If you’re trying to book more concerts, there may be one thing quietly holding you back: your Bio.
If I had to pick the ONE most important thing a concert presenter looks for in a Bio, when trying to find out if you’re a good fit for their series, I’d say it’s this.
They want to find out what’s distinctive about your performances.Let’s be honest—if all your Bio does is list your credentials, presenters have zero reason to check out your music.
And in the end, the whole point of having a Bio on your website is to get them interested enough to click “play” and listen to your clips.
You need to catch their attention with something real about your music—something that sparks curiosity and earns a listen.
What’s likely missing? A vivid, distinctive description of your music
I know, it’s easier said than done. But you’ve got three ways you can go about this. You can focus on . . .
A) Describing your sound (without sounding generic or using clichés). For improvisers and composers, this means describing what your music is like. And no, this doesn’t mean comparing yourself to others.
Another option is to . . .
B) Tell us what your performances are like—what the audience experiences.
and last, you can . . .
C) Describe what’s distinctive about your programming—how you put concert programs together.
So what do you do if you don’t know how to describe what you sound like? Or what if you don’t know what your audiences experience? Or maybe you wonder whether your programming is actually distinctive?
Don’t worry, I’ve got you covered . . .
Pro Tip #1: Mine your memory for the best audience reactions you’ve ever received.
What specific and memorable language, metaphors, or associations did people use when they told you what they appreciated, either about your sound, or about your performances? Or your programming?
Of course, clichés and generic descriptions like “beautiful sound” or “terrific performance” won’t help. Dig for those unexpected phrases or memorable reactions—these are your clues to what truly stands out.
Then you might use the comments you gather to generate a sentence something like . . .
“Audiences have described violinist Emily Hale’s performances as animated, intuitive, and elegant.”
Or you might use the description in a clause to start a sentence. Something like . . .
“Known for both the humor and drama of his performances, along with his engaging speaking with audiences from the stage, guitarist Alvaro Henrique . . .”
What’s needed here is a non-clichéd description of what audiences experience in your performances. You might not use their exact words—it’s fine to use synonyms that capture the spirit of their response—as long as you’re telling the truth about what people actually experience.
That way, when audience members who’ve been to your performances read your bio, they’ll say, “Yep, that IS what it’s like.”
But what if all you’ve got are bland compliments and clichés? Don’t worry . . .
Pro Tip #2 If you don’t have useable audience comments . . . ASK for them
It’s not rocket science. Reach out to your fans by email or social media. This doesn’t have to be a big deal. A simple request with a link so they can hear a sample of your work, that’s easy.
Post a clip from a recent performance and explain that you’re refreshing your promo materials—you’d love some honest listener reactions. Ask for candid, specific descriptions.
You don’t need poetry or praise. But you do need to know what people experience—what comes across to them. Because in terms of what presenters really want, THAT’S IT.
One composer client asked her fans for their honest feedback on a new work which she posted online—she them to write back with whatever the sound clip brought to mind for them.
What she got back was an amazing list of evocative descriptions of her work. And she used these as a side bar list on her “About” page under the caption “What people are saying.”
But she got MORE than descriptive language. In the process, she cultivated stronger relationships with her fans and gained new insight on how her work is received.
You don’t need pages of fan mail. But you do need fresh, specific language that stops the scroll and gets concert presenters to press “play.”
Gather the comments you receive—and fashion them into a sentence
In terms of nailing What’s missing in your Bio . . . check out these examples—nothing missing here:
“Focused on creating performances that are vibrant, multi-faceted sound worlds, violinist Szuhwa Wu designs concerts that challenge and disturb, surprise and enthrall audiences.”
Here’s another with a description of the musician’s performances and programming:
“Known for the warmth and conviction of his performances, pianist Walter Aparicio explores issues of cultural background and identity through his concerts and workshops. Much of his programming includes music that directly references elements of dance, language, and folk traditions.”
And this from a composer, on what her music is like:
“Using intricate shimmering colors over re-imagined fragments of tunes, composer Sheree Clement builds surprising narratives. She upends the listener’s expectations in works using politically charged texts, found sounds, and unusual structures. All to wake us up to the upheaval and possibilities of now.”
In each of these examples, we’re getting a real sense of what’s distinctive in each artist’s voice. This is what’s all too often missing in musician Bios. Because booking power doesn’t come from simply listing your credentials—not anymore. Have the courage to tell us what your music is really about. And if you want help . . .
If you’re ready to tackle what’s missing in your Bio so you can book more concerts . . .
You might be the perfect fit for private coaching or my flagship Musicians On Track small group program. Curious which one’s best for you? Let’s talk.
Looking forward to this,
Dream Big, Plan Smart, Live Well
P.S. Know a musician who’s reworking their Bio? Forward this along—they’ll thank you for being a good friend.
