Gig Reviewing In A Gig Economy
Friday is fun (usually) because it’s music. Playlists, links, etc. Today, I’m’a have a rant about reviewing and pesky no-good loser promoters and try-hard wannabe reviewers (myself included). LOL
I have been trying my best to bring gig reviewing back. Mostly for myself. Because I missed it, missed doing it. I had my break — where I engaged with very little music that wasn’t ambient, classical or a film soundtrack (and a bit of jazz as always). But now I’m filled with the spirit once again. I have been listening to U2 all week, and only for the drumming of the great (underrated) Larry Mullen. Was he the 80s Ringo Starr? I think so!
Also, on decent rotation, the new Norah Jones, which is pretty great. And the new Faye Webster, which I especially love. Particularly the line about getting paid and buying something dumb because she’s pretty childish. I think I was listening to that when my framed photo of Friday the 13th, signed by the original Jason (ie the drowning kid) turned up.
I’m hooked on Slayer — again — right now. And revisiting the Tori Amos catalogue top to bottom, and still pumped about seeing Arooj Aftab, Mr Bungle, Melvins, Dinosaur Jr, Shonen Knife, and Mogwai in recent weeks. A great wee run of gigs. And I’ve been reviewing them as I go. In most cases — almost all — I have paid for the tickets. Because I am not a music journalist. I am an ex music journalist. There is a difference now. I’m no longer a beggar, I can be a chooser. I’m an absolute hobbyist, which is all that really exists for music journalism now. And to whinge about it is to look mildly churlish (Faye would say childish) given the storm that hit music journalism is now fully clouding over the “real” journalism…
But that hasn’t stopped Chris Schulz from having a go. In what is now likely the longest self-imposed audition for a job that no longer exists, Schulz continues to hope to be taken seriously as a music journalist and/or media commentator:
And it was interesting to read some of the piece above (I’m not a premium subscriber to his newsletter). He definitely has a point. But it’s a point that’s been around for almost as long as he has. Here, he talks with frustration (justified) at how almost every gig this year (and last) has been raved about. They’ve all simply been the best ever. Even though there is no way that Foo Fighters in 2024 is as good as Foos in 2017 or 2009 or 1996, or whenever. And was Pink really that good if most of the singing was by her backing singers? Fine if fans are paying for the gymnastics and the overall experience, but reviewers should be able to point this out and shouldn’t just gush and be thrilled to be there…
So, print this out: Schulz is right. Amend the public record. There is, and always has been, a first time for everything.
But, he was also part of that sucking-up machine, writing reviews for free tickets, and access, writing for mainstream media as part of their cycle. And so was I.
My problem was I wanted to continue to be honest. It meant that I was fired by the Dominion Post, because a promoter had a whinge after my Robbie Williams review. That was it. Shitcanned. Gone. And I’ve made peace with that — it was, after all, beyond comical. Marty Duda went on National Radio and had a giant moan about me and seemed to forget what a reviewer even was. He dropped me a line just recently, asking if I’d like to be part of a new way of reviewing albums: Bunch of old white guys sitting around on ZOOM. I wished him well with his venture and reminded him that he tried his best to shit on me on radio, but far more sad was the fact that he misrepresented entirely what reviewing was. He told the host that I had an obligation to the promoter in exchange for the free tickets. Fortunately, Kathryn Ryan is never to be fucked with and she told Marty that he was wrong.
Anyway, I’ve been enjoying going to gigs and writing about them. And sometimes a promoter will get in touch and offer me tickets. And that’s cool, of course! But they have to take what they get. I mostly just buy my own tickets, and it’s so hardwired in me to write about my experience I figure that’s what I’ll do. And I hope some of you are interested. And, for the most part, this year and last, my reviews have been positive. And that’s because I don’t want to waste my time (or yours) with negative rants for — seemingly — the sake of it. But also, it’s more a case of me being more discerning, and simply not wanting to waste my money. I’m not forking out to see shows I don’t really want to see. As an actual gig reviewer back in the days of newspaper reviewing, I went to anything and everything I was asked to attend. Comically, one of the angry letter writers that offered to take my job for me, requested a bunch of the shows she would be happy to see. Doesn’t work like that! Never did.
A promoter invited me along to The National the other week — and I said what I said. I didn’t love the gig. I thought the venue was wrong, as it almost always is, but I also felt the mood: People there did love The National. They were mostly happy. I threw a bit of faint praise there to damn them some. But I also was interested in being there and wanted — my very best — to like it. And said as much.
Gig Review: The National Pushes Its Songs Through The Squall To Almost Delight All
This is a horrible thing to say about one’s self, but I truly do think I’m one of the better gig reviewers in this country. I give a shit. That’s number one. And number two (haha, speaking of giving a shit), I am prepared to say when I don’t like something, vs just being stoked to be there.
That promoter that gave me tickets to The National is a great guy — I’ve met him, he’s in it for the right reasons. I know that. I don’t always know that about promoters, and don’t always know promoters. And it’s better not to. But there are a couple of good ones here. Many of the publicists employed to help these promoters are great people as well. But when a gig fails, in any capacity, the promoter will never carry the can. They will always strike out. They always blame the reviewers. It’s a no-win situation. Do a good job and everyone is somehow jealous you got to attend (and earn nothing, or very close to nothing — but they always think you’re being paid heaps). Do what is considered a “bad job” — ie, write the truth — and you’re public enemy number three or four…for a bit.
The National’s promoter was also Mogwai’s promoter, and so he had asked me along to review that also; on the strength of my review of Russian Circles earlier in the year. He did his research, identified I was a fan of post-rock on some level. He didn’t withdraw the tickets because I did not say that The National was the best gig ever. They are separate bands, and seperate experiences. I went to Mogwai, and gushed, and gushed. Because it really was amazing. Such a mood. Such a vibe. Just fucking phenomenal. The kind of gig it’s hard to put into words. And that, precisely, is the fun of trying:
Up in Auckland the other week, ostensibly to see Mr Bungle and Melvins, and then tagging in a Dino J gig too (because: Why not? / When in Rome…) I reached out on a whim about Graham Nash. And was given a ticket. I reviewed the show. And I reckon I was fair. But of course I think that. I just, somewhat embarrassingly, stopped mildly short of calling myself the greatest gig reviewer ever…
Gig Review: Nashing of Teeth - Graham Nash Sings The Songs And Tells The Stories Around Their Creation
Anyway, the same promoter is bringing out Tommy Emmanuel. The same publicist had already teed me up with some tickets. I’m a fan of Tommy. Pretty much. He can be a bit of a cheese bucket, but my god, the guy has chops. And I’m down to see that.
Except I’m not.
The email this week tells me the promoter for Graham Nash was not at all happy with my Graham Nash review. It wasn’t what they wanted. And also I didn’t do enough to promote the show beforehand. Not my job. That’s, um, his job…
I saw Nash in Auckland on a Friday, mostly loved it, pointed out some of his lyrics are naff (cos they bloody well are) and that he mostly transcended that with his melody-writing/conveying ability, his gift for harmony, and his amazing band. I turned the review around overnight. For free. I don’t get paid by anyone for reviews anymore, and back when I did it was absolute chicken scratch.
Could it be that not enough people went to the Christchurch gig two days later? Was a review of the Auckland gig meant to be some silver bullet?
All of this nonsense is part of why I’m pleased to be a full rogue trader, a complete one-man-band, a hobbyist more than any outlaw, just a music fan with a computer to type on after, and a wee platform I call my own.
Anyway, I’ve been instructed that as a result of my abuse of the system, ie not saying Nash was the greatest thing ever, and not writing futile puff pieces before and after, I’ve been removed from the guest list for Tommy Emmanuel. Unless of course I interview Tommy, and/or rave about him beforehand in more unpaid work…
Tommy is great. He’s a freak of nature guitarist. Isn’t that the rave right there? Fans of great guitar players would be wise to go and see this absolute musician.
But I’ll spend my gig-money on something else I think. And this isn’t even me throwing my toys. At all.
This is just me saying that gig reviewing is a pleasure, but at the same time an utterly thankless task. Always has been. It is not my job to provide free content for a promoter to then hang their hopes and dreams on, to use as the validation that they made the right call. If it helps sell some extra tickets, or validates the experience of anyone else that was there that’s just a bonus. It can’t be the reason for a review. A review is an acknowledgement for the public record. A review is a type of fan-account, for sure, but it comes with the potential for critical analysis, or simply cold, hard opinion.
And if you want puff pieces by clueless hacks, all scratching about for a bit of one-day recognition, you can continue to pitch your gigs to Stuff and the Herald and whoever else might occasionally still send a reviewer. You can then yell at them after if they bother to point out the slightest thing that wasn’t incredible, amazing or life-changing. Except they won’t. They’re locked into the game, while it lasts.
May you all be very happy in the death ring of journalism’s penultimate circle-jerk.
And if you want to read impassioned, informed gig reviews of shows I was pleased to be at, whether comped or paying top dollar, keep checking in here from time to time. If I think it’s worth it, I’ll be there.
And sincerely, I hope Tommy Emmanuel plays a great show. There’s some free promo for you David Roy Williams!
But it isn’t all bad. Here’s a fun playlist for y’all to peep, and listen to. It’s Vol. 160 in the continuing saga of A Little Something For The Weekend…Sounds Good! As always I hope you find something you like from it.
"In what is now likely the longest self-imposed audition for a job that no longer exists, Schulz continues to hope to be taken seriously as a music journalist and/or media commentator" - I find it a bit odd that you've gone after Schulz in this piece of writing.
Media coverage in this country is dire; I would think anybody who is trying to do it in earnest should be praised and supported for the attempt, whether you agree with them or not, and let readers decide which voices should be loudest. No sense tearing people down because you disagree with them, or for some imagined slight, or because they like something different than you do.
Additionally, I think Schulz has been pretty vocal about the fact that media - and especially music - coverage is in a bad place, and is pretty clear that his intention is to do it anyway and fill the niche he can see. I've enjoyed much of his coverage in that regard; he has interviewed some interesting people, and he is optimistic in the face of a media industry that doesn't value the kind of content he enjoys reading and writing.
I’ve been pretty stoked to see you reviewing again. Anyone can write a puff piece, but it takes balls and some writing skill to do a balanced review. And not to crawl up your arse, but you’re probably the only concert reviewer in NZ I’d trust these days.