In this podcast you’ll discover:
- How Dominic is successfully earning a full time living as a pro musician from his cover band and his original material.
- How he finances the time and money spent working on his own material.
- What he’s doing to fill the quieter weekday slots for his cover band.
- His DIY approach to getting more exposure for his original material.
- Why and how video plays such an important part of his promotion strategy.
- How he blends the identities of his cover band and original material projects together so they ‘work’ for each other.
- His views on playing for free.
- How he manages the relationships with his band members.
Get more free marketing ideas for your cover band – Click Here
Get instant access to The Gigging Success Revolution course – Click Here
Listen to the Podcast:
Brad: I’m here with Dominic Halpin. Full disclosure here. I’ve known Dominic for quite a number of years. I have been following what he’s been doing. We’ve actually worked together on a number of occasions as well. I’ve booked him out on some corporate and private event gigs in the past. What Dom is doing a fantastic job of is mixing the work that he does as a cover band artist with an originals project. Dominic, how are you?
Dominic: Very well, thanks. How are you, Brad? Good?
Brad: Not bad at all. Not bad at all. Thank you. Thanks for your time for coming on. I was really keen to get you on because you do such a great job of mixing your cover band and originals projects.
Dominic: That’s right, a real juggler with both of them going on and various things. Yeah, it’s good.
Brad: Tell us a little bit about your projects at the moment.
Dominic: Okay. Obviously, my main band is Dominic Halpin and the Honey B’s. That’s my fulltime working … what I call my … I don’t like the word “function band,” but it is my …
Brad: We call it “event band.”
Dominic: Event band. There you go. That basically pays for me to survive. That looks after everything and the kind of work that is is a mixture of weddings, corporate, some venues around the place. We travel a lot with that. We do a lot up and down the UK, but we also go overseas quite a bit with that and do the odd little show on a ship from time to time. We jump on a cruise ship, very rare these days, but sometimes once a year or twice a year. Sometimes, at a pinch, we’ll go and do that.
That’s what Dominic Halpin and the Honey B’s, and that’s … That’s a five-piece full-time working band that … Yeah, it’s … The style of music is vintage-esque throwback. It’s a bit of swing, a bit of rock ‘n’ roll and that kind of vibe. It’s perfect for that sort of function work, really. That’s my main thing and that will be probably out anywhere from a minimum of two a week to sometimes four or five a week.
That’s what that group will do. Usually, at weekends is the full-time band. Sometimes, what I’ve had to do to fill the diary midweek, sometimes we’ll cut down the members of that same group just so that we can survive or some members of the band can survive. Early on in the week, we’ll cut down that to sometimes a trio.
I’m fortunate I actually play guitar and sing, so I’m always in the mix. I can go down to a duo or a soloist if I have to, but I haven’t done that for years. That’s Dominic Halpin and the Honey B’s. Then, aside from that, I’ve always had a passion for writing music. That’s just something I’ve just done since I can remember.
I’ve always been in those original bands where you’re playing all the punk, or rockabilly or whatever it is. I’ve loved that process of creating songs. As this band’s been up and running and fairly successful as in been able to make a living out of it, as I put all the marketing things in place, it’s freed up a little bit of time to get back into that.
The last few years, I’ve revisited that writing and recording and building that sort of thing up. That’s been great. Nowadays, with studio technology, you can do a lot of recording and that sort of stuff at home. I’m really passionate about that. I’ve always loved that DIY recording process. Having a mini-studio at home that can do the frontend of bands and menus and various software to simulate other parts of the group, I’ve always found I’ve been writing songs.
Then, with that now, with the technology available to you with the Internet, it’s quite easy to get that stuff online and in front of people that … It may or may not do something. I’ve been quite lucky with songs that I’ve made videos for that they’ve been seen and picked up for various films around the world. That gave me more incentive to carry on and write and record more.
Brad: You’ve glossed over a bit, which is probably quite a big thing for you, isn’t it, which is video.
Dominic: Video, yeah. It’s one of those things. I mean I lived in Australia for many years. I left England when I was about 17, 18 and went to Australia to seek my fortune. I’ve been staying there for about 18 years. I had a backpack and a guitar. I had a normal job over there. I used to play music over there primarily for fun.
Then, it became one of those things where I had … It got to a point where I was working four nights a week and had a day job. One of them had to give. I just didn’t want to live with the regret. I ditched the job and played music and obviously went down a few rungs financially in the ladder.
It wasn’t long before putting that time into music built me back up again. It was fun. Making videos was a really important part of having that fun. It would just be cobbling a video camera together and some guys together in parks and videoing … It’s to track that we’d recorded in the lounge room. That was the bargain.
Again, like with the recording equipment now, video technology is there now. Anybody with an iPhone or with an iPad and a microphone, you can make a music video. It’s not the technology that’s holding anybody back these days. It’s just the idea and the drive to doing it. I really loved making music videos. I really enjoyed that process because it’s just fun to do and silly.
Brad: Briefly, without going too technical, your videos look fantastic. They look very professional. What are they costing you? What are you doing to keep the costs down and get them out there?
Dominic: So far, the budget’s zero. I don’t pay anything for videos because I film myself. There was one video that we made. What was it? It was an old ‘60s song called Fireball XL5. One of the bars that we played at in Liverpool had a great room upstairs and was all white. I thought, “Oh, that’s great. That’d be like the inside of a spaceship.
I had decided that we just film ourselves miming up there. We did it and we had to go and find this … we thought we’ll have these in suits, but in space helmets. We were out for a day, looking around for space helmets, which ended up …Actually, that cost money to buy them. We actually spent about six pounds on them. We made that video and then … That all looked great.
Then, I had this crazy idea that before the songs started, I wanted to make a James Bond film. They also have that scene at the beginning which is just an epic scene before the song starts. I love that idea, so I thought, I wanted to do that with the music video. I thought I’ll have this dramatic thing happening before.
That’s when about four months of my life just got taken over with learning how to do CGI work and After Effects and all this technical stuff that I wanted to create this fantastic space scene happening in a space battle. Then, at the end of it would be … the camera would fly into a porthole of a spaceship, and there we would be doing the music.
I get obsessed with these ideas that are a bit farfetched. I pursue them and they seem to pay off by just learning as I go. I know I want to make these effects so I learned how to make that effect. I don’t learn the whole program. I just learn the bits that I need to learn. With music videos, a lot of them have been just … They’re all homegrown sort of thing. I’m roping friends in to help out.
The last one I did, a pulled in a good friend who does a lot of wedding videos, but really high class wedding videos. He wanted to experiment with his new camera. I thought, it’s perfect. Let’s do a video. A lot of the time, with music videos, is looking around at what I’ve got in my closet. I have a ventriloquist’s puppet and I thought, there’s a video.
That became the pinnacle point of the last video that I made. A few months before that, I made this … I’d written this quite moody song. I wanted a hotel room to shoot in quite a moody scene. We were doing a show over in Bradford. I wanted a really rundown hotel, place that … It could be seedy and all that. Obviously, I wasn’t going to say to the manager that I wanted his hotel for that.
I said, “Can we borrow one of your rooms because we’re doing this really nice video and your place is gorgeous,” and all that. He gave us a room for the night and we just … After the show … We played the show down there in the bay. The bass player went up there with a little handheld camera and just shot some of the scenes I wanted, a video a little bit on the way home.
We had a music video. I put it together in Final Cut. That’s what I use to glue everything together. I use Apple stuff quite a lot. For me, it’s good for video. It’s not the cheapest thing in the world, but it just works and it’s … A couple of clicks and it’s up on YouTube. I don’t know. I tweet it and Facebook it and do all of that stuff and do a Mac …
Brad: You’ve got these two projects. You’ve got your cover band stuff and you’ve got your original stuff. You’re merging those two together while also keeping separate identities. Is one helping the other and vice versa? How do you find that plays now?
Dominic: Originally, I used to have this issue about merging the two. I used to think that they need to be completely different and separate. People aren’t going to get one if they’re into the other. It’s going to confuse clients coming to the website. I used to have all these dilemmas, which is a normal set of dilemmas to have.
What I found from actually doing it is it’s actually … It’s been okay. It’s been good, in fact. I think that people who genuinely like one of the aspects of something that I do like the other one as well. My website, if you go to the homepage of the website, it’s very much geared towards straightaway if you wanted to book the band.
All the stuff on there is … because I think 90% of people that go to the website stumble across it through Google or whatever they do. They want to see things that may want at their party or whatever, so it’s geared up for that. It doesn’t take long to make a few clicks on there and learn that there’s more to me than just that and then the other side of things that I’m involved in.
Brad: There’s a lot of hang-ups, isn’t there? You almost can’t be seen to be doing covers.
Dominic: I know that it just isn’t there.
Brad: What’s your take … What’s your feeling about it? Obviously, you’re at one with it evidently. How long did that take you to get over?
Dominic: It was more about … I was never hung up on it from a doing point of view. I have no problem telling people how I pay the mortgage and all that, because I feel like it’s an honest living. I love it. I absolutely love playing live. If I could just do one thing until I’m old and grey, it would be playing live.
Also, it’s selling records and anything. There’s something about that. That happens whether I do my original stuff or whether I do the … I don’t even like the word “cover stuff” nowadays because I still feel that what I do is honest enough. An interpretation is honest enough to … I never think it is covers. I guess that’s part of the answer. I don’t think that when I sing a song by Eddie Corcoran or a song by Frank Sinatra, I don’t feel like I’m doing a cover ever. I just feel like I’m doing the song.
Brad: Right. Okay. Psychologically, you’ve dealt with that.
Dominic: Yeah. I think that helps. Yeah, so when I do my original stuff … That’s interesting now as well because what I usually do is like if I’ve got a roomful of people who’ve come to see our show of what I’m doing with my own stuff, I would put covers in there. The balance is completely the other way. I might put two or three covers in there.
When I say covers, they might be really old songs that I just choose to do and talk about, and give people a little story about women. It’s more me, but it’s not me doing stuff that’s at a wedding or whatever. I think where I changed tact is whether or not are people coming to see me or am I there to entertain the people who don’t know who I am?
It’s those two different hats that I wear. If you’re at a function or a wedding, no one’s there specifically for you. You’re there to do a job and entertain or is it people coming to pay money to see you. There’s a slightly different approach to it.
Brad: We touched on there, the wedding and corporate and private events stuff. Let’s dig a little deeper into how you get the work for Dominic Halpin and the Honey B’s which is—I don’t want to use the word now, but I’m going to—the cover band stuff. You’ve been going for quite a number of years with that. I know in the early days, you were very big on search engine optimization side of things. How’s that progressed over the years?
Dominic: It’s interesting, isn’t it, because I did spend a lot of time working on all that. I think maybe five years ago, whatever, that was important. What I think is more important now is just having an identity as a band and actually just getting out there and doing it.
One of the things that I’ve always done with the group is keep it working. When we started out, we were doing shows, local shows, for nothing, for absolutely no money whatsoever, in a venue that looked nice and that we could have people come down and build up a bit of a rapport with.
That’s something that I used to do back in Australia quite a lot. There were venues there in Australia like, for example, the bottom of the Hilton Hotel. There’s a great bar called the marble bar. It was the most stunning, most beautiful bar in Sydney. I’ve always wanted to play there, but they were saying, “No, we only take duos and solo acts.”
What I did was I said to them, “We’ll do it as a band and we’ll take the solo money or duo money or whatever.” It was the smartest thing I did because we, always in that venue, attracted great clients. I knew from an early …
Brad: How did you do that, just by performing or were you going around and work in the room? You had some cards. What were you actually doing there to really get the value out of that?
Dominic: We’re just being seen in there. We were playing for an after-work crowd on a business day, on Thursday night. We were doing … We worked really hard in that bar and we had a lot of people in there that were business people. They got to know that night. That Thursday night was a great night to come down after work and enjoy yourself.
We built up a name because of that. It didn’t take long before then people were taking cards and booking started coming in for other things. Then, the Sydney casino heard about us and they gave us a residency. It just all snowballed from there. When I came to England, I wanted that same … I took that same idea where I thought, I’m not going to just wait around for the phone to ring.
I’m not going to … You just wait for the high-paying gigs. I’m going to find a room where we’re going to look good and sound good. Then, I’m going to just play there. What it does, obviously, you get really good as a band by doing that. The clients slowly start coming down. One of the most important things for us …
Brad: When you say … Sorry, just to clarify. When you say clients slowly start coming down, are these people that are just at the venue anyway or have they made an inquiry about you and you said, “Look, we’re playing at so-and-so venue. Come down and check us out”?
Dominic: Various ways. I think just being … just playing in a nice venue on a regular basis, word of mouth gets out and things start happening from that. People do either come down or they make an inquiry. I don’t know. Someone just mentioned the name or they’ll have a look at the website. The phone will ring.
One thing that I’m always able to do now is when someone hasn’t seen us, I’m always able to offer them to come and see us. I always say that’s really important. I always say, “The date’s free,” if it is. Before you make the commitment, why don’t you just have … come and see us at such and such a venue. That’s always paid off. That’s always been…
Brad: Even if you’re just doing a duo or a trio, but you’re booking … they’re looking for a larger band, it’s still a good opportunity, isn’t it, to come check you out and have a conversation in the relationship.
Dominic: Yeah, that’s right. Even now, we still do that now even though we’re very busy. The reason I’m doing it now mainly is to keep the band oiled. We’re not one of these bands … because we work quite a lot. We don’t rehearse. What I do is I keep regular gigs going. In that way, we can introduce new songs and just keep the band well-oiled, really.
I’m a big fan of residencies. Obviously, they’re not corporate work or whatever. It’s a different fee structure, but to me, that’s really important, I think. If you are a so-called working band, I think you need a residency. I think you need to be playing at least every week somewhere.
Brad: Right, because you’ve done an incredible job of seeking out the places to actually go and play or almost creating your own slots, I’ve noticed.
Dominic: That’s right. Yeah. I mean sometimes, that’s … Again, one of the things that I’ve done many a time were I’ve gone to a room that I like. They might only have music on a Friday, on a Saturday or a Thursday or on a Friday. I’ll say to them, “Give us a Tuesday night.”
We can’t afford to have you. I said, “Well, give a dozen … maybe the pay can be food. Give us a meal and soft drinks or whatever, and let’s just see how we go.” That’s paid off many a time where they’ve given us that night. Then they’ve seen value in keeping that night going.
Brad: What value … I mean have you … You’ve literally just gone in there and pitch that to the manager in that venue, have you? What is it that you think they’ve seen an increase in the number of people coming through the doors or … What is the reason you think they’ve actually kept you on?
Dominic: I think, again, I’m a realist when it comes to what they can afford for a group. I know venues can’t afford a lot of money. I know where that’s going to be pitched financially for them. I think … I’ve always said to any venue, “I don’t want to work here unless it works both ways.”
We both get something out of it, then everyone’s happy. I’ve always had that opinion that we want to build up this night on this such a day. Then we find if we can get it to this level, maybe you can stretch the money to this so that these guys are happy to drive there and back and what have you.
We do a residency over in Liverpool. It’s not fantastic money, but we love it because it’s a great place to play in front of clients. They look after us. I know there’s no budget for them to really go any more than what we’re doing. We’ve been there for four or five years. It pays off. We get a lot of work from it.
Brad: You’re in the mid-to-higher-end of the market in terms of what fees you’re charging as well. Evidently, people do want to come and see you. You’re using those … You seem to be using those pub and club and bar shows for lots of leveraging on that incredibly well by the sound of that.
Dominic: Yeah. It is. I think, sometimes … I mean I’ve collected over the last few years some good footage of us playing at corporate events and things like that. I’m putting those videos online. The website has really helped. People see us in a club. They’ll go to that. Then they get to see, oh, wow. They can do this. They get this room and get this room and jump in and do this.
Brad: They’re piecing it all together. Each step along the way, they’re growing in confidence about it.
Dominic: That’s right. It’s not just word of mouth. It’s just me telling them what we can do. Eventually, they get to see it. I come into one of the biggest shows on a Friday night or whatever. We still do public or get online now and have a look at what we’re doing. There’s no smoke and mirrors there. That’s the real thing.
Brad: Right. You used to have somebody that dealt with your bookings. That was your sax player. That was Nigel, wasn’t it? Yeah. Now, you’re now taking all the inquiries and dealing with all the bookings yourself, is that right?
Dominic: Yeah. I do it pretty much all myself now. Nigel is still … he’s been there since the beginning and helps out a lot with certain schedules. There’s a lot of people who Nigel, that have dealt with Nigel for years and get to deal with Nigel. I think new inquiries coming in now, I’ve sort of taken on that …
Brad: Just to get into more of a detail. When an inquiry is coming in, that’s coming through your website, right? Then, what are you doing when that inquiry comes in? Just talk us through that process then.
Dominic: A lot of it come through an inquiry form or they come through a phone call. Either way, they’ll come to me pretty instantly. I’ll respond to them instantly in some shape or form. We’ll check the diary first. We’ll see whether we’re free on the day they’re looking at. Then, we start … communications are started. One of the things we have as a group that we … I’ve learned this again over from doing a lot of weddings and corporate shows with … There are a lot of times when you need to communicate with the client all the way up to the show.
Usually, it’s regarding things that I might not need to be involved in like have we got PAt testing certificates? Have we got … What time are you loading in? All technical stuff that’s … What I have done over the last few years, I’ve got these … The guys involved with me from a production point of view. What they do is their production team, and one of them is a professional deejay.
Nine times out of 10, when we do a function or a wedding or a corporate show, I try and tell the client … get the client to look at us as a whole package rather than just our little slot of music for the night. Let’s look at the whole thing. How much lighting do you need? How much sound do you need? What’s the idea when we finish or in the break? Have you thought about microphones or speeches and all that?
I’ve got this company that takes care of all of that and we offer that basically to the client at an extra cost. What’s great about that is that it’s a one-stop shop where the client … Let’s say for example it’s a wedding. The client, through the production company, can basically say, “Right. What we would like is the band to do … We offer a little tear-away jazz, maybe instrumental thing at the beginning of the day or evening.
Then, we’re going to have some speeches and then we’re going to have some background music over dinner. Then the band can do the first set and then some more background music in the break. Then the band can do the final set. Then we can have some disco music until 1:00 a.m. or whatever it is. We can offer that whole thing rather than just our little segment and then run.
What’s really appealing to the client is that they just basically can deal with one person and get all of that covered and know that it’s all scheduled and we’re not turning out to a gig and hustling for space with the deejay or didn’t know this was on or didn’t know they had a sound meter. We don’t have any of that worry with them.
My production team basically … once I’ve made contact with the client and it looks like it’s all going ahead and I’ve done maybe the negotiating on a ballpark figure. I hand it over to Martin, which is the production manager. He will then piece together exactly what they need and what that’s going to cost for their services and all the rest of it. Then, my next contact really is Martin. He will let me know when he wants me at the venue.
Brad: Are you taking the quote that you’re getting from the production guys, putting that together with the quote that you got for your band and then sending that through to the client for them to give the go-ahead?
Dominic: Yeah. I’m giving … On the phone, I’d like to give them an idea of what it’s going to cost. I’ve got a rough idea of what the production’s going to cost depending on the area that the show’s in. I’ve got a fairly accurate idea of what it’s going to cost them unless it’s an overseas thing or something like that. I’ve got a good idea what this costs. I can piece that together. I just hand it over to Martin if he’s involved, because sometimes, the client doesn’t want that.
They just want a short and sweet band in, band out. We’ve got our own production that we can use to do that. If it’s going to that at the level where we get Martin involved, I still do the deal on the phone and then I’ll hand it over to Martin. What Martin will do is he’ll find out all the … He’ll get all the details for the venue and any paperwork that they require. He will then get a contract out to the client.
Brad: He’s doing your contract.
Dominic: He will take care of that then which … Again, it just makes it so much easier from the …
Brad: Yeah. That’s freeing up a whole bunch of time for you to go and work for other things.
Dominic: Of course, it is. Yeah. That’s right.
Brad: Do you feel as though you could be making more money on that, couldn’t you? But you’ve evidently … You could be making a margin on the production stuff that you’re putting out there for the clients. By the sound of it, you’re happy not to because it’s freeing up your time?
Dominic: Oh, absolutely. The guys that we’ve got are just so good at what they do. They do make the night smooth. I know that when I turn up the show with those guys, everything is taken care of, and I love that. To me, that’s worth a lot, really, because I can go to the show and I don’t have to stress about any of the technical issues or any of the issues. I know that it’s all being taken care of.
Brad: Tell us a little bit about the structure of the band. Because there’s obviously you as main band leader. You’re contracting each of your band members per show, is that right, fundamentally? Yeah?
Brad: How are you managing that? Because I know a lot listeners have issues with the band pulling in the same direction as them? How would you suggest they deal with things and what have you learned about that?
Dominic: We’ve had the same lineup now for a number of years. Before that, it was a little bit hit-and-miss and members came and went. Now, we’ve really settled into a group of guys. It’s all well. Three other guys in the band only do this. They only do this. Then, we’ve got a piano player. Sometimes, we’ll do other shows with other people. That’s okay. I don’t mind that at all as long as we get enough warning or vice versa.
He keeps us as the primary. We’ve got people that we can bring in if we need to that we’ve used many times. That’s not a problem. I think what’s happened is over … Sometimes, gigs will be rubbish money. In the early days, it upset some of the other players that we used to have. It’s a shame, really, because if I say this gig is only going to pay you, whatever, 50 pounds or 25 pounds as a local show on a Wednesday night, they really got upset about it.
If I would have said we’re rehearsing on a Wednesday night, they would have turned up. In my head, I’ve always seen as a bigger picture, whereas if I said to them, by the end of the year, you will have earned fifteen grand or whatever it is you’ve earned. You have to turn up to this gig, that gig, this gig and that gig.
Brad: Right. You’re presenting it to them in a kind of holistic way rather than a gig by gig basis. They can see the value in the act and what it is you’re offering.
Dominic: Yeah. I think so. I think it’s important to look at it as a bigger picture. That’s what we’ve done. We’re one of those groups where we wear … We have outfits and jackets. We’re a very stylistic group. That helps it as well because I think once the lads are in that mode and they’re on the gig, they know that they are part of something.
We’re actually entertainers doing our thing. Like I said, the group of guys now that we got get it. They get the bigger picture. There’s no mumbling under their breath about a certain fee or whatever because …
Brad: It sounds that you’ve been very instrumental in communicating that bigger picture to them. Would I be right in saying that or…?
Dominic: I think so. I think it’s one of those things with … I mean we’ll work hard through the year. Then we’ll get some really great shows where we’re flying here or flying there and doing some nice up market things and we’re also treated like royalty. We all get a five-star suite to ourselves each and.
There are pinnacle points through the year that these sort of things happen. They understand that those things would not have happened if we haven’t done all the little steps along the way. They get that.
It’s not me voicing it to them. I think they understand that I’m hard worker. There’s not a day goes by I don’t do something for the band in some shape or form. That’s what I do. I’ve always believed that anyone in this world, if you work for a company and you get up at, I don’t know, 7:00 and you get home at 6:00, that’s a lot of hours dedicated to somebody else’s business.
If you put that time, or even half of that time into anything of your own doing, it’s going to be successful. I do that. I work really hard in the days to keep the whole thing oiled. I don’t ask all of them other than get to the gig on time, play well, enjoy it. I’m an easy band leader really. They get it. They get what’s needed.
Brad: Excellent. It sounds like a great ethos. We’re coming towards the end. Tell us a little bit about … I mean your website, obviously … How important has the website been for both the cover stuff and the original stuff? Because obviously, you’ve got a … Is that very much the home?
Dominic: Yeah, I’d say so. I think it’s been really important, the website. That’s where you basically … I mean people are looking for a band for a corporate show or a wedding. The look of it is really important. Of course, you’ve got to sound good, but they got to want you there. The website’s been really important to portray that.
A lot of pictures, a lot of videos, a lot of graphics sort of stuff. Now, there are programs around that you can do this stuff with. Again, about 10 years ago, there was Dreamweaver and some really complicated programs. You pay a lot of money to get websites built. Then, once they were built, they couldn’t be changed easily without paying more money in that. That’s not the case anymore. Now, you can build these things quite …
Brad: What are you using to build a website?
Dominic: I’m using an Adobe program called Adobe Muse, which is like them. Adobe stuff now is so subscription-based. Most programs are going that way now where you pay a monthly fee and you just get all the free updates and away you go. But it’s brilliant because Adobe Muse is one of these programs where you don’t need to know any code.
You don’t have to learn anything. It’s basically all drag and drop. Where do you want your menu? Where do you want your text? Where do you want your videos? You’re dragging stuff your desktop into position and it’s working it all out. Obviously, that … and I’ve recently just made it mobile friendly now because that’s on the increase no, mobiles and tablets. They’ve got to work on those platforms.
Brad: Yeah. We were finding 30% to 40% of the traffic is coming from mobile devices which is incredible really.
Dominic: I know it shows now, people look at the drum skin and see the name. Then they’re on the phones with the thumb typing in. You see that a lot. It has to work on that, to me, quite well. All the videos, all the pictures, and all that stuff work on there. As we’ve done nice things, I’ve gathered testimonials along the way.
Brad: Yeah. The range of images you’ve picked up really are, I just find, really showed so many different aspects and tones and colors of the band. I’ve rarely seen such contrasting images on other band websites. It looks really great, I have to say.
Dominic: It’s been … Sometimes, you know what I do is, well, sometimes I’ll take my camera to the show. I’ll give it to one of the production guys and say, “Look, if I know it’s a good room, a good looking room, and I’ll just say, let’s snap away.
He’s not a photographer. I’ll just put it on an automatic setting and get it to snap. You know what? We’ve viewed so many of those images. Those have actually paid off. It doesn’t mean you have to hire photographers to do these. You just got to collect stuff and have cameras ready and just take advantage of it all the time.
Brad: Yeah, just leverage on every opportunity you’ve got? We’re just going to come to the end. What advice would you give to anybody looking to follow the path which you’ve gone down, which is really successfully mixing the cover stuff with the original stuff? Is there anything … If somebody’s looking to go down that path, what advice would you give them?
Dominic: I think not to be afraid of showing both sides. Don’t think you have to have two websites, two identities and all that, because … I mean the Beatles started off playing covers. Their early stuff was great and that’s who they were. That’s how they got paid, playing rock ‘n’ roll songs.
I just think just do it. Just get in a room, play some music. If you’re looking to make a living out of doing the corporate and that, then get a lot more than the music together. You get the look going because people … If you’re doing someone’s wedding, they need you to look the part.
Do that. Always be better dressed than anybody at the function. Do that and if you’re passionate about doing original stuff, do it right, record, get videos together even if it’s on the iPhone. Get creative and get the stuff up there online and just, yeah, enjoy the ride.
Brad: Take action. Excellent. Good stuff, Dom. Thank you so much for your time. I really appreciate it. Been really interesting. Hopefully, in the next year, 18 months or so, you’ll come back on and tell us how things are going.
Dominic: Yeah. I’ll call you from my LA mansion.
Dominic: All right.
Brad: Thanks a lot. We’ll speak to you again soon.
Dominic: Okay. Bye-bye.