to each other. I played loudly and then suddenly softly so that those people shouting would suddenly be super loud, and giggled to myself. If I’m honest, I did this a few times because it was fun, and then once more because I was still a little pissed. I was searching for a volume where the room would settle in, but ultimately the only thing that seemed to work was smacking the guitar more than I normally would.

Several people said nice things afterward and asked for my name. That’s always great (and if you’re reading this, please know I really do appreciate you)! But I don’t know what it means, if anything, that my playing and performance can’t get a room’s attention. It’s very easy to get in your head about stuff like that, and easier still to stay there. I can’t really know, so I’m choosing to focus on the fact that people went out of their way to say nice things, and that I got a chance to finally play also because someone was really nice to me.

I don’t know how to get a gig in Denver. I’ve never been good at that part, but I know that I’m good enough to play a small to medium-sized venue for an evening. And if it was a listening-room type setting, I know I could play any sized venue. If you have any tips and are feeling charitable, I’m all ears.

I’m afraid the way to do this now is to “prove yourself” on social media by having tons of followers, views, and listens everywhere. I get that bookers want a sure thing and don’t really care about the music most of the time. It was the same in Austin. But I’d much rather earn it in person than online. Plus, I’m not exactly good at social media (shocker, I know), nor do I have the time build those skills. If you’re good at social media, you’re good at many things that take a lot of time, talent, and effort, and I salute you. I’d also like to pay you to make me look like I’m good at it. Half-lol.

Tricia and I do have a “gig” coming up soon, though. Thursday, April 13, 7-9pm at The Alley in Littleton, CO. It’s a “gig” and not a gig because we’re playing for free. We’ll also be learning songs for free, practicing them in the time we don’t have for free, applying our decades-won skills and talents for free, and advertising, for the bar, for free so that people will come and spend money at the bar where we’re playing for free.

Actually, it’s worse than that. These types of “gigs” make you feel like you owe the location a favor because they’re letting you play. This is after they’ve heard you, liked you, and invited you to play, of course. So you’re supposed to grovel as you’re doing all these things for free.

I know, I know. I need an attitude adjustment. This is my blog, though, so I’m airing out a little frustration that I know most musicians will share. When the time comes, I’ll play the gig and enjoy it and be optimistic that it may lead to other opportunities and see it as good practice and audition for other things, and all that. But tonight, when I’m tired and sick and beat up from a rough open mic experience, I’ll ask you to please forgive me while I whinge.

But, musicians should be paid to work, ya know? Why do we think they shouldn't, especially when everyone else profits? Exposure does have value, AND musicians should be paid when hired. Both things can be true at the same time.