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Tuesday, May 16, 2017

How Do You Get Into The Key West Song Writer's Festival?

A lot of musicians ask me how to get into the Key West Songwriter's Festival. A fair question as it's not only by far the largest music festival in Key West all year, but it's also the largest music festival of it's kind in the world!

As I'm very fortunate to be in it, I get the question very often. The fact of the matter is, the cards fell into place for me. Other than that, I really don't know for sure? What I can say is:

A) How I got into it.

B) General observations. As far as the general observations go, I ask that you understand that I may be 100% wrong on all of it, or I may be 100% correct. I also could fall anywhere in between. One of my strong points is logic and without all of the background information available, all of this is a guess based on the information that I have.

Some who have asked me over the years have been genuinely interested in being in the festival. Others have been either frustrated that they are not in it, or downright pissed off that they are not in it. One guy, a blues guy from the Big Pine area, about thirty miles up the Keys from Key West, was a complete jackass about it, and basically expected BMI to come knock his begging him to be in the festival. Guess what? That will never happen. BMI alone has a catalog of over 750,000 songwriters. He expects them to come to him? This guy was just completely unrealistic and refused to contact them. The nutcase not only unfriended me on Facebook but blocked me as well, after I took the time to explain that he needed to contact them.

The overall point here being, I had the complete gamut from the very sincere, to the complete, psycho wackos contact me about it. What I have found is that many don't understand the festival itself.

The gist of the festival is that BMI Nashville sends it's writers on a little vacation to Key West to hang out and play. They will send other writers here as well, but the majority by far are Country writers. After all, it is Nashville and Nashville is the hub of Country music. Having said that, those who write in Nashville are far from being exclusive to Country music.

How I got into The Key West Songwriter's Festival

To start, I was signed with McClure and Trowbridge Publishing Nashville in 2000. In doing so, they had me sign up as a BMI writer. Being in Nashville, they lean in the direction of Country music, albeit many forms of Country music

After I moved to Key West, I had my publisher contact BMI about being in the festival. I've been in ever since.

The key point here: My publisher is in Nashville and he knew right off the bat the person to contact at BMI.

General Observations

I don't know the inner workings of how this event is put together, nor do I care to know. It's not my business. I am very fortunate to be included in the festival for the last seven years and consider it the highest honor I get as a songwriter by being included! Thank you to all who have included me!!!

However, if I was not in the festival and wanted to be in it, here are the things I'd look at, in no particular order and make my approach with these as a guideline.

  1. The festival is put on by BMI Nashville and local organizers here in Key West. What I was told is that the roster is put together by BMI Nashville. This being the case, there would be no point in contacting the local people. They wear many hats year round, the festival being one of them, and asking them questions only bogs them down and doesn't advance your quest. Go directly to the booking source.
  2. As BMI is the organizer as far as performers go, it's only natural that being a BMI writer is to your advantage. Having said that, I have seen a few ASCAP and SESAC writers in the event over the years.
  3. If you have a publisher, have them do the leg work. It's one of the things they do.
  4. BMI is not going to come to you. They have over 750,000 writers, if anyone thinks they are going to contact them, they might stop and ask themselves if they actually think BMI will contact the other 749,999 writers asking them if they'd like to play the Key West Songwriter's Festival as well. I had to get off my ass and make the effort. Anyone who wants to be in the festival must do likewise.
  5. There are over 230 songwriters in the festival. They come from all over the globe. New York, London, Los Angeles, Austin, Germany, Australia, but the vast majority come out of Nashville.
  6. BMI has offices in Nashville, New York, Los Angeles, Miami, London, Atlanta, and Puerto Rico. The Key West Songwriter's Festival is put on by BMI Nashville.
  7. I am currently dealing with BMI on help with information completely unrelated to the KWSF. I have dealt with four different people there, and everyone has gone out of their way to assist me and likewise been both very helpful and extremely pleasant to deal with. They have all gone out of their way to assist me. Customer service rating is 110%.
  8. From my perspective, if money is involved, anyone will give you more attention. If you don't file for your performance royalties, you're leaving money on the table and that money is yours! You've hired BMI (or ASCAP and SESAC) to do this for you. Remember, they have 750,000+ writers. They're not going to guess what you have in performance royalties. They don't have time. However, they are set up for you to list your songs so that they can pay you. It's up to you. However, I can't help but think that if they are paying you, it might motivate them to promote you as well by putting you in the Key West Songwriter's Festival? See links on how to file below.
  9. Again, the KWSF is put on by BMI Nashville. The majority of songwriters that come to the festival are from Nashville, and they are pretty deeply entrenched in Country music, for the most part. I can't help thinking that having Country music as at least part of your repertoire is a bonus? It's not essential, but I would think it helps.

Everything here is a guesstimate. I may be totally wrong. It wouldn't be the first time. On the other hand, it may just be a guide. It is based on logic and it does make sense. That doesn't mean it's correct, however. Use your best judgment and all the best of luck! 

Links on how to file for performance royalties:
Part 1 

Part 2

Thank you for reading my blog!

If you'd like to support my efforts, please look into my music, as well as my book "Bar Stories"!

I thank you in advance!

CD Baby

Amazon (song “Island Blue”)

Also, please check out my book “Bar Stories”. It's a fun book about various bar situations I've seen, witnessed, or participated in over the decades. If you're looking for a depressing book, you're in the wrong place!

This book is FUN! Additionally, purchasing this book also is helping me write the three other books I am currently working on: “The Absolute Best Bars in the Florida Keys”, “Living On A Tropical Island” (also known at this point as “Island Living”), and “Time Traveler”. Bar Stories is only: 


Sunday, May 14, 2017

Key West Songwriter's Festival - Story Behind The Song: "The South"

Story Behind The Song - “The South”

I believe it was in 2010, at the Key West Songwriter's Festival. It was a beautiful day and Robert Earl Keen was on stage at The Green Parrot with another songwriter.

When Robert Earl Keen first addressed the crowd, he proclaimed “It's so great to be back in The South again!!!”. Hummm. This left me a bit puzzled.

Then, at another show in the Key West Songwriter's Festival that year, my friend Misty Loggins said the exact same thing when she first addressed the crowd. Was this some kind of movement, or something?

Later, at another show, yet another performer stated the exact same thing!

Being a resident of Key West and a songwriter, I was inspired to address the subject and wrote a song with the title of “The South” to do so in a tongue-in-cheek format.

“The South”

Well they all came down from Nashville to this island in the stream

To have good times and share their rhymes with the likes of you and me

And we love them so and hate when they go, wish they could stay longer in town

One thing I've got to help them with though, just so they know...


It's an annual migration from Nashville down to the Keys

They send their best to give them a rest, stretch their legs out by the sea

And they play here and they play there, you know they play all over town

And the hustle and bustle of Nashville, here, ain't to be found


Well I go with a big smile to every event I can

One thing I happen to notice though, no matter where I've been

You know they all say it's so great to play in the South again

That thing I gotta help them with though, just so they know The South

is north of here

< Bridge>

Now, you gotta travel south to find your way here

We're just shy of Havana you see, swimin' in that ol' Gulf Stream

Now it may sound confusing, but you ain't loosing your sanity

That's why The South, is north of here.


We're a crazy combination, some say a wild-ass stew

A little Bahamas, a bit of Cuba, a pinch of New England too

And yeah, you can bet there's a lick of Dixie, so don't have no fear

But be rest assured, you can take it to the bank

That The South, is north of here


Here chickens are protected, they don't go in your stew

We all ride bikes to get around town

And on the corner we can drink our brew

To the north of us is The South and we love our island view

Insanity might take the rains, that may be true

That's why The South is north of here

< Bridge>

Now, you gotta travel south to find your way here

We're just shy of Havana you see, swimin' in that ol' Gulf Stream

Now it may sound confusing, but you ain't loosing your sanity

That's why The South, is north of here.

© 2010 by Christopher R. Rehm  -  BMI

Listen to “The South” here:

Available for download at:

Thank you for reading my blog!!!

Catch our band, The Shanty Hounds, all around Key West and the lower Keys

We're always at Grunts, 409 Caroline St. Thursday's and Sundays 8 - 11 pm.

Our schedules are posted on our Facebook page:

Monday, May 8, 2017

Key West Songwriter's Festival 2017

The Key West Songwriter's Festival kicks off on Wednesday, May 10th! I'm honored to be part of it again this year! It is the largest festival of its type in the world! Last year there were over 230 songwriters from the U.S., Canada, Europe, and Australia involved!

In 2016 at The Cork and Stogie we had artists stop by spontaneously and play! What a great time that was!

This year there's another independent songwriters event hosted by Ben Solove featuring a long list of local performers. 

This is all good stuff as it helps turn Key West into a songwriter's Mecca for a week! I'd love it if Key West could have a place where songwriters could thrive year round, instead of one week a year.

Several years ago I was in advanced discussions with a publishing company C.E.O. and also a former Key West resident who had a lot of business connections in town.

The idea, in a nutshell, was that we would build a studio here in the lower Keys that artists and songwriters could come, hang out, write songs, record music. It would be kind of like the studio the AIR Rolling Stones built in Montserrat. Everyone from The Stones, to Paul McCartney, The Police, you name it, went there! Regretfully a volcano was also deciding it was time to blow off some steam and that was the end of that.

With the idea I had, a publishing company could have sent some songwriters here on a project to write some songs, potentially for themselves, or another artist. With the current wave of island music based on County, it really makes a lot of sense. Like AIR Studio, artists from around the world could also come and do as they did at AIR. The advantage here is that there is no volcano to deal with, plus, for US based artists, there are no passports required.

In addition, we would set up a small bar where the visiting artists could come and play to the public. A small hole in the wall where the main focus was on songwriting and songwriters.

Before we could put it all together, the publishing executive left the business and Michael, with the business connections, regretfully passed away.

It really is a very progressive idea. If someone is interested in looking into it, please contact me!

By the way, I'm scheduled to play on Saturday, May 13th 1 – 2 pm at Turtle Kraals. If you're in town please stop by and support both a local and Trop artist!  

I hope to see you there!

Thank you for reading my blog! 

Tuesday, April 25, 2017

You May Already Have An iHeart Radio Station!

A couple of years ago I found out something I was unaware of. I had a radio station at iHeart Radio!

The way I understood it, so long as you have a CD out and are affiliated with BMI, ASCAP, or SESAC, iHeart sets you up with your own station that plays your music and music like yours. If you're not familiar with it, you don't have to do anything and your station plays in a similar fashion to Pandora

When I went to check it out, all of the artists listed like me, who would play on my station.... were NOTHING like me! I contacted iHeart Radio and they asked to let them know 40 artists whose music was like mine and were already on iHeart Radio. I did this and they had everything changed in a couple of days! Not only that, they were eager to make things the way I, the artist, wanted. What more could I ask?

This is a great marketing tool for the artist as well!

The icing on the cake was someone from Virginia who was in Key West recently, told me that her husband loves my iHeart station and listens to it all the time! Fantastic!

I go there from time to time too, and listen. Good stuff! Well, I went there a few days ago and it was a hodge-poge of artists I had chosen, plus, artists who crawled out of the woodwork and were nothing whatsoever like me at all.

I contacted them and they asked again for artists like me This time however they requested links to their iHeart stations. Being as last time they didn't request links, although I had the list of artists that I saved from last time, I didn't have links to their stations.

So this morning I was off on a safari to get the links of the artists' stations. What I found was, like myself most of the artists were paired with other artists who were nothing whatsoever like them.

If you are an artist chances are good that you also have an iHeart Radio station! Check it out and make sure the artists paired with you are who you would like paired with.. If not, contact them and they'll be happy to change it for you.

If any artist feels my list of musicians would be well paired with theirs (Trop Rock), let me know and I'll be happy to save you the time of looking everyone up, and send you a copy of my list of artists and their links.

iHeart Radio also pays you royalties via your Performance Rights Organization, BMI, ASCAP, or SESAC.

Thank you for reading my blog!

If you'd like to support my efforts, please look into my music, as well as my book "Bar Stories"!

I thank you in advance!

CD Baby

Amazon (song “Island Blue”)

Also, please check out my book “Bar Stories”. It's a fun book about various bar situations I've seen, witnessed, or participated in over the decades. If you're looking for a depressing book, you're in the wrong place!

This book is FUN! Additionally, purchasing this book also is helping me write the three other books I am currently working on: “The Absolute Best Bars in the Florida Keys”, “Living On A Tropical Island” (also known at this point as “Island Living”), and “Time Traveler”. Bar Stories is only: 


Tuesday, April 18, 2017

Songwriter's Largely Unknown Benefits - Part 2

Performance Royalties - How To File With BMI

In the on-going series, here explains how songwriters can file their live performance songs, with BMI.

Sunday, April 9, 2017

Songwriter's Largely Unknown Benefits Part 1

The prediction that I'm going to make is actually pretty astounding really. Here goes, the vast amount of songwriters out there, most likely don't realize their value. Most of us love and live for songwriting. There's nothing like the feeling when a song is starting to flow and the process is all coming together. Everything is making sense and all the bricks are falling into place. Other times, it's a more tedious process that may take days, weeks, or months to write and make an arrangement out of. The end product of both is the same, however. When it comes together you have a feeling of satisfaction and achievement.

Of course, this has no monetary value. It's not as though the song is going to the top of the charts, or even on the charts, for that matter. The reality is that there is little chance, if any, that you'll have someone like say, Kenny Chesney, walk through the door where you're playing and say”WOW! I love that song! I would love to record it!” Then six months later it's out on the airwaves and on it's way to selling two million copies, on top of getting played on radio stations coast to coast every ten seconds.

I recall my publisher, McClure and Trowbridge Publishing Nashville, telling me he had signed a writer who had a hit song he co-wrote with three other writers, and with the royalties he earned, built himself a house outside of Nashville!

I have a song, “Yeah, A Harbor” that virtually every time I play it, people come up to me and say things like “I feel like I'm seeing a movie of life on a harbor when I hear that song!”, or “That song paints such a vivid picture”. It's one of those songs that motivates people to go out of their way and say something to me about it. People that I don't know and they don't travel in the music circles I frequent, will by fate alone, be at a gig I'm playing here in Key West. Maybe they're off a cruise ship? Maybe they're in town for the weekend looking for nothing else, other than to be a Duval Street renegade, or maybe they're here looking to go out on a fishing trip. Who knows? They may come from all walks of life, a teacher, an insurance executive, a student, a sports professional. you name it. However, these people, men, and women alike have gone out of their way to compliment me on the song.

What will I really get out of it? Well, most writers will get the first step of what I get, which would be maybe, a five dollar tip in the bucket. But what's after that?

Well, BMI, ASCAP, and SESAC, the three performing rights organizations in the US, can come into play after this.

In this case, BMI, ASCAP, and SESAC license bars, restaurants, and concert venues to be able to play music they license. They also cover radio, tv, commercials, and the like, however for this blog, we'll focus on live music.

As far as I go, I've been a BMI writer for seventeen years, the same amount of time I've been published. At the time, McClure and Trowbridge Publishing set me up with BMI when I became one of their writers. So, I'll be using BMI as the example henceforth as I have no experience with ASCAP or SESAC. Having said that, ASCAP and SESAC have similar programs.

With what I do playing in Key West, the music scene here caters mostly to tourism. Therefore, we're not so much highlighting our own music, per say. The clientele wants to hear songs they are acquainted with. They're not looking for original music. So, what we do is play some great covers, then sneak in an original.

What happens in this situation is the audience creates a bond with you on those first songs. Again, this is a tourist town bar, in Key West, not a coffee house in Greenwich Village. When in Rome... Myself, I never pre-announce a song to be original. I'll wait until I'm done and gauge the crowd's reaction to the original. I learned this through the school of hard knocks.

What would happen would be I'd get to my second song and say Hey! Here's an original I think you'll like” at which point ¾ of the crowd call for their checks! They hadn't even heard the song yet. What they heard was there was an original song on the way and their experience with originals was that they were just downright awful.

In feeling their pain, as I've likewise heard performers doing originals that were nothing above sludge. I also learned quickly not to announce an original until after it was over, and then only if there was a good reaction to it. Often, when they heard something they liked, they'd ask for more.

Consequently, over an evening I might get in ten originals or more.

What happens is, after the gig is over I'll list my gig songs with BMI.(I can also list covers if I want) BMI pays quarterly and after logging in my songs that I play at my gigs, I can expect a check from BMI for between $75 and $125, or so, depending on how many gigs and songs of my own I play over the quarter.

As a BMI writer, I only know how their system works. If you are an ASCAP or SESAC writer, contact their offices to find how to operate their procedure. He's BMI's in a nutshell:

With BMI, log in, then go to “BMI live”.

Click the blue box that says “Performances”

There will then be the events drop down box. For regular gigs pick “Concerts”

From there it will walk you through asking venue, date, and it will also give you your catalog of songs to chose that you played on that given date.

Every gig must be listed individually.

BMI pays quarterly.

BMI also has an app for smartphones. A great idea, as this way you can do them right after you finish your gig.

So, let's say over a year I make $400. Is that going to be setting the world on fire? Hardly. However, it's part of being a professional and for me, $400 is a heck of a lot better than what well over 90% of other songwriters are not getting because they simply don't file for it. You have to make the effort, with BMI, they have over 750,000 writers. They can't baby sit us, however, they do supply the tools for us to be a part of their system and get paid.

In 2015 BMI alone collected $1.03Billion and distributed $877M to it's writers.

The vast majority of songwriters are with either BMI, ASCAP, or SESAC. If you are not and consider yourself a songwriter, this is a first step in becoming a professional. Look at all three and see which one is best for you.

As for myself, I'm very happy with BMI. Through being a member, BMI has entered me into the Key West Songwriter's Festival for the last seven years. While this may sound like a colloquial event, it's actually a joint venture between Smokin' Tuna Saloon here in Key West and BMI Nashville. As of 2017, The Key West Songwriter's Festival is the largest songwriting festival in the world. This year, there are expected to be over 230 songwriters here in the event, plus who knows how many playing independent events? However, It was my publisher, McClure and Trowbridge Publishing Nashville, and BMI who got me into this incredible event, to begin with. There's also an incredible staff based here in Key West helping to organize the event. However, I say that only to point out that the performance rights organizations are great to have in your corner,

One note here. I understand fully venues such as bars and restaurants requiring licenses. At least in BMI's case, there is a provision for house concerts. At the house concerts that I have performed at, 100% of the door is given to the musicians. I strongly suggest that songwriters do not report house concert venues. Most are not licensed, however, unlike a bar or a restaurant where they are also making money on food and beverages, by and large, house concerts are largely private and a work of love for the music. In situations like this, I strongly discourage reporting songs you do at these events. I have heard of house concerts having heard from attorneys from ASCAP as the house concerts are reported for royalties and not licensed. 

We'll cover more on the performance rights in the next blog, but for the moment I've just shown you how to put some money in your pocket by just doing what you're already doing, playing your own music.

Feedback is welcome!

Be sure to check out my Facebook pages!

Key West Chris Music

The Shanty Hounds

Shanty Hounds T-Shirts are now available in both Men's and women's!
$19.95 - contact Dani Hoy at

Thank you for reading my blog!

If you'd like to support my efforts, please look into my music, as well as my book "Bar Stories"!

I thank you in advance!

CD Baby

Amazon (song “Island Blue”)

Also, please check out my book “Bar Stories”. It's a fun book about various bar situations I've seen, witnessed, or participated in over the decades. If you're looking for a depressing book, you're in the wrong place!

This book is FUN! Additionally, purchasing this book also is helping me write the three other books I am currently working on: “The Absolute Best Bars in the Florida Keys”, “Living On A Tropical Island” (also known at this point as “Island Living”), and “Time Traveler”. Bar Stories is only: 


Thursday, March 16, 2017

Keeping the Standard of Quality Music. House Concerts

I miss Jeff Allen for many reasons. First and foremost, he was a friend. Second, for those who didn't know Jeff, he was a full time Trop Rock DJ, dedicated to moving the genre forward, only with the best foot being used for every step.

I first met Jeff in 2009. He was doing a DJ gig at a bar on the roof top of The Bull, named The Garden of Eden, during the MOTM festival in Key West. He was visiting from Pennsylvania.

I had arrived in Key West in 2008, and in 2009 I recorded a demo of my song “Raise My Glass To The Upper 48”. A few months later I made a collage picture video to go with it. I was able to use pictures I had to match the lyrics, the theme of which which was a story of living in Key West.

Jeff had seen it and approached me at The Garden of Eden. He said “I'm really interested in what you are doing! It's original! Get a great producer! Please don't waste your time with a second rate producer either.”

Gary Ek steered me in the direction of Dan Simpson, who did a first rate job plus on my album
“Shanghai'd and Marooned in Key West (things could be worse)”. Jeff loved the album, I'm very happy to say, and played it all the time on his station, Beachfront Radio.

Later, I was talking with Jeff and he was telling me that he would get loads of CDs in the mail every month, from people hoping for airplay.

“Most of them I reject. The quality of the production on most is just not the top quality I'm looking for. Trop Rock has to be putting it's best foot forward and if it's not top quality, I won't use it.”. As in my case, Jeff always urged new artists to go with a great producer. If the production wasn't up to par, it never made the Beachfront playlist.

We lost Jeff to cancer a few years ago, unfortunately.

Since Jeff's passing, we've seen a lot of new Trop Rock stations enter the arena. Some are sticking to Jeff's idea of only having top quality recordings. On the flip side, there are DJs out there that unfortunately must have ears of tin, as the some of the music they are airing are, on a good day, third or fourth rate. In some cases, that's being kind. In other words, the production quality of a lot of material we're hearing lately is complete crap.

As I mentioned, when I set out, I decided to go with local engineer/producer Dan Simpson. I was working at an art gallery at the time and told a new guy who had just transferred from a sister gallery down the street, about my project. When I told him Dan was going to produce the album, his reply was “I never heard of him. I'll produce you! I'm a great producer. My stuff sounds fantastic!”

Well, anyone who is in the music business in Key West knows Dan Simpson. Dan had been playing bass and recording all sorts of artists in Key West for over thirty years. Naturally, a red flag went up. The employee was transferred back to the other gallery a few days later. Several months after that I heard something that the employee produced. It may have been the worst thing I've ever heard. It was simply atrocious.

The point here being that there are a thousand charlatans out there who will try to convince those who just don't know the industry. Some may have all sorts of top line recording equipment. However, that doesn't mean squid. The idiot from the art gallery who wanted to produce me, actually thought he was really good. I could have done much better than he did, and I am no recording engineer by any stretch of the imagination. Terrifying.

Dan Simpson moved from Key West last year. He spent thirty-seven years here. I'll always be grateful for both his level of the work we did together, his professionalism, as well as his friendship. For myself, I'm a hands-on sort of artist. I can't just send a demo of a song to a producer and have them send me a finished product back. I'm the type that is there during the recording and making changes as we go. The reality of it is, I'm co-producing it from a standpoint of personnel, though certainly not the engineering side of it. So, Dan moving away, doesn't work.

In Key West, we're very fortunate to have Ian Shaw, an English producer who moved here several years ago. I've been friends with Ian for almost as long as he's been here. Ian has a long, very successful track record with over thirty years of success in Great Britain. He and I started working on my next album “Jump Into de FiYa!” last year. The recording and production is first rate, or above with Ian Shaw.

If you are a recording artist, a DJ, or station principal, I urge you to keep the standard at it's highest level, as Jeff did. Measure the quality of professional, commercially produced recordings by artists such as Jimmy Buffett, Kenny Chesney, Zach Brown, Mark Knopfler, The Dead, ABB, etc. Use that as your gauge! Granted, none of the Trop artists will have a budget to work with what will rival those artists, however, their finished product should be 80% of the quality, or more, of that of the big budget pros. If it's not, my suggestion is not to play it, unless you're doing a demo show*.

And for the artists, don't listen to the hype you might get. Listen to the producer's finished work of others before jumping into the fire. That's the real test.

Also, very important!!!! Listen to their previous work through various speakers and headphones. The ear bud headphones as well! Hearing work through the producer's speakers is only part of the equation. The average listener will never hear your music through recording monitors.

As DJs, go ahead, you are not only allowed to cherry pick, Jeff's spirit is encouraging you to do so.

Maintain the standard and keep the bar high!

House Concerts

We've had a great time over the last couple of years doing house concerts! The Shanty Hounds first house concert was at The Sandbox on Anna Maria Island, Fl. in August, 2015. It was a fantastic success! A lot of people came and we had a great time!

On that another trip in 2016, we headed out of the Keys this time to Diablo Creek in Englewood, then on to at Vinny & Mo's Lobsteritaville, an hour south in Cape Coral. What a blast there as well!

So far this year we've done two. One in Cape Coral at Art and Darleen's Destination D'Arts, in Cape Coral and then up to J & L's Lai Low in Port Charlotte for anther fantastic time!

There are many great things about house concerts, one of which is that it's exactly what it says it is, a concert. It's a different animal than playing in a bar. In a bar, people have the opportunity to listen to what the artist is playing, or shoot the breeze with their friends. At a house concert people sit and listen to the music! Fantastic!

In some cases, the house concert venue will have a designated area for those who want to talk, which is far away from the concert, so not to interrupt the concert itself. Great idea!

One of the things we heard on our last trip, was that on the west coast of Florida, house concerts were springing up left and right, and left again. The events we played were about an hour apart. That works. What we've been told was that the market is getting saturated, however. Apparently two, sometimes three events are being held in the same area, at the same time.

This isn't good for anyone. The patrons are dispersed between events, instead of all focusing on one. In addition, there are events every week. House concerts should be something special. If there are house concerts every week, they go from being special to being routine. House concerts should never be routine.

In my opinion, house concerts should be special. If the people attending are going every week and deciding between acts the uniqueness of the events are lost.

* = Danny Lynn of Tiki Man Radio is thinking about be doing a demo show. Demos are recordings that are often used to sample a song. More often than not, a demo is a sample of a song. The recording is often minimal, sometimes just a guitar and a voice, others a bit more. Demos are almost never used as a final recording. The fun thing about Danny's show is that if the audience responds well, the artist may just record it professionally as a release! This could be a springboard for new songs!

Thank you for reading my blog!

If you'd like to support my efforts, please look into my music, as well as my book "Bar Stories"!

I thank you in advance!

CD Baby

Amazon (song “Island Blue”)

Also, please check out my book “Bar Stories”. It's a fun book about various bar situations I've seen, witnessed, or participated in over the decades. If you're looking for a depressing book, you're in the wrong place!

This book is FUN! Additionally, purchasing this book also is helping me write the three other books I am currently working on: “The Absolute Best Bars in the Florida Keys”, “Living On A Tropical Island” (also known at this point as “Island Living”), and “Time Traveler”. Bar Stories is only: