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on 23 September 2009
Good to see this is finally available at Amazon. My covers band bought a copy in early 2007 when the original version came out. We were virtually a gig-free zone at that point and close to giving up. We'd tried a number of times to get an agent but they never returned calls or turned up to see us on those rare occasions we did play live. Looking back I think this manual was a last throw of the dice for us.

I have to confess I'm not much of a reader in my free time but this was great because it was easy to read and gets straight to the point. There's no waffle or irrelevant "padding". Just the facts about what we needed to do to get our own gigs. Anyhow, to cut a long story (mercifully) short, we took the advice. Well, most of the advice.

Pretty soon we were falling out with each other and our wives because we were out gigging every weekend. Clearly we shouldn't have skipped the chapter about agreeing your gigging goals before setting out on getting the bookings.

Be warned!
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on 23 September 2009
I'm the leader of a Peterborough area band that play's primarily "First Wave Surf and Classic Rock Instrumentals!" This is niche music in the States - where I'm from, so it's gotta be considered "obscure niche" here in the UK. I've read other book's on band marketing but they were written by American authors and geared for the American music scene. I wanted something that would apply to the UK. While I have 3 members of the band who were in previous bands none had any management role and weren't responsible for obtaining gigs!

...Back to the Book.

I found the book to be an easy read - the author evidently believes in the KISS principal - Keep It Simple Stoopid! The book walks you step-by-step through the process of obtaining gig's and offers multiple strategies for doing so.

I especially liked the sections on Organizational strategies and found the section on "cold calling" venues interesting...might give it a try!

What makes this a great product is that the author has made himself available for follow-up comments and suggestions! I had a specific question regarding "cold calling" and Gareth was very generous with his response. On the last page Gareth makes it clear that he's shared "all his successess and disappointments" - the good, the bad, and the ugly...what worked and what didn't! He also made it clear that he welcomes feedback and wants to hear what worked for you ...and also what didn't work. I found this especially refreshing and I urge anyone who's looking to "get more gigs" to add this book to your toolbox.
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on 27 July 2009
I bought this from the publisher's own website about a year ago. I am an IT Consultant by day and have to say I was initially surprised that this guide contained very little information about getting gigs using online techniques.

Having seen the results now first hand; Gig-Getter works and works well. I now suspect it's because the book uses a more proactive approach than relying on website or MySpace hits. If you've got an online presence what you'll learn with this guide is how to supplement it. If not, it's as good a stand alone system for getting gigs as I've found.
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on 22 November 2013
It is refreshing to read something about aspiring performers that is a)in the UK b) by someone actually doing it and not an author who has only got the theory and not the practice.
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on 17 September 2009
....Or a complete novice. Other than that, the advice here is just common sense "look at other band's websites/treat your band like a business" and at £14.97 for a mere hundred pages of large font, it's wildly overpriced.

It really doesn't cater for unsigned bands playing original music (Bird's advice being to play covers to get more gigs), and doesn't really sit well within the modern music industry - making little or no mention of myspace for example!

All in all, if you're 40 and balding and want to play Robbie Williams' 'Angels' over and over again at weddings, this book might be worth a read, otherwise I'd advise you to save your money.
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on 13 February 2012
If you're an original band with your own material and integrity, then don't bother buying this.

The author really has the nerve to advise us all to do covers, claiming that otherwise we won't get as many gigs. Well, I wonder how any original band or artist can establish themselves if the gig opportunities for original material are really THAT limited. Maybe it's not really quantity that counts.

But if you are a band who is happy reeling off covers at weddings and functions and in those pubs who don't give a fig about music then this book may have some sound advice for you.

I truly regret having wasted my money.
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