One of the hardest lessons I've learned in the music industry is that not every gig ends the way you expect. You put in the hours rehearsing, travel to the venue, give the audience your best performance, and then... the payment you've agreed on suddenly changes, or worse, never arrives at all.
It's an unfortunate reality that many musicians and bands eventually face.
In my latest interview, we discuss a practical approach that can help when a venue doesn't honor its agreement. While every situation is different, there are steps you can take to advocate for yourself professionally and encourage accountability.
A Simple Two-Step Approach
The conversation focuses on what I call the Two-Step Method.
1. The first step is sharing your experience on social media. Platforms like Instagram and Facebook allow musicians to communicate with their communities. The key is to stick to factual, firsthand information about what happened rather than making exaggerated or emotional claims. Sharing your experience honestly can sometimes encourage businesses to resolve the issue.
2. The second step is leaving an honest Google review. Reviews exist to help others understand what they might expect when dealing with a business. Again, the emphasis is on accuracy, fairness, and describing only what you personally experienced.
Neither of these steps guarantees payment, but they can encourage transparency and accountability while helping other musicians make informed decisions.
Why Documentation Matters:
One of the biggest takeaways from this conversation is the importance of documentation.Written agreements, emails, text messages, invoices, and contracts all provide a clear record of what was agreed upon. Even if your payment arrangement started as a verbal agreement, keeping records of your conversations can make a significant difference if a dispute arises later.The more organized you are, the better positioned you'll be to protect yourself.
Looking Out for Each Other:
The live music community is built on relationships and trust. Most venues and promoters genuinely value musicians and treat artists fairly. But when problems do occur, it's important for performers to understand their options and support professional standards throughout the industry.
My hope is that conversations like this help musicians feel more informed and better prepared before issues arise, not after.
I'd Love to Hear From You
What's the most important lesson you've learned about protecting yourself as a musician?
If you share your experience, please keep it to your own firsthand experiences and stick to verifiable facts. The more we learn from each other, the stronger and more professional our music community becomes.
If you'd like to watch the full interview, you'll find it on my YouTube channel. And if you find it helpful, I'd really appreciate it if you subscribed and shared it with other musicians who might benefit from the discussion.
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.
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.
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.
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
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:
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.
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. Byfollowingthesestepsyouwillbeonyourwaytocreatinglush, beautifulsoundingchordmelodiesofyourfavoritejazzstandards.ThefollowingstepsareasetofrulesthatIusewhentryingtoputtogetherachordmelodyforguitar.TheserulesarenottheonlywaytodoitandI'msurethereareothersthatgoaboutitdifferently.InthevideothatwillbepostedattheendofthisblogyoucanhearandseemeperformmyrenditionofBluesBossa.Inthisexample, Iplaythemelodyandvoicingsatthesametimeinaselfcontainedmanner by accompanyingmyself.Thisiscalledsolojazzguitar.
2. Usually the melody note most of the time is played an octave higher than what is written on the page.Thisisnotasteadfastruleandsometimescanbevoicedwiththewrittennotesiftheyarenottoolow.Sometimesyoucanmixitupbyvoicingthenoteswiththewrittenmelodyand playing some passages ofthemelodyuptheoctave.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.
4. What type of voicing should I use to create my chord melody?
Well, youcanuse 3 noteshellvoicings, drop 2, 3, drop 2 and 4, rootlessvoicings.Iuseacombinationofallofthesevoicingstocreateachordmelody.Iwillgiveyousomeexamplesofchordsabeginnermighttrytouse. Also, IwillpostallthechordsthatIusedforBluesBossa.IntheBlues Bossaexample, youwill noticeIcircledthetopnoteofthechord.ThecirclednoteindicateswhichnoteofthemelodythatIchosetovoicewithachord.
5. Experimentbyusingchordsubstitutionsandchangingoneortwonotesthatareinthechord.Forexample, IusearootlessCmi 6/9 chordinthefirstmeasureofBluesBossa.MyfirstChordofchoicewastouseaCmi 7 1st inversiondrop 2 voicings.NoticeinthediagramsbelowonhowImodifiedthechord.Iraisedtherootupawholestepwhichnowgivesmethe 9thandloweredtheb7 downahalfstepto the ma 6. NowI'mleftwiththeb3, 6, 9 and 5th.Aslongasyoutrytokeeptheimportantnotesthatmakeitsoundmajororminorthelistenershouldstillbeabletofollowthechordprogression. Here is an example of how you can do it with Drop 2 voicings
Basic rules for omitting notes from a chord :
Addtensionnotestothechord.Example: ifit'saDorianminorsoundingchordyoucanaddthe9th, 11, andsometimeama6 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. Therootisnotalwaysthatimportant, especiallywhenyouareplayingwithabassplayer.Infact, ifyoutrytobuildchordswithjust 3rdsand 7ths, youwillfindyourselfcomingupwithsomeprettyuniqueandinterestingvoicings. Forexample, inthediagrambelowyouwillseeaperfect 5thvoicingorapowerchordthatconsistsofthenotesEandB. ThesetwonotescanalsobeviewedasCmaj 7. NowwithyourpinkynoteaddtheG# onthe 2ndsting 9thfret, thiswillbecomeCmaj 7 #5. Barreyourfirstfingeracrossthe 7thfretwithyour 1stfingeronDandF#, nowyougetarootlessCmaj 7 9 #11 chord.Whowouldofthoughtthattheheavymetalpowerchordwouldgiveyousomanyjazzyoptionsforyourjazzvoicings.
Obviously, thesearejustafewofthepossibilities, butitisuptoyoutostudymusictheoryandtogetgoodatit.Onceyouknowwhattensionnotescangowitheachchordthepossibilitiesofbeautifulsoundingjazzvoicingsarenumerous.IhighlyrecommendThe 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, onthesecondchorusIdidnotprovidetheleadsheetwithcirclednoteswitheachvoicing.Asahomeworkassignmentseeifyoucanworkoutthe 2ndchorusofthechordmelodyonyourown.
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