Band Dynamics
Identify and resolve your band dilemmas
By Derek Koch (Source: rightround.com/content/howtorock/145/ )
Some of the toughest issues in bands have nothing to do with writing, recording, or performing music. They have to do with the other people in the band and how you work with them. Band conflict can arise in any group for different reasons, and there are many different ways to resolve it (or avoid it in the first place).
If you're not familiar with the concept of "band dynamics," perhaps you haven't had any of the following experiences:
• You discover that your flute player stinks after telling him he can join the band.
• You learn that the drummer is very keen on death metal with double-bass pedal action (your band plays bluegrass).
• You notice that your singer never helps move PAs, amps, instruments, and drum hardware — or even mic stands.
• Your bandmate flinches when someone else introduces a song, improvises a part, or critiques her lyrics.
• You're always breaking up fights between the lead guitarist and the drummer.
If you haven't felt the pain of these experiences, you are a lucky person. But most people who play music with others have to deal with the differences between their own attitudes and expectations and the attitudes and expectations of their bandmates. Sometimes you hit the jackpot — you connect with talented people who have a similar style, work hard, have no attitude, and are happy with the power structure in the band. Other times, you have to work really hard not just on the music, but on how your little team works.
What Is Your Problem?
How do you tackle these issues? First you need to identify what the actual problem is. Some of the most common ones fall into a few key categories:
Skills: This usually means that one band member is significantly less qualified for his or her role than the rest of the band is for their roles. That doesn't automatically mean that the rest of the band is good. Just that this person is far worse. (In rare cases, one member is far more qualified than the rest of the band, which can be just as disastrous.)
The solution? The best time to address skill level is during the band's formation, or as you select a new member to fill a vacant position. Auditioning different people may seem like a lot of work, but hearing and seeing them play with your band really gives you a sense of what they can do, and how they will work with you. Don't rely solely on a recorded demo; with a little digital cut-and-paste, anyone can sound like a good player.
Styles: Just because you get along with someone socially doesn't mean you'll make good bandmates. Your college buddy who plays bass may be a great guy, but he may like very different music than you do. Stylistic differences come down to your influences and preferences — and not just in terms of music. Style might include your idea of what to wear onstage, what a "good performance" means, or what the band's logo should look like.
Like skill levels, style issues are fundamental to how a band works, and are best confronted early. Auditions usually won't tell you the whole story — nor will asking the person. Sometimes people tell you what you want to hear, not what they really mean. After you've tried out a couple folks and have some good candidates, ask each of them over to your place to play some of their favorite songs. Spin some CDs and see what you think of their interests after that.
Level of Effort: People who play in bands are generally not well paid. And it takes a lot of work to get a band going and make it successful. If someone isn't pulling their own weight — taking the time to learn new parts, helping with load-in and load-out, doing their bit to promote the band — everyone else will resent it.
It's hard to assess in advance how much effort a potential member will put into the band. One good indication is whether the person prepares for the audition, and whether they show up on time. Be prepared to tell people when they are not putting in as much effort as they need to, and give them specific suggestions about how they can get back on track.
Goals: Not everyone wants to tour all year, and not everyone is content to just play a few parties a year. If your goals are misaligned, somebody in the band is going to be dissatisfied.
It's important to ask everyone about their goals upfront, but you'll also gain a lot by having periodic band meetings and talking about what the band actually wants to do. Once you reach an understanding of what you are all here to do, it'll be easier to address any other problems.
Money: Should the money you make from shows be divided up evenly among the members, or should it be saved to pay for a fancy new studio recording? This is really linked to the question of your goals. Do you want the band to produce income? To make you famous? You need to know where folks stand on this issue as of Day One. During money discussions, reconfirming your band's basic goals should help clarify the choices.
Entitlement: Some people are truly gifted, or have special advantages that others don't (like a friend who works in A&R at Sony). Sometimes these folks expect greater pay, less work, or a greater role in decisions because of what they bring to the table. This can create resentment in others.
If possible, make sure this "privileged" status gets out in the open early. Decide what, if any, privileges will be extended to the person (like only coming to certain practice sessions, more creative control, more money, or less work). Also define what they must do to keep those privileges. But beware — this relationship may be just about business, and you should act accordingly.
Control: In most small bands, one or more members need to take responsibility for major activities like management, songwriting, recording, and booking. Some bands share responsibility for all tasks, and decisions are made by majority vote. Others don't.
You don't need one person to do everything in your band, but do make sure that two people aren't trying to do the same thing without some sort of coordination. Discuss who is going to do what, and allow for some compromise. Be especially careful about songwriting and who will front the band when playing — your problems will become very obvious if two different creative forces are pulling the band in conflicting directions.
Level of Friendliness: Some people just don't like each other, even if they get along fine as musicians. In some bands, people don't need to be friends — but they do have to work together professionally. Based on your group's reason for being, decide whether you just need professionalism, or the bonds of friendship. Recruit new members based on that idea, but also be ready for some interpersonal issues.
Am I Part of the Problem?
There's one more thing to talk about: YOU. Once you've figured out what problems your band has, you need to do some soul-searching. Can you compromise on any part of your vision? There is no right answer to this question. Our culture values consensus and equality, but a band is not necessarily a democracy. And it's a major mistake to go against your judgment because you don't want to hurt people's feelings.
Some musicians insist on exercising complete control over the music, even at the expense of keeping certain players in the band. If you are totally committed to a specific style, specific music, or specific instrumentation, and you demand purity and control, then you should own up to the fact that you do. You may or may not come across as a jerk, but frankly, who cares? If you know what is right for you, then good. The life of a musician is tough and demanding, and you should do what you think you can live with.
In other cases, you know you have something good that needs tweaking to become great, and compromise is the only way. Some people want their band to survive so badly that they compromise their own vision. But if that level of compromise works for you, great, go with that.
Either way, you are probably crazy. Once you know what kind of crazy you are, you can start tackling your band's issues. Just be sure to own up to who you are, and what you want as a musician.
How Do I Fix It?
As you look through the list of problems above, you may notice that you have several options: You can prevent the problem, work with your bandmates to resolve it, eject personnel, or change your own approach. Not every problem should be solved in the same way, but it should be a solution that's true to your band's goals.
Effective recruitment of members and giving honest feedback are both fundamental to getting good results. Also recognize how your own behavior might be contributing to the situation. If you're abrasive and demanding, you're likely to have more problems than you might if you communicated in a more diplomatic manner.
In extreme cases of conflict, one obvious and potentially nuclear option is the dismissal of an offending member. It is common for bands to plan an "ambush" — for example, telling the person in question to meet at a local bar at 9:00 p.m. while the rest of the band meets at 8:30 to discuss the problem. When the target shows up, they know from the get-go that they are being ousted.
The problem with this type of ambush is that the person being ejected may never hear the truth about why they're being asked to leave. And if they don't see the situation coming, chances are they'll be even more bitter and angry about the situation, and (rightfully) feel conspired against.
If there's a problem brewing with one band member, don't wait until it becomes irresolvable. Ignoring the problem sometimes works, but it's rarely a real solution. If your bandmate isn't playing well, tell them, "You really need to practice these songs more on your own — it's important to all of us that we sound great when we play, and right now you aren't playing your best." Be specific about what the person is doing wrong and what the impact is on the band, and be sure to tell them as soon as it happens. This gives them the best chance to change and do a better job. You may still need to remove them from the band, but when the time comes, they may leave on better and easier terms.
In the end, think long and hard about what your problem really is, what your vision and goals demand, and how to work with your bandmates to solve it. And remember: Being honest about what you expect from the people you work with is, in the end, the best policy.
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Band Dynamics: True Stories
I'm sure you have your own great stories — if you're willing to share them, add a comment below!
"One of our members moved out East and quit the band just after we retooled our whole set and lineup for a show one week away. He basically let us down at the last minute to move with his girlfriend. Top it off with the fact that another member was hospitalized, emergency-style, with gallstones three weeks prior to the same show."
– Mike
"Our lead guitarist almost walked just before a gig because he was sick of playing weeknight shows. That was a bad time, made even worse by the car accident I got into just before the show."
– Dan
"There's always a leader — whether he is the musical leader, the administrative leader, or the 'I get more girls (or boys) than anyone else' leader. It almost always creates some insecurity on the part of the guys that know they are the followers. They think they are just as able to lead as the leader, but they aren't, and eventually the whole band self-destructs."
– Mark
"The strain of being in a band usually arises from a bunch of people trying to distract themselves from the horrible things they have to subject their music to for some other, greater good. It takes a lot of crazy-making selflessness. The good part is that the end result of collaboration can make you feel more human and alive than playing alone ever could."
– Ted
"If you maintain a sense of humor, you can get along in some pretty unlikely circumstances. We had a shy Mormon drummer who had to adjust to the three women in the band changing clothes in front of him backstage. He eventually started making up these ridiculously funny euphemisms for breasts!"
– Ursula
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Thanks & Cyalayta,
Mal of "Lancelot's Pram"
Website: lancelot.fateback.com 
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