Booking gigs is one of the most important tasks of any musician. It therefore requires proper planning and execution. Otherwise, you may find yourself performing in the wrong venue in front of the wrong audience at the wrong time. In this episode, Bree Noble chats with Tara Brueske, author of the book 20 Must-Have Booking Tips Every Musician Needs. Together, they discuss the essential things involved in booking gigs, from choosing the right place to perform to identifying your target audience. Tara also shares strategies for coming up with the right price for your performance and the best approaches to advertising yourself.

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Important Tips On Booking Gigs With Tara Brueske

Must-Have Booking Tips Every Musician Needs

Welcome. I am more excited than usual. I always say that, but seriously, I am here with my friend Tara Brueske, and we have been talking about how we have known each other for nine years, which seems an eternity in the online world because we have never met in person. I just got an opportunity to meet a bunch of my Academy members in person for the first time, most of them.

I had known a lot of them for nine years. I’ve never met Tara and Kayla, who’s my Community Manager now. Their reaction was, “No way.” This is how the online world is. We feel we know each other, but we’ve never met each other in person, but we do know each other because we’ve done much together. I just want to mention on the front of here, we’re going to talk about some great information about booking gigs.

I’ve had Tara on several podcast episodes in the past. She has been a coach in my community, the Female Musician Academy. She has been on several episodes of The Female Entrepreneur Musician, and she’s also been on Episode number 27 of The Profitable Musician. If you want to look those up, if you want to expand upon what we’re talking about on this episode, those are all really good episodes about this topic, most of them.

Of course, we are also talking about her book that just came out. I’m going to let her talk a little bit about that throughout the episode. Just as an intro, if you guys have never heard from Tara before, I want to make sure that you know her background. She has been a performing artist booking herself for a very long time. An indie artist. I want to let her give a little bit of background on that before we jump into her new book.

Thank you, Bree. I am excited to be on here today too, just to be able to see you. As Bree said, we have never met in person, but it doesn’t matter. Feels like long-time friends. I just want to let you guys know who I am. I have been a full-time musician for over 25 years. I started booking gigs when I was fifteen years old because I grew up in a musical family and branched out in high school with my brother. That was back in the day with no computers. You had to send out cassette tapes.

Physical mail, press kits in the mail. Yes.

I know. I didn’t know what I was doing. Sometimes I still feel that, but honestly, I have, through the years, honed those skills because I wanted to perform badly. Part of my heart is just to help other musicians realize that you can book gigs. Right now, probably the last fifteen years, I’ve been doing between 100 to 200 gigs a year, except for 2020, of course.

Even that year, I think I did about 40-something gigs, a lot of them online. I continue to just help support even other musicians in their booking process and then I’m booking gigs. I’ve also booked as a solo artist, a duo with my brother, and then I’m also part of a tribute show in the last couple of years, although I don’t book for that one.

I’ve tried to have been even honing my skills more all the time to figure out what works and what doesn’t. Because I want people to know that, again, it is possible. When I say 100 to 200 gigs a year, it has been consistent through that. I’ve learned a few things that I want to be able to help others to know, “Here’s how you get started,” or “Here’s how you get going or come back to it.”

I just want to say something at the top end of this is that I know, Bree, your show goes out to a lot of different people, and please don’t ever think that age has anything to do with getting gigs or not. I just talked to a gentleman who used to be a part of the group called The Trashmen, which I wasn’t familiar with, but they were popular in the 60s. He is 82 years old and he’s still gigging. Why not?

That is awesome. I have a lot of older people in my academy as well. You’ve worked with a lot of them and many of them are thriving there. They’re out there booking gigs constantly. It has nothing to do with age. We can show that we have much experience at this age.

I think just not even the experience of being in front of audiences, but when you have something to tell, we also have stories to share, whether it’s in our songs or just telling them, but it’s just life. That’s a great thing. No matter what age you are. If you’re older, whatever that is, because who cares what age is? It’s more in the mind, but I just think it’s possible. I’m living proof. I don’t mind saying my age, but I’m 55. I feel I’m thriving right now in gigs, and I do. I had no idea that that would be possible even in my 50s and a lot of the people I work with are even in their 60s.

Musicians find genuine joy in sharing their stories not just in their songs but in every possible art form they come up with. Share on X

I have artists in their seventies that are still performing. As you said, that 82-year-old guy is 30 years older than me. To think that I could still be performing in 30 years would be fantastic. Very cool. Tara and I have known each other. She’d been on my podcast and then in 2017, I had been helping other people build courses because I’d built a bunch of courses.

I saw that she was thinking about that. I said, “Let’s see if we can do that.” She built a great course around booking. A lot of my students took that course. I had her in the academy as a coach and all that stuff, just so she knows what she’s talking about. What’s cool is that she’s just written a book on this subject and making this information even more accessible to people.

I’d love for you to talk a little bit about that book, Tara. I know what it is to write a book. There’s my book back there on the shelf. Let me use this profit path. It is not an easy thing. “You just write down what you know.” It is not that easy. I’d love to know a little bit about that process. Just let them know the name of the book, a sense of what’s in there, and then we’ll dig into some of the chapters.

It’s called 20 Must-Have Booking Tips Every Musician Needs, A Step-By-Step Guide To Level Up Your Booking. To be honest, when I was even thinking about a book a couple of years ago, it was partly because I was just thinking about a book. A way to get some of these ideas out where if somebody didn’t want to commit to a whole course, they could still have the same ideas.

I went about it, I pulled things, I’ll be honest, from my course and tried to think about what are some of the most practical steps. I am all about practicality. I thought, also, people probably don’t like to read. I know a lot of people. I made it short. I wanted just a no-must, no-fuss book that could help you, A) If you had never done any booking at all, you could jump in because of it.

Even if you had, B) Done some booking, that might encourage you to keep on or if there are things that you had questions about to say, “That’s what you mean by follow-ups.” I have different chapters and I’ll just say this, I did a couple of chapters just dedicated to even the money aspect of booking or the organizational aspect. Even just building relationships with people as you’re booking, because those are things that make me think of, “What have I learned through the years?” “What do I think would be helpful for others?” “How can I get that across?”

As you say, Bree, talk about a process. When you write a book, it’s trying to be succinct. You have to edit it and proof it. I even put in mind, I have photos just to make it a little more visually appealing sometimes. Especially for those of you, who maybe don’t enjoy reading as much. I have it in paperback and ebook, but that’s what got me started on that process of just getting it out to people where again, maybe you don’t want to commit to a course, but you want some practical aspects of booking.

I love the book option. Same thing with me, I got all that stuff from my course but people want to learn in different ways. Some people like video, and some people like that hands-on coaching that they need in a course. They read a book and they’re just like deer in the headlights. They need help applying it. It makes sense that you pulled that stuff from there. It allows people a gateway and then say, “My gosh, I love her stuff, I’d love to work more with her.” That thing.

Choosing Venues

The way books can work and get the information out to more people that maybe don’t have the time for a course or don’t have the money. One thing that you have been known for, especially in my community, is uncovering those outside-of-the-box gigs, finding places where you can perform that you might not have thought of that are a little more niche. How does somebody look at the music that they do, the performance that they do, and then try to find some outside-of-the-box gigs that aren’t just restaurants and traditional venues?

It’s a good point when you say looking at your music because one of the things I have talked about through the years, and even a little in the book is that whatever your niche is, and when I say even niche, I understand that some of you, it may not fall nicely and neatly into one niche of music. I don’t even, I’ve got jazz and Broadway and sometimes a little bit of folk or even classical.

Just looking at your music and saying, “What do I want?” “What kind of an audience am I looking for?” I tell people sometimes, “Are you looking to be in the background? Do you want to just be in the back of the room and you want to play, but you don’t want the pressure of people looking at you?” Or “Are you trying to communicate something to your audience?”

Are you telling stories? Do you have songs that you feel like you want them to listen to? Some of the venues and places will be different with how that pans out. You might go to, for instance, I’ll just say a winery. For some people, it might be a little bit of background music, and yet people are still listening. It might ease you into that way.

If you’re somebody who says, “I want an audience who is listening.” For instance, some of the senior places that I go to, are there to listen and they’re very enthusiastic. Understanding yourself, but also where you think you might thrive. Sometimes you just have to try it out because you don’t know. I think trying to think about yourself as a person, “What are you looking for?”

Some audiences just aren’t going to fit. I don’t go to breweries because I know that they’re looking for usually a country or rock, at least here in Minnesota. They’re also a little bit just more background, people are just talking the whole time. You have to know that about yourself or at least explore that. Just that you’re finding gigs that feel purposeful and that you’re able to give something but also to be enjoying it as well.

I think that’s a really good point. Do you want to tear down that fourth wall or do you want to be just this self-contained music thing going on over here? It is because there are different levels of that? If you’re at a senior place, they really might want you to interact and get to know the people. If you keep coming back, there’s Mary over there. “Hi, Mary, how are you doing?” In between the songs, that kind of thing, or do you just want to play your music and leave?

It’s true. Even knowing, does your music fit more of an intimate audience or an outside? I know that when my brother and I play, we play in parks in the summer. It’s a community coming together for an event. They have a weekly thing in the park. Those two, people come and bring their chairs. They are coming to listen. Yet, they’re not usually humongous audiences. They still feel a little bit intimate and casual, but that would be different if somebody was maybe playing a festival. It’s just a different expectation even of the audience or who you’re playing to.

Yes, also, what do you want to play? Do you only want to play originals or are you okay with playing covers?

I have to be honest, even if you’re a singer-songwriter, I always tell people, and you can disagree with me, but I always say, “Throw in some covers.”

No, I agree.

I figured you would, but I do just because that cover is what gives you commonness with the audience. It’s like if you’re having a conversation with someone you have never met and you find that one little piece of commonness, it makes you then sometimes want to talk more. It’s the same thing with the audience. If they can find that one little bit of commonness, then they’re probably more willing to listen to the songs that you’ve written that they don’t know.

 

Yes, I agree. I don’t care who you are. I think throwing in, even, Zach Brown’s band does covers at their concerts. Just to have that thing that people can sing along to. Everybody knows their songs too, but it was just fun to do that sometimes. I’m looking at this list of chapters and I’m interested in Chapter 9, Getting Creative, Unusual Ways To Contact Venues. I would love to know even just one way that you think is unusual.

On the same subject, artists don’t want to put themselves out there in a way where they can feel that rejection. A lot of times just slide into the DMs or send out a mass number of emails and hope for the best because they don’t want to have to face someone and get a no, even over the phone or in person. Let’s talk about that, contacting venues and how that’s uncomfortable, and how we can get around that. Then, maybe some unique ways to do that.

I have to tell you guys that even when I do some of these more just differently, it doesn’t mean that I’m not scared doing it. You need to know that there are still times when I think, “Did I just say something wrong?” Or, “Did that look stupid?” All those things go through your mind, we’re human and that’s going to happen.

One of the things that I do and have done and have gotten gigs from is when you talk about the DMS on a phone. In social media, go to the page of an event, go to their Message part and do an audio message or even a video message. I know, scary. Video sometimes I don’t do it if I don’t have any makeup on or something. Even on audio.

Here’s why I think it works. It’s just because you all are performers already and usually musicians, even when we talk, we tend to have a little bit more inflection in our voices with the pitches. You can also sound very kind. If I smile, hopefully, you can notice that then if I don’t smile and talk like you’re giving a personality.

Often, I understand, we just want to throw out an email because it’s the easiest thing to do. We don’t have to worry about any initial response right away. At least in the DMs, when you do an audio message or a video message, if you are fearful about it, you’re not talking to them in real-time in a sense, there’s still going to be some downtime in between that, you can get ready for whatever they say.

Again, it just gives a personality. I remember doing this, I was at a restaurant, weirdly so, this was a couple of years ago. I went into their DMs, I did an audio message for that one, and they were very intrigued and then said, “Here, can you email this person because that sounds interesting?” That’s why I’m saying to just try. The other thing is we don’t even know which way someone is going to respond to how we reach out to them because there are a lot of different ways. I think it’s important to try, sometimes you have to try different ways even to reach out to somebody.

Hit them in several different ways, maybe email and the DMs, and leave a phone message or whatever. Not to be annoying, you don’t want to keep doing that all the time on all three channels. Just say, “I also left you a phone message just in case that’s a better way to connect with you.” What I love about the audio messages, first of all, they’re probably not going to just delete your message or respond unfavorably to you.

If you’ve taken the trouble to leave them an audio message, it does feel like you’re on the phone with somebody when someone does that. It’s really hard to press the delete button or just say not interested. They’re at least going to say, “Thank you for reaching out. I’m not sure there’s a good fit at this time.”

That’s what I would expect a response from someone who takes the trouble to do a bit of an audio message. Secondly, I just realized that this episode exists between us because you sent me an audio message and because you just did that now. I need to get better about doing that because you’re just naturally doing it.

When I got an audio message from you, I don’t think I was at home. I was somewhere out and I thought, “But Tara sent me an audio message, it must be important.” I listened to it right away. Then I responded right away because I knew you took the trouble to do that. I wanted to make sure to not forget to respond. I think it adds a little more weight for you to take that personal initiative to do that. 

It’s different. As I say, the majority of people will reach out via email and sometimes people are looking for that. I’m not saying don’t, I’m just saying do something different.

As I said, you can do both. There might be different people who are manning their email versus their social media. Then the person who mans the email just might be overwhelmed by all the pitches. They’re not paying attention, but then the person who manages social media is very impressed with the way you approach them and they would forward it to that person and they would listen. You never know what’s going on behind the scenes.

I just always think about trying different ones.

Pricing

I love that. Chapter 10. This is another big one. Knowing Your Worth, and Setting Your Gig Fees with Confidence. There’s a lot that you packed into here, but I just wanted to pull maybe one thing out of there. What is one big mistake that artists make when they’re talking to venues and trying to negotiate their fees? There’s probably a lot of them because I know I made a million in the beginning.

Me too. I think that even just when we talk about negotiating, and again, I do think we want to find an agreement on what our prices are and then what people are going to pay us. I don’t even sometimes like the word negotiation for fees because I feel ultimately you should set a price that you’re happy with. You were asking about what mistakes artists tend to make.

I think that most artists think that if they put a price out there, they’re afraid that might be too high. Maybe before they put it out, they might suddenly change their mind about one thing and put out a lower price. The thing is, you can never raise your price once you put that lower price out. If you throw out a higher price, you can always come down if they’re saying that’s too high.

That’s one thing. I think the other thing is that as artists, a lot of times we don’t break down the price even in our minds. A lot of times people think that you’re just singing for an hour or you’re just singing for two hours. It’s not. I prepped, I learned songs, and I wrote songs. I have experience of practice all through the years, the setup, the takedown, the drive time.

The thing is for all of you to remember, and we don’t always think about this, but you don’t get paid, first of all, until you’ve done the gig usually. This means everything you’ve done up to that moment, from the first call or the first email to when you play, there is a lot of time in between there and effort. All of that needs to be reflected somehow in your price.

If anything, artists tend to price themselves too low. Again, I’m saying that you also need to take stock of who you are as an artist and how long you’ve been performing. You don’t want to just throw out some massive price when maybe that doesn’t reflect it. It’s just really trying to break down and then also breaking down for the venue itself to help them understand what goes into the price.

I’ve thought about this many times. House projects, for example, because that’s what I see people doing a lot, where when you get a bid on something, let’s say you want to redo your bathroom in your house, they’re going to give you a price and then they’re going to break down what that price entails, whether it’s putting in a new tub or their painting or whatever that might be. There’s a price for every little thing. As musicians, that’s something we’re just not used to doing. I encourage you to do it because it’s much more helpful even to the place that’s going to book you to understand that it isn’t just the hour you’re there or two or three.

I’m thinking for myself as a Worship Director at a church, I’m not just paid on Sunday. Am I just paid to show up and do the two services on Sunday? No, I’m paid for all of my prep time, for working with the musicians that I work with sometimes who are singing with me, for picking the songs, for getting all the music organized, for getting all the lyrics to the person that does the bulletin and the slides. There’s a lot behind that one-hour thing that I do two times on Sunday. As an employee of the church, I’m paid accordingly.

We need to think that if I just charged for that gig, would I just charge $30 an hour? No, I couldn’t. If I was only being paid just for that gig, I would have to charge for the whole ten hours or whatever that I worked that week to get more than fifteen hours. What I need to charge for this gig is $450 and not $150. You can think about it that way. You’re your employee and you need to charge for all of the hours that you needed to put into creating that gig.

I just want to add one other thing, because this is another thing with pricing, I’m doing this right now. I’m raising my fees this summer and I do it every couple of years or as I see fit, but I’ll tell you something. Almost no one. I can’t say completely because I had one person who did one time pay me more than I asked for, which was crazy and great.

Almost nobody is going to give you a raise when you’re doing this. You have to also think about when people are in other types of work, usually as they go many more years in a job, they will get some raise unless maybe they’re not doing a great job or something. In general, that happens. As I’ve told people sometimes, it’s funny when I even just say this to them.

Almost nobody will give musicians a raise. Share on X

Gas prices have gone up, car insurance has gone up. When I start saying things like that, they’re understanding, or even telling them things like, I’m still taking voice and piano lessons. I’m trying to keep getting better at what I do. I’m adding more to the skills that I already have and to keep it fresh. I always say, “I want to do a great job for you. I’m trying to keep educating myself in the process.” It all costs money.

A lot of those places have other vendors that they work with and they know the prices are going up. If they’re a winery, then their prices are going up for all kinds of things that they’re using regularly, including utilities and you know.

It’s hard for people to do that, but honestly, I had a place this summer, I’ll just share this quickly, and I won’t say where it is. I have decided to do it this summer, but it’s a place I’ve sung for ten years, and they have never raised the fee in ten years. Now, I get a lot of tips at this place. For me this year, it was still worth it because I know that I’ll get decent tips. I honestly, even for myself, said, “You know what? This is the last year I have done that price.” If they don’t raise it next year, I’m going to choose not to do it because I value my time and what I’m giving to people. In ten years for them not to go up, that’s crazy.

I know that you talked before about a time when you raised your prices and most people said that it is worth it. I think there was one person who said, “No, we can’t pay that.” They dropped out and then the next year they came back and they said, “We’ll take it. We missed you.”

Yes, they did. It’s not the first time. I’ve also realized, friends, here’s the deal too. When you raise your price and you lose somebody, you’re still going to feel great about the gigs that you do get. If you just say, “I guess I won’t.” You’re going to feel frustrated at doing that gig for a lesser price.

 

You’re not going to do a good job and they might not hire you again here because they’re going to notice that you’ve got that resentment. It’s really hard to hide. Honestly.

Yes, it’s true.

Advertising Yourself

I want to talk about Be Your Own Ad, Chapter 17. I love this because I got many gigs by promoting myself at my gigs. Promoting all the types of things that you can do. I think the biggest thing is you need to let people know when you’re at a gig, all the other kinds of gigs that you do because they might just see you only in that way. How do you recommend the artists do that at their gigs without being all annoying because artists hate to promote themselves?

I know. Being the youngest child, I don’t have quite as much problem doing that, but no, I’m kidding. It’s the youngest child. Sometimes they say we’re always the show-off ones, but that’s not always true either. One of the things that I do to promote myself is simply just having flyers. Little four by six cards or business cards.

People like old school, I had black and white flyers that I printed.

Yes, it’s funny though, people will take them. Sometimes even I’ve learned that people don’t always want to talk to you about it, but they still want to know something. If it’s just out there, it’s something they can grab. Other people will come up sometimes and talk to me and ask, “Do you do other things?” When you’re in the middle of a concert too, I think it’s okay to even talk about other gigs, even in a story, “At a place I did this.” Or even advertising.

I just thought of it. In the last couple of gigs, I did in early June 2024, I was actually at some senior places, but I at those places advertised for a gig I was doing with my brother that was at this, it’s called Krooner’s Supper Club, which has become a venue that has about four theaters and they have a lot of tribute shows and jazz music. Anyway, it’s a big deal here in Minneapolis.

I thought, why not? I’m going to advertise, let them know and because of even doing that, I had a guy that showed up at the concert. I had just seen him at a gig on Monday and he came to my concert Friday at this supper club place. You just don’t know, I think we get afraid that we’re just going to be a bug to people but, when people hear you at the moment and you tell them about other places you’re singing, it gives them an opportunity for those who like you to say, “I can hear them again.” or “I can hear that person again.” That’s one thing I do.

I can bring my husband, my sister, or my mom.

Exactly. The other thing that I finally have learned to do, even though I’ve said it for years, I don’t know why I can’t take my advice. I know, Bree, you do this too. Getting people on my mailing list, allowing them to sign up, whether it means I have something physical or getting them to my website. I have got also more people on my email list in the last three months than I have probably in the last three years. Finally.

Good job. That’s the number one thing. That was my first priority when I was at gigs is get people on the email list because then they see what I’m doing regularly. I’m top of mind when they hear from somebody that needs someone or they need someone themselves.

That’s the thing. You want that because you don’t know what fan is listening to you. That’s going to turn into somebody who could book you or just simply give your name to somebody else.

Planning

One important reason why everybody needs this book is because of the planning side of booking. There’s a lot involved. There’s a lot of follow-up, having a system of keeping track of who you’ve talked to and when you talk to them and when you need to follow up and all of that stuff. Understanding the cycle of booking and putting it into your business cycle. Maybe you could talk a little bit about it under Chapter 18, Perfect Timing in Booking Gigs. I always have this big push in July 2024, you’ve got to think about Christmas. I know it seems a long time away. What are those cycles in booking that people need to think about?

Good job pushing people in July. I booked Christmas gigs this week.

I feel July was starting to be too late.

People still will, but it’s not too early. I should probably say Northern Hemisphere because I realize that can shift if you’re in the Southern Hemisphere of the world. I’ll just talk mostly to that Northern Hemisphere because it’s where I am too. I always think some of the big cycles are June or July when you’re talking about Christmas gigs, anything for the holidays that can include Thanksgiving too. I also think when you’re talking about summer gigs, a lot of places can start in January and February, but I’ve started to see a trend of bigger events like festivals and places where it’s the fall before. Even sometimes up to a year before.

Even sometimes as soon as they finish the event, a lot of times events now, they’ll announce the next one when you’re there and they’ll give discounts if you sign up for it now. They’re already booking for the next one.

It’s really important. As a general rule, I would say six months out of just anything, especially the major holidays. Think of Valentine’s Day too, because that’s another big one. If you’re thinking, “January, I’ll book for Valentine’s Day.” It’s not a wise idea. I know for those of you who maybe don’t plan as much, it might feel a little overwhelming that way.

If you can even just think of certain months that you’re just going to have to book a little bit more, be a little more focused on. Then the other months, you don’t have to do as much. Honestly, I think people get this idea that booking is going to take all your time and it doesn’t have to. I will say upfront, when you’re first discovering places when you’re first introducing yourself. Yes, that will take a little more time and effort, but friends, the cool part is that once you get that, “Yes.” Then you start in ensuing years or months after following up and then getting rebookings, it takes a lot less effort to do those.

It’s the whole, “Pushing the snowball up the hill thing.” Once it starts going downhill, it starts gathering more snow. You are gathering all these venues that love you. They just immediately want to book you. That’s where Tara’s system helps. You need to follow up right away, “Interested in booking again for next year?” You want to keep them in the loop when the excitement is high.

Yes, you can. Again, as I said, don’t let the fear of thinking that it is going to take all your time because it doesn’t have to take all your time. The other thing is, let’s say that you even get ten places that say yes, those ten places could multiply in one year to maybe 20 or 30 events, depending on how often they book you. That’s right.

Episode Wrap-Up

There’s been much that we’ve talked about here, but there’s still much more that they can learn from the book. We just barely scratched the surface. You guys need to go to Amazon. Remind them again, Tara, the name of the book and where they can find it.

The name of the book is 20 Must Have Booking Tips Every Musician Needs. It is available again, both in paperback and ebook on Amazon. It’s there now for you. I encourage you to get it. If you have any questions even about just booking in general, please reach out to me, because I would love to help you further with that.

Let them know where they can connect with you. I know you’re very active on Instagram. You’ve got a podcast that is not about booking, but it’s still a good podcast that everyone should listen to. Let them know about that.

That’s called the Engaging Voice. I’ve also taught voice through the years. I’m trying to help people in the essence of as you’re performing, making sure you’ve got the voice to be able to do that and keep up with that. That’s called the Engaging Voice podcast. My biggest handles are Instagram and Facebook. It’s usually @TaraBrueskeMusic. That’s the big one. It looks brusky, but we pronounce it brisky, like a brisk day. I don’t know why.

I understand why you wouldn’t want to be called brusky.

My website, TaraBrueske.com, same thing. You can find everything there too, as well.

If you’re in the Minneapolis area, you can book her.

That’s right and someday, Bree and I are going to meet in person.

You’re coming to California. I’m waiting for your tribute show to come to California because I love Olivia Newton-John and Anne Murray.

Yes, they’re great ladies.

What’s your favorite song to sing in the tribute show?

I love the songs from Greece because I do two duets with another gentleman. I almost don’t have it. It changes every time I do the show just because the songs are fun.

You get to do, “Summer loving, had me a blast.”

I do.

That was the first solo that I ever had, singing that song.

Really? That is a fun one, Summer Nights and then, You’re The One That I Want. That’s fun too. I get to be a little sassy in that one.

“Tell me about it, stud.” I got to see this show. This has been cool catching up. Just learning about your book and letting everybody on the podcast know all the things they can learn from the book. Thank you very much, Tara, for spending some time with us.

You’re welcome and thank you, Bree, for having me. It was such a pleasure.

 

Important Links

• Tara Brueske – LinkedIn
• Instagram – Tara Brueske
• Facebook – Tara Brueske
• TaraBrueske.com
• Engaging Voice Podcast
• 20 Must Have Booking Tips Every Musician Needs, A Step By Step Guide To Level Up Your Booking
• Episode 27. Gigs And Booking Strategies In The Post-Pandemic World With Tara Brueske

 

About Tara Brueske

With over 30 years of experience, Tara is more than a musician; she’s a vocal and piano virtuoso Booking, expert podcast luminary and recording sensation. With her extensive knowledge of booking and doing 100 to 200 gigs per year, Tara has become a go to person for aspiring musicians, looking to become DIY booking bosses.