When unsigned, every gig you do should serve a purpose.
Now initially that may sound stupidly obvious. However, if it is why as a band would you aimless play toilet venues in London to f**k all people for no money and at a cost to yourself? Plus it looks terrible.
This is what thousands of bands do every week. I've spoken to lotsa A&R types, both at Sony BMG and further affield and it's a very rare occasion that an act just happens to be discovered because an A&R guy happens to be at a venue. The whole Frankie Sharp scenario doesn't happen very much. I rarely see an act I haven't planned to see, I don't have much time usually. :-(
Also, gigging a lot in London and not increasing a buzz around you is actually detrimental to your career. As an act can get stale, or seen as old news if on the radar of the various labels too soon. I'm guilty of it myself, with the hundreds of acts I come accross if I hear something that's ok, then see them still gigging the same circuit 6 months later with no increase in profile I'm less likely to see them again. Simply because I'm trying to find what's breaking. That is unfair to a degree as said band could have come along leaps and bounds since the first time. Though if they're amazing then they should create a buzz anyway.
So, why gig in London? Showcases are the first obvious reason. If a label, publisher, PR co. etc etc want to see you, then doing a gig near their office is a wise move. Stick to smaller venues off the beaten track, somewhere with a decent PA (it's amazing how many people don't think about that). If they're really eager only play your hometown with loads of support. (People singing along always impresses me)
Building a following? In London? You must be kidding. It's possible, but gig-to-%-fanbase ratio is pathetic when compared to playing other parts of the country. Simply because there is so much music, and other things to do in London there is no novelty, little passing trade and promoters are shite when ,well, promoting. To to acheive the Fanbase increase of an 8 date tour around the country at the right venues would probably take 3 or 4 times as many gigs in London to achieve the same effect. Don't get me wrong, the truly exceptional will win people over everywhere but some acts are born great, others achieve greatishness and others have greatishness thrust upon them. Plus any of those of you who've done both know how hard the crowd is in London to get to do anything other than talk over you.
You should only do a flurry of London gigs when you are at the crescendo of a promo campaign, when all your hard work as culminated in a co-ordinated campaign that has achieved some radio play, bits of press and interest here and there. Before I start getting the PM's whinging that that's impossible without loads of cash, record deal, pluggers etc IT'S NOT! Don't be such a whinging have-not and pull your finger out. It just takes a bit of thinking and knowing what bits and pieces to capitalise on as they come your way. When you're not in the sights of any of the labels, you've got breathing space to get everything the way you want it, think about it that way. Rather than feeling under pressure to 'get out there'.
So you've got good activity on your myspace, you've just got into the top 8 friends of some big pages, your name (& blog!! ;-)) appears everywhere in google, then you should start gigging London as you've got about 6 months to make a serious impression that would warrant investment. Of course there are exceptions to the rule as I know a band that was looked at for a year before anything was done.
However, I've seen that the bands that create the most excitement are the acts that seem to come from obscurity to everywhere in a short period of time, this is often luck or good placement. But if you get your house in order, build up a good head of steam as regards your promo material, fan building, online stuff and make sure your 'demo' could be something you'd release yourself you're in good shape to really pop out amongst all the good music being looked at.
Also consider when you're going to shop yourself to radio, the labels and such. For example, during the period of the summer festivals mainstream radio is saturated with all sorts of new things that were planned earlier in the year, a lot of new acts are being broken by the labels and trying to get shelf-space in the minds of those who provide opportunities for new music is really lacking. Plus I'm all over the place trying to keep up with stuff I've picked up earlier in the year. Try and get a feel for a bit of a lul in the sort of stuff your doing and then launch your little PR offensive.
So, if you've simply been rehearsing, gigging, rehearsing, gigging, recording, rinse, repeat... maybe stop and think why you're doing it? Ultimately these are the considerations of a manager (a good one) but if you're without management you should really think about when and how you're going to be perceived.
Anyhow, quick rant. Saw a really good band that had literally no clue, about anything.
Hope all is well co-ordinated with you
IB
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