Perseverance matters

Your impact is limited by your dreams... and your effort.

In 1984 I met a remarkable man who had a profound impact on my life.

33 years later his perseverance to share with others the same insights he taught me, is spreading.

His impact is reaching thousands of miles and lives

NJYS percussion 1987

The New Jersey Youth Symphony* percussion section in 1987, just before I moved back to the UK. Evan, Tom (who became my Best Man, and is still a good friend), Adina, and SPB

George Marriner Maull was the Music Director and Conductor of the New Jersey Youth Symphony* since its founding in 1979. I was not good enough to play clarinet with that group, but my percussion skills got me in. A concerto performance and a Junior Scholarship to the Mannes College of Music in New York City also made me eligible for Maestro Maull’s advanced student “Listening Class.” It was in that class that I learned the difference between hearing and listening.

Why does Classical Music shut down over the Summer?

Not all audiences can access out of town Festivals and Summer Camps

I have never understood the Classical Music industry’s obsession with the Academic school year.

Okay, schools take the Summer off so that kids can go out to the fields and help bring in the harvest. Wait… does anyone still do that? [Shakes head rapidly] That discussion will have to wait.

Last week there were forty-four concerts in my town. Four of them could be deemed “Classical.” This week, there are thirty-five concerts in my town, and one of them is Classical. Yes, I wrote “1.” In fact, it’s not even in my town – it’s half an hour away, but my local rag (newspaper) listed it anyway.

bar concert

What is the most fundamental purpose of awesome music?

The free concert for GDR citizens in 1989 after the fall of the Berlin Wall was an emotionally charged event. No pretence, no gimmicks, just raw music.


Does music have a purpose?

Is it simply to entertain?

Is that why billions of people throughout history have dedicated their entire lives to the study, presentation and sharing of music – to entertain?

I don’t think so.

Music has a much deeper, more fundamental purpose.

Do you remember when you first fell in love with classical music? It may not have been the first time you heard some, or it may even have been several years after playing an instrument, but there was a time you realized you like classical music.

Try to remember how it made you feel (maybe it still does)

That’s because the fundamental purpose of music found its way to you, and you were open to it.

Just a simple Google search for “the purpose of music” will bring you a myriad of responses all surrounding a single theme, perhaps most eloquently conveyed by Miell, MacDonald and Hargreaves in their book “Musical Communication” as:

“a means by which people can share emotions, intentions, and meanings.”

Actually, as we plummet towards the mid-21st Century, perhaps music helps us recognize and even connect with our own emotions before we are able to express them to others. I fear that, along with the ability to listen, we are fast losing the ability to acknowledge our emotions and find outlets for them.

That is a whole other societal discussion for elsewhere, but think why “the quiet folk” suddenly snap and partake in devastating violent acts. Ever heard of a music student doing that? I didn’t think so.

But there is a greater disconnect we should concern ourselves with:

The greater disconnect

The commercialization of music in all its forms has weakened society’s ability to respond to it. We now hear music in public bathrooms, train stations, and constantly play it in the background whilst driving, ironing, etc. The majority of live events include loud intro and outro music, and non-classical concerts usually plug music through banks of speakers that are somewhat distorted. Even church worship is technology-driven.

  • No longer can we hear a performer’s voice or instrument. We listen for sounds coming out of a speaker.
  • No longer can we see any natural interaction between performers as they stand with headphones and earpieces, often watching screens and trying to remember their next choreographed movement.
  • No longer can we feel the energy created by pieces of wood and metal vibrating against each other thanks to the physical inertia generated by a human.

Loud, fast, visually stimulating. That’s what we have come to expect, and there are plenty of people who argue “there is nothing wrong with that! You have it all wrong, Stephen!”

Well, I do not disagree that people are affected by this new performance expectation nor that it is invalid in any way, but I am sharing the fact that there is so much more we are missing out on because of it. It is similar to attending a Formula 1 race every single day because the cars are loud, fast and colorful, yet we forget what a delight it can be to ride a bicycle.

The bottom line

So, if people are forgetting the true, original, fundamental purpose of music, what are we to do about it?

The bottom line for any human development is education. Not necessarily formal education, but one human enlightening another.

Music is the most fundamental form of communication that connects us to our emotionsAs performers are perhaps the most closely intimate with live music, it surely makes sense that is it up to them. They are the masters of music and therefore are the ones responsible for passing on their trade secrets to others.

We must remind our audiences that music is a form of communication that allows us to recognize, reconnect with, and express our emotions – whether performing or listening.

  • That is why classical music is still enjoyed by millions worldwide.
  • That is why classical music is not going away anytime soon, and
  • That is why your career as a classical music performer or enthusiastic audience member (potential concert host) just might take off with the right combination of performance agility and systemic production methods.

After all, that is what I teach my coaching students, so I see it happen every day!

Now it is your turn

What are some of the ways you remind your audiences about the most fundamental purpose of music? Do you remind them, or do you assume they know? What are some steps performers can take to ensure their audiences associate the music they hear to what they feel? Be as specific as you possibly can so we can bring live music back into everyday life and build better societies.

Leave a comment below or join the conversation on Facebook or Twitter. Hundreds of passionate people visit my sites for weekly insight and inspiration, so thank you in advance for adding your voice to the conversation.


3 Beautiful concert strategies all performers should use

Three beautiful flowersIn our quest to bring live classical music back into everyone’s daily lives, it is probably wise to ensure audiences enjoy the music we present.

Certainly if we want them to come back, and definitely if we want them to bring someone else with them next time!

Apart from gimmicky tricks and over-bearing visual sensory effects, what can we do?

Here are three beautiful strategies for how you share music with others that, at least in my experience, keeps people engaged and coming back for more.

Music is a language of emotions. It is a fundamental form of expression that no other communication tool or device can ever match. And it is our job as performers to make sure other people participating in the live music experiences we share with them, to engage those emotions. Or at least stir them, or arouse them.

That means we need to grab their attention, dazzle them with the music (not our showmanship), touch them deeply, and help them remember they had a “rocking good time” (as Barbara Snyder of described one of my chamber music concerts!)

Here are three ways to make sure we do that:

1. Include something fun and easy that you play well.

Playing a lighthearted piece of music that is easy to play well can set just the right mood. It can grab everyone’s attention, demonstrate you unique abilities to play brilliantly, and allow the audience to realize they are participating in something quite remarkable.

On top of that, a piece of music that is easy and well-played also gives you much more confidence, and allows you to enjoy the event as much as your audience!

Avoid any excessive acting, prancing, or over-the-top dramatics and let the music sing with its simplicity and beauty. You’ll have the audience eating from the palm of every note.

2. Include something emotionally deep that challenges your skills.

However, if every piece in the program was lighthearted you will probably lose your audience halfway through. At some point everyone realizes when superficiality sets in, and then it is nigh impossible to regain any credibility. Present an emotionally deep piece of music that touches the bottom of your heart, and your audience just might find their own emotional strings tugged at for a while.

It is important they are.

One of the reasons live classical music has left most people’s daily routines is because they no longer let it affect them. In fact, I would venture to say they no longer even realize music can affect them. No-one will understand that music is an emotional journey until they experience it for themselves, so be sure to include a piece that is deep and meaningful to you.

At the same time, it may be challenging for you to perform. It doesn’t matter if the piece is technically difficult, or it brings back bad memories (such as conducting the third movement of Britten’s Four Sea Interludes reminds me of a very painful experience in a rehearsal with the London Philharmonic Orchestra). Either way, prepare a piece that pushes your limits. Doing so demonstrates a human commitment to better yourself, to seek accomplishment, and to overcome life’s challenges. It is inspiring, even if the performance is not perfect. In fact, do not expect to be perfect… just deeply demanding.

3. Present a program using an arch.

I have written about this before, and it is one of the most precious strategies I have ever developed.

(It must have been written during 2014 – the year I lost all my weekly blog posts to the cloud.)

Programming an arch is a pretty simple concept but one that has a profound effect on both performers and audiences. It combines both strategies above and has a more global oversight to sharing music.

Start your program with something relatively easy that you know you can play well – much like climbing one end of an arch. Keep it lighthearted, too, if you can. This will give both you and the audience the confidence you need to engage in the rest of the program. You have accomplished something and done well at it, whilst the audience are assured you know what you are doing and can look forward to the rest of the program.

Program your music like an arch

Program your music like the space under an arch: light & fun, deep and meaningful, light and fun

Then, in the middle of the program is when you include your deep, meaningful and challenging repertoire – just like all the possibilities that could be contained in the space under an arch. Get the audience thinking, feeling, sobbing even. Let them see your concentration as you make it a goal to get through the composition without any major derailments. It’s OK if there are – it makes you human (and as my coaching students will tell you, there are specific strategies for dealing with such problems whilst on stage, too. None of which convey failure!).

Finally, finish your program with more lighthearted and definitely FUN pieces, almost as though you are sliding off the other end of the arch. Again, choose pieces that are relatively easy to play so that you can enjoy them, too. Smile, laugh, have fun. And that’s usually not possible with a technically demanding piece. Is that really how you want the audience to leave your concert – with thoughts of how much hard work it was for you to perform?

No, you want them to leave thinking how much fun you had sharing your music with them, and how much fun they had listening. Yes, there were special moments too, such as bringing back memories of grandma, and watching you clearly push yourself to some technical limits, but overall it was a great time. “I’m coming back!” is what they should be thinking.

Now it’s your turn

How do you think these strategies affect your performance? How do they affect the audience’s experience? Share some examples of these strategies that worked and why, and perhaps some examples that didn’t work and why. Be as specific as you possibly can so we can bring live music back into everyday life and build better societies.

Leave a comment below or join the conversation on Facebook or Twitter. Hundreds of passionate people visit my sites for weekly insight and inspiration, so thank you in advance for adding your voice to the conversation.


How to save your audience a mammoth time commitment

Save your audience a mammoth amount of time“Do you have 5½ hours to spare tonight?”

“What for?”

“There’s a cellist playing at the Arts Center and I think her piano accompanist is that guy you like on Hahn’s CD you gave me.”

“5½ hours! What’s on the program, for crying out loud?”

“Oh, just some Vivaldi, Shostakovitch and a new guy. It’s not long. I figured we could meet for dinner – it’s been so long since we’ve been to a concert together.”

“Sounds good. What time, and where?”


That is a typical conversation I have about once a month. Various friends call to invite me to a concert they think I would enjoy, but one in particular always starts off with the same question: “Do you have 5½ hours to spare tonight?”

“Why would he say that?” you wonder…

When our schedules can collide, here is what a typical evening’s itinerary looks like:

  • 5:30pm – leave home
  • 6:00pm – park car, walk to restaurant
  • 6:15pm – arrive at restaurant
  • 7:15pm – walk to performing arts center
  • 7:30pm – arrive at performing arts center
  • 7:45pm – take seats
  • 8:10pm – concert begins (never on time in the USA)
  • 8:50pm – intermission
  • 9:10pm – concert resumes (never on time in the USA)
  • 9:40pm – concert finishes
  • 10:05pm – arrive at car (entire audience heading for the parking garage)
  • 10:30pm – finally exit parking garage
  • 11:00pm – arrive home

That’s 5½ hours.

Now consider when I recently went to see the Bayside String Quartet perform at my local library:

  • 1:45pm – left home (walked to library)
  • 1:55pm – arrive at venue, met friend, took seats
  • 2:00pm – concert began (on time – no need to wait for late audience members)
  • 3:00pm – concert finished, grabbed crackers and wine, socialized
  • 3:20pm – left venue to walk home
  • 3:30pm – arrived home

That’s 105 minutes.

You might argue stand-up snacks are not the same as dinner, and there is hardly enough time to socialize, but I was one of the last to leave and as this friend and I see each other often at these smaller local concerts, there was not so much to catch up on! We introduced each other to other people we knew and went on our merry ways.

And what if I decided not to hang around after the concert? I would have been home 15 minutes earlier. 90 minutes instead of 5½ hours.

Think of it this way:

  • How often would you attend an affordable event that takes 90 minutes door to door? Once a week, maybe?
  • How often would you attend an expensive event that takes 5½ hours door to door? Once a month, maybe?

In our quest to build better societies by re-introducing live classical music back into everyday life, a shorter concert in a smaller local venue is a far more sustainable approach.

Don’t be a hog

Do your audiences a favor and avoid hogging their time – they WILL appreciate it. If folk want to hang around afterwards, that is their prerogative, but be wary and conscious of what kind of payment you are expecting from them.

Be generous with your music.

Don’t expect your audience to be generous with both their money AND their time.

Now it’s your turn

How long do you think a concert should be, and do you think it is better to perform locally more often, or centrally less frequently? Should you always include an intermission? Be as specific as you possibly can so we can bring live music back into everyday life and build better societies.

Leave a comment below or join the conversation on Facebook or Twitter. Hundreds of passionate people visit my sites for weekly insight and inspiration, so thank you in advance for adding your voice to the conversation.



What will make your affordable concerts more successful?

Sharing, partnership, collaboration all extend to venues as well as other performers

Sharing, partnership, collaboration all extend to venues as well as other performers

One of the hardest aspects of being a performer is attracting an audience.

In the 21st century most classical musicians have been spoiled by a notion that “the industry” (or, as I like to call it, the “Establishment”) will take care of them. It is someone else’s job to get the audience. You are the chocolate, they are the convenience store.

I could not disagree more.

It is the responsibility of every single performer to share live music with others. There may be people employed to help you find people to share your music with, but from a student recital and university faculty to Pierre Boulez and Lady Gaga, the bottom line is this: you must find and engage your own audience.

It’s tough, but there’s a great way to make it easier on everyone, and it is in line with my post about collaboration.

Include everyone in your quest, including the venue.

Let’s think about this. Here a some common misconceptions I have found classical musicians tend to have about venues:

  • The venue will find the audience.
  • The venue should pay me to perform, because I’m an attraction.
  • I am doing the venue a favor by choosing to perform there.

These are woefully misinformed lies that, despite hearing many advisers say the opposite, are extremely difficult for our egos (however internal) to let go of. Believe, I know!

The bottom line response to all three misconceptions (and more) is an upbeat, encouraging statement “nobody owes me anything!” I’m not being facetious – some folk look down on such a phrase and get depressed. Well, that will be your choice. I see it as a very freeing perspective that allows me to engage in whatever I want to do in the manner I would like to do it! Of course, compromise always sets in especially during collaborations, but remembering that phrase at every turn is literally a life saver in the classical music world.

Nobody owes you anything.

Not the venue, not the audience, the publishers, composers, other performers, not the chap who fixes your car or the gal that serves your coffee at the Starbucks drive-through. Not even me. No-one. Yey! If anyone owed you anything, then you would owe them something, and that is not a great position to be in.

Even if you give someone something first, you do so willingly and out of your own goodwill. Give the Starbucks Barista $5 – maybe you will get a drink you ordered, maybe you won’t. If you expect perfection you will continue life being rather disappointed most of the time. However, if you appreciate the transaction with the understanding that you gave Starbucks $5 to help that Barista pay their bills (almost like a tip for a waitress or cab driver), and for Starbucks to give scholarships and help coffee plantation owners in third world countries, then you have done a good thing. The fact that you then get a cup of coffee as a ‘thank you’ is a bonus. It’s just an approach, an attitude, and one that will serve you extremely well for a happier future.

So, let’s take our new-found freedom and apply it to making an affordable concert more successful.

Partner with the venue.

Of all the venues you find to perform in, only agree to perform in those who strike a deal with you. If they choose you pay you a fee, terrific! Job done. Go practice. But, why stop there? Why limit yourself to being a hired hand?

Try this, instead:

Offer to pay them 20% of all ticket sales or donations received.

You read that right: you pay the venue a share.

In my last article we explored finding small venues to perform in. Well, if you find yourself in a non-union public environment such as a library or church, agree with that venue that audience members will be charged $10 per person for your hour-long concert, or even take a risk and ask for donations (pass a plate, don’t rely on exit boxes!). Even performing for 50 people produces a fair chunk of chocolate [change] for one hour of work!

Giving 20% to the venue does two things:

  1. It helps the venue cover their own expenses such as lights, heating, photocopying, phone calls, etc. that they would not have otherwise incurred, and
  2. It inspires the venue to help you find an audience, because: the bigger the audience, the more money the venue gets.

Aha! There it is. The big fat sweet milky secret.

Everyone needs money to operate, and everyone would like more money to survive well. Give your venue the opportunity to earn a fairly unlimited amount of income, and guess what… they will now help you find an audience! Together, both you and the venue will make significant effort to fill the space and rake in those extra dollars so that you BOTH benefit.

Try it. Say no to a venue that wants to rent its space to you, and offer 20% of the ticket or donation income – help them realize they benefit by having more people onsite that they can promote their other activities to, and they also benefit by earning more than just a flat rental fee. It’s a partnership. Collaboration. Both of you sharing live music with the community. (See how the specific language used is important?)

Finally, when you partner with a venue and pay them 20% of the income, you are assured a bigger audience, a bigger income, more word-of-mouth advertising afterwards, and therefore a much more successful concert! (And more chocolate, too.)


Now it’s your turn:

Tell me, have you ever share concert ticket or donation income with a venue? How did it work out? Was it a straight 50/50 split, or a more appropriate 20/80 (to you)? What advice do you have for other performers who have not yet tried this approach? Be as specific as you possibly can so we can bring live music back into everyday life and build better societies.

Leave a comment below or join the conversation on Facebook or Twitter. Hundreds of passionate people visit my sites for weekly insight and inspiration, so thank you in advance for adding your voice to the conversation.



Sharing, partnership, collaboration all extend to venues as well as other performers

(I just like this picture. Hmm. Time for chocolate, methinks…)

3 powerful performance strategies that will make you money

You have spent years developing your craft.

Time for payback, right?

But time is probably the one thing you’d love more of and simply can’t get.

So here are three workable strategies to help you make the most of the time you do have, and increase your income whilst you’re at it:

1. Capitalize the day

It’s surprising how much time there is in a day, especially when you don’t have to worry about protocol, dressing up “to the nines” or warming up on a piece you only started learning a day or two ago (or haven’t seen for donkey’s years).

Chamber music at Sandy Springs Library

Chamber music in libraries. Courtesy of Sandy Springs Library

When you are out in town, ready to perform an evening gig, make the most of the whole day. Setup a lunchtime concert somewhere, maybe in a library, nursing or retirement home, a church or even a university. Just a small venue that seats 50 to 120 people. And lunchtime can be many things: some venues host midweek concerts at 11am, others at 12:05pm or even 12:30pm. I wouldn’t do anything later than that, because…

While you’re at it, why not schedule another performance for the afternoon?!

You can actually cover a lot of territory even in a thirty minute drive, so there is very little chance you will have the same audience (especially if you perform in two hospitals or nursing homes!). Setup your second concert for about 3pm or maybe even 4pm, and you can share your music with double the crowd in just one afternoon.

But why stop there?

Right – these two extra performances are only because you already have a concert scheduled that evening, at 7 or 8pm. Think about it – for very little extra effort in one day you have tripled your audience, tripled your income, and made extremely little additional effort to do so. What would you have done otherwise? Grocery shopping? More practice? Internet surfing?

The idea of three concerts in one day will likely scare many traditional performers and those who subscribe to the current expectations of the Established classical music world, but for those whose primary passion is to share live music with others will relish the chance to do so, and increase their income three-fold. Which are you?

2. Repetition

How long does it take you to prepare a concert program? Whether as a soloist or as a member of an ensemble, you practice and practice, usually for one performance. If only you could repeat that program several times! Not only will your playing get so much better, but you will continue to learn more and more about that specific repertoire. What’s the best way to play the same program over and over to different audiences and not get tired of it?

Well, in tandem with strategy number one, three different audiences in one day will help. As none of your listeners will likely attend all three of your concerts, you can indulge in the music you have prepared and repeat the same program. If you arrange multiple concerts in multiple venues over a period of several days, you could end up playing the same program 12 and 24 times in a month! Talk to a Broadway or West End actor, and you’ll soon appreciate that’s perfectly doable.

But you might be asking how you avoid getting tired of playing the same program many times.

There are several techniques:

  1. Make it a game. See what you can do differently every performance.
  2. Live practice. Focus on just one section that you think could be better, and make it better every concert.
  3. Act. Give a piece or section some character and become that character!
  4. Pick a muse. Find someone in the audience and play just for them.
  5. Listen to your environment. Every venue has its own ambiance – listen carefully and notice the differences.

Repeating a program in multiple venues over a short period of time is an excellent way to quickly earn more.

3. Stay fresh

Easier said than done, perhaps?

Two (of a few) reasons we get tired and overwhelmed are

  1. the same old routine day in and day out
  2. an over-filled schedule

Are you already thinking I am about to contradict strategy two?

Quite the opposite, in fact.

After working your mind around implementing strategy two, you might be seeing dollar signs in your eyes. Five days a week, three concerts a day? That’s a lot of dough.

But it won’t last long. You can’t keep up that kind of pace. Believe me – I’ve tried, as have a handful of my friends and even some of my coaching students before they sought my help, and it simply is not sustainable for any worthwhile period of time.

reduce-scheduleInstead, a regular but concentrated effort is much more productive. Take your three concerts in one day and do it just twice a week. That’s all. They can be consecutive days (especially if you have a day job and only have the weekends available), but preferably one mid-week and one end-of-week. If you are worried about competition, try Mondays!

In any event, maybe once-in-a-while add a third day each week, but no more. You probably already know that your music suffers when you are tired. We actually become somewhat disorganized when we are worn out and overwhelmed. Give yourself a break, and come back to each day of the same program having had a couple of days off doing other things and playing different repertoire. Perhaps one of the most important things you can do on off-concert days is catch up on your sleep. It is vital. Check out this great infographic Michael Hyatt shares which shows how you can be more productive when you get more sleep.

How can limiting yourself to just two concert days a week help you make more money? When I coach individuals we look at the specific math, but I can tell you now that even on this “3x2x” schedule, without any merchandise income, you are quite capable of earning a healthy $72,000 a year in the USA.

It’s about longevity. When you keep your performances fresh, your audiences love them more and tell more people about them. You’ll be invited back to those venues again, and again. You can also build a following of Super Fans who will buy your tickets, recordings, t-shirts, sheet music, and travel far and wide to see you perform.

People are astute, and can tell when you are hassled. Stay fresh, and both your music and your career/ life will blossom.

Now it’s your turn:

Tell me, which of these strategies appeal to you, and why? Be as specific as you possibly can so we can turn your performing dreams into reality.

Leave a comment below or join the conversation on Facebook or Twitter. Hundreds of passionate people visit my sites for weekly insight and inspiration, so thank you in advance for adding your voice to the conversation.



5 secrets to more rewarding musical collaborations


Probably the most rewarding aspect of anything artistic is eyes & ears. A.k.a. The audience.

Even if you do create a stunning piece of music or choreography, there seems to be little closure until it is shared with someone.

Bearing that in mind, when you collaborate with other performers, it should be with the intent that your work will be shared with others. Here are 5 secrets to maximize your reward:

1. Collaborate, don’t compete.

One of the reasons audiences say they do not attend concerts is because they do not have someone to go with (NEA, 2015). By partnering up with other performers, you automatically increase the number of known fans who might know each other. Partner with three other performers, and they all have friends, family, colleagues, neighbors who you do not have access to but might attend the same church or meetup club. Rather than compete against each other, let’s work together more to share our artforms.Tweet:

2. Share everything equally.

Whether you are a performer or an enthusiastic listener hosting a concert, be sure that each performer gets an equal share of everything: time as a soloist, time in chamber groups, print space (i.e. the number of words in a bio, or the size of their names), and most important: an equal share of the concert’s income (donations). Treating everyone equally is not only fair, but pretty motivating. In the BBC’s recent program The Paradise the staff of the Ladies Department pool their commissions and soon finding themselves helping each other, working better as a team, and actually getting along with each other as well!

3. Solos and Ensembles.

Offering your audiences variety is essential. When you collaborate with another performer, their fans have come to see them, not you. So let them have their moment! Each performer should be able to do their thing but it is also appropriate to open and close (and perhaps do something in the middle, especially if there is an intermission) with everyone performing together. It avoids the rush-in rush-out of the audience that schools are known for: the number of parents, grandparents, aunts, uncles, cousins and siblings who leave a concert halfway through because their little one has played their piece and is done. If there is no familiar repertoire for the combination of performers you have, make something up!

4. Make something up!

What could excite an audience more than knowing they are a part of something special, something that is only existing in their presence? Collaborations do not have to be always creating new works, but including one at the end of a concert is a sure-fire way to grab your audience’s attention and come back next time. Although it would be nice to create something that will last a lifetime and beyond, it can also be thrilling to create just one viewing, one showing, one performance. It does not need to be complicated (such as the collaborations between classical music and fashion in Sugar Vendil’s Nouveau Classical Project) but quite simple, such as flute player Zara Lawler and a dancer C. Neil Parsons:


5. Collect and share fan contact info

Careful with this one – it can be done very tastelessly. Invite your audience to want more and if they do, the best way to find out about your next event is via email. Have your audience fill out a form or visit a website page made specially for this event to sign up for your newsletters, BUT! make sure the audience understands their email address will be shared with each of the performers and no-one else, and that they can unsubscribe from any or all the performers at any time.

There are many more ways to collaborate, but approaching performances with these five perspectives (which so few performers demonstrate they do – I’m so glad if you already get them!) will make your work far easier and much more rewarding than going it alone or being directed by a boss.

Now it’s your turn:

Tell me, which of the five secrets above do you already do, which are new to you, and when do you plan to implement all five in one program? Be as specific as you possibly can so we can turn your performing dreams into reality.

Leave a comment below or join the conversation on Facebook or Twitter. Hundreds of passionate people visit my sites for weekly insight and inspiration, so thank you in advance for adding your voice to the conversation.