The Cameron House is a family-owned business with Cosmo Ferraro handling bookings . The bar offers live original music twice a day with an early show running from 6 to 8 p . m . followed by a 10 p . m . ‘ til close spot . It ’ s within a few blocks of some other great live music spots – The Horseshoe , The Rivoli , and The Rex Jazz Bar .
“ I think it has a lot to do with the fact that we have a lot of really good regulars – a lot of people who come a couple of times a week every week , and the majority of those are musicians or other artists ,” says Ferraro of his bar ’ s success . “ It ’ s kind of a community of musicians and sometimes half the audience will be capable musicians who are coming to see their friends on stage or new bands . There is a little bit of a scene in the community .”
Ferraro says their manifesto includes treating the musicians well even if there is no cover charge in the front room . A tip jar is passed around – a scene surprisingly repeated in Nashville , Memphis , and other major music capitals . There are free drinks for the band . There is also a decent PA system with a sound technician on hand . And in an unusual and bold step , The Cameron House started up a record label five years ago .
“ We have some artists and we made some records we are pretty proud of ,” he says . “ That ’ s very much a ‘ mom and pop operation ’ and we will see what comes of it .
“ When we started I was kind of blown away by how much good music was in the city . Talking to some of these artists we realized that they don ’ t have enough money to print even 500 CDs to sell at their shows because of the state of the business .
“ After hearing a few stories like that and seeing some really talented people , we thought there was an opportunity to help out . It wasn ’ t going to be a huge ‘ get rich ’ type operation but it was sort of a way to extend the brand of the bar and the relationships there and see if we can ’ t help out a little bit .”
Word of mouth can make or break a music venue . Musicians talk . If their experiences are good , then they will share them ; bad experiences take on a life of their own and can be harmful to a venue . There are the bar owners who don ’ t lift a finger to promote shows , arguing that if they pay the artist , they expect them to bring in a
PHOTO : VANESSA HEINS crowd . That ’ s a bit like Toronto ’ s Rogers Centre taking the money from a client , handing over the keys , and saying , ‘ Good luck !’ And if the crowd doesn ’ t follow they are quick to blame it on the musicians – ‘ They don ’ t draw .’”
True live music venues use Facebook , Twitter , and other social media to advertise their shows and do their utmost to ensure their dates make the local newspaper and weekly listings . They don ’ t sit idly by , cross their fingers , and hope for a good crowd . Sadly , few musicians ask what a venue will do to promote their show .
There are cases where bands playing what is considered to be a good music venue have turned up to find the bar doesn ’ t even provide a PA system , or the manager arbitrarily decides not to pay the agreed amount , offering an excuse that sales are slow or they weren ’ t happy with the performance .
These are the places where the owner puts more emphasis on the ability of a band to bring out beer drinking buddies than on the music itself . Those places , most musicians will agree , are hardly “ live music venues ” and aren ’ t likely to develop a music scene .
One of the most sought-after drummers on the Canadian scene is Toronto ’ s Gary Craig . He has toured with Anne Murray , Bruce Cockburn , Tom Cochrane , and Blackie and the Rodeo Kings . Early in his career , he remembers playing the Toronto bar scene and the highlight was always playing The Legendary Horseshoe Tavern . “ I have been fortunate and a bit spoiled , I guess ,” Craig offers . “ Most live venues I have played , all through my lifetime , have been with people who have a bit of a following and are somewhat in demand , so I never feel I am completely wallpaper . But , yes , I do know the feeling
THE SHEEPDOGS
and I agree with those guys . I know what they are talking about . You start to feel you are background music and you are a low priority . They are not particularly friendly , maybe they complain about the sound or are reluctant to give you half price on a meal or a drink . It ’ s all about them selling drinks and that is all you ’ re there for .”
In this modern era where there seems to be far fewer live music venues than there were 20 or 30 years ago and where music competes with many other forms of entertainment , it is a challenge for musicians to find a perfect venue – one that nurtures artists and the scene around them . As Jack De Keyzer declares , a musician must make the best of a situation .
“ Obviously some venues are not really conducive to live music ,” he says . “ Once again , I think it is up to the artist to overcome what is wrong with the venue and you go and do your best no matter where you are and , if it was really horrible , well , you won ’ t return .”
Based in Cambridge , ON , Paul Gains has been a full-time freelance journalist since 1995 and written for The New York Times , Maclean ’ s , GQ , The Toronto Star , The Globe and Mail , National Post , Time , and many other periodicals around the world . Thursday evenings , he enjoys playing his six-string Martin at a local pub .
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