Behind the Scenes | Prepping for gig : From Loading Gear to Performing

 What It Really Takes to Set Up a Band for a Live Gig: The Hidden Work Behind Every Performance

From Car to Stage and Back Again: The Reality of Being a Working Musician

Photo by Photo by Zan Carvalho from Pexels: https://www.pexels.com/photo/hat-and-an-electric-wooden-guitar-laid-on-stage-6794588/

When most people see a live band performing at a pub, bar, festival, or private event, they see the finished product: talented musicians entertaining a crowd, creating energy, and bringing music to life. What they don't see is everything that happens before the first note is played and after the last song ends.

For many working musicians in Toronto and across Canada, performing live isn't just about playing music. It's about logistics, physical labor, transportation, equipment management, setup, sound checks, teardown, and countless hours of unpaid work.

In this behind-the-scenes look at what it takes to set up a band for a live gig, we're pulling back the curtain on the realities that many venue owners, patrons, and even aspiring musicians never fully appreciate.

The Day Starts Long Before Show Time

A typical gig may be advertised as a three-hour performance, but the actual commitment can easily stretch into eight to ten hours.

Before leaving home, musicians must:

Load amplifiers, speakers, microphones, cables, stands, drums, keyboards, and instruments into their vehicles.

Double-check equipment lists to avoid forgetting essential gear.

Coordinate arrival times with band members.

Plan travel routes and parking arrangements.

Prepare setlists and any special requests from the venue.

For many bands, loading gear alone can take 30 to 60 minutes before anyone even starts driving.

The Cost of Transportation and Equipment

One of the biggest misconceptions about live music is that musicians simply show up and play.

In reality, most local bands invest thousands—sometimes tens of thousands—of dollars into their equipment.

A typical band setup may include:

Professional PA systems

Mixing boards

Stage monitors

Microphones

Lighting equipment

Guitar and bass amplifiers

Drum kits

Keyboards

Cases and protective equipment

Add rising fuel costs, vehicle maintenance, parking fees, and equipment repairs, and many musicians are spending significant money just to get to the venue.

For musicians playing local pub and bar gigs, compensation often doesn't reflect these expenses.

Arriving at the Venue: The Setup Begins

Once the band arrives, the real work starts.

Unlike major touring acts that travel with dedicated crews, local musicians usually handle every aspect of setup themselves.

This includes:

Unloading Equipment

Multiple trips from the vehicle to the venue are often required. Heavy speakers, drum hardware, amplifiers, and equipment cases can weigh hundreds of pounds collectively.

Building the Stage

Every venue is different.

Musicians must determine:

Where equipment will fit

How power will be distributed

Cable routing

Monitor placement

Speaker positioning

Sometimes the designated performance space is little more than a crowded corner of a pub.

Sound Check

Before the audience arrives, musicians must ensure everything works properly.

This process involves:

Testing microphones

Balancing instrument levels

Adjusting monitor mixes

Eliminating feedback

Solving unexpected technical problems

A successful sound check can make the difference between a great show and a frustrating night.

Performance Time: More Than Just Playing Songs

By the time the audience sees the band, several hours of work have already been completed.

During the performance, musicians must:

Engage the crowd

Maintain energy throughout the night

Handle song transitions

Troubleshoot equipment issues

Manage requests and audience interaction

Deliver a professional show regardless of venue conditions

Whether the crowd consists of ten people or two hundred, the expectation remains the same: give everything you've got.

Professional musicians take pride in delivering quality performances, even when the financial reward is minimal.

The Part Nobody Talks About: Teardown

After the final song, most people assume the night is over.

For musicians, it's only halfway done.

Every piece of equipment that was unloaded must now be packed up again.

This means:

Disconnecting cables

Packing microphones

Breaking down stands

Disassembling drum kits

Loading speakers and amplifiers

Carrying everything back to the vehicle

After several hours of performing, musicians often face another hour or more of physical labor.

Only then can they begin the drive home.

Why Many Musicians Are Burning Out

The live music industry has changed dramatically.

Many local musicians are facing:

Rising transportation costs

Increasing equipment expenses

Lower venue budgets

Reduced audience attendance

Greater competition for gigs

When musicians spend countless hours preparing, performing, and cleaning up for compensation that barely covers expenses, burnout becomes inevitable.

This is one reason why many talented performers are stepping away from the local music scene despite their passion for music.

Why Live Music Still Matters

Despite the challenges, live music remains one of the most powerful forms of entertainment and community connection.

Local musicians create memorable experiences that streaming services and playlists can never replicate.

Every performance represents years of practice, significant financial investment, and a genuine love for the craft.

The next time you see a live band at your local pub, bar, festival, or event, remember that the performance you're enjoying is only the visible part of a much larger effort happening behind the scenes.

Supporting Local Musicians

If you enjoy live music, there are simple ways to support the artists who make it possible:

Attend local shows regularly.

Share event announcements on social media.

Tip musicians when possible.

Purchase merchandise.

Request venues to book live entertainment.

Follow local bands online and subscribe to their YouTube channels.

Every bit of support helps keep live music alive.

Final Thoughts

Setting up a band for a live gig involves far more than showing up and playing songs. It's a demanding combination of physical work, technical expertise, transportation logistics, performance skills, and dedication.

For many musicians, the journey from car to stage and back again is becoming increasingly difficult to justify financially. Yet countless artists continue doing it because they love creating music and connecting with audiences.

This video series offers an honest look at the realities of life as a working musician in Toronto and beyond. If you've ever wondered what happens behind the scenes before a live performance begins, this is your chance to see the full picture.

Watch the videos, share your thoughts, and support the musicians who work tirelessly to keep live music thriving in our communities.

Want to learn more about the author and what he's currently working on? Check out his social media channels and websites through the links below.

https://www.youtube.com/@ElusiveSouls

https://www.instagram.com/elus.ivesouls/

https://www.facebook.com/p/Elusive-Souls-61562854862212/

https://www.guitar6music.com/

John Scofield “Kelpers” – Guitar Melody Transcription & Lesson

 It’s been a while since my last guitar lesson blog post, but I’m excited to be back in the swing of things. Today, I’m sharing a new guitar lesson featuring a transcription of a tune by one of my all-time favorite guitarists, the legendary John Scofield.

Since my band Elusive Souls is currently performing this tune live as part of our repertoire, I thought it would be a great opportunity to break it down and share the transcription with you. The included PDF contains a lead sheet with both the melody and chord changes.

This transcription took many hours and days to complete. If you’re able, please feel free to donate any amount you can afford to support my work. If not, enjoy this transcription as a free gift—thank you for watching. Tip Jar: Donate what you can

In the accompanying video, I demonstrate how to play the melody exactly as written on the lead sheet, showing fingerings in both the 5th and 7th positions on the guitar.

Kelpers Melody – Lead Sheet PDF Downloads

Page 1: https://www.guitar6music.com/uploads/

Page 2:
https://www.guitar6music.com/uploads/5/3/9/7/5397775/kelpers_solos_page_2.pdf

If you enjoy this lesson, let me know in the comments. I’d be happy to create a Part 2 where I explain and demonstrate the chord voicings used in this song.

You can also check out the original recording from John Scofield’s album Bump here:

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And here’s a live cover performance with my R&B band, where I’m playing the melody exactly as written on the lead sheet:

• A Song By Miles Davis’s Guitar Player

If you’re into online guitar tutorials and want to explore different topics and techniques, subscribe to my YouTube channel for free lessons and guitar tutorials: @guitar6musiclessons

If you enjoy live music, please support us by liking and subscribing to our YouTube channel: @ElusiveSouls

Olioboring Aka: Oliophonic

 My Artist of the Month Review: Oliophonic

Oliophonic 

From the first time I saw Oliophonic perform live, it was immediately clear that repetition is the band’s defining trait. Their originals are painfully predictable, almost exclusively locked into a tired 12-bar blues formula. Song after song blends into the next, offering nothing beyond basic structures and lifeless chord progressions. When the band does attempt original material, it sounds less like songwriting and more like unfocused jamming—ideas thrown together on the spot with no depth, substance, or originality.

The only element preventing Oliophonic from completely falling apart is their lead vocalist, Angie Nero (aka Angela Marida Del Bianco). She clearly attempts to push the band toward a soul-blues sound, but even her strongest efforts are dragged down by the band’s lack of musicianship and overall B-class talent. There’s a reason musicians say you’re only as good as the band you keep, and Oliophonic proves that point relentlessly. Instead of demanding better collaborators, Nero appears content performing alongside low-level open-mic players with little ambition or skill, a guaranteed way to stall any serious career momentum.

Their musical shortcomings become especially obvious in their cover of Stevie Wonder’s Higher Ground. The performance strips the song of its groove, energy, and urgency. The rhythm section is flat and uninspired, completely missing what makes the original work. The guitarist’s approach is particularly painful: weak strumming, dull chord voicings, and a total absence of funk. It sounds less like interpretation and more like misunderstanding.

Guitarist Harley Kizner shows some competence when playing lead blues lines, but even that wears thin quickly. His playing relies heavily on the same recycled licks and pentatonic scales, repeated endlessly throughout the set. What might pass for “feel” in short bursts becomes monotonous over the course of a full night. By the end of the show, it’s clear that Oliophonic isn’t evolving, experimenting, or pushing boundaries—they’re simply coasting on a stale blues template with nothing new to say.

Mike Ophek’s bass playing projects a high level of confidence on stage through his original compositions, though his playing does not consistently reflect the same authority in other songs. In the Higher Ground video, he hides behind the lead guitarist, which clearly suggests an insecurity and lack of confidence with this particular piece of music. In my own professional experience performing alongside him, I’ve found that maintaining consistency becomes challenging as musical expectations increase. This carries over into Oliophonic’s recordings and live performances, where the bass parts tend to feel restrained and predictable.

Drummer Randy Curtis is the band’s most compelling element. His strong pocket, time feel, and musical restraint provide much-needed cohesion and drive. His playing noticeably elevates the material, though the band’s overall impact remains limited by uneven contributions from the other members. Ultimately, Curtis carries much of the responsibility for keeping the group grounded musically.

Here’s their take on Stevie Wonder’s Higher Ground. I’d be interested to hear your thoughts, but for me, the performance falls flat. It lacks the energy, groove, and emotional drive that make the original so powerful. The delivery feels uninspired, and as a result, the cover comes across as a dull and forgettable interpretation of an otherwise iconic song.

If you want a see a proper version of this song check Elusive Souls performing Higher Ground live at The Emmet Ray Whisky Jazz Bar

To Learn more about Phil La Viola you can follow him and his band and their  social media  below:

Elusive Souls YouTube

www.elusivesouls.com

Elusive Souls on Instagram/ follow & like

In addition to his other work, Phil La Viola offers one-on-one guitar instruction both online and in person. For inquiries or more information, feel free to get in touch or follow him through the links below.

https://www.guitar6music.com/

Guitar 6 Music Lessons YouTube

Creating your own chord melody: A simple guide to get you started

 If you are new to jazz guitar and wondering how to get started on putting together a chord melody. Then keep reading and follow this guide of simple rules of how to combine melody and harmony. By following these steps you will be on your way to creating lush, beautiful sounding chord melodies of your favorite jazz standards. The following steps are a set of rules that I use when trying to put together a chord melody for guitar. These rules are not the only way to do it and I'm sure there are others that go about it differently. In the video that will be posted at the end of this blog you can hear and see me perform my rendition of Blues Bossa. In this example, I play the melody and voicings at the same time in a self contained manner by accompanying myself. This is called solo jazz guitar.

Chord melody rules:

1. Keep the melody note of the song on top of the chord voicing. This way it stands out and the listener can hear and recognize the notes to the song.

2.  Usually the melody note most of the time is played an octave higher than what is written on the page. This is not a steadfast rule and sometimes can be voiced with the written notes if they are not too low. Sometimes you can mix it up by voicing the notes with the written melody and playing some passages of the melody up the octave. The only reason why I might do this is to fit a particular jazz chord that I like and sounds good with the written melody. You will see what I mean when you examine my rendition of Blue Bossa.

3.   You don't have to put a chord on every melody note, especially if you have some measures with a lot of eighth notes. In other words, don't make it too busy with chords and if it's a complicated rhythm it might be hard to execute. So keep it simple by just choosing one or two notes from the melody that you might try to voice with a chord. The rest of notes can be played in a single line fashion. I once read an interview with Joe Pass, where he said "a chord melody is like an illusion, It sounds like it is played all at once, but they are little separate fragments that are played independently from each other".  When you start to combine all the single notes and chords together, it sounds like one thing to the listener. Of course playing it in time and with the proper rhythm helps your chord melody come together as one whole piece.

4. What type of voicing should I use to create my chord melody?

  Well, you can use 3 note shell voicings, drop 2, 3, drop 2 and 4, rootless voicings. I use a combination of all of these voicings to create a chord melody. I will give you some examples of chords a beginner might try to use. Also, I will post all the chords that I used for Blues Bossa. In the Blues Bossa example, you will notice I circled the top note of the chord. The circled note indicates which note of the melody that I chose to voice with a chord. 

5. Experiment by using chord substitutions and changing one or two notes that are in the chord. For example, I use a rootless Cmi 6/9 chord in the first measure of Blues Bossa. My first Chord of choice was to use a Cmi 7 1st inversion drop 2 voicings. Notice in the diagrams below on how I modified the chord. I raised the root up a whole step which now gives me the 9th and lowered the b7 down a half step to the ma 6. Now I'm left with the b3, 6, 9 and 5th. As long as you try to keep the important notes that make it sound major or minor the listener should still be able to follow the chord progression. Here is an example of how you can do it with Drop 2 voicings

Basic rules for omitting notes from a chord :

Add tension notes to the chord. Example: if it's a Dorian minor sounding chord you can add the 9th, 11, and sometime a ma6 or 13.

2. omit the root and raise it a half step to get the 9th of a minor chord

3. omit the 5th and lower it a whole step to get the 11 of a minor chord

4. omit the b7 and lower it a half step to the maj 6 of a minor chord

5. Keep the important notes in the chord that make it sound major, or minor. The b3 and b7 for minor chords, the major 3rd and major 7 for major 7th chords, major 3rd and b7 for dominant 7th chords. The root is not always that important, especially when you are playing with a bass player. In fact, if you try to build chords with just 3rds and 7ths, you will find yourself coming up with some pretty unique and interesting voicings. For example, in the diagram below you will see a perfect 5th voicing or a power chord that consists of the notes E and B. These two notes can also be viewed as Cmaj 7. Now with your pinky note add the G# on the 2nd sting 9th fret, this will become Cmaj 7 #5.  Barre your first finger across the 7th fret with your 1st finger on D and F#, now you get a rootless Cmaj 7 9 #11 chord. Who would of thought that the heavy metal power chord would give you so many jazzy options for your jazz voicings.

  Obviously, these are just a few of the possibilities, but it is up to you to study music theory and to get good at it. Once you know what tension notes can go with each chord the possibilities of beautiful sounding jazz voicings are numerous. I highly recommend The Jazz Theory Book (Amazon affiliate link) by Mark Levine, to further your knowledge in this area. By altering a few notes here and there you also might accidentally end up with a chord substitution. So if you are not good with music theory, listen to what your ears are telling you. Your ears will guide you on what sounds good or bad and if sounds good, most likely you are on the right path. In the example of the Cmi6/9 chord it also can be viewed as a Ebma7 b5 or Ebma7 #11 chord. I ended up with this by omitting the root and the b7 of Cmi7.  By raising the root a whole step and lowering the b 7 of C-7, this worked out to be the blll maj7 b5 chord in the key of C minor. The blll maj7 can be a substitute for the Tonic chord of the key. Both the  (Eb) blll ma7 and the (Ab) bVl ma7 can be used as a sub for the Tonic chord C mi. To help you with chord substitution use the following chart below.

Remember all the rules can be done with drop 2, drop 3 and drop 2 and 4 voicings. 

Once you learn all of them you can experiment with the idea of changing one or two notes to get more exotic chords. Here is a link to all of the drop 2 chords and other drop voicings: Drop voicings

                                      Blue Bossa Chord Melody Example

-Use The Chord diagrams that come after this lead sheet to learn the voicings for this chord melody.  The voicings for the first chorus of the lead sheet will be on the chord diagram chart. I also provided the voicings for the 2nd chorus of the Blue Bossa chord melody. However, on the second chorus I did not provide the lead sheet with circled notes with each voicing. As a homework assignment see if you can work out the 2nd chorus of the chord melody on your own.

To download Pdf file of the chord voicings, lead sheets, and chord melody lesson examples, please visit the following link:https://www.guitar6music.com/chord-melodies-for-jazz-guitar.html

To hear and see an example of the chord melody please watch the you tube video

For more lesson material on chords, scales and improv ideas please visit:https://www.guitar6music.com/lesson-material.html

or use this link to book a lesson with me

https://www.guitar6music.com/contact-us.html

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