If you are a young man or woman in charge of booking independent, experimental, alternative-venue, free, avant garde, and/or non-commercial shows with at least one out-of-town group on the bill, or you hope to be such a person, let me offer a dime’s-worth of advice.
1. The band coming in from out of town probably has no idea where the venue and/or the town is. This becomes increasingly so as the venue and/or town is more obscure and more non-traditional. Guide them in.
2. If you are aware of approximately what time the band is getting to the venue, make sure someone is there to meet them or try to get to the venue to meet up with them as soon as humanly possible following their arrival.
3. The band does not know anyone there. Try to be friendly and cordial and encourage others to do the same.
4. The band has likely been in a van and/or car for the better part of the day. Offer them something to eat and/or a beer. A clean bathroom. A glass of water.
5. The band is likely on tour first and foremost because they want to do what they are doing. If they weren’t enjoying themselves, they wouldn’t be doing it. This is specially true in regards to playing in alternative and non-commercial venues. The band does not expect to make much money, but they likely spent a fair amount of money to get to the gig and expect to get something. “Indie Rock Rule of Thumb” states you give the out-of-town bands something for their troubles. If there is a cover, this goes to the out-of-towers. If there is not a cover, other methods of compensation should be sought. This may include, but is not limited to: something towards gas and tolls (this can be as little as forty or fifty dollars and can be accrued by way of passing a hat around the room, purchasing some of their merchandise, and/or paying out-of-pocket), a place to stay (in the form of a cheap motel room, a guest bedroom, or some floor-space), a meal, a sandwich, and an attentive audience.
Karma is a bitch and word gets around. Most touring bands also have some pull in their respective home towns.
Alternative venues are a rarity in this country. Interesting and unusual places are usually a joy to visit and to perform in, but just because something is non-commercial and free to attend, does not mean that the performance is also free.
Lesson over.
Our set went real well. We played third. We contact mic’ed the steel cables of the garage doors and had fun playing with the lively and active room.
Paul Goodwin is a good guy and does some interesting stuff. If you are in or near Brooklyn tonight, go see him at a place called something like The Dead Herring.
The duo that did the tapes and guitar work was very cool too and Scott (right, Scott?) did some interesting stuff to open the show.
“My Old School” has new meaning to all of us following our first trip to Annendale-on-Hudson.
Last night’s show was a lot of fun. We played first and shared the bill with primarily more jazz oriented groups. In other words, we were the only group without a horn to be found amongst us. 
After the wildly successful screening of