"My first gig was at a bar in Strathclyde University. I was 14 - about 5 years younger than everyone else. In hindsight the band were pretty gothic, I think we covered a Sisters Of Mercy track and Talking Heads "Psycho Killer". I was just glad to be playing with real people at the time as opposed to tapping along to records by Squeeze, The Police and Dexy's Midnight Runners. The gig was a blur. I broke my snare drum. We got sympathetic applause. That band did 2 more gigs. The last of which everyone went off stage one by one and I did a drum solo. Arrogant wee pig. We never got paid for anything, it wasn't really my kind of music and I don't think we ever sounded particularly good.
But you've got to start somewhere and there is no substitute for experience.
That's about all this ol' timer has got to say..."

Francis McDonald, Owner of Shoeshine Records and member of Teenage Fanclub and The Radio Sweethearts.

A good way to get stage experience is to go to open mic nights. They’re a good way to introduce yourself to performance. Just bring yourself and you’ll figure the rest out on the night! Also a good place to meet other musicians. When you’re ready to hit the local gig circuit, it’s time to promote yourself. Focus on venues that cater for your style of music, and find out the name of the person responsible for putting on gigs. The web is especially useful for this; Try the venue websites.

Call or email your venue contacts and ask if they mind you dropping in to introduce yourself and give them a demo and brief written biog. You may need to remind the promoter you exist a few weeks down the line, but don’t pester them every couple of days.
It can be a good idea to get together with another couple of bands you know who can draw punters and then put on your own night, which can be done cheaply, although you will be responsible for any losses on the night if you don’t sell enough tickets to pay your venue and PA hire, and you’ll have to do all your own promo.


You're generally expected to provide your own backline (instruments and amps) though if you're on a bill with a few other bands you’re more likely to end up sharing a drum kit and possibly amps to make changeovers easier. Make sure you speak to the venue or the other bands about arranging this well in advance. Venues should normally provide the PA system, including mics and a front-of-house engineer.


There's not a lot of money to be made, especially in the early days so it's important that you understand what kind of deal the promoter/venue manager is offering you and that you sign a contract accordingly, although at an early stage this may take the form of a simple letter or confirmation email from the venue or concert promoter.

- you will be paid a guaranteed fee no matter how many people turn up and it is usually the promoter's responsibility to advertise the gig. If you're lucky you may get a small rider of a packet of crisps and a can of beer. Between you.

- Advance sales and the door takings on the night- less VAT at 17.5%-are divided up between the venue and the act/s. To protect your interests, try to get the deal agreed in writing/by e-mail, and remember to ask if the venue/promoter takes a cut off the top from the ticket income for the PA, engineer and/or advertising the gig. Obviously the more punters the better so it pays for the band to promote the gig and sell as many tickets as possible.

- the band pays the venue to let them grace the stage. Some venues try to disguise their pay-to-play status by insisting that you guarantee to sell a minimum amount of tickets, meaning that you have to hand over a certain amount of money on the night to be allowed to play. Others have been known to hike up the costs of the PA/engineer beyond what is reasonable.WE DO NOT RECOMMEND THAT YOU PAY TO PLAY UNDER ANY CIRCUMSTANCES
If in doubt, your Music Industry Consultant or the Musicians Union can advise you.
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