things you
will need
TO TAKE WITH YOU AS A TRAVELLING MUSICIAN.
You will need to make sure that your instrument can be amplified, so it
is worth buying a cheap guitar with a pickup in it or you can buy a cheap
pickup to fit on to your instrument.
If you want to take one with
you, wrap a cloth around
it, and place it carefully
inside your soft case
Either way it’s extremely
important that you
have the option of
amplifying your
instrument when
you want. If your
guitar already has a
pick up system built
into it then you will
need a cable to plug
it in when the time
comes.
(See section 28, Checking
your instrument) or your
guitar. I have done
this and it fits neatly.
Next you should
find somewhere to
place the cables, mic
(if you have one) and
any other things like
harmonicas – probably in
your guitar case.
A standard ten foot
jack to jack cable
should be fi ne. If you can
afford it then buy yourself a
half decent microphone with a
ten foot cable to go with it.
This is not absolutely necessary because a
lot of places have their own, but there are
also places that don’t have any mic and
having one handy will give you that extra
advantage and more choices to play.
You can also take a mic stand but it’s not
really necessary because you can improvise
or you can buy a stand if you really need
one, they are very cheap all over the world.
Spare strings and song list
can also go in the case. You will
need spare items for your instrument
and some little screwdrivers for any
repairs you can do yourself.
If you play another instrument and have
nowhere to store your spare items, I have
found that a computer laptop bag makes
an ideal carry bag for musical items.
You can also take it on board the plane
with your instrument and still comply with
regulations.
NOTE: If you play flute, saxophone or portable piano you should without question
be allowed to take your instrument on board (See chapter 2)
PAGE
5.
CHAPTER
1. THINGS
YOU WILL NEED TO TAKE WITH YOU AS A TR AVELLING MUSICIAN
&
planes
trains
CHECKING YOUR INSTRUMENT AND EQUIPMENT
Public transport has little consideration for musicians and performers.
Taking your instrument on board an aircraft can sometimes be tricky.
If you have an instrument the size of a double
bass, you will have to put it into check-in. If you
have a guitar ( I would NOT recommend
travelling around the world with your
favourite expensive guitar) then I totally
recommend a soft guitar case for the following
important reasons. With a soft case you will be
able to take the guitar on board as carry-on for
nearly all flights, domestic and international.
This should also include saxophones, flutes,
violins etc.
For musicians who also have
carry-on luggage as well,
I found a good trick is
to leave the guitar in
your airport trolley,
out of sight of the
check in desk but
still within your
own eyesight. Do
not mention the
guitar because
standard procedure
requires them to
suggest you check it
in rather than take it on
board with you.
If they do fi nd out you have a guitar simply tell
them you don’t have the proper case to check
the guitar in, and the guitar is expensive and
goes everywhere with you.
This will force them to let you on the plane with
it. All airlines have web sites and more often than
not have a musical instrument policy that allows
you to take your instrument on board with you.
PAGE
6.
CHAPTER
2. P LANES & TR AINS
Always ask if the plane is full or not. If it is
full, you should get on the plane as quickly as
possible so you can find enough space in the
luggage locker for your instrument.
All luggage lockers in aircraft have more than
enough space for a guitar, and if you can’t get
on straight away, don’t wave your instrument
around as you board. Try to keep it by your
side and out of sight.
Usually the boarding staff are too busy
comparing names on the boarding cards with
passports to worry about your instrument. So
when you board the plane, if there is no space
left in the overhead locker simply be assertive
and ask the attendant to fi nd space in the crew
cabinet for your guitar.
Remember the chance of another musician
taking their guitar on the same flight as
you is probably one in a million.
If you have any electronic equipment such as
a drum machine, effects pedals, transformers
(which can be gaffer taped together to save
carrying more than one), cables etc, you will
have to pack them in foam and cardboard and
put them in your suitcase for check in. This is
due to new security protocol.
Remember to take as little as possible to
reduce weight. Don’t bother taking a mic
stand or anything else that could be difficult to
carry around with you when you’re travelling.
Trains and other means of transport should not
be a problem, if you are going on an overnight
train strap your belongings with your instrument
to your body somehow before you sleep.
CHECKING IN YOUR INSTRUMENT AND EQUIPMENT
what to
expect
Performing in Asia produces variable degrees of success. The most important thing
to remember is that you’re a foreigner, and the music or performance you’re giving
is also foreign to the locals. There are some famous western songs that
even people in Asia know (see chapter 32).
Asian countries have their own particular
cultures, and most Asian people much prefer
to listen to their own cultural music rather
than listen to some foreigners screaming and
shouting, trying to sing, or bashing out some
sort of music like ACDC, that they think will
bring the house down.
Most Asians are gentle, quiet mannered
people, so your musical choices should
reflect that. Almost any restaurant or bar is a
potential place to perform. But don’t expect to
be paid much by the Asian community; levels
of poverty are high, and people may not be
able to afford to pay you anything. The only
time you should ask to be paid well in Asia is
when the place you are performing is owned
by foreigners or large corporations.
In most places in Asia, wages are often less than
a third of those in western countries (in some
countries in Asia, it’s one dollar a day); so even if
you’re going to be paid something, don’t expect
it to be the same rate as in your own country.
Just remember: the main point is to save
money and get by on what you earn from
performing.
PAGE
7.
CHAPTER
3. WHAT
In the beginning, offer to play for your food
or accommodation. Ask if you can pass your
hat around (see chapter 25) and be discreet
about your earnings. It wouldn’t look good if
you made more money than the owner did in
one night. It’s also good to have one price for
local restaurant-bar owners and another price
for foreign restaurant-bar owners. This should
also be kept to yourself.
For example, in Thailand you could ask
a locally run bar to give you 500 to 1000
baht (about 15 to 30 dollars) for 2 hours’
performing. Some places will not even
be able to give you that, so try to make
other arrangements with them. Ask if
you can perform for drinks, or food, or
accommodation, or all of the above plus your
hat. If you end up performing 4 to 5 days a
week plus your tips, then that comes very close
to $100 US a week, and in Asia you can live
quite comfortably on that.
If it’s a foreign-owned bar but has local people
working there, just ask who owns the place
before you negotiate your fee. If it is foreignowned, then you should add on a third for the
TO EXPECT IN
A SIA
AS A PERFORMER
what to
expect
continued
same playing time. For example, if you ask a
local bar owner for 500 baht, then you should
ask 1000 baht from a foreigner bar owner
(depending on how good your performance is,
of course).
Foreigners who have businesses in Asia can
usually afford to pay you more. If you’re
planning to stay for a while in the same place,
you should try to spread yourself around; small
bars and cafés need business more than the
bigger places, and they are more likely to be
friendlier than the big places.
By playing at a single venue only, you run
the risk of maybe upsetting other local bar
owners. By playing some of the smaller places
as well, you can avoid that. That very situation
happened to me in southern Thailand. The
smaller places were complaining I was taking
all their customers away from them.
When travelling around Asia, it’s wise to carry
any spares you may need for your instrument.
You’ll be able to purchase most things for your
instrument in the major cities in Asia, but once
you arrive on an island, for example, you may
fi nd it impossible to purchase the items you
need.
Don’t perform in or around temples or
any other religious or government sites in
Asia, respect local customs, and at all times
remember to always keep your instrument
close to you in the bars, island resorts and
restaurants that Asia has to offer. I say this
because if you have too much to drink, you
might forget where you left your instrument –
or maybe even ask someone you don’t know
to look after it for you, while you go off to get
something to eat. Always keep your instrument
with you.
Busking in the streets of Asia is not advisable.
I have done this, and it’s hard. You won’t
make much money unless you try to pass the
hat around, but that’s also not advisable. The
streets are too noisy, and it’s usually way too
hot – and the likelihood of someone giving you
money is minimal, unless you’re an amazing
performing showman and you’ve drawn a huge
crowd.
Language differences will also restrain you if
you’re an entertainer. Mostly, the audiences you
should concentrate on in Asia are other foreign
travellers and holidaymakers; that’s where your
market is.
Learning one or two of the local songs will be
a huge bonus for you. Not only will the locals
embrace you and love you for it, but it will help
you to understand their language and culture.
PAGE
8.
CHAPTER
3. WHAT
TO EXPECT IN
A SIA
AS A PERFORMER
security
travel
IN ASIA
TIPS FOR PERFORMERS
This section concentrates mainly on Asia, as the chances of
having your instrument stolen in Asia are greater than in
western countries. I have performed in many Asian countries,
and although I haven’t yet performed in every single country in
Asia, the same advice applies everywhere in Asia.
Of course, you have to be careful all over the
world; but I feel that in most countries, most
people would rather be entertained than steal the
very thing that entertains them.
When you’re travelling in Asia with your
instrument, there are some important things to
remember. You should never tell anyone how
much your instrument is worth. If they ask,
tell them you paid almost nothing for it at a second
hand shop, because it’s just a cheap copy. Telling
people the real value could give them a reason to
steal it.
In the smaller villages that are popular with
tourists, you might find you start to get very
popular with the locals and foreigners who stay
there for a long time, and you are constantly asked
to play. But, take a break and stop playing for a
while (this only applies to those musicians playing
6 or 7 days a week). You can’t play everywhere
all the time, and sooner or later, whether you like
it or not, someone who owns a bar may think you
are taking business away from them – especially
if they have very little business coming in and the
place you’re performing in is busy every night.
This is business politics and it exists everywhere,
but because you’re a foreigner, it’s easy to get
blamed. Always be aware of your surroundings
and where you are playing.
Don’t tell people where you’re staying. If they
ask, name a place that’s close to where you’re
staying. You need to know that when you’re not
performing, your instrument is safe.
Never, under any circumstances, tell people how
much money you’re making, or what kind of deal
you’re getting for performing. It can breed jealousy,
envy and frustration – especially among local
PAGE
9.
CHAPTER
people. It can also attract
the attention of immigration in
that country, and you won’t have a
work permit. If people ask how much you’re
making or questions relating to that, give them
vague answers. It is better to tell white lies,
than to create problems for yourself.
When you’ve finished performing for the night
and you want to continue on but not drag your
instrument around with you, go back to your room
and make sure no one is following you – even
someone of the opposite sex! Once people know
where you’re staying, you’re increasing the risk of
your instrument being stolen. Of course, this does
not apply to your friends! But if you’re travelling
alone and you meet travellers along the way, keep
in mind you can never trust someone 100 per
cent that you’ve just met in a country you
don’t know.
I know this all must sound pretty scary and
negative and you’re probably worrying now about
taking your instrument to Asia; well, just relax
… this is a worst case scenario. It has happened
only rarely in my 20 years of world travelling and
performing, and I’ve never heard of anyone else
losing their instrument this way – only in very rare
cases. If you’re good at what you do, there are
obvious risks that go with it.
There IS a major positive side to all this: it’s
extremely rewarding and fulfilling performing in
Asia. Most people are very friendly to musicians
and performers and hold them in high regard.
Keep your wits about you, and you’ll have a
great time. You can even try performing one of
the local songs: the response will be overwhelming.
4. S ECURITY TR AVEL TIPS
FOR PERFORMERS IN
A SIA
whatto
expect
PERFORMING IN EUROPE
The great thing about performing in Europe is
that I found people appreciate music and dance
more than in other western countries. The
amount of time you perform is about the same
as in Asia – two to three hours. Europeans are
open to all sorts of acts and are used to seeing
a hat being passed around at the end of a
performance in some European countries.
The music you choose to perform is not that
important; it’s how you perform the music that
counts.
Europe is incredibly diverse &
it’s up to you to choose where &
when you want to go.
Make sure you have a few signs in various
languages for each country you visit, to let
people know you’re a foreigner and that you’re
travelling. I used a large piece of cardboard and
wrote with a thick black marker, so it could be
easily read from a distance.
France, Holland, Germany, Sweden, Denmark
and the Czech Republic (Prague) are just some
of the countries where you can practice the 8
formats of busking and play in bars
and restaurants.
You can perform all year round in Europe.
PAGE
10.
CHAPTER
5. WHAT
TO
E XPECT P ERFORMING
IN
E UROPE
whatto
expect
AUSTRALIA , NEW ZEALAND, BRITAIN:
ENGLAND, WALES, SCOTLAND, IRELAND
Australia is the country I’m from; I grew up busking around the streets of
Sydney and visited many states in Australia busking & then later performing.
Australia & New Zealand are quite tolerant of street performers, & there
are thousands of places to busk. You can also perform professionally in the
endless little bars, pubs & cafés that Australia & New Zealand has to offer.
Permits are usually required in the major cities
and shopping malls, and walking the streets train
**busking and platform busking are not permitted;
although, you can perform in some train tunnels
and tunnel walkways, and you will be able to
perform very close to the station without a permit,
as long as you’re not too loud. Terrace busking is
possible, as well as walking street busking.
England, Wales, Scotland and Ireland share the
same language, but their cultural music is vastly
different – which makes it great to play in any of
these countries at any time of the year. Performing
in Britain is tough for travellers though: there is a
lot of competition among performers, musicians
and jugglers, and there are music festivals every
few months in all of these countries. You can try
busking at these festivals and most times do well
earning some money.
I highly recommend using a sign to distinguish
you from the crowd. Normal street busking is
recommended, as well as train station busking and
train tunnel busking.
In Britain there are some spots that are so good
for performing, you will most likely have to book
yourself into them in advance – and even pay a
small fee. This can be done through the local town
hall or council or transportation office and is done
because there are so many people wanting to play.
One of the best places to play is on the London
Underground, where you have to book at least a
week in advance. Covent Garden, also in London,
is another place where you will have to book ahead
PAGE
11.
CHAPTER
6. WHAT
TO
to perform. In both cases, you’ll most likely have to
audition before you’re given permission to play.
If you decide to ignore the rules, you might get
away with it, but soon a performer will come along
and demand the spot he has booked and paid for.
If this does happen to you, give it up and move on.
There are other places you can play.
Throughout Britain, anywhere that has a main
shopping street, walking street or a town square is
suitable for busking. Permission varies in different
towns and villages and changes are made all the
time, so ask if you’re not sure. You can also just ask
a shop owner if they’ve seen any performers lately
playing around the area.
These countries also have a very popular live music
scene in bars and restaurants, and people love
foreign performers. You won’t have to worry about
stocking up on supplies, because there are music
shops everywhere.
You can use your amplifier if you want when you
busk, but make sure it’s not too loud. Remember
that Britain can be expensive for a travelling
musician, and it seems to be getting harder for
visitors to busk, due to the fierce competition.
If you want to earn enough to meet all your needs,
you might want to think about getting out of the
major cities and into the smaller towns, where live
music is less common and you could get a bed for
the night for a couple of hours or so of performing.
You might be the only person busking in that town
and make not only good money, but be popular
among the locals as well.
E XPECT AUSTR ALIA NEW Z EALAND &
THE
UNITED K INGDOM