Why Thinking Like a Business Owner Can Make You a Better Musician
Boost your income by treating every gig like a business deal, not just a performance.
Getting into Broadway readings and workshops as a drummer can feel like getting a VIP pass to something that could become a hit—maybe the next Lion King, Book of Mormon, Chicago, Hamilton, or Aladdin. You’re part of the ground-level creation process, the moment when a show starts to find its rhythm and flow. But the reality is that most of these projects won’t make it that far. Most workshops or readings last a few weeks, and then—poof—they’re done, another casualty of Broadway’s brutal process. It’s hit or miss; sometimes, it feels like more misses than hits. But here’s the thing: even when the gig doesn’t last, you can still make it worth your time.
Over the years, I’ve understood one universal truth: everything is negotiable. And I mean everything. There’s more money moving around than most people realize, especially in the early stages of production. Think about it like one of those wind booths where dollar bills blow around, and you have to get what you can. That’s what happens in the early stages of a Broadway show—money’s blowing around, and you’ve got to grab what’s within reach before it’s gone.
When offered a rate for a workshop, always negotiate for more. Don't just accept the initial offer. You can always ask for more. Just because someone says, “Here’s the budget,” doesn’t mean that’s all they have. Even if they respond with “no,” you haven’t lost anything by asking. I’ve learned to say something like, “I typically receive X for these projects,” especially when they offer Y. If they’re unwilling to budge, that’s fine. Still, at least you’ve set a standard and shown that you value your time and experience. And for me, getting paid through my corporation has been a game-changer.
Owning an S-Corp comes with responsibilities, but it saves a lot on taxes. After years of filing as a sole proprietor and dealing with Schedule C headaches, I learned this the hard way. In the first year of running my company, I realized that having my own corporation offered significant tax savings. I was amazed by how much money I saved. Although it requires maintaining proper records and staying organized, the benefits are definitely worth the effort. Plus, I no longer have to worry about withholding taxes from every paycheck. The amount you take home as a corporation can be significantly higher because you control how and when taxes are handled. With an S-Corp, the money you make is the money you keep until tax time, allowing you to reinvest in your business or save for when taxes are due.
Another point that often gets overlooked? Drums. Does the production team want drums in a reading or workshop? Fine, but there’s a cost to that. Some musicians don’t mind bringing their own gear and letting it go, but I’m done with that approach. If I’m going to drag my drums out of storage, put them in the car, and haul them across Midtown to places like Open Jar Studios, I’m getting paid for it. Getting to Open Jar isn’t exactly a quick stroll, either. The logistics alone are enough to warrant an extra fee—parking, unloading, the time it takes to haul drums through Times Square, navigating the freight elevator, and setting up in the rehearsal room. And they want this for free? I don’t think so.
So here’s what I do: I charge for my drum kit. It’s reasonable, especially considering how much production companies would pay to rent drums from a backline company. Check the rates in New York—you’ll see it’s not cheap. They can either pay me a bit less to bring my own drums or rent from a company. But I’m not showing up with my gear unless I’m compensated.
It’s a win-win. I know my kit inside and out—how it’s set up and how it sounds. Using my own drums eliminates the risk of dealing with an unknown rental kit that might not be in the best condition. Plus, I’m ready to go as soon as I’m set up without needing a tech or extra adjustments. And let’s be real—these workshops aren’t as bare-bones as they used to be. They’ve got complete sound systems, mics for key players, and often a tech crew. The budget’s there. If they’re investing in these resources, they can afford to pay for my drums.
Another reason to ask for a backline rate is the hours. These workshops run long: 10 a.m. to 6 p.m., Monday through Saturday. That’s a lot of time, and I’m making sure I’m compensated fairly for it. Charging for my backline has doubled my weekly earnings, and there’s no reason other musicians shouldn’t do the same. Don’t feel bad about asking for this. You’re bringing years of skill, experience, and investment in your equipment. If they want your drums there, make it a fair trade.
Too many musicians enter workshops, bring their gear, and settle for the base rate. Not me. If they want my drums, they’re paying for them. If not, they can rent from a backline company. Either way, I’m covered, and they’re getting the quality they hired me for.
In the end, workshops and readings are about maximizing every opportunity. These aren’t just gigs—they’re your business. Don’t leave money blowing around when you can grab some for yourself. The takeaway here is that your time, your talent, and even your equipment have worth. Try to get paid for all of it, and don’t leave anything on the table. Broadway might be hit or miss, but you'll, more often than not, come out on top if you know how to play the game.
If you’re interested in learning more, let’s talk. Click here to contact me to set up a time for a detailed conversation.
And keep an eye out for my upcoming book, dropping in early 2025! It’s a hands-on guide covering everything from getting started in the industry, building a solid network, understanding how Broadway works, staying resilient, and building a stable career.
I’ll be sharing lessons from my journey with real-world advice to help you navigate the highs and lows of being a musician. Make sure you’re subscribed to get updates—you won’t want to miss this!