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| Hometown | Brooklyn, NY |
| Genres | Singer/Songwriter (Female), Singer/Songwriter |
| Band Members | Sonia Montez - guitar/vocals; Adam Minkoff - bass/... » more |
| Achievements |
» more |
| Upcoming Shows | None |
| Contact Information: |
Artist / Band Member
Sonia Montez info@soniamontez.com 347-613-1974 |
| # Years Experience Performing Live: | 14 |
| # Live Perfomances Past Six-months: | 20 |
| Market Draw: | Home Market: 31-50; Regional: 76-100 |
| Venue History: | Theater of the Living Arts - Philadelphia, PA BLUE NOTE - New York, NY HIGHLINE BALLROOM - new york, NY Southpaw - Brooklyn, NY The Bitter End - New York, NY Sidewalk Cafe - New York, NY National Underground - New York , NY The Bowery Poetry Club - New York, NY Puppets Jazz Bar - Brooklyn, NY Parkside Lounge - NY, NY ROCKWOOD MUSIC HALL - NEW YORK, NY The Living Room - New York, NY The Wicked Monk Irish Pub - Brooklyn, NY American Folk Art Museum - New York, NY |
| Opener Experience: | Matt Nathanson; Kaki King; Kiernan McMullan; Shae Fiol; Jessie Baylin; The Mountain Goats; BP Fallon; Chip Taylor |
| Similar Artists: | Feist; Sean Hayes; Allen Stone; Fiona Apple |
| Performing Rights Society: | SESAC |
| Discography: | Of Tears and Honey EP—2009; Learning To Sing - The Graduates OST LP—2009; Chelsea Mornings Demo EP—2007 |
Sonia Montez is a singer-songwriter/musician with a resume stretching from Full Force to The Mountain Goats; and whose music has been featured in award winning indie movies and shows like NBC Nightly News w/ Brian Williams. Beginning in New York City's...
Sonia Montez is a singer-songwriter/musician with a resume stretching from Full Force to The Mountain Goats; and whose music has been featured in award winning indie movies and shows like NBC Nightly News w/ Brian Williams. Beginning in New York City's anti-folk open mic scene, Montez has gone onto play songwriter circles with the likes of legendary songwriter Chip Taylor, been part of ensembles like NYC's only female international mariachi, Flor de Toloache, opened sold out shows on tour stops for Matt Nathanson/Jessie Bailyn and Kaki King, and has played music festivals with The Psychedelic Furs and Patti Smith. Mutual acquaintances, happenstance, and luck brought Sonia to her new band project Sonia Montez & The HSP. The core band, all of whom are accomplished musicians, is comprised of Scott Chasolen (keys/piano), Sean Dixon (drums/percussion), Adam Minkoff (bass/vocals), and Nick Oddy (lead guitar). Most recently, Hong Kong artist Sandy Lam released a Sonia Montez & The HSP cover, AveryJane, in Cantonese, for her latest record "Re:Workz". The song debuted at #7 on Hong Kong's iTunes pop charts.
Photos
Videos
August 2009 MTV VMA Best Breakout NYC
February 2009 Singer/Songwriter (Female)
April 2010 Judging Excellence
August 2009 MTV VMA Best Breakout NYC
February 2009 Singer/Songwriter (Female)
April 2010 Judging Excellence
March 2010 Judging Excellence
August 2009 Judging Excellence
July 2009 Judging Excellence
November 2008 Judging Excellence
August 2008 Judging Excellence
August 2008 Channel Predictor Singer/Songwriter (Female)
Artist Spotlight- Sonia Montez by LIFEbeat
At LIFEbeat we're always talking about the amazing transformation that music can give people- how something as simple as hearing a song you love, beautifully sung, can make your troubles vanish and...
At LIFEbeat we're always talking about the amazing transformation that music can give people- how something as simple as hearing a song you love, beautifully sung, can make your troubles vanish and...
A Bicycle Ride In The Park by The Ney York Optimist
A few weeks back I was out for my nightly bicycle ridethrough the parks and winding paths thatsurround the Narrows area of Bay Ridge Brooklyn. Its ascenic wonderland with the ocean so close and the...
A few weeks back I was out for my nightly bicycle ridethrough the parks and winding paths thatsurround the Narrows area of Bay Ridge Brooklyn. Its ascenic wonderland with the ocean so close and the...
Artist Spotlight- Sonia Montez by LIFEbeat
At LIFEbeat we're always talking about the amazing transformation that music can give people- how something as simple as hearing a song you love, beautifully sung, can make your troubles vanish and bring you back to loving life. Sonia Montez, with her smart, heartfelt songs, smooth-as-butter voice and spot-on fingerpicking, makes that happen every time she gets up to play for Hearts & Voices. "I'm always at my top musical game when I play for Hearts and Voices," she says. "The audiences are the greatest and most positive people I've ever played for. Program assistant Ben Godwin met Sonia while he was working behind the soundboard at the Sidewalk Cafe in the East Village, and was blown away by her ability to captivate the room- not to mention her repertoire, which includes songs by artists as diverse as Jamiroquai and Kermit the Frog along with those choice original tunes. He immediately invited her to join Hearts & Voices- and when she heard about the program, says Sonia, "it never even occurred to me to say no. Newly signed to Radian Records, Sonia is working on her debut album and relishing every moment of music making; "Music allows me to feel truly alive.There were always two constants when I was growing up: family and music. Being able to play and share music that I've written, I find, is the way I'm best able to show who I really am with the outside world. I'm grateful for every moment of every day. I'm at a place in my life where I can take the time to enjoy the beautiful and often over-looked simplicities. That's why LIFEbeat is so important to me. Sharing that time with people when I play, it's the greatest thing in the world.
At LIFEbeat we're always talking about the amazing transformation that music can give people- how something as simple as hearing a song you love, beautifully sung, can make your troubles vanish and bring you back to loving life. Sonia Montez, with her smart, heartfelt songs, smooth-as-butter voice and spot-on fingerpicking, makes that happen every time she gets up to play for Hearts & Voices. "I'm always at my top musical game when I play for Hearts and Voices," she says. "The audiences are the greatest and most positive people I've ever played for. Program assistant Ben Godwin met Sonia while he was working behind the soundboard at the Sidewalk Cafe in the East Village, and was blown away by her ability to captivate the room- not to mention her repertoire, which includes songs by artists as diverse as Jamiroquai and Kermit the Frog along with those choice original tunes. He immediately invited her to join Hearts & Voices- and when she heard about the program, says Sonia, "it never even occurred to me to say no. Newly signed to Radian Records, Sonia is working on her debut album and relishing every moment of music making; "Music allows me to feel truly alive.There were always two constants when I was growing up: family and music. Being able to play and share music that I've written, I find, is the way I'm best able to show who I really am with the outside world. I'm grateful for every moment of every day. I'm at a place in my life where I can take the time to enjoy the beautiful and often over-looked simplicities. That's why LIFEbeat is so important to me. Sharing that time with people when I play, it's the greatest thing in the world.
A Bicycle Ride In The Park by The Ney York Optimist
A few weeks back I was out for my nightly bicycle ride through the parks and winding paths that surround the Narrows area of Bay Ridge Brooklyn. Its a scenic wonderland with the ocean so close and the monumental presence of the Verrazano bridge towering and stretching 4,260 feet to join Brooklyn and Staten Island. The summer is over at this point and the weather was perfect for the most part. As I rode to the Pier located on 69th street off Shore Road to see the perfect view of Manhattan and the Statue of Liberty there was calm in the air that created a peaceful feeling for the people who walked by with their children in strollers and the fisherman anticipating the ringing bell and a tug on the line of their fishing poles indicating a bluefish dinner or possibly a striped bass but more likely would be a sand shark or a skate the bigger tastier fish are much to smart to be caught on a regular basis. As I rode away from the pier towards the parks that line Shore Road I had a feeling like the day may have some unexpected and pleasant surprises in store for me. The first park I came upon had a black steel gate with some decorative iron work and the doors were wide open inviting me in, I could smell the flowers and trees and came upon a huge circular grass field. It was around 5:30 PM and soon the sunset would mesmerize all the lovers and family's that come down to the Parks and paths that overlook the bridge. I came across a beautiful girl as I was about to ride through this first park she was getting ready to perform for all the people who lived in the area and a large group of her fans who probably follow her to every show she does. She introduced herself, hello I am Sonia Montez and I will be performing here tonight for the good people of Bay Ridge and that I should join the fun and was welcome. Her voice was sweet and her energy was beautiful so I told her that I would be back for sure to see her show. I am so happy I came across this opportunity because the show was so much more than I expected. With original songs like Willow Leaves, a dreamy folksy acoustic masterpiece that makes me disappear completely as I listen to it while writing this article. Her music is diverse soulful and clever weaving rich and textured chords and base lines with profound and poetic lyrics that touch the heart and lift the spirit. Sonia's music makes one feel like anything is possible and that the world is full of Optimism. I highly recommend Sonia Montez as part of your music collection so visit her my space page with the link here in the feature and enjoy, thank you Sonia and Radian records for giving the world such a unique and beautiful musical gift. Questions about Sonia Montez please contact the publisher: jsebastian@thenewyorkoptimist.com
A few weeks back I was out for my nightly bicycle ride through the parks and winding paths that surround the Narrows area of Bay Ridge Brooklyn. Its a scenic wonderland with the ocean so close and the monumental presence of the Verrazano bridge towering and stretching 4,260 feet to join Brooklyn and Staten Island. The summer is over at this point and the weather was perfect for the most part. As I rode to the Pier located on 69th street off Shore Road to see the perfect view of Manhattan and the Statue of Liberty there was calm in the air that created a peaceful feeling for the people who walked by with their children in strollers and the fisherman anticipating the ringing bell and a tug on the line of their fishing poles indicating a bluefish dinner or possibly a striped bass but more likely would be a sand shark or a skate the bigger tastier fish are much to smart to be caught on a regular basis. As I rode away from the pier towards the parks that line Shore Road I had a feeling like the day may have some unexpected and pleasant surprises in store for me. The first park I came upon had a black steel gate with some decorative iron work and the doors were wide open inviting me in, I could smell the flowers and trees and came upon a huge circular grass field. It was around 5:30 PM and soon the sunset would mesmerize all the lovers and family's that come down to the Parks and paths that overlook the bridge. I came across a beautiful girl as I was about to ride through this first park she was getting ready to perform for all the people who lived in the area and a large group of her fans who probably follow her to every show she does. She introduced herself, hello I am Sonia Montez and I will be performing here tonight for the good people of Bay Ridge and that I should join the fun and was welcome. Her voice was sweet and her energy was beautiful so I told her that I would be back for sure to see her show. I am so happy I came across this opportunity because the show was so much more than I expected. With original songs like Willow Leaves, a dreamy folksy acoustic masterpiece that makes me disappear completely as I listen to it while writing this article. Her music is diverse soulful and clever weaving rich and textured chords and base lines with profound and poetic lyrics that touch the heart and lift the spirit. Sonia's music makes one feel like anything is possible and that the world is full of Optimism. I highly recommend Sonia Montez as part of your music collection so visit her my space page with the link here in the feature and enjoy, thank you Sonia and Radian records for giving the world such a unique and beautiful musical gift. Questions about Sonia Montez please contact the publisher: jsebastian@thenewyorkoptimist.com
Sonia Montez Is a Soulful Singer-Songwriter by Too Shy To Stop
I’m completely biased; Sonia Montez won me over with her cool, flowing music the moment I visited her MySpace page and listened to her song “Willow Road.” Speaking with her about her musical influences, band, family, and self proclaimed “dorkiness” only increased my admiration for her. So be forewarned: you too may want to become her best friend after reading this. Montez is a quirky girl from Brooklyn. Well, she actually grew up in California, then lived in Puerto Rico, and in 1998 settled in Brooklyn. As a result, her musical influences stretch far and wide. From the Beatles and classical music, to the love songs her mother and aunt used to perform in their restaurant in Puerto Rico, a wide variety of musical genres inspires her. “On the very top I guess are the first people I was exposed to, Mercedes Sosa, Beatles, Paul Simon, and classical music as well,” says Montez. “I think everything influences me, either in a positive or negative way. I’ll listen to a song and say ‘oh, it would be awesome to do something like that’ or ‘I don’t want to sound like that at all,’ but folk/pop classics are a constant positive.” Judging from her vast array of influences, it’s easy to see why Montez prefers not to label her sound as any one type of music. Instead she goes “genre-less,” refusing to conform to executives in the music industry that are quick to name an artist as one thing or another. “The first question people ask me when they find out I make music is, what kind?” says Montez. “It’s a question I struggle with because I honestly don’t know what to label it. It’s pop and folk and soul and jazz and top 40. I have no idea what I do.” Not knowing what she does seems to be working out just fine for Montez. She has assembled a band of six musicians that can often turn into more depending on where the music flows. Every member of her band is extremely important to her. She names each person, along with the instrument they play, and isn’t shy about gushing over their talents. Her band includes her cousin Mireya Ramos on violin, along with bassist Mark Kelly and guitarist Gabe Cummins. Kelly and Cummins have played with well-known musical artist like Will Calhoun and Aaron Neville. Says Montez, “My band members are a lot more famous then me!” Despite this, Montez’s band works together seamlessly. While it is clear that she is the leader of the band, Montez listens intently to the sounds and suggestions each member of her team makes. “I like the Woody Allen approach,” she says. “Unless they’re doing something I don’t like, I let them got at it.” The results of the teamwork are flowing melodies, some tranquil and calm, others upbeat and danceable, some could even be referred to as “put you in the mood” songs. No matter what the sound, each song is like a quilt woven together piece by piece by Montez and her band members, that all begins when she gathers her thoughts and experiences and puts them on paper. “ I just have a need to write,” she urges. “I’m not good at personal relationships or intimacy, writing is how I get all that out.” Montez takes stories about her friends’ lives, or makes up situations to create a mix of personal and fictional lyrics. However, when actually listening to her music it’s hard to pick out which is which. Each and every lyric she sings is filled with such extreme emotion that it is hard to believe that all the experiences she describes are not her own. “I’ve been shut off, shaken and stirred before, but never so bad that I couldn’t pick myself off the floor. And in between spaces of my ever changing heart there are thorny pieces that stab and stick to every other thought,” she belts out in a smooth voice in her song “Learning to Sing”. Lyrics like this that elude to a bright future for Montez, especially since she is on the brink of releasing her first album, a project she shares small pieces of but ultimately hopes to keep a surprise. She does let me in slightly, saying that the album promises more than just music and will feature a major art concept. Despite her blossoming success and a promising first album, Montez remains extraordinarily humble. She prefers to think of her self as “a fan girl playing for other fans”, and displays this role when she performs live. She becomes one with the crowd, and arrives on stage with no set list, instead choosing to let her audience dictate where the show goes. Those who attend her shows become what she refers to as “frans”, friends and fans all in one. “I get what it’s like, being a fan,” she says. “I’m usually the first one on the line to see Tenacious D or Weezer. So that’s how I treat my status.” Montez isn’t sure if she’ll ever get used to being recognized by fans, but each person who listens to the music she makes constantly humbles her. “How do you thank someone who spent time and energy paying attention to what comes from your deepest creative self?” she asks, as if baffled by the thought. “It’s impossible, so I give lots of hugs. It freaks people out sometimes.”
I’m completely biased; Sonia Montez won me over with her cool, flowing music the moment I visited her MySpace page and listened to her song “Willow Road.” Speaking with her about her musical influences, band, family, and self proclaimed “dorkiness” only increased my admiration for her. So be forewarned: you too may want to become her best friend after reading this. Montez is a quirky girl from Brooklyn. Well, she actually grew up in California, then lived in Puerto Rico, and in 1998 settled in Brooklyn. As a result, her musical influences stretch far and wide. From the Beatles and classical music, to the love songs her mother and aunt used to perform in their restaurant in Puerto Rico, a wide variety of musical genres inspires her. “On the very top I guess are the first people I was exposed to, Mercedes Sosa, Beatles, Paul Simon, and classical music as well,” says Montez. “I think everything influences me, either in a positive or negative way. I’ll listen to a song and say ‘oh, it would be awesome to do something like that’ or ‘I don’t want to sound like that at all,’ but folk/pop classics are a constant positive.” Judging from her vast array of influences, it’s easy to see why Montez prefers not to label her sound as any one type of music. Instead she goes “genre-less,” refusing to conform to executives in the music industry that are quick to name an artist as one thing or another. “The first question people ask me when they find out I make music is, what kind?” says Montez. “It’s a question I struggle with because I honestly don’t know what to label it. It’s pop and folk and soul and jazz and top 40. I have no idea what I do.” Not knowing what she does seems to be working out just fine for Montez. She has assembled a band of six musicians that can often turn into more depending on where the music flows. Every member of her band is extremely important to her. She names each person, along with the instrument they play, and isn’t shy about gushing over their talents. Her band includes her cousin Mireya Ramos on violin, along with bassist Mark Kelly and guitarist Gabe Cummins. Kelly and Cummins have played with well-known musical artist like Will Calhoun and Aaron Neville. Says Montez, “My band members are a lot more famous then me!” Despite this, Montez’s band works together seamlessly. While it is clear that she is the leader of the band, Montez listens intently to the sounds and suggestions each member of her team makes. “I like the Woody Allen approach,” she says. “Unless they’re doing something I don’t like, I let them got at it.” The results of the teamwork are flowing melodies, some tranquil and calm, others upbeat and danceable, some could even be referred to as “put you in the mood” songs. No matter what the sound, each song is like a quilt woven together piece by piece by Montez and her band members, that all begins when she gathers her thoughts and experiences and puts them on paper. “ I just have a need to write,” she urges. “I’m not good at personal relationships or intimacy, writing is how I get all that out.” Montez takes stories about her friends’ lives, or makes up situations to create a mix of personal and fictional lyrics. However, when actually listening to her music it’s hard to pick out which is which. Each and every lyric she sings is filled with such extreme emotion that it is hard to believe that all the experiences she describes are not her own. “I’ve been shut off, shaken and stirred before, but never so bad that I couldn’t pick myself off the floor. And in between spaces of my ever changing heart there are thorny pieces that stab and stick to every other thought,” she belts out in a smooth voice in her song “Learning to Sing”. Lyrics like this that elude to a bright future for Montez, especially since she is on the brink of releasing her first album, a project she shares small pieces of but ultimately hopes to keep a surprise. She does let me in slightly, saying that the album promises more than just music and will feature a major art concept. Despite her blossoming success and a promising first album, Montez remains extraordinarily humble. She prefers to think of her self as “a fan girl playing for other fans”, and displays this role when she performs live. She becomes one with the crowd, and arrives on stage with no set list, instead choosing to let her audience dictate where the show goes. Those who attend her shows become what she refers to as “frans”, friends and fans all in one. “I get what it’s like, being a fan,” she says. “I’m usually the first one on the line to see Tenacious D or Weezer. So that’s how I treat my status.” Montez isn’t sure if she’ll ever get used to being recognized by fans, but each person who listens to the music she makes constantly humbles her. “How do you thank someone who spent time and energy paying attention to what comes from your deepest creative self?” she asks, as if baffled by the thought. “It’s impossible, so I give lots of hugs. It freaks people out sometimes.”
Sonia Montez, “Of Tears and Honey” November 22, 2009 by LinLori
In the age of autotune and assorted other “special effects” added to artificially sweeten music, I’m finding it’s artists that capitalize on the “less is more” principle that catch my ear these days. The beauty about Sonia Montez is that she doesn’t, hasn’t, and never will need added effects to win you over. All she needs is a couple minutes to sing you a song. I heard about Sonia through a good friend, who has done a duet with her on her latest EP “Of Tears and Honey.” I will listen to anything at least once. Two or three times if I want to review it. I checked out a video posted on Facebook and immediately fell in love. I bought the “Of Tears and Honey” EP and have listened to it fifteen times in the past two days. There are only six tracks, and I. Want. More! Sonia’s complexity is hidden within the simple. Smooth musical arrangements allow for her poetic lyricism and beautiful voice to be front and center in every single song. All at once jazzy and folksy, earnest and witty, you get to feeling like she would commiserate with you on a bad day, and then ten minutes later know exactly what to say to make you smile. Every song tells a story, and every story reaches out and pulls you in. Favorite tracks were hard to choose, but my top two would have to be: “Secret,” because her voice blends so beautifully and soulfully with Kiernan McMullan’s – who she duetted with for the track. “I Miss You.” Its faster pace and up front honesty makes me think of something my sister might have said to me when I left for the Navy. Be sure to check out Sonia on Facebook, MySpace, and go have a listen to the other tracks on her EP “Of Tears and Honey” on iTunes.
In the age of autotune and assorted other “special effects” added to artificially sweeten music, I’m finding it’s artists that capitalize on the “less is more” principle that catch my ear these days. The beauty about Sonia Montez is that she doesn’t, hasn’t, and never will need added effects to win you over. All she needs is a couple minutes to sing you a song. I heard about Sonia through a good friend, who has done a duet with her on her latest EP “Of Tears and Honey.” I will listen to anything at least once. Two or three times if I want to review it. I checked out a video posted on Facebook and immediately fell in love. I bought the “Of Tears and Honey” EP and have listened to it fifteen times in the past two days. There are only six tracks, and I. Want. More! Sonia’s complexity is hidden within the simple. Smooth musical arrangements allow for her poetic lyricism and beautiful voice to be front and center in every single song. All at once jazzy and folksy, earnest and witty, you get to feeling like she would commiserate with you on a bad day, and then ten minutes later know exactly what to say to make you smile. Every song tells a story, and every story reaches out and pulls you in. Favorite tracks were hard to choose, but my top two would have to be: “Secret,” because her voice blends so beautifully and soulfully with Kiernan McMullan’s – who she duetted with for the track. “I Miss You.” Its faster pace and up front honesty makes me think of something my sister might have said to me when I left for the Navy. Be sure to check out Sonia on Facebook, MySpace, and go have a listen to the other tracks on her EP “Of Tears and Honey” on iTunes.
Of Tears and Honey Review From Out Impact.com by Bambi Weavil
We discovered this beautiful Brooklyn (and vegan) songstress, Sonia Montez, thanks to our friends at Girlie Girl Army. Her new album, Of Tears and Honey, is organic and acoustic, part jazz and part folk-pop, a complete effort of love and passion, and undoubtedly a album expressing a collage of experiences. “Little Jealousy” expresses a need to not let life pass you by, instead of misery dominating your life for years to come as you get over someone. “Red Moon” is heavy and sweet as red wine and could easily be done with a strong country influence (for instance, we love the strength of violins) or straight out pop-filled jazz. “Secret” featuring Kiernan McMullan is a sweet love song, and a even more gorgeous duet between the two. They could easily do a entire record together and it wouldn’t be overkill. “No Regrets” showcases Montez’s strength as a natural jazz artist, with the smooth poetry of her lyrics. “I Miss You,” a song that I connect to the deepest, is a fiery declaration of distance between two becoming a reality and what it will all mean to the relationship. “Heart Symphony” is the last track on Of Tears and Honey, a acoustic-pop, peaceful, reflection-based atmospheric track that is a audio painting of beauty, love, stars and emotion. We have nothing but love for this socially-conscious, talented artist, and we believe she’s one of the best undiscovered, real talents we’ve heard this year! Check her out on MySpace, and Facebook!
We discovered this beautiful Brooklyn (and vegan) songstress, Sonia Montez, thanks to our friends at Girlie Girl Army. Her new album, Of Tears and Honey, is organic and acoustic, part jazz and part folk-pop, a complete effort of love and passion, and undoubtedly a album expressing a collage of experiences. “Little Jealousy” expresses a need to not let life pass you by, instead of misery dominating your life for years to come as you get over someone. “Red Moon” is heavy and sweet as red wine and could easily be done with a strong country influence (for instance, we love the strength of violins) or straight out pop-filled jazz. “Secret” featuring Kiernan McMullan is a sweet love song, and a even more gorgeous duet between the two. They could easily do a entire record together and it wouldn’t be overkill. “No Regrets” showcases Montez’s strength as a natural jazz artist, with the smooth poetry of her lyrics. “I Miss You,” a song that I connect to the deepest, is a fiery declaration of distance between two becoming a reality and what it will all mean to the relationship. “Heart Symphony” is the last track on Of Tears and Honey, a acoustic-pop, peaceful, reflection-based atmospheric track that is a audio painting of beauty, love, stars and emotion. We have nothing but love for this socially-conscious, talented artist, and we believe she’s one of the best undiscovered, real talents we’ve heard this year! Check her out on MySpace, and Facebook!
Be A Part Of Sonia Montez’s Debut Band Album by Posted on October 7, 2012 by Timo
← Remix Abandoned Pool’s “Sublime Currency”, Win $500 And A Pro Membership To Indaba Music Remix Like A Warrior To Win $1,000 And Garritan Software → Be A Part Of Sonia Montez’s Debut Band Album Posted on October 7, 2012 by Timo What a unique, up-and-coming talent Sonia Montez is! We at Indaba Music have known this since she was awarded one of the Contest Judges Picks at the Women’s Music Summit – The Dean Markley Scholarship Opportunity. The singer and songwriter was born and raised in Puerto Rico, where she sang in El Coro de Ninos de San Juan, the world renowned children’s choir in San Juan. Currently, the Indaba Music member is making some serious noise in the Brooklyn Songwriter scene. She loves music and wants to share this passion with the world and her fans. At the moment, Sonia is in the midst of recording her debut album whose release is scheduled for January 2013. Montez says, “For this record, it needs to be something brand new all the way across the board — from the way we make it, record it and put it out.” With the help of PledgeMusic, she exclusively shares the process of the production of her album. This is an exciting project, worthy of your support. Watch and help this artist rise.
← Remix Abandoned Pool’s “Sublime Currency”, Win $500 And A Pro Membership To Indaba Music Remix Like A Warrior To Win $1,000 And Garritan Software → Be A Part Of Sonia Montez’s Debut Band Album Posted on October 7, 2012 by Timo What a unique, up-and-coming talent Sonia Montez is! We at Indaba Music have known this since she was awarded one of the Contest Judges Picks at the Women’s Music Summit – The Dean Markley Scholarship Opportunity. The singer and songwriter was born and raised in Puerto Rico, where she sang in El Coro de Ninos de San Juan, the world renowned children’s choir in San Juan. Currently, the Indaba Music member is making some serious noise in the Brooklyn Songwriter scene. She loves music and wants to share this passion with the world and her fans. At the moment, Sonia is in the midst of recording her debut album whose release is scheduled for January 2013. Montez says, “For this record, it needs to be something brand new all the way across the board — from the way we make it, record it and put it out.” With the help of PledgeMusic, she exclusively shares the process of the production of her album. This is an exciting project, worthy of your support. Watch and help this artist rise.
Crowd-Funding 101: What Every Musician Needs for a by 10/16/2012 at 10:57am | by Laura B. Whitmore
Brooklyn-based guitarist, vocalist and songwriter Sonia Montez failed her first time around at a crowd-funding attempt. Her Kickstarter campaign only funded 25 percent and she had to walk away with no money at all. “It was rushed. I was kind of pushed into it. And I had a bad feeling from the beginning,” she says. “It was heart breaking.” But now, as she steels herself to give it another go, Montez has a plan. “This time, I'm using PledgeMusic.com as the campaign host. They've helped me set realistic goals. I’ve got my lists and network all ready to go, and I’ve pre-arranged with people in my network to get my message pushed out by them. Plus some of the funds raised are going to support the charity DVDs for Troops, so I feel extra good about it.” Montez is not alone. The crowd-funding phenomenon seems to be the future of arts financing. So what is this mysterious “crowd-funding” I speak of? How can you take advantage of the wave? I set out to find out the best practices for reaching your goal. And after conversations with representatives from Kickstarter, PledgeMusic, Indiegogo and ArtistShare, and a whole lotta research, I’m ready to share. A crowd-funding definition Launched in 2003 by ArtistShare, the first fan-funding project was with musician Maria Schneider. It went on to win a Grammy. Here’s what happens: You pick a crowd-funding host site. Set up an explanation of your project, often with video and text, and different levels or “rewards,” you know, the things people can pay for. And then you reach out to your network like crazy as you ask them to purchase rewards that will help pay for your project. Sounds simple, right? Ah, my dear, we have only just begun. Pick your platform Each of the sites I spoke to has a slightly different take on the crowd-funding mission. “We don’t call it crowd-funding,” says Benji Rogers of PledgeMusic. “This is about helping artists to get their music in the coolest possible way to the fans that want it.” PledgeMusic adds the element of raising funds for charity while you are funding your own project. “The fan not only helps the artist, they help a charity as well. And quite often the charity will get involved in helping get the word out about the artist’s project,” Rogers adds. ArtistShare, the original fan-funding website, helps build careers, not just fund individual projects. Founder Brian Camelio explains, “We prefer that we don’t focus on just ‘give me money.’ It’s about building an experience. We take on artists for their career, not just for one project.” Their projects have won several Grammy awards, and they focus more on jazz, classical, world music and other genres that have traditionally been tough to make a living at. Kickstarter, perhaps the largest and best-known of the crowd-funding, well, crowd, is more about volume. “There have been more than 30,000 successful campaigns on Kickstarter since we launched in 2009,” shares Kickstarter’s Justin Kazmark. And Indiegogo, another large site that offers not only music projects, but also projects for design, health, gaming, film and more, is highly international. “We have campaigns running right now from over 190 countries,” says Karen Bair, Indiegogo’s Music Growth liaison. The takeaway? Do your research. See which hosting site feels like the right fit for you. Read all the about docs on their site. And be prepared. Take my hand — or not Make sure you are comfortable with how much, or how little, the site is involved in what happens with your campaign. ArtistShare is in it for the long haul, and so they are intimately involved in assisting in bringing their artists’ projects to full fruition. Camelio says, “We do a lot of hands-on work with the artist. We also provide tons of services including business consultation, promotion, distribution, fulfillment and more. We only take on a limited number of people, because I want to purposely keep it small and work with artists who really believe in this model and take it to the next level. The artist still owns everything, but we are a partner in spirit.” Maybe you don’t want or need that much involvement. Sites like Kickstarter and Indiegogo provide tools for promotion, but mostly leave what happens with your campaign up to you. They do, however, offer support if you are in need. “We have Customer Happiness Agents that are there to help you if you need it,” says Indiegogo’s Bair. I say, take advantage of any help these sites will give you. This is what they eat, sleep and breathe all day, every day. They’ve seen ‘em succeed and fail probably way more than you want to know! Plan ahead With a crowd-funding campaign, it’s like you are marketing and selling your project before it’s completed, not after. A plan is imperative. You’ve got to have your messaging and timeline prepared. Know how you are going to reach your network, and how you are going to get others to message for you. A fact from Indiegogo: “Campaigns with teams raise 80 percent more funds than those run by an individual.” Is your project for your band? Get them involved in the plan too and make sure they know what the expectations are for messaging and promotion. Set realistic goals Montez attributed her failure to a goal that was set too high. What’s the sweet spot? It’s hard to say, but some sites like PledgeMusic will take a look at the size of your network and your lists and recommend a number. PledgeMusic’s Rogers expands, “We launch two albums per day, and we screen people only in the sense that we say to them, is what you want possible? We work on campaigns with the artist, because we don’t want them to fail because what they are asking for is not realistic. They are not experts in marketing, so they need help.” This time around Montez is aiming to finish mixing and mastering her 11-track album, so her goal of $2,500 seems more reachable. Get things rolling Here’s some interesting info. If you can get enough interest to get over the 20 percent hump, your chances of making it all the way are much improved. Kickstarter shares these statistics: “Of the projects that have reached 20 percent of their funding goal, 82 percent were successfully funded. Of the projects that have reached 60 percent of their funding goal, 98 percent were successfully funded. Projects either make their goal or find little support. There's little in-between.” So push it, get things rolling, and then your network will help you succeed! Know how it works Last time Montez walked away without any money because Kickstarter campaigns are “all or nothing.” If you don’t reach your goal, you get nothing and your funders are not charged. The reasoning? If the project doesn’t get fully funded, perhaps the project can’t happen as planned and the risk to those who did invest becomes greater. But not all campaign hosts are like this. Indiegogo offers what they call a “flexible funding” option. If you choose this option and don’t make your goal, you get the money that you did raise. BUT, Indiegogo takes a bigger cut. The key is to be very transparent with your funders, let them know the status of your project all along the way, and get them rooting for you! They want you to succeed! Show me the money Some sites give you all the money as soon as your campaign ends. Others, like PledgeMusic, dole it out in increments, with the bulk going out at the beginning and the rest as you reach certain milestones. Make sure you understand the payment structure so that you have enough to do what you need to for successful completion. Prepare your pitch If you take a look at a bunch of crowd-funding projects, you’ll realize that many of them have similar elements. A video that helps set the stage is a great tool that helps you connect with your potential funding group. According to Kickstarter, “Projects with a video succeed at a much higher rate (50 percent vs. 30 percent)” They even have Kickstarter School tutorial “How to Make an Awesome Video.” So you know you can get it right! Here are the Kickstarter video basics: • Tell us who you are. • Tell us the story behind your project. Where'd you get the idea? What stage is it at now? How are you feeling about it? • Come out and ask for people's support, explaining why you need it and what you'll do with their money. • Talk about how awesome your rewards are, using any images you can. • Explain that if you don't reach your goal, you'll get nothing, and everyone will be sad. • Thank everyone! I’m told that a video that shows your face is the most appealing. But then be playful, have fun, show your audience how passionate you are. Get perk-y As Kickstarter’s Kazmark says, Kickstarter is “at the intersection of commerce and patronage.” So when you set up your campaign you’ll need to prepare a series of Perks or Rewards that your fans will pay in to receive. This is your time to get creative. The quirkiness of your perks can make or break your campaign. A perk could be as simple as your CD when it’s released to as complex as one that the Ben Folds Five recently offered on their PledgeMusic campaign. For $2,500 you could have your name placed into the recording of their song, “Do It Anyway” (with a few details to be mentioned in the lyric), and they replaced the last verse of the song with their patron’s own personalized verse. Oh, and did I mention that this very same new album debuted on Billboard’s Top 10 and the band reached 368 percent of their goal? Montez took a more down to earth approach, but still got creative with her rewards. For $50 she’ll send you “Sonia <3's NYC and You Will Too Mystery Bag” or for $800 she’ll perform a house concert at your digs. Kazmark adds, “Compelling, fairly priced, and creative rewards bring the artist and the audience closer together.” And don’t forget to offer perks and rewards at all price levels. According to Kickstarter: “Projects without a reward less than $20 succeed 35 percent of the time, while projects with a reward of $20 or less succeed 54 percent of the time.” So simple and yet so important! It’s not about the money One of the most important things to note about this funding model is that it’s really not about the money. It’s about the unique experience that fans can share, as Rogers of PledgeMusic emphasizes, “Fans pledge here to be a part of the making of a new album, and from day one they get exclusive access to a part of the site where they can see rough mixes, live tracks, demos, blogs, and they get taken along on the journey of how it’s made.” Camelio of ArtistShare concurs, “I am completely fascinated by anyone’s creative process. Who knows where it comes from?! I want to bring the fans in so they can witness the creative process. And if for some reason the end result isn’t what they expected, they still had a great experience watching it happen. Once you get to know the artist you have a much deeper understanding and appreciation of what they do. The loyalty in fan base has increased incredibly.” Speaking of… So what happens if you run a successful funding campaign and for some reason or other you can’t complete your project on time? Your drummer quits, your studio is flooded, who knows what could happen? You are legally obligated to deliver on what you have promised your funders, but many of them will understand and maybe even offer to help if things go awry, as long as you are transparent and bring them along through your obstacles. Challenges like these can bring you and your fans even closer together. Don’t be shy Crowd funding is not for the shy violet. Not only are you putting your music out there, you are asking people to pay you money to finish something they haven’t seen or heard yet. You’ve gotta ask, and ask, and ask again! Now, for some of you, this is tough. You don’t want to be annoying, you hate asking for money, it’s hard. But think about it this way. You are asking your network to invest in a project that will bring them some sort of return, be it an actual product that they can enjoy or simply the satisfaction of being part of something creative and unique. So be inclusive, thank them profusely, let them know what their participation means to you and your project. And yes, ask again. Keep ‘em in the loop And speaking of your investors, think of them as your partners. Share behind the scenes videos, updates, an exclusive listen of a rough mix. Let your support group feel like they are a part of bringing something amazing to fruition. That means regular updates, and constant communication. Share positive comments from supporters. Make each one of them feel special! Artist Juliana Hatfield recently released a new album funded through PledgeMusic. Rogers shares, “As part of her pledges-only updates, Juliana took pictures of her guitar rig so you could see what gear she was using. You know, what pedals she was using when. And she showed waveforms when she was working out new guitar sounds.” Know what’s appealing to your audience, and let them live behind the scenes with you. Surprise and delight I know you want your album done and out in a month. But is that really realistic? Promise less and deliver more and you will surprise and delight your fan base. Set the tone In researching this article I’ve reviewed a whole lot of campaigns. My favorites? The ones that don’t take themselves to seriously, that have fun and clever videos, that have really unique rewards, those are the ones I remember. I want to help them just because they are so different and smart. But you don’t have to be funny to be memorable. Just really think about what will be appealing to your audience. What elements will really make them want to see you do more. Survey your fans if you want and see what they think…then they are already invested in the success of your project. And keep going. “We don’t end campaigns after 30 days or 60 days,” says Rogers of PledgeMusic. “We keep the campaign going until the project’s is release date. So all of the pledges count as preorders to SoundScan. Because we focus on the success of the entire project, not just the funding goal, we have a very high success rate. Our six month success rate is 90 percent.” This is about the long-term people. Keep it going and your fans will stick with you. Promote and they will come One final note. Each of these sites has featured projects on their homes pages, in newsletters, Facebook pages, and more. How do you get featured? “Indiegogo has a program called the gogofactor,” Bair says. “It’s based on how much activity is going on at a campaign. How much interaction, posting, traffic and more.” Other sites combine quantitative methods like this with qualitative hand selection. Kickstarter’s Kazmark shares, “We have an editorial team who is curating the site and looking for projects that make good use of the platform and have thoughtful rewards and are telling a compelling story. You could be a small project and be featured.” So think long and hard. Create a plan. Prepare, and then keep it going. I’m rooting for you! Oh, and I just pledged $50 for Sonia Montez’s Box o Stuff. And I’m already pushing for her to succeed! So here’s the link if you wanna join me ;-) Laura B. Whitmore is a singer/songwriter based in the San Francisco bay area. A veteran music industry marketer, she has spent over two decades doing marketing, PR and artist relations for several guitar-related brands including Marshall and VOX. Her company, Mad Sun Marketing, represents 65amps, Dean Markley, Agile Partners, Guitar World and many more. Laura was instrumental in the launch of the Guitar World Lick of the Day app. She is the co-producer of the Women's Music Summit and the lead singer for the rock band, Summer Music Project. More at mad-sun.com.
Brooklyn-based guitarist, vocalist and songwriter Sonia Montez failed her first time around at a crowd-funding attempt. Her Kickstarter campaign only funded 25 percent and she had to walk away with no money at all. “It was rushed. I was kind of pushed into it. And I had a bad feeling from the beginning,” she says. “It was heart breaking.” But now, as she steels herself to give it another go, Montez has a plan. “This time, I'm using PledgeMusic.com as the campaign host. They've helped me set realistic goals. I’ve got my lists and network all ready to go, and I’ve pre-arranged with people in my network to get my message pushed out by them. Plus some of the funds raised are going to support the charity DVDs for Troops, so I feel extra good about it.” Montez is not alone. The crowd-funding phenomenon seems to be the future of arts financing. So what is this mysterious “crowd-funding” I speak of? How can you take advantage of the wave? I set out to find out the best practices for reaching your goal. And after conversations with representatives from Kickstarter, PledgeMusic, Indiegogo and ArtistShare, and a whole lotta research, I’m ready to share. A crowd-funding definition Launched in 2003 by ArtistShare, the first fan-funding project was with musician Maria Schneider. It went on to win a Grammy. Here’s what happens: You pick a crowd-funding host site. Set up an explanation of your project, often with video and text, and different levels or “rewards,” you know, the things people can pay for. And then you reach out to your network like crazy as you ask them to purchase rewards that will help pay for your project. Sounds simple, right? Ah, my dear, we have only just begun. Pick your platform Each of the sites I spoke to has a slightly different take on the crowd-funding mission. “We don’t call it crowd-funding,” says Benji Rogers of PledgeMusic. “This is about helping artists to get their music in the coolest possible way to the fans that want it.” PledgeMusic adds the element of raising funds for charity while you are funding your own project. “The fan not only helps the artist, they help a charity as well. And quite often the charity will get involved in helping get the word out about the artist’s project,” Rogers adds. ArtistShare, the original fan-funding website, helps build careers, not just fund individual projects. Founder Brian Camelio explains, “We prefer that we don’t focus on just ‘give me money.’ It’s about building an experience. We take on artists for their career, not just for one project.” Their projects have won several Grammy awards, and they focus more on jazz, classical, world music and other genres that have traditionally been tough to make a living at. Kickstarter, perhaps the largest and best-known of the crowd-funding, well, crowd, is more about volume. “There have been more than 30,000 successful campaigns on Kickstarter since we launched in 2009,” shares Kickstarter’s Justin Kazmark. And Indiegogo, another large site that offers not only music projects, but also projects for design, health, gaming, film and more, is highly international. “We have campaigns running right now from over 190 countries,” says Karen Bair, Indiegogo’s Music Growth liaison. The takeaway? Do your research. See which hosting site feels like the right fit for you. Read all the about docs on their site. And be prepared. Take my hand — or not Make sure you are comfortable with how much, or how little, the site is involved in what happens with your campaign. ArtistShare is in it for the long haul, and so they are intimately involved in assisting in bringing their artists’ projects to full fruition. Camelio says, “We do a lot of hands-on work with the artist. We also provide tons of services including business consultation, promotion, distribution, fulfillment and more. We only take on a limited number of people, because I want to purposely keep it small and work with artists who really believe in this model and take it to the next level. The artist still owns everything, but we are a partner in spirit.” Maybe you don’t want or need that much involvement. Sites like Kickstarter and Indiegogo provide tools for promotion, but mostly leave what happens with your campaign up to you. They do, however, offer support if you are in need. “We have Customer Happiness Agents that are there to help you if you need it,” says Indiegogo’s Bair. I say, take advantage of any help these sites will give you. This is what they eat, sleep and breathe all day, every day. They’ve seen ‘em succeed and fail probably way more than you want to know! Plan ahead With a crowd-funding campaign, it’s like you are marketing and selling your project before it’s completed, not after. A plan is imperative. You’ve got to have your messaging and timeline prepared. Know how you are going to reach your network, and how you are going to get others to message for you. A fact from Indiegogo: “Campaigns with teams raise 80 percent more funds than those run by an individual.” Is your project for your band? Get them involved in the plan too and make sure they know what the expectations are for messaging and promotion. Set realistic goals Montez attributed her failure to a goal that was set too high. What’s the sweet spot? It’s hard to say, but some sites like PledgeMusic will take a look at the size of your network and your lists and recommend a number. PledgeMusic’s Rogers expands, “We launch two albums per day, and we screen people only in the sense that we say to them, is what you want possible? We work on campaigns with the artist, because we don’t want them to fail because what they are asking for is not realistic. They are not experts in marketing, so they need help.” This time around Montez is aiming to finish mixing and mastering her 11-track album, so her goal of $2,500 seems more reachable. Get things rolling Here’s some interesting info. If you can get enough interest to get over the 20 percent hump, your chances of making it all the way are much improved. Kickstarter shares these statistics: “Of the projects that have reached 20 percent of their funding goal, 82 percent were successfully funded. Of the projects that have reached 60 percent of their funding goal, 98 percent were successfully funded. Projects either make their goal or find little support. There's little in-between.” So push it, get things rolling, and then your network will help you succeed! Know how it works Last time Montez walked away without any money because Kickstarter campaigns are “all or nothing.” If you don’t reach your goal, you get nothing and your funders are not charged. The reasoning? If the project doesn’t get fully funded, perhaps the project can’t happen as planned and the risk to those who did invest becomes greater. But not all campaign hosts are like this. Indiegogo offers what they call a “flexible funding” option. If you choose this option and don’t make your goal, you get the money that you did raise. BUT, Indiegogo takes a bigger cut. The key is to be very transparent with your funders, let them know the status of your project all along the way, and get them rooting for you! They want you to succeed! Show me the money Some sites give you all the money as soon as your campaign ends. Others, like PledgeMusic, dole it out in increments, with the bulk going out at the beginning and the rest as you reach certain milestones. Make sure you understand the payment structure so that you have enough to do what you need to for successful completion. Prepare your pitch If you take a look at a bunch of crowd-funding projects, you’ll realize that many of them have similar elements. A video that helps set the stage is a great tool that helps you connect with your potential funding group. According to Kickstarter, “Projects with a video succeed at a much higher rate (50 percent vs. 30 percent)” They even have Kickstarter School tutorial “How to Make an Awesome Video.” So you know you can get it right! Here are the Kickstarter video basics: • Tell us who you are. • Tell us the story behind your project. Where'd you get the idea? What stage is it at now? How are you feeling about it? • Come out and ask for people's support, explaining why you need it and what you'll do with their money. • Talk about how awesome your rewards are, using any images you can. • Explain that if you don't reach your goal, you'll get nothing, and everyone will be sad. • Thank everyone! I’m told that a video that shows your face is the most appealing. But then be playful, have fun, show your audience how passionate you are. Get perk-y As Kickstarter’s Kazmark says, Kickstarter is “at the intersection of commerce and patronage.” So when you set up your campaign you’ll need to prepare a series of Perks or Rewards that your fans will pay in to receive. This is your time to get creative. The quirkiness of your perks can make or break your campaign. A perk could be as simple as your CD when it’s released to as complex as one that the Ben Folds Five recently offered on their PledgeMusic campaign. For $2,500 you could have your name placed into the recording of their song, “Do It Anyway” (with a few details to be mentioned in the lyric), and they replaced the last verse of the song with their patron’s own personalized verse. Oh, and did I mention that this very same new album debuted on Billboard’s Top 10 and the band reached 368 percent of their goal? Montez took a more down to earth approach, but still got creative with her rewards. For $50 she’ll send you “Sonia <3's NYC and You Will Too Mystery Bag” or for $800 she’ll perform a house concert at your digs. Kazmark adds, “Compelling, fairly priced, and creative rewards bring the artist and the audience closer together.” And don’t forget to offer perks and rewards at all price levels. According to Kickstarter: “Projects without a reward less than $20 succeed 35 percent of the time, while projects with a reward of $20 or less succeed 54 percent of the time.” So simple and yet so important! It’s not about the money One of the most important things to note about this funding model is that it’s really not about the money. It’s about the unique experience that fans can share, as Rogers of PledgeMusic emphasizes, “Fans pledge here to be a part of the making of a new album, and from day one they get exclusive access to a part of the site where they can see rough mixes, live tracks, demos, blogs, and they get taken along on the journey of how it’s made.” Camelio of ArtistShare concurs, “I am completely fascinated by anyone’s creative process. Who knows where it comes from?! I want to bring the fans in so they can witness the creative process. And if for some reason the end result isn’t what they expected, they still had a great experience watching it happen. Once you get to know the artist you have a much deeper understanding and appreciation of what they do. The loyalty in fan base has increased incredibly.” Speaking of… So what happens if you run a successful funding campaign and for some reason or other you can’t complete your project on time? Your drummer quits, your studio is flooded, who knows what could happen? You are legally obligated to deliver on what you have promised your funders, but many of them will understand and maybe even offer to help if things go awry, as long as you are transparent and bring them along through your obstacles. Challenges like these can bring you and your fans even closer together. Don’t be shy Crowd funding is not for the shy violet. Not only are you putting your music out there, you are asking people to pay you money to finish something they haven’t seen or heard yet. You’ve gotta ask, and ask, and ask again! Now, for some of you, this is tough. You don’t want to be annoying, you hate asking for money, it’s hard. But think about it this way. You are asking your network to invest in a project that will bring them some sort of return, be it an actual product that they can enjoy or simply the satisfaction of being part of something creative and unique. So be inclusive, thank them profusely, let them know what their participation means to you and your project. And yes, ask again. Keep ‘em in the loop And speaking of your investors, think of them as your partners. Share behind the scenes videos, updates, an exclusive listen of a rough mix. Let your support group feel like they are a part of bringing something amazing to fruition. That means regular updates, and constant communication. Share positive comments from supporters. Make each one of them feel special! Artist Juliana Hatfield recently released a new album funded through PledgeMusic. Rogers shares, “As part of her pledges-only updates, Juliana took pictures of her guitar rig so you could see what gear she was using. You know, what pedals she was using when. And she showed waveforms when she was working out new guitar sounds.” Know what’s appealing to your audience, and let them live behind the scenes with you. Surprise and delight I know you want your album done and out in a month. But is that really realistic? Promise less and deliver more and you will surprise and delight your fan base. Set the tone In researching this article I’ve reviewed a whole lot of campaigns. My favorites? The ones that don’t take themselves to seriously, that have fun and clever videos, that have really unique rewards, those are the ones I remember. I want to help them just because they are so different and smart. But you don’t have to be funny to be memorable. Just really think about what will be appealing to your audience. What elements will really make them want to see you do more. Survey your fans if you want and see what they think…then they are already invested in the success of your project. And keep going. “We don’t end campaigns after 30 days or 60 days,” says Rogers of PledgeMusic. “We keep the campaign going until the project’s is release date. So all of the pledges count as preorders to SoundScan. Because we focus on the success of the entire project, not just the funding goal, we have a very high success rate. Our six month success rate is 90 percent.” This is about the long-term people. Keep it going and your fans will stick with you. Promote and they will come One final note. Each of these sites has featured projects on their homes pages, in newsletters, Facebook pages, and more. How do you get featured? “Indiegogo has a program called the gogofactor,” Bair says. “It’s based on how much activity is going on at a campaign. How much interaction, posting, traffic and more.” Other sites combine quantitative methods like this with qualitative hand selection. Kickstarter’s Kazmark shares, “We have an editorial team who is curating the site and looking for projects that make good use of the platform and have thoughtful rewards and are telling a compelling story. You could be a small project and be featured.” So think long and hard. Create a plan. Prepare, and then keep it going. I’m rooting for you! Oh, and I just pledged $50 for Sonia Montez’s Box o Stuff. And I’m already pushing for her to succeed! So here’s the link if you wanna join me ;-) Laura B. Whitmore is a singer/songwriter based in the San Francisco bay area. A veteran music industry marketer, she has spent over two decades doing marketing, PR and artist relations for several guitar-related brands including Marshall and VOX. Her company, Mad Sun Marketing, represents 65amps, Dean Markley, Agile Partners, Guitar World and many more. Laura was instrumental in the launch of the Guitar World Lick of the Day app. She is the co-producer of the Women's Music Summit and the lead singer for the rock band, Summer Music Project. More at mad-sun.com.
Sonia Montez Loves New York and You Will, Too by Brittany Cooper 15:00 01 November, 2012
“We’re behind-the-scene folk who got together and made unfiltered music. We’re not heavily branded.” Sonia Montez and the Henry Street Players are releasing their debut band album through Pledge. Though Montez says she was at first hesitant to take the direct-to-fan route with her record, in the end, she says it’s been a great experience. Can you talk about the experience of coming together with PledgeMusic to make this campaign and album? I really dug the charitable donation aspect – that’s what drew me in. I didn’t quite understand just how involved the PledgeMusic staff is in helping artists make the most of their campaigns, though. It’s great! I feel like a have a coach and cheerleading team that really wants to see me win. The team is always there for questions and tips on how to run a successful campaign. They strategize with you. Plus, I love how easy it is to keep fans updated – email, Facebook, Twitter and album updates without having to leave one site. It really saves time and takes the chaos out of promoting my project across social networks. This is your first album with the band, but you’ve also spent time playing and recording as a solo artist. What made you decide to go the band route? Honestly, being a solo artist is lonely, musically speaking. I was a solo artist for almost a decade. Eventually, through gigging and knowing people in the music hustle, I met some great players. I mean, these guys are known session players for some huge artists, and they just dug my sound. A few of them ended up doing me the favor of playing on my first EP and gigging with me, but they weren’t really a band, more like a rotating roster of brilliant backing musicians. I met Adam, the bassist, because I had a last-minute charity gig and the then bassist in rotation cancelled. So, Adam sat in without ever hearing the songs and having to read my terribly written charts. Of course, he was a sick bass player, so I kept calling him for gigs. He basically brought in his own band – Sean (drums/percussion), Nick (lead guitar) and Scott (keys). These guys had been playing with each other for years, so technically I was the outsider. We groove so well together that you’d think they’ve been with me my entire career. It’s really not lonely now. I have four bros with me. We have a great time jamming on stage. But yeah, it’s really Adam’s band – I’m just taking the credit – hah! Are the songs on the new album written by you, or is this an inclusive effort from the band? Out of a catalog of about 180 songs, I sent the men 26 in various states of completion. A lot of basic structure, melodic and lyrical content, some stuff that we had already been playing live, but with little arrangement. Since I was tired of only being accountable to myself in music, I told the guys to pick 12 and run with them – add bridges, change feels, do whatever the song calls for and we’d polish the edges together. So, all the lyrics and sung melodies are written by me, but the music is definitely a band effort. They make the songs come alive and tell a story. The amazing thing about these guys is that they are masters of their styles and all were genuinely up for putting their own creativity into the record. We’ve been able to teeter over multiple genres without ever really setting foot in any particular one. The result is really satisfying, as a musician, to be free of that box. If our live shows are any indication, it’s pretty cool for listeners, too, and that’s a great connection. I love the mystery swag box Pledge. Can you give us any ideas what might make its way into a package? Thanks, I didn’t know if people would respond to it, but so far it’s the most popular Pledge. It’s called the “Sonia <3’s NY and You Will Too” mystery box because I’ve lived here for over half of my life. New York City and its unorchestrated ballet of cultural entities cradled my adolescence and nurtured my musicianship. I want to share that with the project’s supporters. I’m not giving away specifics, but it will contain things mostly or only found in my hometown, and it will most likely be full of color and different cultures. And, while I’m pretty sure I won’t be putting any actual Mulberry St cannolis in a box and shipping it to a fan, I can say I each one is totally personalized and a lot of thought goes into each one. Really, I’ve already started to obsess. Can you discuss the direct-to-fan model and why you chose to go that route for this album in the first place? I tried to fund the record “out of pocket” at first, but because we ended up not being able to use a big chunk of material we recorded in our initial tracking session, we went over budget. We were looking at being able to finish the tracks but not releasing them because we couldn’t mix, master and send them to physical press. I have to admit, at first I was a bit hesitant about asking fans to, essentially, take over for what a label would do. The more I thought about it, the more logical it seemed, though. If you take out all the middle men in the music industry, all the steps in between the musician and a fan, a direct-to-fan relationship is what you’re left with. The idea sits well with who we are as a band. We’re behind-the-scene folk who got together and made unfiltered music. We’re not heavily branded. On stage we generally look like we stepped out of a 1995 PSA – we really just love playing music for an audience. I fell in love with the fan production support concept, allowing people to buy the record knowing the funds actually go to making that record. It makes perfect sense, and I love having our audience be so close to the production process. As more Pledges come in, I’m going to start showing behind-the-scenes footage and rough mixes. Pledgers will get to see what really happens in a studio when there are a lot of creative ideas flying all at once and how we rein them into a single song. I recently put up a video of our drummer, Sean Dixon, playing with a 1981 Suzuki Omnichord for the first time ever, and he just makes up this killer hook on the spot. He was so smitten with it, we had to let Dixon play the instrument on the record. It was this perfect music moment, and we get to share it with our fans. That’s just cool. Anything else you want to leave Pledge readers with? I think it’s great that PledgeMusic has brought back the street team mentality to music. Independent music is worthy of support, and there is no support greater than that of the listener. Thanks for the questions.
“We’re behind-the-scene folk who got together and made unfiltered music. We’re not heavily branded.” Sonia Montez and the Henry Street Players are releasing their debut band album through Pledge. Though Montez says she was at first hesitant to take the direct-to-fan route with her record, in the end, she says it’s been a great experience. Can you talk about the experience of coming together with PledgeMusic to make this campaign and album? I really dug the charitable donation aspect – that’s what drew me in. I didn’t quite understand just how involved the PledgeMusic staff is in helping artists make the most of their campaigns, though. It’s great! I feel like a have a coach and cheerleading team that really wants to see me win. The team is always there for questions and tips on how to run a successful campaign. They strategize with you. Plus, I love how easy it is to keep fans updated – email, Facebook, Twitter and album updates without having to leave one site. It really saves time and takes the chaos out of promoting my project across social networks. This is your first album with the band, but you’ve also spent time playing and recording as a solo artist. What made you decide to go the band route? Honestly, being a solo artist is lonely, musically speaking. I was a solo artist for almost a decade. Eventually, through gigging and knowing people in the music hustle, I met some great players. I mean, these guys are known session players for some huge artists, and they just dug my sound. A few of them ended up doing me the favor of playing on my first EP and gigging with me, but they weren’t really a band, more like a rotating roster of brilliant backing musicians. I met Adam, the bassist, because I had a last-minute charity gig and the then bassist in rotation cancelled. So, Adam sat in without ever hearing the songs and having to read my terribly written charts. Of course, he was a sick bass player, so I kept calling him for gigs. He basically brought in his own band – Sean (drums/percussion), Nick (lead guitar) and Scott (keys). These guys had been playing with each other for years, so technically I was the outsider. We groove so well together that you’d think they’ve been with me my entire career. It’s really not lonely now. I have four bros with me. We have a great time jamming on stage. But yeah, it’s really Adam’s band – I’m just taking the credit – hah! Are the songs on the new album written by you, or is this an inclusive effort from the band? Out of a catalog of about 180 songs, I sent the men 26 in various states of completion. A lot of basic structure, melodic and lyrical content, some stuff that we had already been playing live, but with little arrangement. Since I was tired of only being accountable to myself in music, I told the guys to pick 12 and run with them – add bridges, change feels, do whatever the song calls for and we’d polish the edges together. So, all the lyrics and sung melodies are written by me, but the music is definitely a band effort. They make the songs come alive and tell a story. The amazing thing about these guys is that they are masters of their styles and all were genuinely up for putting their own creativity into the record. We’ve been able to teeter over multiple genres without ever really setting foot in any particular one. The result is really satisfying, as a musician, to be free of that box. If our live shows are any indication, it’s pretty cool for listeners, too, and that’s a great connection. I love the mystery swag box Pledge. Can you give us any ideas what might make its way into a package? Thanks, I didn’t know if people would respond to it, but so far it’s the most popular Pledge. It’s called the “Sonia <3’s NY and You Will Too” mystery box because I’ve lived here for over half of my life. New York City and its unorchestrated ballet of cultural entities cradled my adolescence and nurtured my musicianship. I want to share that with the project’s supporters. I’m not giving away specifics, but it will contain things mostly or only found in my hometown, and it will most likely be full of color and different cultures. And, while I’m pretty sure I won’t be putting any actual Mulberry St cannolis in a box and shipping it to a fan, I can say I each one is totally personalized and a lot of thought goes into each one. Really, I’ve already started to obsess. Can you discuss the direct-to-fan model and why you chose to go that route for this album in the first place? I tried to fund the record “out of pocket” at first, but because we ended up not being able to use a big chunk of material we recorded in our initial tracking session, we went over budget. We were looking at being able to finish the tracks but not releasing them because we couldn’t mix, master and send them to physical press. I have to admit, at first I was a bit hesitant about asking fans to, essentially, take over for what a label would do. The more I thought about it, the more logical it seemed, though. If you take out all the middle men in the music industry, all the steps in between the musician and a fan, a direct-to-fan relationship is what you’re left with. The idea sits well with who we are as a band. We’re behind-the-scene folk who got together and made unfiltered music. We’re not heavily branded. On stage we generally look like we stepped out of a 1995 PSA – we really just love playing music for an audience. I fell in love with the fan production support concept, allowing people to buy the record knowing the funds actually go to making that record. It makes perfect sense, and I love having our audience be so close to the production process. As more Pledges come in, I’m going to start showing behind-the-scenes footage and rough mixes. Pledgers will get to see what really happens in a studio when there are a lot of creative ideas flying all at once and how we rein them into a single song. I recently put up a video of our drummer, Sean Dixon, playing with a 1981 Suzuki Omnichord for the first time ever, and he just makes up this killer hook on the spot. He was so smitten with it, we had to let Dixon play the instrument on the record. It was this perfect music moment, and we get to share it with our fans. That’s just cool. Anything else you want to leave Pledge readers with? I think it’s great that PledgeMusic has brought back the street team mentality to music. Independent music is worthy of support, and there is no support greater than that of the listener. Thanks for the questions.
Guitar Girl'd: Women’s Music Summit Comes to Life by 09/06/2012 at 11:53am | by Laura B. Whitmore
It started off as a twinkle in my eye last year. And, like giving birth, nine months later, the Women’s Music Summit came to life. And what a crazy cool music making extravaganza it was! Housed at Full Moon Resort in the Catskill Mountains in Big Indian, New York, the event kicked off with a cocktail party and open-mic night that offered all of the ladies attending a chance to share their talents. The next morning, we dove right in with a songwriting and collaboration exercise lead by guitarist Malina Moye and myself. The ladies were given an assignment: Brainstorm and write a song with your group that you will share by the end of the Summit. The pressure was on! Malina Moye turns it up Later that day, Ms. Moye treated us to her awesome guitar goodness as she performed a few tunes and then shared her unique insight into the business. Let me tell you, not only does she kick ass on guitar, but she is one ballsy but fabulously likeable lady. Finesse is her middle name. Malina had this to share, “I had a great time at the first annual Women's Music Summit. I learned a lot and met a lot of great people and enjoyed the atmosphere of the Full Moon Resort. I’m excited about the next one!" Marnie Stern taps it out Next up, guitarist Marnie Stern schooled us on her fabulous guitar tapping technique and had us all learning how to shred! She gave us a peek behind the curtain, so that we could learn the tricks behind this skill. An eye-opening experience for all. Later she lead an experimental song jam where a large group contributed to what came next and vocal parts were made up on the spot. Super fun and creative! Marnie had this to say about the experience, “It was so inspiring for me to be able to interact with such a talented group of women with such like-minded goals. The collaborations were so fun, and I would love to do it again!” Melissa Auf der Maur shares insight You might recognize her from her stints with Hole and Smashing Pumpkins. Ms. Auf der Maur (better known as MAdM) shared incredibly interesting tales about her start in the bass world and her experiences on the road. Her Live Performance as Art workshop concluded with the screening of an avant-garde music video that blew our minds. But it was her evening bass and vocal performance that perhaps moved us all the most, as she nervously took the stage after a 10-month maternity hiatus (she has the cutest baby in the world, btw). Her timidity melted away with her heartfelt performance. It was a peek into something magical. Meshell Ndegeocello plays along Perhaps the most thrilling segment of the Summit came when bassist Meshell Ndegeocello not only talked about her experience and took questions from the audience, but also brought up some of the women attending the Summit and worked with them to understand how to translate their vision to the band. Attendee Kaela Bratcher brought her song “Like Kings” to life with a full band with Meshell jamming along on bass. Later Meshell played with several groups of attendees for a once in a lifetime performance session. It seems the day was special for Meshell as well. She shares, “Sometimes I forget how unusual it is to speak to a classroom of just women. It makes for a much different kind of a time. I can't say exactly why it's different but the exchange of ideas, or information, just seems to happen on a different level. I was happy to be there and happy to pass on what I knew.” Here’s a video of Taina Asili and Sonia Montez performing their collaboration with Dorit Konig on percussion, Kiki Vassilakis on drums, and Meshell Ndegeocello on bass. Wowza! The biz We finished off our afternoon sessions each day with an industry panel that provided valuable tips and advice. Wednesday we talked with Tobi Parks from Sony Music Entertainment, Laura Taylor of Guitar Center and Kirby Desmarais from Everything Independent. I literally only asked the very first question on my list and the conversation was off and rolling, covering publishing, licensing, changes in process and so much more. Thursday’s panel focused on PR and Promotion and I was joined by publicist Carise Yatter of Hired Gun Media, Jessica Sternick from Red Entertainment and Kate Pokorny with Indaba Music. Not only did we talk about practical strategies for getting exposure, but we also answered loads of burning questions from the audience. We’re jamming One of the favorite features of the Summit was the nightly open mics and jam sessions. Everyone had the chance to share their material, and perform for their peers. I admit it; even I stepped up to the mic once or twice! The final evening all the collaboration groups shared their projects, and Malina Moye cranked out a killer blues. Two or three groups performed with Meshell Ndegeocello on bass and all delivered on their collaborative assignments with flair and fun! Thanks are due The Women’s Music Summit could not have been possible without the generous contributions of many supporters. Our own parent company, NewBay Media offered media exposure and support. Dean Markley Strings not only funded several scholarships, they also sent their Helix strings for everyone to try. Ampeg was crazy awesome and sent multiple backlines’ worth of bass and guitar amps for us to plug into, including a few for giveaways! Guitar Center provided loads of additional backline support and even provided gift cards for everyone! Martin Guitars funded scholarships and sent along picks that came in very handy. Fishman Amplification also funded a scholarship and shared clip on tuners with the gang. Roland US really came through with two RD-700 keyboards that got loads of use. Fender and Girl Rock Nation provided a guitar and amp for lucky winner Polina Kourakina and shared some super pink t-shirts and picks. Earthworks Audio sent along some extremely hot mics for use to try out (wowza!). And our friends at Lagunitas Brewery funded a scholarship and supplied a limited edition private label amplifier for lucky winner Alessandra Small! Biggest thanks of all go to Full Moon Resort. Check out the rest of their Music Masters Series too. These folks know how to do it right! My mind is blown Perhaps the most surprising and delightful element of this event was the blow me away talent of the ladies that attended. Each brought her own contribution, from 13-year-old Charlie Dane to veteran Mahazi Roundtree and everyone in between. There were beginners, like Johanna Ridley-Casseus who performed live for the very first time, and Nadine Pierre, who only knew three chords on the guitar. And there were pros like singer/songwriter Sonia Montez, vocalist Taina Asili and drummer Kiki Vassilakis, dancer and performer Dorit Konig, guitarist and looper extraordinaire Kristen Stillwell, and tons more. Each amazingly unique! When many walked away saying the Summit had changed their lives in the most fabulous ways, motivating and enlightening them, I was humbled. If you want to see more photos and find out more about what’s next for the Women’s Music Summit, head on over to our Facebook page.
It started off as a twinkle in my eye last year. And, like giving birth, nine months later, the Women’s Music Summit came to life. And what a crazy cool music making extravaganza it was! Housed at Full Moon Resort in the Catskill Mountains in Big Indian, New York, the event kicked off with a cocktail party and open-mic night that offered all of the ladies attending a chance to share their talents. The next morning, we dove right in with a songwriting and collaboration exercise lead by guitarist Malina Moye and myself. The ladies were given an assignment: Brainstorm and write a song with your group that you will share by the end of the Summit. The pressure was on! Malina Moye turns it up Later that day, Ms. Moye treated us to her awesome guitar goodness as she performed a few tunes and then shared her unique insight into the business. Let me tell you, not only does she kick ass on guitar, but she is one ballsy but fabulously likeable lady. Finesse is her middle name. Malina had this to share, “I had a great time at the first annual Women's Music Summit. I learned a lot and met a lot of great people and enjoyed the atmosphere of the Full Moon Resort. I’m excited about the next one!" Marnie Stern taps it out Next up, guitarist Marnie Stern schooled us on her fabulous guitar tapping technique and had us all learning how to shred! She gave us a peek behind the curtain, so that we could learn the tricks behind this skill. An eye-opening experience for all. Later she lead an experimental song jam where a large group contributed to what came next and vocal parts were made up on the spot. Super fun and creative! Marnie had this to say about the experience, “It was so inspiring for me to be able to interact with such a talented group of women with such like-minded goals. The collaborations were so fun, and I would love to do it again!” Melissa Auf der Maur shares insight You might recognize her from her stints with Hole and Smashing Pumpkins. Ms. Auf der Maur (better known as MAdM) shared incredibly interesting tales about her start in the bass world and her experiences on the road. Her Live Performance as Art workshop concluded with the screening of an avant-garde music video that blew our minds. But it was her evening bass and vocal performance that perhaps moved us all the most, as she nervously took the stage after a 10-month maternity hiatus (she has the cutest baby in the world, btw). Her timidity melted away with her heartfelt performance. It was a peek into something magical. Meshell Ndegeocello plays along Perhaps the most thrilling segment of the Summit came when bassist Meshell Ndegeocello not only talked about her experience and took questions from the audience, but also brought up some of the women attending the Summit and worked with them to understand how to translate their vision to the band. Attendee Kaela Bratcher brought her song “Like Kings” to life with a full band with Meshell jamming along on bass. Later Meshell played with several groups of attendees for a once in a lifetime performance session. It seems the day was special for Meshell as well. She shares, “Sometimes I forget how unusual it is to speak to a classroom of just women. It makes for a much different kind of a time. I can't say exactly why it's different but the exchange of ideas, or information, just seems to happen on a different level. I was happy to be there and happy to pass on what I knew.” Here’s a video of Taina Asili and Sonia Montez performing their collaboration with Dorit Konig on percussion, Kiki Vassilakis on drums, and Meshell Ndegeocello on bass. Wowza! The biz We finished off our afternoon sessions each day with an industry panel that provided valuable tips and advice. Wednesday we talked with Tobi Parks from Sony Music Entertainment, Laura Taylor of Guitar Center and Kirby Desmarais from Everything Independent. I literally only asked the very first question on my list and the conversation was off and rolling, covering publishing, licensing, changes in process and so much more. Thursday’s panel focused on PR and Promotion and I was joined by publicist Carise Yatter of Hired Gun Media, Jessica Sternick from Red Entertainment and Kate Pokorny with Indaba Music. Not only did we talk about practical strategies for getting exposure, but we also answered loads of burning questions from the audience. We’re jamming One of the favorite features of the Summit was the nightly open mics and jam sessions. Everyone had the chance to share their material, and perform for their peers. I admit it; even I stepped up to the mic once or twice! The final evening all the collaboration groups shared their projects, and Malina Moye cranked out a killer blues. Two or three groups performed with Meshell Ndegeocello on bass and all delivered on their collaborative assignments with flair and fun! Thanks are due The Women’s Music Summit could not have been possible without the generous contributions of many supporters. Our own parent company, NewBay Media offered media exposure and support. Dean Markley Strings not only funded several scholarships, they also sent their Helix strings for everyone to try. Ampeg was crazy awesome and sent multiple backlines’ worth of bass and guitar amps for us to plug into, including a few for giveaways! Guitar Center provided loads of additional backline support and even provided gift cards for everyone! Martin Guitars funded scholarships and sent along picks that came in very handy. Fishman Amplification also funded a scholarship and shared clip on tuners with the gang. Roland US really came through with two RD-700 keyboards that got loads of use. Fender and Girl Rock Nation provided a guitar and amp for lucky winner Polina Kourakina and shared some super pink t-shirts and picks. Earthworks Audio sent along some extremely hot mics for use to try out (wowza!). And our friends at Lagunitas Brewery funded a scholarship and supplied a limited edition private label amplifier for lucky winner Alessandra Small! Biggest thanks of all go to Full Moon Resort. Check out the rest of their Music Masters Series too. These folks know how to do it right! My mind is blown Perhaps the most surprising and delightful element of this event was the blow me away talent of the ladies that attended. Each brought her own contribution, from 13-year-old Charlie Dane to veteran Mahazi Roundtree and everyone in between. There were beginners, like Johanna Ridley-Casseus who performed live for the very first time, and Nadine Pierre, who only knew three chords on the guitar. And there were pros like singer/songwriter Sonia Montez, vocalist Taina Asili and drummer Kiki Vassilakis, dancer and performer Dorit Konig, guitarist and looper extraordinaire Kristen Stillwell, and tons more. Each amazingly unique! When many walked away saying the Summit had changed their lives in the most fabulous ways, motivating and enlightening them, I was humbled. If you want to see more photos and find out more about what’s next for the Women’s Music Summit, head on over to our Facebook page.
Exposed: 10 Female Guitarists You Should Know by Part 5
Sonia Montez Serene, beautiful and skilled. And what a voice! Listening to Montez makes you want to fall in love. Or at least run through a field of daisies. Her silky, Norah-Jones-esque tone screams “Put me on a movie or TV soundtrack!” And her delicate guitar accompaniments are artfully composed and performed. It’s the stuff goosebumps are made from. Montez jumped into the NYC open-mic scene at the age of 14 with veterans Kimya Dawson and Regina Spektor. She’s opened sold out shows for Matt Nathanson, Jessie Bailyn, Kaki King and The Mountain Goats. Montez is slated to release a new album in the fall of 2012. Personally, I know for sure I’m gonna check that one out! Here she is singing her song “Red Moon.” Just gorgeous.
Sonia Montez Serene, beautiful and skilled. And what a voice! Listening to Montez makes you want to fall in love. Or at least run through a field of daisies. Her silky, Norah-Jones-esque tone screams “Put me on a movie or TV soundtrack!” And her delicate guitar accompaniments are artfully composed and performed. It’s the stuff goosebumps are made from. Montez jumped into the NYC open-mic scene at the age of 14 with veterans Kimya Dawson and Regina Spektor. She’s opened sold out shows for Matt Nathanson, Jessie Bailyn, Kaki King and The Mountain Goats. Montez is slated to release a new album in the fall of 2012. Personally, I know for sure I’m gonna check that one out! Here she is singing her song “Red Moon.” Just gorgeous.
Technical Requirements
Band Shows
4 Vocal Mic
4 DI'
Guitar amp/cabine
Bass amp/cabine
Drum Backline (or room for drummer to set up his/her own
Three guitar stand
1 violin stan
Acoustic Shows: (subject to change with musician line up
1 instrument mic (for percussion
4 DI'
2 Vocal Mic
Solo Shows
2 DI'
1 Vocal Mic
4 Vocal Mic
4 DI'
Guitar amp/cabine
Bass amp/cabine
Drum Backline (or room for drummer to set up his/her own
Three guitar stand
1 violin stan
Acoustic Shows: (subject to change with musician line up
1 instrument mic (for percussion
4 DI'
2 Vocal Mic
Solo Shows
2 DI'
1 Vocal Mic
Technical Requirements
Band Shows
4 Vocal Mic
4 DI'
Guitar amp/cabine
Bass amp/cabine
Drum Backline (or room for drummer to set up his/her own
Three guitar stand
1 violin stan
Acoustic Shows: (subject to change with musician line up
1 instrument mic (for percussion
4 DI'
2 Vocal Mic
Solo Shows
2 DI'
1 Vocal Mic
4 Vocal Mic
4 DI'
Guitar amp/cabine
Bass amp/cabine
Drum Backline (or room for drummer to set up his/her own
Three guitar stand
1 violin stan
Acoustic Shows: (subject to change with musician line up
1 instrument mic (for percussion
4 DI'
2 Vocal Mic
Solo Shows
2 DI'
1 Vocal Mic
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