MasterMind Drummer
August 26th, 2024
Newsletter #36
How To Get The GIG Of Your Dreams… pt.1
It’s a 2-parter this week, as it’s a big topic, so gear up…
To start off, I want to zoom out. Right out.
Zooming in is fantastic, as we get an opportunity to refine all those details of what we are doing, but on the flip side, zooming in too soon can also overcomplicate things.
So let’s zoom out.
Look, I’ve always said, when it comes down to it, I’m pretty basic.
I’m not being hard on myself here, not at all. I’m just telling you that for me to have overcome the challenges I’ve faced over the years – personal, business, creatively, etc. It’s usually been through the process of zooming out and simplifying things.
This has been out of necessity, because like I said, I’m basic, so I simplify things. But in retrospec, it has been quite a powerful approach to problem-solving.
So how does this little introduction here apply to getting the gig of your dreams? Well, I’m glad you asked!
Let’s start off with acknowledging that the word ‘gig’ can be switched out for ‘opportunity’. You may not want a ‘gig’ as such, but I’m guessing you want more opportunities… right?
This could mean more live work, studio work, more students, more social media presence, more clout, whatever, but the point is that we can use the word gig interchangeably with opportunities, in general.
In my opinion, the opportunity matches the player.
From when I was a young player, I’ve always taken FULL responsibility for every gig and opportunity that has come my way, and it’s something I expect of others, too.
I acknowledged early on that my opportunities were purely a byproduct of
A. Where I’m at
B. The work I’ve put in
I’ve never played the victim. I’ve never felt hard done by. I’ve never felt I deserve more than I’ve earned.
So, why do I bring this up?
Because alot of creatives I come across feel they don’t get the opportunities that they deserve. They spend a lot of time talking about it (I actually see this a lot on the Threads app at the moment), but not a lot of time zooming out and asking the bigger question.
And that question is…
What am I doing wrong?
This is a big fat mighty pill to swallow, framing things in this way. But I tell you what, the second you turn the finger back on yourself, take some ownership, and then, in turn, start to address what could be causing this ‘lack of opportunity’, the sooner you can course-correct and get that ship heading towards an actual port that you want to dock at!
So, back to being simple… Zoom out!
This ALL comes down to one word.
Value. The value that you bring to any given situation or opportunity.
Thats it.
But, as always, let’s dissect this a little more.
If we were to take the full macro view on things, the value you can bring is defined by two categories –
1. On the kit, &
2. Off the kit.
This is as zoomed out as we can get. This cannot be broken down anymore as both of these areas need to be addressed. So let’s address them.
Your opportunities are going to be in direct correlation to the value you bring on the kit, and off the kit.
*Now before we go any further, for my non-drummer readers, this applies to ANY creative outlet. So if you play bass, take photos, clean airplane windows, whatever, just switch out drums with your relevant creative outlet.
OK, so for part 1 today, let’s start with the value you bring ‘on the kit’, as that is usually the only category people feel they need to dial in, and they still get it wrong.
Without a doubt, the value you offer as a player – so the quality of player that you are, will determine the level of gigs you get. Don’t expect a major label artist gig if your playing is not up to scratch.
In fact, as a side note, I know of two separate stories where drummers basically got high profile gigs due to the content they were putting online. BUT… Turns out they were editing their content, (‘polishing the turd’), and were then found out at their first rehearsals. Needless to say, they were fired immediately.
You can’t fake it, so don’t try.
But what actually defines a great player?
There are 3 main categories –
1. Pocket (groove).
You need great pocket, great feel, great groove.
You need to understand your relationship with the music you’re playing, and the people you are playing with.
If this is an area you need to develop, the fastest way is by playing along to albums with drummers who you deem as having great feel/pocket/groove. Play along with them so tightly that you no longer hear them anymore, it’s just you and the band. Do this for hours.
Next, playing with as many people as you can. Getting real-time feedback in group situations. Listening, reading, reacting.
Playing along to great music, and playing with as many people as possible, will sharpen your groove. Reps!
2. Your facility (chops).
Do not fall for the self-justifying lack-of-ability line you often hear from small-minded people, “nah, I don’t work on chops, because groove is ALL that matters, man”. This is an incredibly lazy attitude that stinks of average, and to be honest, shows a lack of understanding of the bigger picture here.
Stay away from these people.
Pursuing your facility, in conjunction with developing your pocket, is truly the best way to strengthen your pocket and find your voice on the kit. This is because you get a wider understanding of space and time – so the distance between the notes. This is an integral part of having great feel. And it is in this process that you start to discover your voice, and what you have to say on the kit, as you now have more tools in your arsenal to express yourself with.
This leads me to the 3rd marker of what makes a great player…
3. Personality (voice).
Figure out who you are on the drums. This is huge! Having a sound. Having a voice. Having some goddam character on the kit. I’m telling you now, you will not get hired by a major artist, or get ongoing ‘major’ opportunities, if you do not have some sort of personality or voice on the kit.
This occurs naturally through the pursuit of pocket and facility combined, and coupled with inspiration from the outside world – eg, music, walks, food, friends etc… All this together is what creates your voice and personality on the kit.
Who are you, and what do you have to say? Think about that.
This takes a lot of internalising, and it’s a slow process. We are all just a product of our influences, so once we have established who and what those influences are, we need to then whittle them down and shape them in to our own unique voice.
Give in to the process, and enjoy it. Its a lifetime journey.
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So, to wrap up part 1, in summary, when it comes to the kit itself, you need to…
1. Work on your groove.
2. Work on your facility.
3. Work on your voice.
Then, the goal is to increase the value in all 3 areas, as much as you possibly can. This never stops.
With every win you get, keep moving! Never rest on your ability, your laurels, or your ‘talent’. The second you do, is the second you stop progressing, and atrophy begins.
This truly is –
How To Get The GIG Of Your Dreams… pt.1
Let’s leave it there for this week as part 2 is even bigger, so I need you primed and ready, lol…
As always, thanks for taking the time, and thanks for all your feedback, too. I really appreciate it.
I read them all. So please, if you have any thoughts, send them through, and let’s get a dialogue happening.
Don’t forget… Stay hungry (and stay healthy!)
See you next week.
Stan