to get their start . The Dakota only holds
130 people , so it ’ s a great place , that sort of venue where a band really cuts their teeth and is a good stepping-stone from our venue to bigger venues . I think if you ’ re paying to play , you wouldn ’ t last too long .”
What is acceptable , Creamer says , is for the venue to expect the band / artist to hold up their end of the bargain , which means promoting their show . “ It should be an agreement between the venue and the band that they ’ re going to promote this together ,” he says . As far as payment , an artist should expect a guarantee , which can vary , and likely also a split of the door . An 80 / 20 split of the door revenue is common , with the band getting the majority share , and the smaller percentage going to the venue to pay for the PA rental , sound tech , security , and / or other costs . The venue , Creamer says , makes its profits from food and drink sales .
“ For The Beauties , my band , if someone told me they were taking 50 per cent of the door or we were only getting paid if they made X amount of dollars at the bar , I would go , ‘ Forget it , I ’ m out .’ As a musician , I wouldn ’ t play for it and as a bar owner , I would never put that on a musician to make them feel like that was their responsibility ,” Creamer adds .
What is considered an acceptable offer for their services is up to the artists to determine , but the basic message from both Hayes and Creamer is just that – that the artist / band is providing a service and deserves compensation . It ’ s the same as if they were the server , security , sound tech , or any other employee or hired hand . It is also about self-respect .
“ I think my tipping point just became , ‘ I need money because this is my income now and I need to value myself ,’” says Hayes , noting how tiring it has become for her – working as her own promoter and manager – to reach out to venues and nearly half of the time receive a pay-to-play offer in return .
If , in some quarters of the live music industry , pay-to-play is prevalent to a degree , then it must be working for someone . It ’ s unlikely that person is the musician . Pay-to-play would not exist if it didn ’ t succeed on some level for the venue owners ; therefore , are artists who accept these conditions undermining their fellow musicians ? Hayes is fairly diplomatic on the question ; Creamer , not so much .
“ I don ’ t necessarily inherently feel that ,” says Hayes . “ The problem is , there are so many categories of musicians , and that ’ s not a bad thing . It just means there ’ s going to be some people who don ’ t need it for the finances ; they ’ re doing it as a hobby . There ’ s going to be bands of people ’ s parents who have been playing for 30 years and that ’ s just what they do . I think that ’ s great and I don ’ t really feel undermined . It ’ s a really hard road to walk and I would never want to judge somebody or feel poorly about some of the choices they make . It ’ s so hard at the end of the day and , if anything , if people are doing that , I might just say , ‘ Here ’ s why that ’ s maybe not a good idea .’”
Creamer , on the other hand , responds with an instant “ 100 per cent ” when the question is flipped to him . “ If someone is willing to play for free , then these [ venues ] are going to grab those people . And it ’ s unfortunate because if you ’ re going to try and make a career or make a go of it , you have to have respect for yourself in the first place ,” he says . “ If you are willing to play for free , you ’ ve already devalued yourself and it ’ s hurtful , I think , to the music community as a whole and as to what musicians consider to be the standard .”
Running a music venue , bar , or restaurant is not an easy business . In fact , it ’ s extremely stressful and tough to turn a profit . Musicians should be sympathetic to that , but that sympathy shouldn ’ t come at the expense of their own livelihood and self-value . As Creamer advises , “ I always say the same thing to young bands . I tell them , ‘ Tell me what you ’ re worth , and then show up and be worth it .’”
SHAWN CREAMER
Michael Raine is the Assistant Editor of Canadian Musician .
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