131. The Real Truth About Cover Gigs: Income, Strategy & Growth

In this episode of Musicians Tip Jar, we bust the myths around cover gigs and show you how to turn them into a powerful income stream for your music career. Whether you’re playing weddings, bars, or private events, cover gigs can fund your original projects, build your audience, and sharpen your live performance skills—if you approach them with strategy. We break down how to price your sets, brand yourself without selling out, manage gear and expenses, and maximize every opportunity these gigs bring. This episode is for every working musician who wants to earn more and stay true to their art. 🎸 Topics Covered:

• Cover gig pricing strategies that reflect your value
• How to brand yourself in the cover scene without blending in
• Managing gear, contracts, and payments like a pro
• Turning cover gig income into fuel for original projects
• Networking tips that lead to higher-paying opportunities

🎯 Quote of the Episode:
"Cover gigs aren’t selling out—they’re buying in. To your future." If you’re ready to make more money without burning out, this episode gives you the tools and mindset to level up your cover gig game.


Intro & Outro Music Donated by: The Magi https://www.themagimusic.com 

Intro Read by: David “DJ” Lee of The Magi

https://soundcloud.com/rockababyrock 

Pictures by: Kit Chalberg https://kitchalberg.com/

Become a supporter of this podcast: https://www.spreaker.com/podcast/musicians-tip-jar--4698023/support.

Visit MusiciansTipJar.com for more resources and tools to empower your financial journey.

Intro & Outro Music Donated by: The Magi https://www.themagimusic.com 

Intro Read by: David “DJ” Lee of The Magi

https://soundcloud.com/rockababyrock 

Pictures by: Kit Chalberg https://kitchalberg.com/

Episode Transcript

Speaker 1 (00:01):
Welcome to the show that explores the methods and strategies
on rocking the financial side of your music business. With
over forty years combined experience, here are your host, Chris
Webb and Dave Damkin.

Speaker 2 (00:15):
Welcome to you musicians, Tip Jar, where we talk about
musicians and money, where we step up to the mic
with intentionality and purpose. I'm Chris Webb, joined by my
co host who shows up every week with a mic drop,
Dave Tamkin.

Speaker 3 (00:29):
It's better than the drop from last week, which I
had no idea, no idea what you're talking about.

Speaker 4 (00:36):
Find out it was the base.

Speaker 2 (00:39):
It's not the bay, it's not what is it, It's everything.
It's like what they call their big climactic sections. Today
we go micro focused on one area that we both
have made some of our largest income streams from over

(01:00):
these years, the world of cover shows. We will give
you all our industry secrets and standards so that you
can expand your business plan and up your income. Today's
quote comes from Steve Martin. He said, become so good
that they can't ignore you.

Speaker 3 (01:18):
Have you read Steve Martin's autobiography, No, highly recommend it,
highly recommend it even better to listen to, but then
deny that you listen to it and just tell people
you're anavid reader, say.

Speaker 4 (01:30):
I've read that.

Speaker 3 (01:31):
This week's nonprofit is the Gary Sineize Foundation Honor Gratitude
rock and roll. That's the mission of every Lieutenant Dan
Band concert. There's something for everyone as the thirteen member
group covers hits from every genre in their explosive live
show at the Gary sineyse Foundation. They serve our nation
by honoring our defenders, veterans, first responders, their families, and

(01:52):
those in need. They do this by creating and supporting
unique programs designed to entertain, educate, inspire, strengthen and build communities.
Learn more at Garysineyzefoundation dot org.

Speaker 4 (02:04):
If you find this.

Speaker 3 (02:04):
Information useful, please rate and subscribe to the podcast and
also slam that like button if you're on YouTube so
it can help keep you up on the finance side
of your music business.

Speaker 2 (02:12):
As we all know, there are unlimited ways to make
money in the music industry, and these days that is
definitely expanding and no two musicians will create the exact
same career. Over the years, we have really developed a
professional side of our business to include cover gigs, as
a significant source of sustainable income. We decided it was

(02:35):
a good time to step up and break down all
of the best tips and insights so that you can
up your game and turn down the crap opportunities. Let's go.

(03:01):
I know the frustration of pouring your soul into original
songs only to get a meager payout. Covers can be
that crucial bridge. They offer a steady income stream, letting
you make a living playing music until enough notoriety is
gained for original songs to facilitate a complete transition. This

(03:23):
finance cushion lets you invest in better gear, proper recording,
and actual marketing for your original projects, and suddenly you're
not a starving artist anymore, but a working artist, a
working performer, and that's a game changer. We're going to
talk about some myths and some strategies that we do.

(03:43):
The other thing I want to say is that this
can be implemented no matter where you are in your career.
Perhaps until you get to that point where Red Rocks
is being sold out, this could still be a part
of your game plan. I still book with my booking
agency people that play Red Rocks and then come and
play these corporate gigs, So there's still room for this

(04:03):
at a lot of level and that in that whole
area in between the top and the bottom.

Speaker 3 (04:10):
And there's nothing wrong if this is your career, if
this is what you want to do. This is some
of the finest musicians I know can listen to a
song and be able to play it no problem because
they become so skilled at learning these songs so quickly,
and they make quite a bit of money doing it.
So this this could be an end goal too, if

(04:31):
you want it to be.

Speaker 2 (04:32):
And I enjoy this a ton. I enjoy doing this
as as as something I'm very good at, and that's
part of why I enjoy it, you know. But we'll
talk more about that here. And zech let's start with
that first myth of cover songs lack artistic merit.

Speaker 3 (04:46):
I mean, I'm gonna say that it almost allows me
to get it way more artistically if I don't know
the tune that well.

Speaker 4 (04:54):
People might say it was.

Speaker 3 (04:55):
A very interesting version of that cover song that you
just delivered, and I said, thank you very much, But
really I'm thinking that was the best I could do,
and I just got through it.

Speaker 2 (05:06):
Yeah, I know, in the end, you're like I survived, yes, right.

Speaker 3 (05:11):
But also opens up, you know, a whole new avenue
of artistic expression if I intentionally wanted to do it that.

Speaker 2 (05:20):
Way totally, you know. And actually I think there's I mean,
I know my style, so I'm always looking for songs
cover songs that are going to be popular and people
will enjoy that I think will fit well with my
kind of niche of stuff that I like to do
in my creations, you know, And so there's always gonna

(05:41):
be the songs. It's a good fit. And then there's
also that way of doing covers in your style that
makes you kind of the only artist that does it
that way. Actually, on film and TV right now, there's
a lot of demand for covers of other people's songs,
but not just covers, but cover's done and it come
completely different way than the original, not just a version

(06:03):
that's going to be less expensive than the original artists
doing it, but in fact a reinvention of the cover
of that original song.

Speaker 3 (06:12):
I often look for covers of covers when I'm learning
a new cover, just to open up a different way
of hearing that song and kind of allow myself some
grace to not have to nail it every.

Speaker 4 (06:27):
Single time totally.

Speaker 3 (06:30):
But learning all these different cover songs allows your fingers
to adjust differently, allows vocal patterns and muscle strengthen your
vocals to perform differently.

Speaker 4 (06:42):
It gets you out of your comfort zone as well.

Speaker 2 (06:45):
You can't do a song just like the artist that
did it originally. No matter how hard you actually try,
it will still turn out like you. And so I
have that conversation with people sometimes where they're like, well,
I don't want to do someone else's song because then
I'm copying them. But you can't. You just you can't
get your personality out of your sound. That is one

(07:07):
of the things that I've learned over the years, and
experimenting with all this stuff really just helps you understand
that better the more you do it, and then you
become you come attached to what it is that you
sound like. I really think that's important that you like
your sound, because then you're going to be excited to
see how all these people's songs turn out with your sound.
But it is definitely an art form and it is

(07:28):
definitely something that when you hear someone do it well,
you really can enjoy it because you can attach to
their brand and be familiar with all the songs that
they're covering, and.

Speaker 3 (07:38):
It brings the audience in to be familiar with something
that they know, so they can say, hey, I'm paying
attention to this. It's a little ear candy, and then
maybe they're paying a little bit more attention to the
next song that you might want to play.

Speaker 4 (07:52):
That's your own for sure.

Speaker 2 (07:55):
Yeah. With a lot of the gigs that I play
that are are more they're not as f corporate kind
of things. They'd be more residency style. I always say
eighty five percent covers that. That is one of the
things that I think is a good balance that we found.
It's like a formula that works fifteen percent. You sprinkle
in of your own stuff in there, and you know

(08:16):
when it's the right time, when someone's really engaging with you.
Sometimes you get to that point where people even ask you,
can I hear one of your songs? So's it's a
finesse though, but when somebody asks you for it, you've
done a really good job of playing songs that they
like that they like your sound, so you've really worked
them into being really interested in your song. That may
be the best sales pitch you could ever get to

(08:37):
get a new fan for your original music that you
could ever have, or.

Speaker 3 (08:41):
If the performer is super annoying like you are, that
they can just ask to listen to a few bars
of the song and then play the whole song right
there and then. I mean that's not only annoying for
just the other musicians in the audience because of your talent, Chris,
but people really seem to like that.

Speaker 2 (09:00):
Well, we can talk about that strategy if we want
to expand on that, because I really do think if
you want to up your income on your gigs, you
learn how to learn songs fast. You learn how to
fake it right.

Speaker 3 (09:16):
But you would even you would even say early on,
like if you learned one cover a week, how how
much that would help you not only get faster for
when you did have requests for either weddings or private
events that you are just building your repertoire and stacking
and stacking totally.

Speaker 2 (09:35):
I mean, the larger your catalog, the better. Yeah, and
we'll talk a little bit more about how I think
that you should organize that too, because I think having
an well organized catalog is a really valuable thing as
a cover artist. Before we go into those kind of tips,
do you want to talk about myth number two?

Speaker 3 (09:51):
I do yes, and this is this is important information.
I think myth number two is cover gigs hinder your
original And you know this is a big one.

Speaker 4 (10:02):
Cover gigs can.

Speaker 3 (10:03):
Actually be a highly strategic stepping stone for your original career.
It provides essential funding, It helps you build an audience
one by one. It gives you invaluable live experience that
you wouldn't get if you're in a small market and
you can't play your original stuff every weekend around people.
The idea that it hinders your career is usually due

(10:25):
to the lack of planning or over monopolizing your market.
And I see a lot of artists do this when
they first start building their career and say I'm going
to be a full time musician, and they list every
single gig they have within an hour radius of their home.

(10:46):
And sometimes you have to say, hey, this is my
original project and this I'm doing just to get paid.
And Andy said, oh, I'll post that right after. This
does a great explanation of when he gets hired to
do covers all night compared to when he's hired to
bring people to you know, a venues. So I think
this is something that could definitely fund your original projects.

(11:08):
You just have to be careful about how you market
yourself with it. And there's nothing wrong with playing to
a built in audience and entertain them all night with
songs that they want to know, pepper in your own stuff,
and then when you play original show, maybe grab that
one cover that you've just been nailing every time you
play cover shows and introduce that to your audience.

Speaker 2 (11:31):
Yeah. Well, in the other end of that that I
think is also often in this myth that it's released related,
is that you sometimes you have to learn to enjoy
learning covers. I feel like certain time periods when people
are younger, they don't want to play any covers. Like
I did not want to play any covers. All I

(11:53):
want to do is write songs, record songs, release songs,
my own music, my own music. But if someone had
just helped me realize back then that how valuable it
is in so many ways outside of this money part
that we're talking about to learn other people's songs, I
think I would have really improved as a songwriter faster,

(12:14):
you know. And so it's like there's this part of
you at that it's whatever wherever you are in your
phases of music and your development as a career. It's
really important that you understand the value of learning other
people's music because you're not reinventing the wheel. You know,
whatever you're doing has been done to some extent, and
it's really important to learn how other people did it well.

(12:36):
And so it's really important for that aspect. So let's
talk about focusing on how we think that you can
increase your income as a cover performer. And there's a
lot of ways to do this, and it really can
vary depending on how the type of shows that you're
going to be taking. But I think part of this
conversation should be the type shows that you should be
taking versus the ones that are probably not worth taking.

(12:59):
Let's start out with number one one, your market positioning
and your branding. So you need to find a niche
selection of what you kind of do, right. I think
part of that organically occurs when you've chosen your instrument.
Right if you're a guitar and singer, right guitar acoustic
guitar player and singer, or if you choose to do
electric guitar and singing by yourself or with a duo, right,

(13:22):
all of these kind of things are going to vary
and help you select that niche that sort of organically occurs.
If you're somebody that can play the drums and guitar
at the same time, I've seen this, that definitely puts
you in a niche, right, and so those kind of things.
Defining those kind of things and helping understand then what
type of music is going to work well or best

(13:42):
at least with your style and your niche is really
important to understand where your value is going to be
best placed.

Speaker 4 (13:50):
With those gigs.

Speaker 3 (13:51):
You can also look at them as your personal training
ground to excel at that niche. You know, it puts
you're playing, develop your technique, exposure styles that maybe you
would have never touched otherwise. It's like a masterclass in
musical instruction and ideas.

Speaker 4 (14:08):
If you immerse yourself into.

Speaker 2 (14:09):
That well, and when you brand yourself as an alt
country trio, right, all of a sudden, who you're working
with to help you find those gigs, which we'll get
to here in a sec will become so much easier
for their job, right. This is always the case in
this industry. Is the more specific you can identify your value,

(14:33):
the easier it is for you to have those valuable
opportunities find you. And so sometimes we just get a
little too broad, like, oh I do a little of everything.
It just won't help you when it comes to finding
where your true value will be recognized.

Speaker 3 (14:48):
I know we're going to go into different venues that
you can perform these in when you're doing your brand,
but I think paying attention to that is also very important.
If you're playing the local bar on a Friday night
and someone knows how much you're getting paid, that devalues
you for that private event or that wedding or that

(15:10):
high end corporate gig. So I think also when you're
going into this project, kind of be choosy to where
you play, or at least to where you at again
advertise you.

Speaker 2 (15:20):
Play yeah, And that that is always that distinction is
do you are you expected to advertise for the event
or not? Right, and that depends on the event. I
do a lot of residency stuff that it's intentionally not
required to advertise, yeah, because then you can play as
many of those as you can. And same with with

(15:42):
a lot of these one off corporate type of events
where you know they want you to travel to it
I'm doing a bunch of those and the same thing,
I'm not expected to advertise for them because it's just
for their company. It's not expected that I'm supposed to
bring people when I get to Seattle, and when I
get out to in northern Wisconsin, I'm not expected to
have that draw there. And that's really important because my

(16:05):
value is still high, but my expectation for drawing an
audience is non existent. And that's a really nice combo
to be able to say yes to these opportunities, because
I would be a lot more stressed out about it
if I had to bring in a lot of sales
in an area that I don't spend any time. Building
a market there.

Speaker 3 (16:26):
Also helps you build a market there because if you
are booked with far enough at an advance in Seattle,
the next night or the night before, you can play
the local venue and put all your advertising, some of
that budget that you're getting from that cover gig into
marketing this local venue and build your audience there, and

(16:46):
you're not so dependent on what you're making for the performance.
But you can sell merch, you can get in front
of new audience, you can do advertising all because this
other gig is helping you pay for.

Speaker 2 (16:59):
That, and that is something you and I are going
to do together here in September, because I'm coming back
through playing some high end corporate gigs in the Chicago
area and I have two nights off, and so you
and I. By the way, I don't know if I've
told you this, but you and I are going to
play a show together in Saint Charles because we should

(17:19):
because that's where I grew up, and it's near where
you grew up, and we can bring our families and
our friends as well as anybody that might still be
interested in our music. And all of that combined is
a wonderful way of just having a little fun and
making some more extra money and connecting with your audience
while you're building that around all these other things. So

(17:41):
all these corporate gigs, they're paying for me to come,
they're paying for me to be there. All of that
is built in around the fact that you and I
get to do something really fun that we have not
done in a long time.

Speaker 3 (17:51):
All I heard you say was you're playing a high
paying corporate gig and I get to have some of that.

Speaker 4 (17:59):
That's all I That's all I heard.

Speaker 3 (18:00):
That that's going to pay for the adventures that we
get to have together. That's fantastic, Chris. That's so generous
of you, and I really do appreciate it. If you
need someone to carry your guitar case into the event,
I'm willing. I'm willing to help in any way I can.
But thank you for being so generous.

Speaker 2 (18:18):
Of course. Another thing about the marketing and the branding
that I wanted to cover was how valuable it is
to have professional branding, high end quality photos, videos, samples
of what you do. And I wouldn't say, go film
yourself performing at a corporate gig because it just doesn't

(18:41):
look that good. It's better to create a video that
looks really impressive with separate recorded audio and that you
can combine and create. That's what I've done, and it
made all the difference in how high end of a
attraction I created in my brand.

Speaker 4 (18:59):
Do we get to play that for everyone?

Speaker 2 (19:01):
No, you should go to YouTube and look it up. Yeah.
But also having a clean website that I think should
look artistic. I think your website should look like because
a lot of times these corporations or these events, they
want to hire an artist. They don't want to hire
a hokey band, Well, like they want to hire a

(19:23):
event that they feel like, they're really impressed with it,
they would like to go see. Having a nice website
that makes that vibe I think is really valuable. And
epks have their place here, but they're less important in
the corporate.

Speaker 3 (19:35):
What you're learning here is to have a unique selling
proposition to your clients. For these cover bands, like what
makes you stand out? Do you do mashups? Acoustic versions
are their theme performances. Chris Webb brings his tap shoes
and also likes to tap it between songs, which is
crazy because not that many people get to see Chris

(19:56):
web damp and it's something you don't want to miss.
But like we talked about, imagining cover songs differently also helps.
This stuff also trans it goes over to your live
shows for even your original stuff, and it helps you
with your stage presence. Make that crucial part of your performance.
Bar gigs require high energy movement and engaging banter. You

(20:21):
need that too when you're you don't have downtime when
you're playing the corporate gig. You have to keep the
music going. These gigs teach you how to grab and
hold the crowd's attention, engaging your live audience, build skills
that carries over to your original shows, and learning many
of these covers. Also, like how we talked about different
niches before, for yourself, this, You've done it plenty of

(20:43):
times where they expect different genres from you, don't they.

Speaker 2 (20:48):
Yeah, you'll get You'll get booked based on a theme
of the event, and you have to cater your set
list to that theme. And that's where having diversification in
your in your song list is really valuable because you
can fit all these different niches. But I still think,
no matter what, it comes out like you, so they
still have to like the way you sound, yeah, and
the way you do it. You know, I do a

(21:09):
lot of looping, and I do a lot of percussion
on my guitar, and I harmonize myself with my own vocals,
so I make it sound so much bigger. And I
think all of that with my personality is part of
my brand that can appeal to certain audiences.

Speaker 3 (21:24):
And I think the more you do those shows, the
more it speeds up your development as a musician and
as a confident performer. I know, even when I like
we've been talking or I've been talking for the last
few episodes about not playing as much. I can feel
those nerves now more than I did two years ago,
because it's just not ingrained in me. I'm not playing

(21:44):
as much as I used to, where before it would
I'd have no problem jumping up there. Definitely nervous, but
because exciting. You know, I'm excited and I want to
do well, not so much like h hope I can
nail this.

Speaker 2 (21:58):
Yeah, and being confident up there, I think goes a
long way. We've talked about this before in previous episodes,
that how well you engage with your audience. Part of
that is your comfortability. Part of that is your professionalism
on the stage to confidence because if you if you
come across as awkward or uncomfortable, your audience immediately absorbs

(22:21):
that energy and they can be uncomfortable and awkward too.
So if you're playing an event like a cover gig,
maybe at a bar, let's say, and you're kind of
building that audience and you're engaging with them, like you said,
you have some witty banter, or you have ways to
make them, you ask them questions that actually works really
well in bar gigs and those kind of events because

(22:43):
people want to engage with in those atmospheres. They want
to be able to talk, they want to be able
to ask for songs, they want to be able to
talk about their favorite band or how they play guitar,
and they gave up because their life has gone a
different direction. Whatever it is like. Getting to know each
other as to where you build that relationship is a skill.
And then as that builds, then you know your set

(23:04):
list and you know what songs are gonna work well, right,
and you you hit the song that they were thinking
of before they even ask You know how many times
that happens. God, I was about to ask you if
you knew that song, and that's how you know you're
in tune with it, right, You know that you're on
And as you build that I mean, I work so
hard at my last couple sets, always building and building

(23:25):
and building to where I get people into a huge
amount of energy at the end of my show. So
it's really climactic in the end of your show and
you know that last song you're saving, your last song,
you know what that's gonna be, or maybe your last
two or three songs, so that you know that you
have those in your pocket to end with and that
you're they're gonna love it because you know this crowd,
because you've gotten to know each other. So that really

(23:46):
is all part of that skill and that building of
your professionalism and the way you approach each event individually.

Speaker 3 (23:53):
Do you save your tap dancing to the end to
those three songs or do you sprinkle that out throughout
your son?

Speaker 2 (23:59):
I usually kind of break into it unexpectedly, especially if
there's like a bar table. I can just get on
in their face tap dance my way.

Speaker 4 (24:08):
Through the Greatest, the Greatest.

Speaker 2 (24:14):
It's funny you say that, because I did get that
request that song so good, so good, and I had
never played it, but you know, it was like a
twelve year old girl that was with her family, and
I was like, I'm going to try it. I'm gonna
try it. I've certainly watched that movie a few times
with my daughter. I'm I think I can figure it.
And I got through a verse and then I did

(24:34):
the chorus like five times and she was thrilled, you know, yeah,
and her parents were like, thank you so much, here's
forty bucks. You know, like it just it just is
about trying. Sometimes you don't really need to nail it.
Like you said before, it's like people just want to
feel validated that what they like, you like and that
you can do something close to it, They're gonna be happy.
You know.

Speaker 4 (24:54):
Have you ever been like that was like a that
was a fifty dollars request?

Speaker 2 (24:59):
I have, I've seen I have not done it. I
have some performers that that'll be like we'll do two
more songs because they're setless done, but we'll do two
more songs for a hundred bucks. And people will come
up with one hundred dollars like they are boldly asking
those questions.

Speaker 4 (25:12):
Good for them.

Speaker 2 (25:13):
So yeah, totally right, and that if it's working, it's working.
I always I'm more hesitant, and I think it would
come across as me not comfortable asking that. So I've
never tried to do that, but I've been like, oh,
if you want me to, people will say how much
to keep you going? And then I can negotiate with them,
you know, if you want, if you want to negotiate

(25:33):
with me about for another three songs, you know, usually
I have a rate for that. Yeah, but but just thousand,
that's right on the microphone though, like to say one
hundred dollars more songs. I just don't have the It's
not my personality. So uh anyways, let's move on to
the second strategy here that we want to discuss because
we've got a lot to cover. Strategic gig booking, Right,

(25:55):
it's not all about your performance and all about your
sound and your brand. It's also about me making sure
you're taking the right opportunities to increase your bottom line.
If you want to make this a substantial type of
income stream, you're going to need to make sure that
you're filtering out the stuff that's going to waste your
time and energy. So for me, targeting paying venues is

(26:17):
a good place to start. This can be like, oh,
I know the highest end hotels in the town that
I'm in, or I know the places where the biggest
corporations come to for their conferences and their events, things
like that, where you're really focused in on where that
money is going to flow the biggest. Right, Weddings are

(26:39):
certainly something where a lot of people make their bread
and butter off of, and that I think is a
separate category than corporate gigs. I think you should have
those income streams be separate. And then another one like
casinos and resorts. I know that you're going down to
the hard rock down there. Those can be really well
paid gigs with always a built in audience. Again, you

(26:59):
don't have to promote the show itself. You just have
to make sure that you're negotiating for your rate, for
the value that you think you can bring, and to.

Speaker 3 (27:06):
Be prepared for those hotel gigs to be much different
than those casino and resort gigs because some of those
gigs you could be in the background, where in the
casino and resorts you're up in front. Same with weddings,
you're up in front that whole time. You have to
be prepared for every single one of those songs, in
between songs, keep things rolling, where some of those hotel

(27:29):
gigs too, you could kind of sometimes end up moving
into the background, as you know, a jukebox.

Speaker 4 (27:35):
Almost.

Speaker 2 (27:36):
Yeah, And I actually think that knowing when what your
role is is about is part of your professionalism. Knowing
because we all have egos, right and we know how
good we are. But if you aren't, if you aren't
being professional with what you're hired to do, you're not
in the right place, you know what I mean. Like

(27:58):
if they have to tell you to turn down. You're
not paying attention if you are. If you're boring the
hell out of the bartenders at the bar, you're not
in the right environment.

Speaker 3 (28:10):
You know.

Speaker 2 (28:10):
You just really need to know where you're going to fit.
The other night, I played a gig that was a
very high end game, one of the highest end gigs
I've ever played. When I say that, I mean like
the payout was really good. I played for probably two
and a half hours, but I didn't get I got
no breaks the whole time. And the craziest part was
I was playing for six people and it was during

(28:32):
their dinner. It was I can't even say who the
people are because that was that was a part of
the non disclosure. But what ended up happening was it
was a very intimid space and there was two chefs
that were coming through and presenting all these different courses
right during their meeting, their dinner meeting. So I had

(28:55):
to make sure that first of all, I was quiet
because the room was small. But I need to be
able these my looper and all that stuff in order
to be able to play a lot of the sections
that I do, and I had to watch anytime the
chefs would come over to introduce the next course, I
would smooth it to instrumental and quiet, and I would

(29:16):
wait and then as soon as they were done and
enjoy your meal, I would pull the value back up
of my performance so that it kind of felt like
the room filled back up, you know. And those kind
of things were very humbling because I cannot be in
their way, you know what I mean. They hired me
to create an atmosphere without getting in the way. It
is not about me in any way. In fact, if
it becomes about me again, I'm doing something wrong, you know.

(29:39):
So I think it's really interesting because you have to
just know what you're getting into because as soon as
they start, as soon as these this was booked through
one of my favorite booking agencies, And I was going
to say that too, that I really recommend that as
you understand your value, that you find the booking agents
that can really help you with that value because they

(30:00):
have the opportunity and the connections, and they're in a
circle of situations that you just aren't going to be
in on your own. So if you really want to
start getting those opportunities where you think you're going to
be really good fit for I think you need to
find the right booking agents to make that happen for you.
But they hire me because they know I'm going to
do that without ego, without without any complications, and very reliable.

(30:25):
Right I'm half an hour early before I'm supposed to
be there. I'm you know, I'm doing all the things
and being polite and and dressed appropriately and knowing when
not to talk or engage with their guests. Like those
kind of events, they're very different than playing at a bar.

Speaker 4 (30:44):
Who did you say you played for?

Speaker 2 (30:45):
It was HOODI and the Blowfish.

Speaker 3 (30:49):
With you know what you're saying, with no ego, but
also with your professionalism and how long you've been doing this,
you demand respect to where you are no longer playing
those bars where they'd give you a drink ticket for
something that Like what you're doing right now, you know

(31:09):
you are taken care of pretty well when you go
to these shows too. They have the utmost respect for
you and what you bring to their party. So that's
something as well. If you're gonna go play crappy places
and get treated like crap, you know that's what you're
gonna get. So when you're talking about finding these high

(31:29):
end places. Show up for these high end places because
you're gonna be treated nicely, and you're gonna want that
respect that you give them in return. And you're going
to find that these higher paying gigs treat you like
that because they're professional as well.

Speaker 2 (31:45):
Totally. Yeah, So let's maybe list a couple types that
we think and this is hard. We put some numbers
down here, but I'm not sure that these numbers are
gonna be valuable for everybody.

Speaker 3 (31:55):
Well, the restaurant club gigs really hasn't changed much since
eineteen ninety one or nineteen seventy one.

Speaker 2 (32:02):
Here's I would like to see it universally like around
the world. I would like to see that people are
paid one hundred dollars US dollars per hour of performance.
I would like to make that the standard expectation if
this gig is a cover focused gig, I think that's
the appropriate rate. Now. I know that that's going to

(32:24):
be impossible for some venues to afford in the middle
of a quiet town in rural US, but I think
then that's telling you that that's not the right place
to be spending your time as a performer. If that's
the case. So I think that is like a standard
set expectation that you should go find that market that

(32:44):
puts that value there so that you can start making
a decent income as a performer.

Speaker 3 (32:49):
You do more wedding and corporate gigs than I do.
What do you think about that rate that we have down?

Speaker 2 (32:54):
Well, so I don't play many weddings, but now, because
here's the thing I have. I played so many weddings,
and I think that they you know, I think if
you're going to spend eight hours, which is the thing
about weddings for me, is that you're preparing all these
custom songs, you're learning material often you know, you're getting

(33:16):
paired up in a band, often with other people, or
you have a band, and all of that takes extra
work and time. Plus then you have to commute to
the event, which is usually at some destination place. You
usually end up being there all day, running around doing
all the different facets of the event, you know, until
the night's over, and then you're the last one to

(33:37):
pack up and get out of there. I think it's
a lot, and so I think you should get more
than one hundred dollars an hour for a gig like that.
So for me, if I'm going to be there for
eight hours, it's a minimum eight hundred dollars, you know,
and that should be the case for everyone, because your
time isn't just about your performance. I know that's how
they rate it. But we're gonna only have you perform

(33:58):
for a half an hour during the ceremony, and then
four hours later we're going to have you play during
the reception. You know, it's like, well, the time in
between is free, Like it shouldn't really work that way.
So I really think that you should work up towards
that's still one hundred dollars per hour, but I think
it should be trying as close as you can to
how many hours of time you're really going to be there.

(34:18):
For corporate gigs, that's all over the place, it's really
all over the place. I think the minimum would be
the hundred, but I think it is an infinite number
above there. The more you bring value to that specific
niche higher you can charge. I know some people that
are getting paid five grand for playing for a couple
hours as a cover performer. Not only that, but they'll

(34:40):
fly them on private jets to go there onder these
remote islands. This stuff exists. I was talking to a
gentleman the other day. He was pretty successful on the voice,
but now he has a business where they hire him
to build his own little team. He lives in Australia,
he's from Australia, and they'll fly him all over the
world to these big corporate events. They spend three days

(35:02):
there with them. We find the finale is a big show.
And in between they're also sitting with them on these
corporate sessions where they write songs with the corporate group
and build like a song that's going to be about
team building. You know it's going to integrate into their

(35:22):
corporate message, but in a fun way. It's nice, it's different.
They get paid. I don't even want to say it,
because you'll realize that these gigs exist. Like That's the
first thing to realize is that if you don't think
you can make enough money, that's because you don't think
you can make enough money. If you start looking at
where you can add value and have fun doing stuff
and maybe where your talent stacking meets into this place

(35:42):
of a niche, you can find the right places that
will find that value for you.

Speaker 3 (35:46):
There's a woman out here in Madison, Beth Keeley, who
I just learned started doing group building by writing songs
together for corporate companies that they have an outing where
they come together and write songs.

Speaker 4 (35:59):
There's a for us I've ever heard of.

Speaker 2 (36:00):
That that's cool. Well, maybe we kind of tie this
one up with just a small part at the end
here is that you're always negotiating, and you learn to negotiate,
and you start to learn your value better and better,
and certain gigs have value in quantity. That's the other
part that my booking agency focuses on residency events, so
we book on quantity, so our rate will be at

(36:24):
that certain spot, but it will also be valuable because
you're going to get booked on times when you wouldn't
get other gigs, not necessarily only on weekends, and not
only during peak times of the year, right, So you
can look for value in those places too, when you
have slower times and all that kind of thing, and
knowing when to say no and knowing when to let go.

(36:45):
I mean, I yesterday, last night, one of my gigs
that you and I have both played many times over
the years at a place we enjoy playing kind of
fell apart. Unfortunately, the venue is struggling and I feel
for them, because that's never something you want to see

(37:08):
with an establishment. But because of that, they're cutting back
on everything. And so six gigs, six dates that I
had booked with them over the summer evaporated in a
group text and not cool, very unprofessional, and certainly it's
not something that's going to be a make or break,

(37:28):
but it does bother me because all the years of
building a relationship should have mattered a little bit more
in communication and the way it was all handled. But
it also made me look at it and be like,
this was the only type of show I play anymore
that doesn't have a contract, that doesn't have a guarantee

(37:49):
that if it cancels, I still get a certain amount,
if not all, of the amount that I was contracted for.
And I looked at it and I was like, thank
you for reminding me that I needed to cut this off,
you know, yeah, because it's just it's not safe for
me to function that way anymore. Because now there's six
dates that are now just evaporated. So luckily some of

(38:13):
them are fin enough out that I'm sure I will
replace with something else, and it'll probably pay me two
to three times more than that gig would have and
all of it will be a wash, but the lesson
is very valuable because you're always learning to negotiate, you're
always learning to be smarter about your business, and there
was just something there where they were friends and I

(38:33):
thought they were friends. That friendship doesn't guarantee you professionalism.

Speaker 3 (38:37):
And that's also reputation. Because of that situation, the reputation
now has got all the way to Madison, where I'm
depending on a flight for that show to you know,
pay for a flight out to Colorado. So now what

(38:57):
do I do with that information I have? Logically, I
have to cancel ahead of time and find something that
is more solid because I don't want to be in
that situation that just happened to you. And I know
we're going to talk about that. On the reverse end too,
is you know, venues want the repetition of a musician

(39:18):
to show up on time and be.

Speaker 4 (39:20):
Ready to go. But yeah, hearing that news was a
red flag for.

Speaker 2 (39:24):
Me totally, and it should be. It should be a
red flag for anybody that doesn't have contracts with their
events because this is the risk you take then, especially
when it's with places that are maybe not so the
higher end, the more professional the approaches with everything. I
have contracts, I have agreements, I have deposits, I have

(39:47):
all these things, you know, and then these lower types
of these types of things, it's just like, ah, thanks
for the text with the dates, you know, and it's like,
why would I keep doing this when these are the
res when you know? And it's just sometimes it takes
a little kick in the butt to be like, oh yeah,
time to mature again on your business. So let's talk

(40:07):
about smart pricing a little bit. I feel like we
might have covered a lot of this already, so it
may not be too necessary, but knowing your market, knowing
what other people are getting paid in your market, is
really important because if you're not charging the same amount,
you're actually hurting the market. Right, if you're charging below
I should to say, and you really don't want to

(40:29):
do that, because that's not nice to the other musicians
that have worked their butt off to be qualified for
that rate. And so I would suggest that what you
do is make yourself qualified if you're not getting the
same rate as everyone else. So it's not just about
getting more money, it's also about making sure that you're
not bringing the market value down. Yeah, offer add ons
like this is really important because like the other night,

(40:52):
I played a show where they wanted to make a
speech and I was like, well, I'm bringing my microphone.
They're like, well, we need to be wireless, and I'm like, okay,
well that'll be an extra you know, Okay, no problem.
You know, like, okay, great, I'll bring my microphone. So
having those things, first of all, having high end gear
that you can rent out, but then also knowing how
to make sure that you don't just end up providing

(41:14):
it for free, those are really important things that you
know the value of them. If they had to go
out and buy that microphone, it's fifteen hundred dollars wireless microphone,
you know, we're not going to do that, but they
really want it to sound good. They're not going to
go out and buy that cheap one that they can
buy an Amazon for eighty bucks. You know, like they
know that's not going to work either. So you're you're
bringing a value there with these offered add ons, having

(41:35):
background playlists and certain things like that, and having all
these tip strategies. If if you haven't started working on
your tip strategies, you need to go back and listen
to that episode that we spent talking about tips, because yeah,
having the QR code, having multiple ways for them to
tip you. It is a very cashless world right now.

(41:57):
And so making sure that it's easy for them to
do and that your QR codes work, uh, and that
you know that you're mentioning it, that you find ways
to make sure that they're aware of the tipping. Even
these high in corporate gigs. What I found is that
they want to tip you. They want to tip you,
even though it seems it's not appropriate to put a

(42:17):
tip jar out for a lot of these things. I
always put it on the floor right next to me
because they want to tip you, and you got to
give them that option. And if you're in the middle
of a song, it's weird to be like, take the
money while you're playing a song. So if you just
put it there, you can kind of nod to it,
like that's down there on the floor.

Speaker 3 (42:34):
I usually wear felcrow pants and I just like push
out the side, just put it in there, put it
in there, then I go back to the song.

Speaker 4 (42:44):
Uh.

Speaker 3 (42:45):
This also helps for you know, special pricing, like beyond income,
you've got to understand your expenses so it's not just
like gas in your PA system. But think, like you said,
instruments and equipment, buying, renting, repairing, home, studio costs, professional
fees ease how much you said. You book some of
these through your agent, right, so you have to pay

(43:05):
them a percentage. If you're looking at contracts, you have
a lawyer to do that, aunt accountants, insurance. One time
I had to buy insurance for one of the hotels
that you know you had.

Speaker 4 (43:17):
To go through.

Speaker 3 (43:18):
So that was for a year, and I had to
divide it by how many shows I thought I was
going to get that year. So all this stuff is
how you should be looking at every part of your business.
Because you're making more money here, there are more expenses
with it too sometimes and the more you're on top
of your budgeting and forecasting, that's just going to make
you better at any other aspect of your music career.

Speaker 2 (43:42):
You know that also with travel fees and special equipment
for those kind of things, and extending your time, all
of that is a part of this too, is knowing
what those values are ahead of time. I really like
it when people come up to me and say, like
how much for you know, for they'll say an hour,
and I'll say, I'll get you three more songs for
this much. You know, like knowing what you're going to

(44:03):
say just simplifies it so much. And so that's a
really big part of that. And then the other thing
that I was going to add about your travel comment too,
about knowing that you're added expenses. If you're getting booked
to travel, your travel expenses obviously are going to be
a huge factor, and they cannot be absorbed in your fee.
They have to be separate on your invoice and charged

(44:25):
to the event. Otherwise you ain't gonna make any money,
you know, unless this is really worth going to just
because you wanted to do it and say that you
did it, it really isn't going to be the case.
Is you become more dependent on the income itself. But
the other part of that is that you can when
I get all these rewards now from the air miles
and from the you know, from the credit cards that

(44:46):
I use and the strategies I do within that, and
I know we say stay out of debt one hundred percent,
do not put it on credit cards if you ain't
going to pay it off. But I earn a lot
of miles on my travel cards that help pay for
my family vacation. So there's a lot of strategy there
too when you as you build that stuff.

Speaker 3 (45:04):
All this stuff is practice for how you handle every
situation on and off stage. You just said, if someone
says how much for X amount you want, you want
to have that right there, you know, so you're not like,
uh uh, you need that in between songs on a
set list. You know, if you're stuck tuning your guitar

(45:25):
with nothing. Every single part of that transaction is people
are being entertained and watching you. And I think that's
again the way you should handle your music career, how
you show up to not only the business side of
you know, we're talking about say covers and you don't
feel like maybe artistically this is what you want to do,
but it's just a lesson in life and how you

(45:48):
handle all of these things.

Speaker 2 (45:49):
Marketing and promotion, Yeah, I think for me, the only
thing I want to say in marketing and promotion when
it comes to improving your value as a covered performer
is know again, know the places where you're going to
get the best opportunities. And if that's someplace like gig
Salad or the Bash for wedding stuff. Those are popular,

(46:11):
but it could also be just knowing the right booking
agents getting involved in them. And this again where you
need to reach out to your community and find out
who those people are. You need to be prepared to
approach them professionally and with professional value to offer. Those
are the biggest ways I think you can improve your
bottom line the fastest. Building a fan base and stuff

(46:32):
like that is going to happen, but it isn't going
to increase your value as quickly as the others.

Speaker 3 (46:39):
Anything you buy, it's because of demand. You want that,
you want that thing, and you have to increase the
demand for a performance. So know what you are promoting
and what you are not promoting, because if you need
people there and you don't want to advertise every single
show you're playing in October within an hour. I mean
I used to build these little flo that had like

(47:01):
twenty shows on them.

Speaker 4 (47:03):
What the how was I thinking?

Speaker 3 (47:05):
You know, I mean we're talking early two thousands, but
I was so proud of that list.

Speaker 4 (47:10):
Look how well I'm doing.

Speaker 3 (47:12):
I am showing everyone I am a full time musician
by listing all these places I'm playing. Well, I don't
need to go see them on Friday because I could
see him on Sunday. I don't need to see him
on Sunday because I could go see him on Wednesday.
So keep that in mind when you're doing your marketing,
because venues that aren't corporate ones or that need to
promote you, even if it's cover gigs, they don't want

(47:34):
to hire you on a Friday when you're playing up
the street on the previous Wednesday.

Speaker 2 (47:40):
Or the next night. Yeah, the next night they often are. Yeah,
that's a really good point. Let's move on to technical excellence,
because I think this is one of those areas where
we all can continue to improve. And I think some
of these will be they will resonate with a lot
of people, and this might be one of those areas
within the will do in your action step that you

(48:03):
might find easy accessibility for improvement. Professional sound is so important.
It's so important to invest in good gear. Do not
waste your money on crappy Amazon wireless microphones. Do not
waste your time on buying crappy speakers that you think
are going to equate to the high end ones but

(48:24):
half the price. It isn't the way it works in
this industry. The high end speakers, the PA systems. They
are better, they are better audio quality, they are better built,
they are going to last you longer, and they are
going to work way more reliable in all circumstances. Same
thing with when you're buying good microphones, good pedals, good instruments.

(48:47):
It's really important that you build high end professional gear
and do not waste your time and money on buying
crap and then having to replace it because it failed
you in very important moments.

Speaker 3 (48:58):
When I got my first uh bowse l one the
compact ones with the battery on the bottom, it rolled
in the back of my car. So when I went
to open the door and the lift the back hatch,
it fell out of the car, off the top of
everything I had there, and rolled down the driveway into

(49:19):
the street.

Speaker 4 (49:20):
Still works for the state, no problem.

Speaker 2 (49:22):
Heah, there you go.

Speaker 4 (49:23):
I mean worth every penny totally.

Speaker 2 (49:26):
I had a drunk person knock one of my QSC
speakers off of a two story building and landed landed
on concrete. That thing should have shattered. Come on, I
swear to you. I wrote QSC a letter as an email.
I was like, you need to know this thing survived.

Speaker 4 (49:48):
I wish.

Speaker 3 (49:49):
I wish you would have told that story first, because
then I went and have told my b one story.

Speaker 4 (49:52):
Oh cool, it fell out of the car, rolled down
the street like great.

Speaker 2 (49:57):
I was playing that show with Megan Bird. We were
together and we all are like, oh, that thing's toast.

Speaker 3 (50:03):
Nope, st fall was it just like on a ledge
and someone bumped into it.

Speaker 2 (50:07):
It was on a speaker stand and the speaker stands
were up against the ledge that all over the ledge
was all down. Luckily nobody was down there because they
would not have survived it. I mean it was a
fifteen inch speaker. It was really heavy. Anyways, It's important
to buy good gear because stuff happened. And when you're

(50:29):
buying good gear, that also will increase your value because
when as a book an agent, I know who has
good gear and who doesn't. I'm not booking the person
with bad gear, because I know that just opens up
a whole other world. No matter how good of a
musician you are, if these high end clients get distracted
because something breaks and pops or something during the performance,
it's it's all gonna get ruined. They really care about.

(50:51):
They won't notice how great you are. They'll notice a
couple things that you do wrong right, Like they'll notice
the big feedback or when something stops working. They will
notice the kind of stuff that matters as a booking agent.

Speaker 3 (51:02):
Do you think if you were playing elevator music, that
speaker would have fell slower.

Speaker 2 (51:07):
It would have been less scared of the fall. That's
what elevator music's for. Well, those are all good points.
Let's keep moving though. The other thing about the technical
excellence that I thought we should put back in there.
We've discussed a lot of the energy and the performance stuff,
but also that preparation. It's really one of those things

(51:28):
where you just you don't want to show up to
a gig, especially if you're playing with a band that
you're not ready for your part. You know, those are
just these are things that need to be said. You
need to be ready, you need to be prepared. You
want these high end opportunities, be the performer that everyone wants.
You know, it's just one of those things.

Speaker 4 (51:46):
And set your band up for success.

Speaker 3 (51:48):
If you know that Brad needs to capo and tune,
don't start the song. Maybe talk a little bit, you know,
don't put Brad on the spot and make him look
like an a hole, not that I've ever done that
multiple times.

Speaker 2 (52:05):
Point taken. And so let's move to number six. This
is our final one of these here, network and relationships.
We talk about community constantly because it is such a
critical pillar to building a successful business in this industry,
and this area with cover Gigs is one hundred percent
center around community, building a good network and having strong relationships.

(52:27):
Part of that, to me is actually being a very
ethical person because you will get a reputation to be
in a ripoff if you are someone who does shady stuff,
and that will destroy your business. Right, always be ethical
because it will come back. It's very charmatic. Cet a
word charmatic, I like it. If it's not a word,
I should use it. But you need to know that

(52:49):
these relationships don't just end with your bandmates or with
the other musicians. It also works with the venue owners
and the local promoters and your booking agencies and anybody
that maybe is working in the industry in any sort
of outside way too.

Speaker 3 (53:05):
And be transparent and how you're going to do that.
If there's a pay check that you promised everyone, show
up and pay them what you said you're going to
pay them. If it's an original band that everyone says, hey,
you know, we're going to take these cover gigs and
go over here and try these different things.

Speaker 4 (53:23):
Let everyone know that you're going to put.

Speaker 3 (53:24):
A percentage aside of every single time you get paid
that covers the band, just in case something happens, and
then no one has to ask questions where the when
he's going to. Everyone has transparency.

Speaker 2 (53:35):
And the more that you build your reputation, the more
that people will recommend you. I get so many recommendations
because of my consistent efforts to be the best they
can ask for. You know, I think that really precedes
you and the opposite end too. Right, if if a
venue focks you over, even.

Speaker 4 (53:57):
Though we're canceled six shows in July.

Speaker 2 (54:00):
You're probably going to talk about it a bit, and
it's probably going to become something that other people are
aware of and they're probably avoid that place too. It
all is charmatic. I'm just gonna give you so professionals.
You know, you conduct yourself in a way that we
all want to just continue to recommend because of all

(54:21):
things we're sitting here talking about, how do you increase
your money? End of this, right, how do you play
cover gigs and make more money. The center of it
all is how professional you are at all of these
different areas that we've discussed. So ultimately, the choice between
covers and originals isn't in either or situation. It's a
strategic continuum for us working musicians. For us working musicians,

(54:46):
success comes from our ability to strategically weave together different
forms of musical expression the income generation. Rather than sticking
to rigid definitions of what an artist should be, we
should be fluid with this stuff. We should be willing
to go where the money is offered to us right
and where our value is being shown. So by understanding

(55:07):
the myths and these facts, embracing our professionalism, pouring our
unique artistry into every performance, and then treating our music
careers like a multifaceted business in which they are, we
can truly uncover the immense potential of cover gigs.

Speaker 3 (55:25):
We want you to take these tips into your action
stuff this week. Try up in your game with intentionally
sharing with us your results. So here's I put five down? Okay,
what I mean?

Speaker 4 (55:40):
Five? It's a multiple choice.

Speaker 3 (55:41):
Someone wants three threes, Three is too easy, Four is
not enough? Okay, So number one, audit your online presence,
update your epk's bio, song list, videos and venue details.
And if this has to be something separate and you
want to try just covers, you can always do your
URL for slash and call it whatever you want and

(56:03):
build an individual business there. See how that goes, and
then you could build your own URL.

Speaker 4 (56:08):
But kind of just get a set list.

Speaker 3 (56:10):
In order make that your action step this week for
just maybe cover gigs, set up a social media ad
to promote a live clip with your targeted booking for
the intent of playing just cover gigs. Number three is
reach out to two or three event planners or venues
to pitch this new idea you have and send them

(56:31):
your live video and say, hey, I can knock this
side of the park call Chris Web Number four. Practice
a polished corporate style MC intro and professional event flow.
I think that's super important. I do it for this
podcast more often than I would like to admit that
sometimes might not show, it might not seem like it,
but I am going through intros and things that I

(56:53):
want to say prior to Chris and I jumping online
here and it's helped me on a lot of my
live shows. What I want to say in between songs,
and how I even want to open the night. So
sometimes think of it as just singing or practicing your instrument.
You have to practice what you're gonna say, and last,
thank past clients and ask for testimonials or referrals. One

(57:17):
I would say, just thank them first with nothing and
ask nothing in return.

Speaker 4 (57:21):
I send Sherry's berries.

Speaker 3 (57:23):
If you're getting a high corporate gig, send them something
that they'll remember, because I promise you many musicians do
not send a thank you card or share his berries
or chocolates or a vegan cupcake. Do something that's original
and just thank the people that have helped you make
your living being a musician, and then wait a week

(57:45):
or two and then hey, do you like the Scheres berries?

Speaker 4 (57:49):
And then ask for a referral? Five steps? How'd I do?

Speaker 2 (57:51):
Well done? We know your time is valuable. We appreciate
you spending his time with us and being a part
of this community. Is our hope that you feel that
since the community here at musicians Tipjaw, and that you'll
help spread the word to make us all stronger. If
you'd like to get hold of us, what's the best
way to do that.

Speaker 3 (58:05):
Send us an email at musicians tip Jar at gmail.
You can find us at musicians tipjar dot com, where
you can check out all the resources and discounts we
have collected just for you, and check out all our
episodes now on YouTube. If you find this information useful,
please write and subscribe to the podcast and slam that
like button so we can help keep you up on
the finance side of your music business.

Speaker 2 (58:26):
As always, thank you for joining us, and remember there
is already enough for everyone, You just need to know
how to get it. Until next time on behalf of
Dave Hampkin and myself Chris Webb, stay happy, healthy and wealthy.
Amateurs practice until they get it right. Professionals practice until
they can't get it wrong. This these Musicians tip Jar.

Speaker 1 (58:55):
Somebody.

Speaker 2 (59:06):
Nothing on this show should be considered specific, personal or
professional advice.

Speaker 4 (59:10):
Please consult an appropriate tax, legal, business, or financial professional
for individualized advice. Individual results are not guaranteed, and all.

Speaker 3 (59:19):
Discussed strategies and the potential for profit ask.

Speaker 4 (59:22):
The hosts are operating on behalf

Speaker 2 (59:24):
Of Musicians tip Jar LLC exclusively