How to Land a Freelance Bass Gig
You only get one chance to make a first impression.
Your chops are in shape, your gear is dialed in, you’re feeling good about your reading skills, and you’re itching to play. Out of the blue, someone recommends you for a gig with a band you’ve never heard of, playing songs you’ve never heard, with only a couple weeks of prep time. How do you rise to the occasion?
When an East Coast indie-rock quartet needed a sub for their SoCal tour earlier this year, they reached out to their guitarist (a friend of mine), who asked if I’d consider doing the gig. I listened to the songs on the band’s Instagram page, decided it’d be fun, checked my calendar, and said yes. The next few weeks were a whirlwind!
Here are a few things to consider if this happens to you.
THE MONEY
First things first: Be clear about how much you’re getting paid. How much time do you expect to put in, and how would you like to be compensated? Can you afford to do a gig that’s interesting but doesn’t pay well, or do you need every opportunity to help you make rent? Whatever you decide, communicate clearly with whoever handles the band’s finances, and if the agreement includes reimbursement for things like gear or transportation, make sure to save all your receipts.
For this short tour, the band asked if I wanted to be paid as a hired gun (guaranteed a certain amount for every gig) or as a member of the band (given an even split of the door money). I chose to be paid as a band member, but they generously made sure I was paid well for each gig, even if there was very little money to split.
THE SONGS
When you set out to learn a band’s material, it’s tempting to plug right in and turn up, but deep listening will serve you better. I had a couple of weeks to learn 20 originals and 10 covers, so besides listening to the songs continuously, I played through the setlist at least once a day. I dug into live versions to hear how far the band strayed from their recordings, asked which versions were their favorites, and inquired how closely they wanted me to emulate the bassist I was subbing for. When I had trouble hearing exactly what the bass player was doing, I used a stem splitter and muted everything else so I could focus on the nuances.
I was ready to make my own charts, but fortunately, the drummer/musical director (also known as the MD) sent me a link to the band’s charts on Google drive. This barebones guide to the Kinks’ cool 1967 tune “Waterloo Sunset,” a staple of the band’s setlist, is one of the charts he prepared:
His charts were a welcome starting point, but I had to figure out the chord qualities — mostly major, minor and dominant — by arpeggiating the chords, hearing them in context and consulting other sources, including the band’s guitarist. I also learned a lot by recording myself playing along with each tune, and I absorbed the setlist in sequence so I knew when to adjust my tone or add effects.
THE GEAR
If you only have one bass, decide what kind of strings are best suited for the gig. Flatwounds and old roundwounds have a vintage sound that’s noticeably different from the tone of bright new strings. It’s hard to go wrong with a good 4-string bass, but if you have options, determine whether the songs require a 5-string (or down-tuned 4) for low notes. Looks matter, too: what bass fits the band’s vibe? It might be a good idea to check with the MD before bringing that purple-sparkle fretless to an old-time bluegrass gig.
Choosing the right amp, effects and playing techniques is important, too. It’d be a mistake, for example, to lug an 8 x 10 speaker cabinet to a coffeeshop gig or show up at a 500-seat theater with a tiny practice rig. When I wasn’t playing through rented equipment or a DI on this tour, I used my 350-watt amp/1 x 12 rig, along with compression, DI, overdrive and — most importantly — a tuner. My beat-up old 4-string with flatwounds was just what these songs needed, and it was good to know that I didn’t have to play every song with a pick.
THE REHEARSAL
We’d been emailing back and forth about songs and logistics, but by the time the band flew in from New York, we only had time for one rehearsal the night before the gig.
As the saying goes, you only get one chance to make a first impression. I made sure to arrive early enough to plug in and tune up before the band arrived, and I earned a chorus of appreciation when the band saw my binder full of charts, arranged alphabetically just in case they wanted to change the setlist (which they promptly did). It was great to finally get all my burning questions answered and to observe the dynamics between band members, who were all longtime friends. I watched the drummer and listened closely so I could get on the same page about intros, groove, tempo, fills, dynamics and endings; as the MD, he knew the songs best and was the final word when it came to arrangements. In my experience, a well-run rehearsal is a surefire indicator of a band that’s organized, and the drummer kept us in line as we made our way through the setlist.
When it was over, I was grateful for the notes I’d hastily scribbled on my charts and the rehearsal recording on my phone, which gave me a clear idea of how I sounded with the band. They were relieved that I’d done my homework, and I knew precisely what I needed to improve before the next day’s show.
THE SHOW
Some rock ‘n’ roll bands prefer to not have music stands onstage, but although I had the songs under my fingers, I was glad these new friends were OK with me reading sheet music during the show. Having my charts accessible at a glance gave me confidence.
Being late to soundcheck is a big no-no, especially if the venue has a tight schedule or there are other bands on the bill. (I’ve found that aiming to arrive at a club half an hour early usually gets me there right on time.) Treat soundcheck as an opportunity to make any last-minute adjustments, and if you want to make a good impression on bandmates and sound engineers, don’t play unless you’re asked to.
As showtime approaches, it’s normal to be nervous. When I’m feeling pre-gig jitters, I take deep breaths, stretch, do pushups, warm up on my bass and go through the setlist one more time. If there’s a backstage huddle before we go on, I’m there. And when we hit the stage, I do my best to go with the flow, get acclimated to the crowd, keep my ears open and be as present as I can. I’ve worked hard to make my musicianship seem effortless. It’s important to take this moment in!
After the show, be grateful for the high points and make a note to fix your mistakes. Cultivating good vibes in those first few minutes after you come off stage is important for your mental health, as well as your bandmates’. Emotions can run high, and it’s hard to remember that your inner critic can’t always be trusted. No matter what, congratulations! You did it — and with any luck, you’ll have many more chances to do it again.
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