This page is intended for the " Would-Be " Artist, but it also gives an insight into Daves philosophy and approach to Club work. After over thirty years in the business, Dave has been asked many questions. Some questions pop up more often than others. On this page he attempts to cover, in depth, some of the more Frequently Asked Questions, and offers some practical advice to those just starting out.

If you have some feedback, or would like to ask Dave about something, You can Reach Dave Williams by Email:

• Q: Where do you get your backing tracks?
• A: Various sources. I can recommend ProTapes (Or Backingtracks Online, as they are now known), they are based in Bury, Lancashire. Also, Jeff Daniels, based in Keighley, West Yorkshire, his prices represent great value for money. Both these sources offer a secure online payment system, and tracks can be ordered for delivery on various media, or downloaded instantly as high quality mp3 files. (See Links Page for both these suppliers websites).
  I also create them myself at home, using various keyboards, and the computer, as for the rest, well who knows . . . .
• Q: How do you feel about Karaoke Nights, our club puts these on instead of booking an artist ?
• A: Personally, I feel that Karaoke has it's place, like everything else. It's the modern-day equivalent of the old Volunteers Night. It's a great way for people to discover that they might just actually be able to sing, or more probably, should forget the idea. Nevertheless, quite a few of today's sucessful artists started out on the karaoke machine, and indeed if I am honest, I have used the odd karaoke track myself, on occasions. What does annoy me, as someone who earns his living on the concert stage, is seeing clubs using Karaoke simply to save money. It might work in the short-term, but people soon get fed up of seeing the same handful of wannabees murdering the same song week after week. They soon start to vote with their feet.
• Q: Why Mini Disc players, I'd have thought a Laptop full of mp3s would be easier ?
• A: Laptop systems are fine, if you are working to a pre-planned set. I never know what numbers I am going to do, until I am out there, reading the audiance as I go. So, it would be impractical to have to start fiddling about looking for specific tracks from a repetoire of over 200 songs. By using two Mini Disc units, I can find the next song while still singing, and I have the luxury of being able to flow straight into the next number without a gap. You'd never be able to get flexibilty at that level on a laptop.

  The other thing to remember is that you can see the track display on a Mini Disc unit from across the stage. Try reading this Web Page standing 2 - 3 meters from the screen.

• Q: Do you always use backing tracks, wouldn't you rather work with LIVE musicians ?
• A: Yes I would. However, good stage crews are, sadly a very rare breed these days. Most clubs don't have any at all, even if they could afford to pay them. Since going solo, I should say that at 9 out of 10 venues, I'm on my own anyway. Many places don't even have a Compere. Given that I like to pick and choose my numbers as I go along, if I had to provide sheet music to an organist and drummer, I'd be back to a pre-planned set scenario again. So I'd loose the spontaneity. Back in the good-old-days, gigging with the band, we'd hear different resident musicians, and the music they produced varied enormously, from extremly good, to exeptionally poor. Backing tracks might not be LIVE, but they are consistant.
• Q: What tips and advice would you give someone thinking of working the club circuit ?
• A: Watch the volume ! - You don't need mega-watts of power for your average venue. My PA system is 300w, (150w per channel). I've seldom needed any more than that. Read your audiance. Look at the age-group, give them what they want, rather than what you think they should have. You are more likely to be invited back that way. By all means, put in something orginal, but make sure they know at least 95% of the numbers you perform. Talk to them, but make sure you have something to say. If you can't come up with anything better than " This one was originally recorded by such & such, and it goes something like this. . . " then maybe it's time to shut up. Do your homework. Know your market. But be prepared to change everything when you get up there. Be flexible. You want them to like you ? - Give them what they want and they will love you. Ignore that, and you're on your own. I've seen some brilliant acts literally die on their backsides out on stage, simply because they failed to read their audience.
• Q: I've won the pub's Karaoke contest a few times. What next ?
• A: Well, if you really think your up to it, and you've got all the gear. Some decent stage wear, and enough material to cover two 45 minute spots without repeating anything. Plus a few more numbers in reserve, you're getting there. All the agents I work for hold regular audition nights where they showcase new local acts. Give them a call. (See My Contacts Page for their numbers). For your audition, you'll need a cross-section of the material you intend to do, and you should prepare for a spot lasting 15-20 minutes. Take your stage clothes, and wear them. If you have what it takes, you'll get the work. But be prepared for a few knocks along the way.
• Q: Your backing tracks are pretty good, would you do me some ?
• A: NO. But see my links page for a point in the right direction . . .
• Q: You'd be great for my parents Golden Wedding - Have you got a card - How much do you charge ?
• A: Golden Rule Number 1: Never discuss your price at a gig. - That's what you pay your agent for.
        Golden Rule Number 2: Put your Agent's Name and Phone number on the card. - Never your own private details.
• Q: Why do you say that ?
• A: Love them, or loathe them, Agents are part of the machinery that runs the entertainment industry. Particularly as a buffer between YOU and the work you do, and the people you are going to be facing from the concert stage. You should regard your involvement with an Agent, as a PARTNERSHIP, regardless of the actual deal you might have struck with him. For a price, (usually around 15% plus VAT), they will, if you are good enough, get you all the work you can handle. And then some. Don't forget, he's in a position to help, when things go wrong too. He's the one with all the contacts.

  So, you need to build up a good working relationship with your Agent. Referring enquiries to your Agent is a great way to do this. For the sake of a few pounds, you will gain much peace of mind, knowing that if you can't make the gig (through sickness, breakdown or other emergency), he'll find a replacement. That way no-one should be too dissapointed. Also, having an Agent will help protect your own personal privacy, security and safety. The phone will only ring when there is a serious enquiry.

• Q: What advice can you give concerning dealing with Agents ?
• A: First and foremost: Pay your Agent his Commission Promptly.
  After all, he's trying to earn a living too, you know. Keep him informed about your availablity. Send out a monthly Datesheet. Be honest with him. If you try to do something a bit under-handed, chances are he will get to know about it, and it's no skin off his nose if he just happens to " loose " your number, as a result . . . If you are " FREELANCE " - like me, it's particularly important to be " Up-Front " about your dealings with other Agents. They all know each other, and often work in partnership anyway. So if one Agent offers you work at a venue that you have previously worked through another Agent, tell him. If it's more than six months ago, you'll get the gig anyway. It's worth remembering that most clubs want at least a six month gap between return bookings for artists. Clubs often rotate month by month between Agents themselves. They do this in the hope that they will be drawing from a wider pool of acts. Since most acts eventually end up working through several agents anyway, there will always be this overlap situatuion from time to time. So be prepared to turn the odd job down, in the interest of fair-play. You will gain from it in the long run, as your Agent will appreciate your honesty. It's bad practice to use another Agent's offer of work to get back to a venue earlier than six months. The club will probably cancel your gig anyway. You'll be left with egg on your face, and the Agent will probably be inclined to ring someone else next time " .
• Q: What advice can you give concerning dealing with offers of work made at the gig ?
• A: When you accept a gig from an Agent, he will send you some form of contract. Most Agents are members of The Entertainment Agents Association. In which case, they will have printed on the standard contract they send you, the following statement:

  Any re-engagement with the above employer/venue shall be deemed to have been negotiated through this Office, and be subject to the same commission, where re-engagement is made within twelve calendar months of the the date of any engagement or re-engagement, previously, currently or subsequently arranged through this Office, no matter whether completed or not.

  A bit long-winded, I agree, but what it simply means is that if you go back to a venue within 12 months, your agent wants his commision on the fee you earn there, regardless of whether he had anything to to with you going back again, or not.

  How it works in practice involves a bit of common sense, a little give and take. And I have found that as long as you are open and honest with the agent, it will work out. I have yet to come up against a situation where Agent A offers me a job at a venue, six months later Agent B offers me work at that venue, and Agent A sends me a commision bill as well as Agent B - In practice, it don't work like that. We are all just trying to earn a living, no one wants to fall out with each other, so common sense prevails.

• Q: What if the venue says: " We'll book you direct, you'll save the commission. "
• A: What they are really after is getting YOU to do it CHEAPER for THEM - Don't let that happen - Don't sell yourself short.

  My way of dealing with this is simple:
  It doesn't matter whether its a member of the public, or a club enquiry, the answer is still the same - Refer them to your Agent.
  It ain't worth the hassle. For the sake of your relationship with the Agent, and the goodwill it creates and maintains:
  Let your Agent deal with it. Tell the enquirier - it will be the same price anyway.
  In any event, the venue or client does NOT pay the Agent, YOU DO. So let your Agent earn his commission by representing you, and acting on your behalf.

  Your Agent is a skilled, experienced negotiator. You want the best deal HE can get, without being greedy. The better fee HE can negotiate for YOU, the more commission HE earns. Remember, that he is a lot more used to talking MONEY than you or I. It's easier for him to haggle, over the phone, in the cold light of the next day than it is for you, straight after a 45 minute set. Think about it - You've just come off stage, exhausted, adrenelin still pumping. The punter: Probably had a drink or two, might not even remember a thing about it, next morning. Yes, it happens. I've had it happen to me. Hardly a sound basis for talking business. So, give the enquirer your card (With the Agents Number On It), tell them to ring that number in the morning.

  But remember - Never discuss money at a gig. All you'll do is loose out, one way or another.