BigTime Entertainment - History (continues)

“We called every booking contact we could find, but we just kept getting the clubs’ main answering machines-the ones where you can call in and hear a voice reading off their show calendar and giving directions to the club,” says Robertson. “We also sent emails all over the place, but we got very few responses,” he continues. “Those that did respond said they were looking for acts with a ‘more mature’ sound-or something else along those lines. Basically, they thought our music wasn’t any good,” he admits with a slight twinge of sarcastic sheepishness.
Kintz elaborates, “We literally heard from one club owner that he wasn’t interested because he was looking to specifically book Emo bands, but somebody else in town told us that our sound was a little ‘too Emo.’ “Understandably, this obvious paradox left both Kintz and Robertson frustrated, to say the least. “These criticisms hardly seemed constructive and struck us as a little too subjective to be dictating which [venues] we could play; it was hard to not feel helpless.”
After intermittent attempts that spanned a period of months, Kintz finally found himself on the line with a local club owner-thanks to a somewhat desperate, late-night attempt to reach someone by phone. “He told me that there was no openings on either of the two all-local shows coming up that month,” recounts Kintz. “He said that the only shows on the calendar that were still being booked were small and mid-sized tours coming through town, and he explained that the opening slots for those shows would go to bands with an established draw of at least 100 people.”
To be continued…

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