The EM Poll

Not Just for Folk Singers

Mar 14, 2008 2:33 PM, By Emile Menasche

           

OPEN MIC NIGHTS LET MUSICIANS OF ALL TYPES HONE THEIR PERFORMANCE SKILLS AND MAKE VALUABLE CONTACTS.

Networking

Open mics and jams are both great venues for meeting musicians. As a bandleader, you can hear other players in action before going through the hassle of the audition process. You also get to see the intangible qualities that you'll never find out in an audition room: stage presence, preparation, and the ability to communicate with other players in a stressful situation. An open mic lets you teach a prospective band member one or two songs and then hit the stage without the pressure or time commitment of a full gig.

You might also meet writers and artists who end up being valued collaborators and colleagues. “I met so many people through the open mic that are now my best friends,” says Shaber. “Even though we don't do the open mics anymore, we play together all the time as a group called Live from New York. We all can pretty much sell out the same venues on our own at this point, but when we get together as Live from New York, there's sort of a faster buzz that happens because we're this unique grouping of five people.”

Choosing an Open Mic

As with all performance opportunities, the nature of open mics can vary widely. There are plenty of opportunities for solo performers — every open mic can cater to the single musician, especially those who play guitar. On the other hand, bands should call first and find out about the gear and the ground rules.

Some open mics are all-inclusive: everyone who shows up plays. While these events ensure that you'll get a slot, they can also run very long, sometimes into the wee hours of the morning. I've seen open mics where it's first come, first served, and others where you throw your name into a hat and the host chooses your slot, raffle style.

Other open mics have a limited number of available slots. Only the first 15 or 20 people who show up get on the bill. The advantage: if you get to play, you know it will be at a reasonable hour. The disadvantage: a well-attended open mic will fill up quickly. At the BMI sponsored event in New York, for example, the list closed within minutes of posting.

Another consideration is the crowd. Open mics tend to develop a vibe; some can be extremely uncritical, while others can carry the pressure of a regular gig. Some venues turn an open mic into a sort of shoot-out. “At Eddie's Attic in Decatur, Georgia, the open mic is actually a competition every week,” Shaber points out. “Every week, they charge a $3 cover, and they have judges hidden in the audience. The winner of the open mic gets $60.”

While this can be intimidating, it can also be an opportunity to mingle with more seasoned players. “A lot of people who are touring and don't have a gig on a Monday will go (to Eddie's),” says Shaber. “Maybe they can win the open mic and sell some CDs, which is as good as a gig for a lot of people.”

Some venues use the open mic as an avenue for finding talent for other slots. For example, twice a year Eddie's Attic does an open mic shoot-out where all the winners from the last six months are set up head-to-head. Says Shaber, “It's nerve-wracking, but the club gets sold out, and they get judges from local industry. The winner gets $1,000, but if you don't win, you don't get anything.”

Be Open

Perhaps the most valuable thing you can get out of an open mic, especially one that's diverse enough to include a wide range of styles, is a new appreciation for the possibilities of live music. Hearing jazz followed by reggae followed by metal followed by folk, all in short order, helps you see what elements of musical performance remain consistent, no matter the style. Your time offstage as a member of the audience is as important as your time onstage. Go, listen, play, learn: the door — and the mic — is open.

Open Mic Tips and Tidbits

• Be as self-contained as possible. “Have your instruments in tune, your picks and accessories ready. Make sure that your instrument works before hitting the stage,” says John Sonntag. “Act professional.”
• Know your material. It's okay to bring charts and lyrics onstage, but it's not okay to forget the words midsong and have to start over.
• Don't waste time. “People are aware of their own time slots and might not be able to stick around late,” Sonntag notes. “If you dawdle, someone else might have to skip their slot to catch a train.”
• Be considerate of others. Being a good audience member is part of going to an open mic. If you talk during someone else's performance, why should they listen to yours?
• Buy something. “A lot of clubs actually lose money on open mics because they're paying the soundperson and staying open,” Sam Shaber explains. “People should buy a few drinks or a sandwich; do something, because you're benefiting.”
• Watch your volume. Defer to the soundperson when it comes to setting levels. Their goal is to get you heard while keeping things under control. If you can't hear yourself, get used to it: it's often part of being onstage.
• Promote yourself. Have CDs, business cards, postcards, and other promotional material with you at all times. “When standing onstage at an open mic in Detroit you might feel stupid promoting your CDs,” Shaber says. “But it's a valid thing to do, because otherwise, they wouldn't know.”
• Work on the little things. An open mic is a great place to focus on background vocals, guitar solos, and transitions and to hone your audience patter.
• Go often. Regular attendance can help you find like-minded musicians and learn of other gigging opportunities in the area. “I used to have my Monday, my Tuesday, and my Thursday,” Shaber recalls. “And that was my gig every week. I'd see the same people, and I would go to their gigs and they would go to mine.”