Off Topic: The Social Media Mire

Social Media has become quite a pervasive entity in people’s lives.  We open accounts with the goal of finding and keeping up with friends that we’ve lost track of, to make new friends with shared interests, or to promote our businesses.  The bands I’m in use Facebook to promote their shows, as do thousands of other groups, artists, writers, dancers, and anyone who wants to be someone.  As people spend more and more time on these outlets, their lives and beliefs are being influenced whether they believe it or not.  Over the past few years I’ve watched the information that is being passed along, and have observed the willingness of folks to believe almost anything they see there, as long as it fits their preconceptions, and reinforces their personal beliefs.  Better yet, if it plays to their fears it becomes even more believable.  Combining this with the alt. right’s destruction of the public’s faith in the “main stream media” has created a conspiracy theorist’s dream come true, an open audience that will entertain accepting something as factual, that has absolutely no connection to truth, let alone correlation to it.

I used to view social media as a place where I could virtually hang with the peeps, and it still is to a certain extent.  Through Facebook, for instance, I’m in contact with many people from my past that I had lost touch with over the years and many over many moves from one part of the country to another.  Despite being a writer, I’ve never been much of a letter writer and although I’ve done better with email.   Facebook brings an element of immediacy to the connection that isn’t there with email.  You also can compartmentalize your interactions, without having to commit to full conversations.  This gives me a feeling of connection with these folks that I value, but in reality I don’t have to invest much effort to maintain the connection and neither do they.  In this aspect the entire connection is somewhat misleading in that it too, is virtual.  I’m not really interacting with these folks on any concretely meaningful level aside from maybe allowing myself and the people I’m following an opportunity to not feel isolated, even if in reality we are.

From my perspective this is one of the major negative issues with social media, the blurring of reality and fantasy, which extends to the quality of information that is being presented to its users.  People post meme after meme, attaching meaning to what is mostly a bumper sticker approach to communication.  Some of them are funny, which is fine because that is what they are meant to be, but all too frequently they’ve become rallying points for solidarity with some political or politico-religious statements where no-one bothers to check the veracity of the posts.  I’ve seen statements accepted as fact that any high school English student should be able to discern to be based on false premises through very light research and when presented with the factual information the response was, “well, it sounds like something he/she would have done. . .”  And that was the tenor; the person didn’t care about the facts.

Repetition is one of the ways that people convince others to believe things that aren’t factual, and social media is one of the largest purveyors of this type of communication.  There are laws about truth in advertising, and in advertising subliminal messaging is illegal in the US.  Repetition of misinformation, however, with the purpose to mislead the public isn’t ethically right, but it’s also not illegal and essentially that is one of the grand loopholes in the entire social media experience.  People are being misled on social media everyday by the millions.  People see the same thing over and over and eventually it starts to influence their beliefs.  They trust their friends who are reposting things that they have seen posted by other folks who’ve seen it somewhere on their feed and reposted it, so they accept it as fact without bothering to check the veracity of the so called information being presented.  Much of this type of information’s sources are not listed or made available, or is listed but the source is questionable at best due to either bias or shoddy reporting.  The more often it is seen and repeated, the more it worms into the beliefs of the folks reading or seeing it regardless of it’s actual credibility.

Yes, we are being manipulated every time we log onto social media, and it’s not by our actual friends or contacts, although they may unknowingly be contributing to the issue through reposting things.  We now know that Russia influenced our most recent election in the US in part through using social media to manipulate the American people’s beliefs about the candidates.  They ran a misinformation campaign on social media to support the individual they wanted to run the US for the next four years, someone who is a committed social media user himself, launching destructive twitter post after twitter post despite not even being in office yet.  If you choose not to believe that this is the case, just think about how a lie about you, or someone you know, was spread and ended up damaging that person on a personal level, or that person’s reputation because enough people believed it to make it accepted as fact among the majority of people around that person.  The remarkable thing about this is how easy it is to convince people to believe a lie, and then once they’ve bought into it, how difficult it is to make them believe the truth.



Meeting the Next Year by Charging Out of the Gate

Today the sun is shining for the first time in about a week. We’ve had a long stretch of gray culminating in a bit of a light snowstorm that dumped about six inches of snow in 24 hours. Now the sun is hitting the garage roof and has started building icicles on the eaves. It’s definitely a plus to see blue skies for a change. I’m starting a new year after celebrating my birthday yesterday with Indian food and cheesecake, and the planning is starting yet again. I made progress this past year, but I want to hit the ground running for this coming year. My big challenge is going to be breaking into the world of booking shows ,which will require me to really step out of my comfort zone. I’m not very comfortable selling myself, which is essentially what booking entails. It requires that I talk about myself, maintain a positive outward persona, and not take anything personally, all of which I find to be challenging due to various reasons. I lean towards being an introvert, don’t go to bars unless I’m playing there, go through periods of depression, and as far as not taking anything personally see a and b.

Over the years I have developed the ability to appear extroverted in certain situations. If I have to go to a party I will find someone to talk to, and often engage quite a few folks there, but I find the whole process exhausting. I can also only handle about two hours of interaction before I’m ready to find a quiet dark corner and regroup for about four hours before venturing out again. It really takes a lot out of me. When I teach college English courses I’m very careful about how my schedule gets set up. I avoid teaching back to back courses like the plague because I have to be “on” for the entire class, keeping the students engaged, using humor to rope them in and deliver the intended lesson for the day. After an hour and twenty minutes I’m wrung out and really need a break. So I try to ensure that I have at least another class length’s time before I have to go in and do it again. This is pretty typical for introverted folks. I imagine that doing the booking is going to be tiring in a similar manner, as well as requiring me to go to places I normally wouldn’t in my free time.

Being the type of person that I am I like coffee shops quite a bit, as well as some types of restaurants. I don’t drink alcohol with any frequency and when I do choose to have a drink it’s at home where I don’t have to concern myself with driving anywhere. The only reason I go to a bar is if the band I’m playing in has a gig there, or occasionally someone else’s band has a gig that I’m interested in. This doesn’t happen all that often however, because if I’m not out playing I’m probably home sleeping. I dislike loud crowded places, which is what you get at a bar most of the time on the nights music is offered. This is also part of my lot as an introvert. I don’t have a problem with going to a classical concert, where everything is orderly. In this situation people aren’t running into each other, trying to have conversations over the music, or crowding together like they do at bars, so I can maintain my inner sense of personal space.

A major part of booking involves dealing with rejection. I know this and for the most part I can deal with it well. It’s a business and as such I can’t take rejection as a personal thing. I’m not living in the venue owner’s space so I can’t possible know why he or she will say yes or no. My concern here, though is handling it when I’m depressed because I’m going to have to deal with that. I might be fine now, but I know that down the road I’m going to be facing that scenario. When I’m depressed it’s very difficult to handle rejection; it seems like an affirmation of all that my inner demon is telling me about myself. Sounds like fun, huh?

The answers to all of these concerns lies within myself in many ways. For instance, the concerns about the bars can be met with focusing on other venues for my solo work, like the coffee shops and restaurants. I don’t have to play in bars. Granted, there is more work for bands in bars, it’s kind of a traditional venue for them, but I can point my solo performances in a different direction and still meet my goals. The introvert related issues really boil down to setting limits for each day in terms of how much time I devote to dealing with interpersonal communications. If I do my research ahead of time like finding out who is the person who handles booking and when they are on site before making a trip there, can cut down on the amount of time I have to be “on” to make my pitch. The rejection aspect is simple reality. Everyone faces it, deals with it, and moves on from it. The easiest way to deal with it is to realize it’s a non-issue because it’s going to happen probably more often than not. I can get over it. I did with submitting poems for publication. I’ll just stuff a sock in that nasty old demon’s mouth and get on with it. What do you say? Shall we book some gigs?

Promo Packets: A Booking and Self-Promotional Must

Self-promotion is one of the things that are required of a performing artist. Building a promo packet that accurately reflects your performance strengths and what you have to offer is vital to taking the next step into the booking world that all of us must enter at some point. This can be a bit tricky because you want to build yourself up into a salable commodity, but you don’t want to over-blow your own horn. Whatever you put into your promo packet you have to be able to deliver, so while you might be tempted to stretch reality a bit, you really have to be careful how far you push it. Often promo packs will include a headshot, biographical information, perhaps a song list, any endorsements from prior performances or venues. You might also list venues where you’ve performed, bands you’ve worked with and whatever else will paint you in a good light and get your foot in the door. Most of the time one the more important items in the packet is the demo CD where you are giving your target an example of what you can do. Usually these have maybe four or five tunes on them, sometimes more. Another option is video of past performances. Your packet should look professional and give the person who is booking the venue confidence that you will be able to deliver once hired.

When it comes to putting a professional packet together, the best way to go about it is to farm out as much as one can to professionals in the field. If you want good photos for the promo pack, you need to find a quality photographer to shoot them, and it should be someone who is familiar with the product you are selling. Take time to coordinate with the photographer about potential location shoots, and to also consider what you are going to wear for the photos. You want a look that is appropriate to what you’re trying to sell, and sometimes this might necessitate costume changes. You might want a rock and roll image for booking rock clubs, plus a more formal image for booking corporate events. If you’re presenting both looks in your packet, the person booking the show will have greater confidence in your professionalism.

Likewise, when it comes to the demo recordings you should go to a reputable studio to produce them. The recordings need to give a good idea of what your performance is going to deliver, and while they don’t have to be the same quality as a national headliner’s studio produced albums, they should give a pretty accurate perspective of your abilities. Studio time does cost money, just like booking the photographer, so you need to plan what you’re going to record, and also ensure that you are well rehearsed before showing up for the recording session. The more time you take to get a good take of a tune, the more money you’re spending to produce the entire demo. Usually what will happen after you have cut the demo tracks is a quick mastering session, that might simply be mixing the recordings down, adding some light reverb and then burning your master CD. If you plan well and go to a decent studio it is possible that you might be able to complete the process in one session. I did a fingerstyle demo in two hours of studio time. I laid down about 12 short tunes and had a basic mastered CD in my hands at the end of those two hours because I was prepared, knew what I wanted, and maintained focus. It helped that it was an excellent studio as well.

If you are a decent writer, then go ahead and create your own bio. Even if you aren’t, you’re going to have to present the pertinent details of your musical career to someone else to write it, so you should at least outline the important points you want to make before taking to someone who can write it up for you. Remember, the packet is you in the hands of the venue. Everything about it represents you so you want to be certain that the bio is well written, just like the photos and the recordings. If you don’t know how to write well, no big deal, just find someone else who can so that you end up with a bio that reads like it has a professional purpose. Along with the bio it’s also a good idea to have a statement of purpose, or an artist’s statement. What is your perspective on performing and how do you go about communicating this with your audience? Once again, you should consider what you put in, reflect upon it, and if it’s not going to be helpful it should be cut.

Usually business cards are included with the promo packet. These are pretty easy to get your hands on these days, particularly with companies like Vistaprint that can be accessed through the internet. Vistaprint has a wide variety of business card templates that are really easy to use to design a respectable card at a reasonable price. I’ve used them for several years and have been quite happy with the end product, as well as their prices, and their speed of delivery. They always seem to get the cards to me faster than I expect and they’re always exactly what I’ve ordered. Once again, if you are not confident in your abilities in this area, you can always hit up a friend you have confidence in to help you design the cards and put in your order. It’s pretty easy.

This being said, another alternative that has been gaining popularity is the electronic promo kit. Essentially you can build a web site that does all of this as well as hosts your own email address. You can either hook up with one of the d.i.y. online companies to build one or you can hire someone to make a full blown professional site that even allows you to sell merch on it, a good way to supplement your gigging income. This does cost money, and it’s a real case of getting what you pay for. You’ll still need to do business cards, but in this case your card is the gateway to your promotional material. When you use a traditional promo pack, each one you hand out is a business expense that you’re not going to be able to use again. Clubs don’t return your packets so once it’s dropped off, it’s done. This is one of the benefits of the online type. Plus with the online one your fans can access it as well.

Promo kits are still very much a reality of being an active performing artist, and in most cases they are the gateway to solid booking practices. They are your professional representation in your absence so they need to accurately represent you in the best manner possible. So whether you choose to use a traditional promotional packet with recordings, photos, bios, and business cards packaged in a nice folder, or opt for the electronic one along with business cards, the packet itself is a necessary tool to self-promotion and booking. Whichever you choose, think carefully about what you include and what image you present. It’ll pay off in the long run.

Image: That Part of the Show

I’m sitting in the park gazebo in Tequesta, Florida. My wife, daughter and sister-in-law are all running in the Race for the Pies this morning and the race is supposed to start in about twelve minutes. It’s a lovely morning with a light breeze and it’s quite pleasant here in the park. I’m not a runner and haven’t been since I left the Army 27 years ago. In some ways I wish I were, but due to bad knees and a bit of a weight issue. I actually have a doctor’s excuse to not run given to me by the last doctor to root around in my left knee. Regardless, I’m feeling a little out of place surrounded by all of these patently fit people preparing to take off. Something that most of the musicians I know try to avoid talking about, especially those like me who are either an XXL packed onto a 5’8” frame, or, also like me, are on the northern side of 50 years old. That topic boils down to one word, image.

Most bands that are out to “make it” put as much importance on the collective image of the group as they do on the actual music that they produce. This might seem superficial, but the reality of the music business is that it is part of the entertainment industry, which tends to be shallow in many ways. Image sells, it’s a big part of the show and it communicates a dedication to the format. Some of what people view as image appropriate depends on the genre. In the classical field this usually invokes images of formal attire, tuxedos and black ties for the men and usually black attire for the women as well. This is what is usually seen when we attend orchestral concerts and sometimes small ensembles and solo recitals. Often classical musicians who are giving recitals opt out of the formal wear and go with what could be described as more of a business casual attire. Traditionally classical musicians haven’t been as strict in terms of body image as some of the other genres, however this has been changing over the past 20 years or so for various reasons.

I’ve done the classical route with the full tux, but honestly the last time I donned a suit for a performance was New Year’s Eve of 1999. I was playing with a variety band at an upscale function. It has been a good while since I’ve played anywhere that requires that but for musicians who work the upscale club circuit, weddings and some forms of corporate events wearing formal attire still applies, even for pop/rock and variety bands. In most cases with these types of gigging the image that is expected is pretty clean cut and while you don’t necessarily have to present a peak performance body image, it doesn’t hurt. Presenting a professional front is a major plus and understanding what is appropriate often makes the difference between working or wondering why you don’t have a gig.

Most musicians have a pretty solid understanding of what type of image goes with what they’re playing. In some cases showing up looking like you’ve just rolled out of garbage dumpster after a three day drunk might be appropriate, but nobody really wants to work with someone who is actually doing that to achieve the “look.” Most folks base what they’re wearing upon what the big names in their genre wear, but something to keep in mind is that not all body shapes work with the same clothes. If your body doesn’t, than find something that works, start working out, or just be yourself. If you’re working rock and roll you might want to consider something other than the jeans and t-shirt you put on that morning; try to raise the bar a bit. For one thing you want to keep in mind that you’re going to be going on stage to give a show and while it might be a job to you it’s entertainment for your audience.

I personally cringe a bit when the whole image topic comes up because, quite honestly, I’m not happy with my physical form. I know it’s something I can change, at least the weight aspects, but reaching that goal is something that is relegated to the distant future. There are other aspects that give me more trouble not the least of which is being a white haired 54 year old in a business that is primarily youth driven. I could dye my hair like some of the folks I work with do; it might make me look more forty-something than fifty-something given the lack of lines on my face but eventually that will look a bit off. Besides, I am who and what I am so I’m ready to accept that. There are times when I wish I was still the young fit man that I was years ago, but that’s not the case and the clock isn’t going to stop and run backwards for me. It doesn’t for anyone except in legends and fantasy stories. What I can do is dress well to present the best image I can and play my ass off every time I step out onto stage. I can lay down that groove that gets folks out of their chairs and onto the dance floor and occasionally lay down a line that someone drops a jaw on. I try to remember that image isn’t everything, but still try to present the best one that I can when I hit the stage.

Creative Music: Making the Old New

Last night at rehearsal, the newest group I’m with started working on a new tune. We decided to do The Beatles’ tune “Taxman” but wanted to come up with our own version that presented a different take on it. We’d talked about Stevie Ray Vaughn’s version, as well as shooting our own recorded ideas back and forth through the modern marvel known as the internet before actually meeting up for rehearsal and working out an entirely different take. What we eventually went with was copping the feel of another tune from the same era but a different group, mashing it together over a fairly simple I IV V blues progression, while essentially maintaining the melody line pretty close to intact. Voila, we had our own version of a “cover” tune that we’re pretty pleased with and that really works within the stylistic palette the band is attempting to focus on, a funky blues-rock combination.

Working with covers is the meat and potatoes of most bar band combos, as well as wedding bands and various other local professional groups. All too often if you want to make money playing on the local circuit these tunes are what is needed for repertoire in order to get the gigs and build a following. It has also come to be a major source of contention between musicians, dividing them into two primary camps and spawning endless debates over originals vs. covers. Many of the cover bands do their best to make a product that is as close to the original version of the chosen piece of music as possible, becoming essentially live juke boxes that copy solos and approach the music in pretty much the same manner as a traditional classical musician does. A smaller number of the bands deal with covers but deal with them as standards, in the same manner that jazz musicians have for decades. Yes, it’s a cover but they make it their own through their own solos and small deviations from the recorded versions. Then there are the covers that border on originals, which might seem like an odd thing to say.

Often the groups or individuals who break down and rebuild covers are also heavily vested in their own originals. They straddle the original vs. cover band divide by doing some altered covers, some originals and maybe some close to straight covers. These folks love their craft/art, and don’t sneer at the concept of getting paid at the end of the night for their work; they expect to be paid. They also tend to step outside of the debate between the integrity of doing either or. Interestingly enough, if we really dig in and take a look at what bands that “made it” have done, we’ll often see that they got their start working with covers, then gradually came up with their own material to work with. There are even many high profile folks out there who have recorded hit records using other peoples’ materials, either as is or creating their own version, as the Atlanta Rhythm Section did with “Spooky.”

Personally I really enjoy the process of rebuilding a cover, particularly in a collaborative situation such as last night’s, and last night’s was a true collaborative effort the whole way around. The guitarist kicked out an idea early in the week. I’m playing bass in the band, but sent out my own recorded idea on guitar. The drummer tossed out a suggestion at rehearsal, which really kicked us into a solid direction in terms of a feel that was different from the guitarist’s and mine. No egos got in the way; we simply ran with it, creating the progression quickly along with guitar and bass parts. The melody just synced right in with it all. We spent close to two hours on the process, locking things in and getting it squared in our memories as well as doing some on the fly recordings to help keep the concept intact. All in all, it was a very satisfying creative experience for all four of us before we went on to work on a few closer to the original version covers.

Making music should always be a creative venture, regardless of the format, genre or process. Whether you’re writing your own pieces, performing ones created by others or revamping an existing arrangement, there is always going to be a creative spark present, and when that spark is missing the music dies. Sometimes the creativity rests in the presentation of a pre-existing line, the interpretation of the feel, phrasing, or purely emotional content. Other times it is creating the actual line itself, writing the piece, and making it make sense to the listener as well as the musician. Regardless of the approach you choose to take, remember to do more than just play the notes.

Wrapping up my Summer and Looking Ahead

So here it is, just a day short of mid-September and I find that it has been several weeks since I have posted. I have fallen behind in my blogging responsibilities and for this I apologize. During August I did another month long writing challenge, this time focusing on fiction with a minimum of 750 words per day. I succeeded in completing the challenge, hurrah for me, and now am facing the task of going through what I wrote to determine what has legs and what doesn’t. It’s all part of my growing process and also part of being a polymath by nature.

Musically things are moving along as well. I am working with a trio with another guitarist and a harmonica player with whom I’ve done two gigs in the past three weeks. We’re working out the kinks and having fun in the process, which is good. I’ve also done a couple of pickup gigs playing at block parties, once again on guitar. These were fun paying gigs that we were fortunate enough to have good weather for. One of them required me to switch between bass and guitar, using a bass that I finished building this summer. An interesting outgrowth of that gig is that I’ve decided to unretire myself from playing bass. I’ve actually missed it quite a bit, so I traded an acoustic guitar for a mint Carvin SB5000 and got back into a band with it.

This has me currently working on three musical projects, the trio mentioned above, my solo act, and a rock band on bass, while looking for other musical work as well. I’m also trying to launch my writing career plus trying to increase my income potential as well, so I’m trying to book more guitar students. Additionally, on the medical/health side of things, I’m supposed to increase my physical activities, use my light box, and lose weight through the aforementioned exercise and eating better. I’ve got one hell of a lot of irons in the fire, all over the place and needless to say, I’m quite stressed.

My psychiatrist would say that I’m trying to change too many things at the same time, and she’s probably correct. Incremental change generally fosters higher success rates as opposed to my penchant for the shotgun effect (put a lot out there and hope that something hits the target). But I really need to step up my game and make something happen as soon as possible. Stagnant pools breed disease; I need my water to run clean and clear so I’m stirring things up, keeping things moving, and through doing so ensuring that things are interesting as well.

So, here it is, the middle of the ninth month of the year and I’m finally getting back to putting up a much overdue blog post. Usually I try to do more than simply giving an update on my activities, but that’s what I’ve got this time. I’m sticking my nose into the booking and marketing games next, so I’ll probably have something to say about those in the near future. Cheers to late summer and early fall!

Summer Gigging: What Should I Book?

Summer is closing in. I know that it’s not technically spring yet, but the summer local festival dates are coming in for my band, a booking process that started last fall. The area around Chicago has many summer outdoor gigging opportunities sponsored by the various suburban park systems and civic organizations. Some are summer concert series and others are special events, like festivals. Festivals are fun to play and typically the bigger they are, the more fun it is. One member of a band I’m currently working with prefers to play only these types of venues during the summer, which is understandable. Often these types of situations involve a built in audience, most of whom come specifically to listen to the music. For the festivals there is usually an actual sound company contracted to provide the PA system and run the boards, guaranteeing a better experience for the musicians (most of the time). Stage space is often more than ample and the crowds are appreciative. There are many benefit to doing these gigs during the summers; however, there are certain drawbacks to the outdoor venues, particularly when they are the only type of gig that is booked for the summer.

Outdoor gigs, such as those noted above, do offer quite a bit in terms of return for the band’s efforts. For one thing many of them pay pretty well, particularly the festivals. At the festivals, as well as some of the park gigs, the sound system is provided by folks who run and set up p.a. systems professionaly. This has multiple benefits for the band, not the least of which is the band doesn’t bear the responsibility of contracting and paying someone to come in and do so. Many bands can and do provide their own p.a. systems but usually don’t hire someone to run the board, because it’s an expense they don’t want to incur and they figure they can get things set they way they want them most of the time. This generally works well enough that it’s not an issue for small venues, but does overtask the band when working elsewhere. That being said, professionally provided sound systems usually provide a luxury experience for the performers. Sound is balanced on-stage through the provided monitors. What you need more or less of is delivered by simply asking the soundman and out front the mains are entirely in the hands of the same.

This type of situation also provides quite a bit of exposure for the performers, often to different types of crowds than are often run into in the club circuit. Most of these events are geared toward families, both young and old, while others cater to specific groups of folks. Any way you look at it, further exposure means a potentially larger fan-base, which could result in larger draws at clubs during the fall and winter, as well as potentially being re-booked for the following summer events. Plus, unlike many other venues, these events tend to be less predatory upon the acts they book. By that I mean they don’t just offer exposure as compensation for performing but also pay the performers.

There is a downside to outdoor performances, which is in itself no surprise. This type of gig is mostly weather dependent. While some do involve large tents that do more than provide shade, most of the time the stage areas are exposed to the elements and if it rains, you’re done. Cancellations can really suck the income out of a band if the summer turns out to be a particularly wet one, and while some places will attempt to reschedule, they are in the minority. Generally there will also be a clause in the contract covering payment in the event of a weather related cancellation, which usually indicates that the band does not get paid in this situation. There are also situations where inclement weather is threatening but it hasn’t started to rain as of yet. Since it is not raining you will be expected to set up and prepare to play until it does, or in the situation where there is a covered stage you will need to set up and wait for a break in the weather to start. If you don’t bring a tarp for your equipment and it rains, chances are your equipment, particularly anything electronic, is going to suffer damage, which you will solely be responsible for repairing or replacing.

Logically enough, if it’s a wet summer and your band has relied solely on outdoor venues for gigs, you are going to have a major income deficit, which will be a big deal if you’re relying on the income to make ends meet. If that is the case, then it would be wise to pursue as many indoor venues as possible in addition to the outdoor ones. While some might think that in areas with substantial opportunities to see live performances outdoors it will result in lower draws at indoor venues, this is not necessarily the case. Clubs will still draw crowds, particularly if your band is popular. Some of this has to do with target audiences. Most of the local outdoor events are indeed geared toward being family friendly and the crowds are generally filled with families and folks who really aren’t interested in hanging out in bars and nightclubs. There are some outdoor venues that cater to the twenty to thirty something folks, singles and couples, who are out having a good time, but these people are still more likely to be hitting the nightclubs and bars. The festivals that are populated by this demographic tend to be more focused on multiple band events, primarily with quite popular local and national touring acts brought together for large events. So, what are you looking forward to this summer?