Concert vs. gig is the discussion. You can substitute “show” for “concert”, if you like. Any musical performance that is booked/placed on calendar can be called “engagement” or “date”. Multiples of these bookings/dates/engagements can be generalized as “work”, as in “I have lots of work this month”. The point of this commentary is to establish that there is a difference between performing in a concert/show setting, and, doing it as a hired music act that is not the focal point of activity. For instance, getting booked to play songs in a sports bar, while TV screens are active in the room, while people socialize loudly over top of the music, while food is ordered and eaten with little regard for the background of musical performing going on, is referred to as a “gig”. It would never be called a “show” or “concert”. If the performer calls it that, knowing the circumstances at hand, there is delusional thinking going on. If one performs at an outdoor market while folks shuffle past, looking at fruit or art, that is a “gig”, not the other. What constitutes a concert? Ah, that is an easy answer: A TICKET. Except for unique situations where a concert is taking place and FREE TO THE PUBLIC, the ticketed event is the game changer. To pay entry for a musical show, and to find little to do, aside from listen to the music, is a concert experience. Sure, there could be access to drinks, even food, but the performance is king. The important aspect above any other is the musical act doing a show performance. When I began my life in music professionally, in other words performing for money, I was one of several things the room of folks took in. There could be dancing to my music, drinking, socializing, video games (very new thing then), billiards, dart throwing, meal eating, advancements toward potential sex partners, etc. It was certainly not a show. There would be thousands of gigs for me before getting to enjoy a concert performance. Years and years before I experienced it. Once I had an audience, people truly listening/watching what came from me and fellow performers, I did not wish to return to the previous performing life of being ignored (or abused). However, I would always maintain the skill set that allowed me to accept it when people had other reasons for being in front of me, and ignored the music. I can “flip a switch” and fall back into “bar band guy”, pumping out song after song. The two scenarios of (1) playing for an attentive audience who are there to be entertained, and (2) being mostly background music for socializing persons are distinct from each other. I can be both, though developed the “concert” skills later than the other. The problem arises when the two situations are merged together in one setting. There are ways to avoid having that happen, and persons in charge do just that, generally speaking. However, there are occasions where poor judgement is made by someone. That can all be avoided by reading this commentary! Shows have “presenters” or “promoters” who helm the event. The said person “puts on a concert” or presents an artist/act. A room is established for the concert (booked, rented,etc.). The promoter, then, does something that is a dying art in the grassroots level of concerts: he/she PROMOTES. It used to be, not long ago at all, that posters were placed in strategic places where music lovers might see them. Advertisements were purchased in music “rags” and such. In the event the ads could be placed free of charge, the promoter pounced on those opportunities. Sometimes, a local radio station could be persuaded to drop a few mentions of the upcoming show. Usually, that was paid for, but necessary in many markets. Word of mouth was capitalized by this presenter, knowing the specific circles of folks to share the info. An artist had posters that would be mailed to the presenter and a website with all needed info for the promoter to use on his/her end. On the day of the show specific things take place that separate the specifics from those of a gig. One thing is that giggers will show up, oftentimes, as late as possible. They will set up gear and adjust it IN FRONT OF THE VERY PEOPLE WHO WILL BE IN ATTENDANCE. They will wear the same clothes they perspired in, or same as the patrons, during the performance. They will make tweaks of the sound during the first several songs, not having it sound pleasant until a few songs in to the performing. Venue workers are, typically, unprepared for the arrival of musicians. The stage area is not ready for setting up gear. At times, there are patrons sitting right where the performance is to be, and the long wait for them to leave is at play. During the load-in people stop the musician with comments and questions while they are trying to prepare to play the gig. The flip side, the concert scenario, has an article hitting the local paper about the show on the very day of it. Or, the artist(s) stop into a local radio station and do a brief interview/performance to plug the event. There is a sound check well before showtime and the actual concert attendees are not there, so, not privy to it. Upon the first note the PA is dialed in and sounds good. The performer(s) walks on with a confidence and starts the performance with dignity and a swagger. Usually, the onstage person(s) do not look exactly like audience members. The attire and other things separate them from the attendees. The attendees are prepared for material and musicianship that is unique to the performer(s), not expecting cookie-cutter renderings of “bar room classics” and overtired radio covers. This setting is a concert experience, the aforementioned is a gig. In some instances, a presenter attempts to house a show in a venue where non-concert attendees are allowed in the room with the other. Sometimes the non-listening person who is not there for the show is not charged entry, while the actual listeners ARE! This mixing of two incompatible groups is always a conflict, really nightmarish at times. One group resents that the “bar band” performer is attempting to reel them in to a listening/attentive experience, while the other group strains to enjoy through a din of talking, “rude” people. If one has the skill to blend the two experiences into one thing it is miraculous. I have done it, made it work. Other times, the particular “problem children” in the room made me fail in my attempt to meld the two. Certainly, I could do without having to go through the process. Many gigging musicians have never played a show. And, I know concert performers who rarely ever had to endure gigs that were non show engagements. In my case, always trying to pad my schedule, always seeking to “work”, to have my calendar full of dates, I am open to whatever is thrown at me. That is with one caveat-I want to know going in what it is to be.