One of your advantages as an experimental musician is that you can perform in quite a wide variety of venues, instead of just the concert halls or just the clubs. A sound that blurs the edges of a defined genre makes it easier to slip into the many different types of performance spaces. For example, if you have an avant jazz ensemble, you will find in this directory museums that present jazz in the summer, expensive restaurants that present jazz over dinner, jazz festivals in every small corner of Ameri ca, avant-garde performance spaces sprinkle in jazz, open-minded rock clubs, college coffee houses, medium-sized concert halls, etc. Remember that all sorts of venues across the country find it difficult to consistently book high quality music because th ey are not located in a Mecca like New York City or because they simply receive few inquiries from good offbeat musicians.

Developing a local following, wherever you are, is a good start. It is best to get the ball rolling no matter how small, and gradually let it build. Touring without the practice of performing for your local audience can be overwhelming, and many venues are only interested in musicians with some kind of small buzz about them. When you feel ready to set up some dates, look over our listings and figure out a route suitable for you. You will see that some cities are better for certain types of music, some areas of the country are better for outside support from radio, press, and so on.

Not to be a biased New Yorker, but New York City is the highest priority city if you can make your way over here. Exposure in NYC goes a long way. To get a really good booking here, it is especially important to have a small following, however you will also find there are many possible venues from which to choose. If you have talent, you will get gigs. Other good music cities are San Francisco, Philadelphia, Chicago, Seattle, Atlanta, Austin, and Minneapolis. Despite its size, Los Angeles is not qui te as supportive of non-mainstream arts because of its severe recession and its consistent personality.

You should contact the venues as far in advance as possible. Some performance spaces and concert halls need a year in advance; many clubs need several months. Organize a package to send to your targets, including a sample of your work and whatever infor mation you feel is suitable to that venue's booking person. Elliott Sharp, a very successful experimental composer and musician, has toured extensively for years by himself and with bands or ensembles. Because his music can cover every base from rock to classical, he has performed in every shape of venue across country and abroad. He advises, "Your demo tape should be thought of as a finished presentation - whether it's for a performance venue or a record company - THERE IS NO SUCH THING AS A 'DEMO.' It should be thought of as the real thing. Go for the highest quality audio you can afford. The recording must present the music as you hear it, and allow others to hear it the same way."

Press materials should be concise and creative - booking people are swamped with the stuff and don't want their time wasted, but also appreciate material that is interesting and informative. Sharp advises you should include "selected clippings that show what 'respected journalists' - ahem - think of your work. You should have a one-page presentation on top that hits the reader with an introduction to your work including some blurbs. The more complete kit can follow." That would be a bio, highlighted c lippings, a photo - again, depending on the venue, be as creative and eye-catching and not-stiff as you feel is appropriate. Sharp suggests using "an interesting photo or graphic on your tape to grab attention - this could be your photo but needn't be. It should be appropriate to the music."

It is only fair that the booking person get back to you as soon as is possible, but because of their position sometimes they can jerk you around a bit. On the other hand, they have to deal with lots of demanding musicians and higher-ups who only have an appreciation for dollar-signs. Sharp suggests you "follow up a mailing with a fax (or letter) and then a phone call, but don't be a pest."

Once you're booked, take the responsibility to make sure things will be as smooth as possible. There will be a big difference in the details between a coffee house gig and a concert hall performance, and the complexity of your musical production also has an effect on the complexity of your worries. Says Sharp, "Get a contract with all the details in writing - do this 60 days in advance (if possible). Items to be covered include the fee, transporation, accommodations, licensing fees (BMI, ASCAP, GEMA, e tc.), performance times and durations."

Sharp adds, "Your technical rider will determine whether you can present your music properly. Specify down to every detail what kind of sound-system you need: monitors (quantity, number of mixes), back-line (amplifiers - type, quantity, same with drums) , specialized cables, power transformers or adaptors, tape playback, on stage items such as tables and music stands. Leave nothing to chance and make no assumptions. Your personal rider determines how comfortable you will be (this must be flexible and w ill be different if you're playing at a squat or a government-funded festival). You can list hotel needs, backstage refreshments, per diem for living expenses, etc."

If the venue itself is going to take care of some or all of your promotion, be sure they have a photo and bio and press materials. You may even want to check in with them a couple of weeks before the show to make sure they've taken care of things or to s ee if there is anything else you can do. If they don't do promotion, you should take it upon yourself to call the local radio station and ask them to announce your show, send material to a few magazines, especially the local weeklies, etc. Putting up fl yers or making postcards and placing them around town can make a gigantic difference, and of course mail flyers or postcards to anyone who may be interested.

How you present yourself at the show is up to you, but here are a few tips you can take or leave. Don't forget to bring your recordings and any merchandise to sell at the show. Bring at least a small sign with prices, and you or someone from the venue s hould announce to the audience that merchandise is for sale. If it's a more formal performance you may want to make programs to give out; if it's a casual show at a club, just make sure the audience knows who it is they've just witnessed before you get o ff the stage, especially if you are not the headliner.