What would it take for you to decline a show?
- DirtySanchez
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What would it take for you to decline a show?
I can seriously only think of a few scenarios for me.
1. Benefit for something I am really opposed to.
2. Family Friendly. Just would not fit, and would not want to deprive another band by taking the gig then half assed try to censor myself.
3. Too damn far- Unless I get to open for one of my fave bands, I could really do without travelling any more than 2 hours.
4. Serious BOTB's - Fuck you promoters for trying to make a buck off of dividing the scene. Call it a showcase and have no winner if you're trying to scope out the local talent to support your shows.
Other than that I'm game- Wherever/whenever/no pay/small crowd/diff. genres I'm down
1. Benefit for something I am really opposed to.
2. Family Friendly. Just would not fit, and would not want to deprive another band by taking the gig then half assed try to censor myself.
3. Too damn far- Unless I get to open for one of my fave bands, I could really do without travelling any more than 2 hours.
4. Serious BOTB's - Fuck you promoters for trying to make a buck off of dividing the scene. Call it a showcase and have no winner if you're trying to scope out the local talent to support your shows.
Other than that I'm game- Wherever/whenever/no pay/small crowd/diff. genres I'm down
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- bassist_25
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1. At a venue with an owner who has screwed my band or any of my previous bands in the past. That includes owners who have shifted on pay or owners who have a habit of cancelling at the last minute.
2. BOTB, pay to play, or any deal where I'm expected to sell tickets. I'll go play my own show rather than sell tickets to be on the same bill as some C-list national act, thank you. BOTB's are a joke, and as Brian says, they just divide the scene anyways.
3. Door gigs with no guaranteed amount, big enough to require full FOH production, and no in-house sound. Not worth the risk to shell out a couple hundred bucks for a soundman and have 25 people come through the door.
4. +1 on drama gigs with asshole bands
I'm not a primadonna about where we play. I just want it to be worth our while and to be in a position not to take it up the rectum.
2. BOTB, pay to play, or any deal where I'm expected to sell tickets. I'll go play my own show rather than sell tickets to be on the same bill as some C-list national act, thank you. BOTB's are a joke, and as Brian says, they just divide the scene anyways.
3. Door gigs with no guaranteed amount, big enough to require full FOH production, and no in-house sound. Not worth the risk to shell out a couple hundred bucks for a soundman and have 25 people come through the door.
4. +1 on drama gigs with asshole bands
I'm not a primadonna about where we play. I just want it to be worth our while and to be in a position not to take it up the rectum.
"He's the electric horseman, you better back off!" - old sKool making a reference to the culturally relevant 1979 film.
- DirtySanchez
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I think that's one good thing about this scene. The only time I've ever seen this happen it's been from a band with a bunch of N00BS who think music is about competition. They either change that attitude real quick or just kinda self destruct/fizzle out.UNEARTHA7XMatt wrote: If it were a show with a band that have caused serious drama with either my band or any other band on the bill, then I dont think that I could do the show.
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We have turned down shows with bands that have nothing in common with us,style wise.
We had a blog on our page about bands contacting us for shows. Well it was Scarfo the owner of the Smiling Moose would direct them to us to play with them. So they would have a draw on say a Tuesday night.
And to be truthful,most of the bands were atrocious.
So that would be a reason.
We had a blog on our page about bands contacting us for shows. Well it was Scarfo the owner of the Smiling Moose would direct them to us to play with them. So they would have a draw on say a Tuesday night.
And to be truthful,most of the bands were atrocious.

So that would be a reason.
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Ive turned down shows because i dont like playing live anymore i think.
it was fun i guess...but i like the production aspect so much more. i prefer to do recording above anything else. there is just something about it.
i have social anxiety i guess. being around a bunch of people i dont know isnt fun for me. i avoid situations like that. its twice as bad to sit in a bar, cause i dont drink and it feels 100% pointless for me.
it was fun i guess...but i like the production aspect so much more. i prefer to do recording above anything else. there is just something about it.
i have social anxiety i guess. being around a bunch of people i dont know isnt fun for me. i avoid situations like that. its twice as bad to sit in a bar, cause i dont drink and it feels 100% pointless for me.
I'm finally at a point where I can turn down shows for reasons I never would have done years ago. I turn them down sometimes because I have something happening outside of music, like a vacation. I never used to do that. I have turned down gigs because I needed a break, too. I still turn down the occasional acoustic solo show, because I'd rather work with a band. The money's better as a solo, but who wouldn't rather play in a band?
Don't get me wrong, though, I'm not retired, I still take lots of gigs.
My favorite turn-down excuse? "We're already booked."--->JMS
Don't get me wrong, though, I'm not retired, I still take lots of gigs.
My favorite turn-down excuse? "We're already booked."--->JMS
Actually, another one that might seem strange to some and not to others...
Bad electric.
Those of us who understand that know that a place with bad electric can make for a miserable experience all night...hums, causing your amp to sound off kilter just a little...etc. And no matter what you try, you can't seem to fix anything.
Case in point, a certain place in Indiana. Horrible electric, with a 220 outlet designed for a washing machine right on the back wall. This place causes not just major hum, but annoying hum.
Another reason I would turn down gigs related to the prior one...not enough outlets....and I've seen this, too. You can't run a whole stage setup on just two outlets with a jillion surge protectors sprouting off of them...bad idea. To avoid this, I try to scope places out in person.
Bad electric.
Those of us who understand that know that a place with bad electric can make for a miserable experience all night...hums, causing your amp to sound off kilter just a little...etc. And no matter what you try, you can't seem to fix anything.
Case in point, a certain place in Indiana. Horrible electric, with a 220 outlet designed for a washing machine right on the back wall. This place causes not just major hum, but annoying hum.
Another reason I would turn down gigs related to the prior one...not enough outlets....and I've seen this, too. You can't run a whole stage setup on just two outlets with a jillion surge protectors sprouting off of them...bad idea. To avoid this, I try to scope places out in person.
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- slackin@dabass
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Feelgood wrote:I've turned down shows due to douchebag promoters not complying with my rider.
me too. damn assholes. when i say i want 37 red m&m's, i mean 37. not 38. that's too many. and 36 just ain't enough.
and what's the deal with the tiny bread? the meat hangs out over the sides. who would be seen with that? i mean would you be seen eating that?
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Once I found out the reason for Van Halen's M&M's it makes perfect sense. They played a high-school gym once, and the floor was not safe. It was in their rider that the venue be capable of handling all the gear, but it wasn't read fully, so the floor started to cave in before showtime, causing LOTS of damage. The brown M&M's thing was a signal. If there were no M&M's, or there were brown M&M's, it showed they didn't read the contract, and the show legally did not have to go on in an unsafe place. That's pretty bright. That way, the buyer couldn't simply say, "Uh, yeah, sure I read the contract."--->JMS
- orangekick
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