Why do you think so few Canadian Jam-bands break through in the U.S.?

[bradm]

How about:

• Burt Neilson Band
  
• Slowcoaster
  
• Slammin Jack
  
• Stephen Franke And Noises From The Toolshed
  
• The Wassabi Collective
  
• James McKenty And The Spades
  
• The Golden Dogs
  
• Blue Quarter
  
• The Jimmy Swift Band
  
• Grand Theft Bus
  

as a start?

Aloha,

Brad

[Kaidy Mae]

That's one hell of a good start. I love everyone you've got on there. I think Wassabi, BNB and Slowcoaster would be my top 3 though. Many reasons why too. I just think that they'd make a good first impression and perhaps "sell" the sound a little better as they are a little more high energy than some of the others (ok, maybe not the Golden Dogs).

Usually the 1st is a mellower day at HS. The Can. acts are usually on kinda early. Something funky in the late afternoon would be a really good thing...get their attention right off the hop!

No offense to any of the other bands. I just think these 3 would work the best given the day, time slot and mission to accomplish. SF & NFTTS would be perfect at a small, late night tent too.

Edit to add: Didn't see Blue Quarter on their at first. Okay, now I've got a top 4.

Edited July 5, 2005 by Guest
My readin' ain't so good today.

[keither]

The bands I'll probably be pitching for this potential opportunity would be...

Brickhouse (www.brickhousetheband.com)

Blue Quarter (www.bluequarter.com)

Themasses (www.themasses.ca)

Slammin Jack (www.slamminjack.com)

Wassabi Collective (www.wassabi.net)

Note: I'm from Vancouver, so I have my finger on the pulse of the West Coast scene far more than the East... plus these are bands I've worked with many times.

I know JSB & BNB are more than ready for High Sierra, and would fit into the Canadian showcase very well... but California is a LONG way to travel for any East Coast band.

Stephen's a possibility as well, for sure.

We'd probably look at loading everyone up into a single tour bus and making the trip South to High Sierra together... or in some sort of convoy.

It's a cool idea and would be an interesting attraction for High Sierra which, I would imagine, would be very weel supported down there (curiosity?), so I'd be inclined to go with that which I know... Western Canadian talent.

[Stoolshed]

I thought I'd put in my two cents worth.

I've crossed the border and done tours/shows in the States on 3 occasions. Two with another band, and recently we played Seattle's Folklife Festival with SF & NFTT. Starting in October, we're playing shows periodically down the west coast of the USA, focusing on Seattle, Olympia, Bellingham, Portland, Eugene, Arcata and San Fran. I'm just getting contracts and paperwork in place with the help of copacetic clubs that are giving me contracts. To qualify my opinions based on what's been written on this subject, I will add: We've applied for 15-20 grants, received 4, are currently distributed by Warner Bros., and yes, I am holding a debt for multiple thousands of dollars for our project, like many student loans. Fortunately, with hard and constant work, after 2.5 years, this project is beginning to break even, like a regular business.

The main reason bands do not cross into the USA is because currently to play gigs, you have to have contracts in place, after which time you can apply for a work visa (p2 form). The P2 costs $200 everytime you apply, and as long as your first (entry) gig is 90-100 days away. This is the amount of time required by american officials to process your application. If you would like it fast-tracked, you can pay $1000 (all theses amounts are in american $) and they'll do it in 30 dcays.It is good for up to a year, provided you have a gig every 30 days, but here's the catch: find me a bar/pub/club/festival that'll book a canadian act more than 4 months ahead. Therefore, generally, it's virtually impossible to do your paperwork for more than 2 months at a time, tops. If you're caught playing in the states, even with a valid p2 form 'blanketed' (referring to getting a gig a month like a house gig from a club that'll give you some contracts as a favour, so your paperwork seems to be good for a long period) on a day not listed on the original document ( and nowadays, every border crossing has these dates on database), you'll be blacklisted from entry for probably 15 years. Bad call.

So, to summarize, it's virtually impossible to book shows there farther than 2 months on the P2 form, which must be submitted 90-100 days before the first gig. Or, if you're rich, pay $1000 every 4 months for quick paperwork.

It's a misnomer (sp?) that clubs won't book Canadian acts. I have contracts in place from various places, and many clubs are sympathetic. The problem is that you have to be incredibly organized to get everything right. For example, it's now july 5th, and I'm doing booking as far ahead as next december. This can be so frustrating because so much can change between now and then, but it's so far the only way. In the meantime, the AF of M (the American Federation of Musicians - also the canadian union; of which you have to be a yearly member to cross into the USA as well, at $120 a year, initial signup fee of $85) is working to have the time shortened, but they've been working on it for 4 years. Blame Bush. It used to be 30 days max., the fast track was 10-14 days, and cost $180.

As far as the High Sierra discussion, while promoters have good ideas, it sounds like noone has contacted High Sierra, because I have. I've talked to them about how to get in, which is why we're starting all our west coast usa tour dates. The only, and I repeat, the ONLY way an unsigned (to a major) canadian band will play there is if they first tour down to northern california and play gigs where a representative can come out and here you. They will definitely come out, but there is zero chance of bands being accepted without having toured the area at least. Even then the odds are tiny unless you have a unique angle. The festival gets thousands of applications a year just from american bands, many of which spend a couple of years crashing it by setting up and playing for free in the grounds, to get people's interest, and show they're working to the organizers.

The bottom line is, just like canada, where the biggest festivals are the hardest to get into (winnipeg folk fest, edmonton folkfest, Calgary folkfest, Montreal Jazzfest, Toronto Jazzfest, etc.) and take years of applying, so are the american festivals.

Finding an american label would be a great start. Otherwise, I suggest bands become union members, and start doing repeat gigs at american cities close by, by redoing their p2 visa forms way ahead and every 2-3 months until they have a list of venues that will book them way ahead.

I also know all the loopholes and what does/doesn't work, and what the odds are. If any bands need help figuring this shit out, send me an email at: stephen@stephenfranke.ca and I'll answer any questions. In the meantime, I'll be busy trying to get my paperwork done and sent in by July 14th for our first gig in Bellingham on Oct 12th, 2005.

As far as the arguement about bands charging $10 suddenly, it's because they can and must. A hard working band is worth it. It's virtually impossible to get a good paying job when leaving for tour every few months, so getting paid decently at gigs makes it so bands can pay the bills and keep it up, not because they're trying to bank. While we still try to keep our ticket prices down, usually these days we're at $8 when in east of alberta, because we incur such high expenses when touring 5000-7500 kilometres away.

My two cents.

[keither]

Thank God we didn't ask for your dollar's worth Stephen!!

I know you've been busting ass working all these angles, as very few others have, and that is abundantly clear in your knowledge of the shitstorm that is involved in touring down South.

Our High Sierra angle would be done directly through an inside contact, not just by contacting the festival producers... and even still there's obviously no guarantees, just a hope.

For 2 countries that are supposed to have free & shared trade practices, we both sure give the fuckstick to artists of all kinds who are trying to ply their trade.

It's music for Christ's sake... IMO that is something that should travel freely the world over, and most notably between Canada & the US.

Bureaucrats have no business in our business... but I guess they're afraid Stephen Franke & Noises from the Toolshed may carry some kind of 'Mad Musicians Disease' across the border, eh?

Phuck...

[Velvet]

I know you've been busting ass working all these angles, as very few others have

Agreed wholeheartedly.

[SmoothedShredder]

Thanks Stephen,

That was a great way to highlight the beuracracy monster we've created... each one of those lines probably employs one person on each side of the border to check... the limits are set tight so that if need be, the border can be used to tap the others countries resources aka pockets if need be... seems like there a genuine dislike out there between our two nations eh?

~W

[Kaidy Mae]

Blame Bush. It used to be 30 days max., the fast track was 10-14 days, and cost $180.

Wow! That is quite saddening. I'm sorry to hear that it's so tough for musicians to share their songs across borders. Whatever happened to music being the "universal language"? I don't know why I'm still shocked at the plethora of negative ways the Bush administration continues to touch our lives.

Thanks so much Stephen for clarifying exactly how tough it is to play regularily, travel and make a living. My High Sierra wish list was totally hypothetical. However, having some strong Canadian talent on the bill (which all of the above most certainly are), would help get me back to my home away from home. Please post the dates when you'll be in Oregon & NoCal...I'll spread the word to my old neighbours.

As for $10 a show, I think this is to be expected when a band is touring. And really, it's one less double gin at the bar. Not too much to ask. However, I was a little shocked when I got to the door at the Silver Dollar Room the other night and heard that Alberta Adams was charging $18 a head (and it being 12:15). THEN, I realized that she had to travel from Michigan, pay her amazing band and sing her heart out to a nearly empty room. Not to mention she's in her eighties and toured with Dizzy frickin' Gillespie!!! Good for her! That mama can hardly walk, but her vocals will blow you away every time. I would gladly pay $18 to hear those Detroit blues again. :thumbup:

I was actually really surprised to hear that the BNB/GTB run in Toronto is a mere $10. That's a freakin' steal folks! I can't wait! :cool: