Country Blues > Saturday Night Fish Fry

Obese Journeyman Bluesman as Superhero: Paul Geremia at Jalopy

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Stuart:
Thanks for the report, Mr. O'. It's a damn shame that Paul, as one of the best--if not the best--in the profession today, didn't have a bigger, better and more appreciative audience to perform to. You have addressed accessibility (I'm not familiar with the area, but I'm sure that location was one factor for the small crowd), but another factor is awareness. As Adam points out, things have changed over the years, but with today's level of market saturation, awareness and getting the word out is more important than ever. Perhaps arranging a couple of spots on the campus and/or alternative radio stations in the week leading up to, as well as on the day of the gig would improve attendance. It would take someone with experience who knew what they were doing to run interference and to pre-plan from a distance to make it happen, but it's not beyond the realm of possibility. I know that it happens in the Seattle area all the time. Obviously, you're not going to get 100% coverage and not everyone who hears about it will attend, but if people aren't aware of the gig, how to get there, and the quality of the artist and his or her music, they certainly won't attend. Just a few thoughts...

Mr.OMuck:

--- Quote from: cheapfeet on June 04, 2012, 08:11:02 AM ---Wow that is ridiculous! . . . and I'm always noticing the low turnout for these shows in the videos & etc.
It's such a lesson for a guy like me who lives in butt-fuck nowhere to think that in NYC a player like Paul only draws 14 people!!!!
It's funny, I live in a province/state of about 150, 000 souls. In the past I've moved to urban centers with hopes of getting
more work as a musician only to find that I did better back home. I put on house concerts somewhat irregularly, usually me & a local friend & we routinely draw 60-80 souls paying $10 to get in. There are friends & family members in the audience, sure, but there's a lot of strangers too. Makes me realize how lucky I am.
I think I'll keep plugging away in my little corner of the globe  :(

--- End quote ---

There is a lot of wisdom in mining the home crowd Mike. Actually the only people I know surviving on their art are those who've adopted that strategy. Maybe all art like all politics is local. Seeing the tired looking Paul bundle behind the wheel of his modest sedan at midnight heading back up to Rhode island with how much money after gas? was a sobering reminder of just how slim the pickings are in this field.
I don't know if he played for a guarantee. I hope so for his sake and hope not for Jalopy's.

Mr.OMuck:

--- Quote from: Stuart on June 04, 2012, 08:12:47 AM ---Thanks for the report, Mr. O'. It's a damn shame that Paul, as one of the best--if not the best--in the profession today, didn't have a bigger, better and more appreciative audience to perform to. You have addressed accessibility (I'm not familiar with the area, but I'm sure that location was one factor for the small crowd), but another factor is awareness. As Adam points out, things have changed over the years, but with today's level of market saturation, awareness and getting the word out is more important than ever. Perhaps arranging a couple of spots on the campus and/or alternative radio stations in the week leading up to, as well as on the day of the gig would improve attendance. It would take someone with experience who knew what they were doing to run interference and to pre-plan from a distance to make it happen, but it's not beyond the realm of possibility. I know that it happens in the Seattle area all the time. Obviously, you're not going to get 100% coverage and not everyone who hears about it will attend, but if people aren't aware of the gig, how to get there, and the quality of the artist and his or her music, they certainly won't attend. Just a few thoughts...

--- End quote ---

Very good points Stuart and much along the lines I've been thinking about. I don't know if Jalopy actively does much PR but I intend to speak to them about getting an intern in a college PR program to help make sure events get on college stations.

Another thought, as I pointed out in my review of Geoff Muldaur's Jalopy show, the younger Blues generation people who make the place their home were notably absent, the ungrateful little fuckers! The one member of their club that was there was given stern instructions to beat the shit out of the rest and make sure they show up next time.

lindy:

Putting asses in chairs is yeoman's work, a great thing that you can do for an artist of Paul's stature.

But there's something equally good: cash, or it's first cousin, checks.

Folks like us can put a lot of time and energy into getting people out of their easy chairs, away from their laptops, and into places like the Jalopy, with uneven results at best.

Or, we can put a little bit of energy into writing a check for whatever amount and sending it to Paul as a way of saying "Thanks," even if you're living on the other side of the country. You can ask for a copy of his new CD and say "keep the change," or order multiple copies and pass them out to friends.

During my time in New Orleans I could always put extra money in the tip jar as a way of showing appreciation for a band or solo performer. Many times I heard the words, "I'd like y'all to meet my good friend Philip, Philip DeJar." Besides asking the Jalopy owner to start a transportation system, you can also ask her to invite Philip to her joint. If the cover is $10, then an extra $20 seems about right.

L

GhostRider:
There is something wrong here. Is this Jalopy in the middle of nowhere? A dump? Very expensive?

Here in Calgary (pop. 1,000,000) (hotbeds of sanity) we have an acoustic bluesman (Tim Williams) who plays every Tues. at a local small club. Every Tues. for now going on  four years. And he gets 20 to 40 people every week. Every week! That a talent like Paul can't get 20 folks for a one off is wrong. Something else is in play here. Has this Jalopy heard of promotion. Is all of NYC into hippity-hop?

Alex

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