Road rules

How to avoid getting stiffed

by Bob Gulla

Ever gotten stiffed for a gig? Though it sounds like some uncomfortable sexual dysfunction (also, if you've ever waited on tables you know what getting "stiffed" means), stiffing is when you don't get monetarily compensated for a gig. You hear it from all corners of the music industry, especially at the club level. (Although this will apply mainly to local clubs, it also pertains to regional destinations. So local folks need not get huffy.) In almost every case, it's because the musicians have either opted to receive their payment after the performance or are operating without a pre-defined agreement or contract. Sometimes it's both.

One reason bands don't demand prepayment or a contract is that there's often quite a bit of competition with other bands for club dates, especially within the local market. And bands are willing to make this small sacrifice in the hopes of getting in the door to build their name. But in order to present a truly professional image, you might consider presenting an agreement or contract and asking for at least a portion of your funds as an upfront deposit. I hear the club owners around town laughing as I type.

Does this mean breaking free of the "door percentage" crap? Yeah, I guess it does. Don't you have pride in yourselves as artists? Are you so desperate that you're willing to take unnecessary chances of never being paid? What happens when only five to 10 folks show up at a gig? Why should you be the sacrificial lamb? Should it be solely your responsibility for bringing people into the club? When a retail store opens, do you pay prices based upon how many shoppers you bring with you?

Consider this: If after hearing your music, the club manager, owner, or booker expresses interest in having you perform, shouldn't that instantly convey to you that there's already a desire for your music? And if that's the case, presenting an agreement/ contract should further your professional image, and not that of simply being another doormat musician. You've got pride in what you do. Sure, there's a little insecurity in most artists. But in the end, your music speaks for you.

It may be a sticky situation around area clubs, but try getting that deposit. It makes sense not only because it commits the club to a financial investment, but it also gives them something to lose. Why should the musicians be the only ones who lose if the turnout is small? Don't you think the clubs need to reach out, too? Having something to lose means the club is going to try at all costs to keep that from happening through promotional aids: flyers, calendar notices, and press ads.

SUFFICIENT FUNDS. Once the payment logistics are arranged, put all of these stipulations in an agreement or contract, along with dates, times, locations, club name, and dollar amounts, with the specified times of when payment is to occur. The club and you should then both sign it, with you providing a copy of the agreement to the venue. Then, if you get stiffed for the balance, you not only have a legal edge, but more of a financial edge, too; you can now take the matter to small claims court and, in most cases, collect up to three times the amount of damages. These extra precautions are sound ways to stiff-proof the live performance aspect of your music career, starting with your next gig.

Let's take the story on the road: Let's say you've accepted a gig a few hundred miles away, or have even structured a mini-tour, stopping off at towns on your route where it can fairly be assumed you have few contacts, if any.

The way you got to this point was that a certain club learned of you through word-of-mouth, an interview, a review, or maybe heard your CD playing on area radio. Don't rush to do the gig. Don't tell the club owner on a Monday that you can be there to perform that weekend. If you're not risking the gig, set it for about two weeks from the time of the call. Then immediately request at least a 50 percent deposit in the form of a cashier's check. A cashier's check guarantees the payment is good; there are no worries about bad checks. The club shouldn't balk at your wanting to protect your own interests, especially since at first neither of you know who the hell the other is. If they don't like the idea of the cashier's check, the two-week period you asked for at the booking gives you enough time for a personal check to clear, so you're covered there, too. If insufficient funds still become an issue, this should be a red flag: consider demanding payment up front from that particular venue. That is, if you still feel like playing the gig at all.

BASIC AMENITIES. With outside gigs, meaning gigs outside your local area that will require several hours of travel time, you can try to request some basic amenities like lodging and meals. Meals should be covered from the point of arrival at the gig and after the performance. Negotiate lodging and meals ahead of time, then legally seal it with an agreement or contract so there's no confusion as to expectations and responsibilities on behalf of everyone.

GRAND LARCENY. And, please, at all times, keep your vehicle secured. What generally occurs is that upon arrival at a gig, a band heads into a venue to meet the staff and shoot the breeze. This is a perfect opportunity to get ripped off, especially in large metro areas. So, either leave someone with the rig upon arrival, or lock it all up good. This also needs doing at restaurants, filling stations, or other stop-offs. Don't be lazy and foolish. It doesn't pay to trust. If you can't totally eliminate larceny, at least do all you can to discourage it by any means necessary.

WANDERING EYE. There's a very cool thing happening at White Electric Coffee this weekend. Chris Connelly of Wax Trax/Ministry fame is playing a show on Saturday. Not that he'll be bringing with him the bad-ass vibe of his former band. Club owner Chris Gentry reports that he has this Nick Cave-meets-David Bowie thing that's pretty impressive. It's a last-minute booking, so don't let it pass you by. The show is at 8 p.m., and Purple Ivy Shadows open. White Electric Coffee is at 150 Broadway; phone 453-3007 for directions.

The musically impressive gents in the Slip will be performing this Friday at Lupo's with Merrick and Birthwrite. It's an all-ages show, so get there early. The band's picking up steam based largely on the power and prowess of their live instrumentation. But that doesn't mean you shouldn't pick up one or more of their discs at the show. Some swear by From the Gecko. I like Does.

If it's a rainy afternoon, or if you just feel like going to hear some quiet acoustic music on Sunday, head over to Borders at the Providence Place Mall for a latte, a newspaper, and the sounds of Folks Together. The group includes Rick Bellaire, John Dunn, Donna Olson, Jeff Olson, and Vincent Pasternack. There's good talent there, and good history. They will also be at the Garden City Borders on Thursday the 21st from 7 to 9 p.m.

Bob Gulla can be reached at b_gulla@yahoo.com.