Hey everyone, as you know I am interviewing friends and colleagues for the 'Acid House Interview' series - I am posting the Can Con interviews up over HERE, and the International ones here (somethingorother about funding). I hope you enjoy my chat with Troye - he's lovely!
We've just begun our second album project with Troye and I can't think how many times I have praised him and his work! He's a real pro and is a joy to work with, just ask Mr. Mellencamp or Corey Cox. Troye is one busy musician, but I was lucky enough to grab him coming out of Nashville sessions for a quick bit of advice for 'up and comers'.
Troye Kinnett
ja ~ Troye! I know you don't have a lot of time, but I wanted to chat with you about the music business and your experiences in it. First, can you tell us a bit about your music background?
tk ~ Hi Jenn, sure thing. My background is in music theory. Not so much classical, but how it's used in jazz, pop, and rock songs.
Understanding scales and chords really got me past just reading music and took me more down a path of playing by ear and coming up with my own arrangements.
I took piano lessons from age 8, but by the time I was 11 or 12 I was noticing how chord extensions worked. My teacher didn't teach me how to build chords, but did teach scales. For example, I would read some sheet music of a pop song that would have chord symbols and I remember seeing a Bb13sus4. I had no idea what that meant, but I played the notes that were written out on the sheet music and noticed the extensions from the Bb major scale. I loved the sound of that chord so much, I started transposing it to hear it in different keys!
Some people get "bitten by the bug" and dive into a certain artist or transcribe solos or whatever, but for me, it was understanding chords and scales.
ja ~ I have been talking to artists about wearing a lot of different hats these days, where in the past a label would take on all the work, and now it is up to the individual artist. Are you a jack-of-all-trades?
tk ~ Yes, Jack-of-all trades and master of one! I'm really just a piano player, but that has led to audio engineering, composing, singing and arranging background vocals, playing organ and accordion.
Whenever a young musician asks me about the biz, I make sure to let them know how flexible they will need to be. Yesterday I had to learn (re-learn) Bohemian Rhapsody to play with a violin soloist. Tonight I am playing with a country artist, and my next project is to chart some jazz tunes. I love all kinds of music, so being a session player is great for me. I would get bored with just playing one genre.
And yes, marketing is important, but that can be part of every gig you do. For example, if you get a call to play with a band, be a pro by being prepared, and then perform your best. You'll meet other musicians that will notice how professional you are and will call you again, that's easy marketing. Try to really listen and play what's appropriate for the artist. If you can change styles by the way you play and the sounds you use, your chances of getting work will increase.
ja ~ I know the Internet has changed the music business in lots of negative ways, but is lots of positive ways as well. For example we work very well together over long distance, can you maybe talk a bit about working over the Net and add some key points that can make it successful?
tk ~ Yes, thanks to the Internet collaborations are now happening all over the world and it makes clear communication is more important than ever. You have to have a good understanding of what the artist wants. Having some musical references is a good idea since you'll be working in separate rooms. For me, I'll listen to the references, but always add something of my own. If I get an idea that takes me down a little different path, I'll go with it. Fortunately, even if I think I've gone too far, I'll send it off and usually get an overwhelming approval! Even if you have to redo something and dial it back a notch, the artist or producer will appreciate that you are invested in the project.
ja ~ Ok, now for emerging artists, do you have any advice on working in the industry today, new strengths that would be beneficial, it's not like the old system where you just go out and play sessions or with your band and that's it. I wonder if young people today even have that 'rock star' dream, or if their expectations are different?
tk ~ The "Rock Star Dream" has changed because of technology. We used to look at liner notes and wonder what these band members were like, and now we download songs, and if we want to see the band, we'll go to our phones and see them in action, either in a playing situation or not.
My advice for a young artist would be to always bring your "A" game. Just because you don't have a record company coming to a gig on a certain night doesn't mean that someone won't record your performance and let the rest of the world see!
ja ~ Ah so true! Not only their 'A' game, but their professionalism, even when starting out, I have seen and heard of some things new bands have done, and I know there will probably be some regret down the road!
And speaking of new and young bands, do you have any tour or advice from the road? I think you are one of the busiest artists I know, and have a really busy road schedule!
tk ~ Haha yes!
As far touring tips I would say, don't get 'numb' or 'complacent' when you play shows night after night. Remember that the people out there probably bought their tickets weeks ago and are expecting to see a concert, not just a band. You left home for a reason, don't get distracted and make each show special.
ja ~ Wow, yes, ' You left home for a reason', that's a really good line, and great advice. Thanks for your time on this Troye, I know you're busy!
www.troyekinnett.com
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