During a recent conversation with a Western New York-based gigging musician, I mentioned a “Battle of the Bands,” and was struck by their quick response.
“I hate battle of the bands, it’s basically a pyramid scheme where the bands do all the work,” they said with more than a hint of frustration in their voice.
Now, having been in and around bands for more than 40 years, this was the first time I had heard such an immediate and negative response regarding a battle of the bands. I was intrigued to hear more.
The musician went on to say, “It’s a lazy way to promote a festival and a venue, but ultimately it doesn’t matter who are the better musicians, it becomes a popularity contest. In the end, you get a bunch of bands to play for free.”
It’s hard not to agree with that assessment. The basic model of a battle of the bands requires bands to bring family members and friends to a gig at a local venue, and whoever gets the most people to attend/cheer receives the prize, which in some cases is a spot on a larger festival’s bill.
My experience was mostly positive because of the way the contest was structured. It was part of Music is Art, and it was a corporate battle of the bands, so the bands had to be comprised mainly of employees. This unique structure turned it into a team-building exercise, and our group came in first place at the single-day event at The Town Ballroom. That Battle had local celebrity judges, so it was not a popularity contest.
We won a plaque and a slot at Music is Art. My employer at the time kept the plaque. My son and I wound up changing jobs by the time Music is Art rolled around, and they kicked my son and me out of the band, so we were never able to perform at Music is Art. Even nine years later, I’m still a little bitter about this missed opportunity.
Nevertheless, that Battle benefited a not-for-profit, so at least the entrance fee went to a good cause.
After my conversation with the local musician, I have a different perspective on battle of the bands competitions. Although if it is conducted with integrity and clear rules, there can be a positive outcome.
Unfortunately, it can be another unnecessary obstacle for talented local performers to get exposure. Much like trying to land coveted opening slots for national acts, which are often not paid gigs, there is too much nepotism. By ‘nepotism,’ I mean that these opportunities often go to those who have personal connections or relationships with the promoters, rather than being based on talent or merit.
Despite the numerous social media tools available, it remains a challenge for our local artists to establish a following. In any case, if a promoter is using bands to promote for-profit events, they should at least provide something of value to participants, such as a ticket to the event or compensation for their time. They already have enough battles.