Category Archives: Tours

20 Years Ago, Detroit

Line up of cars at the Canadian side of the Detroit border. Inside a clunker van the driver is carefully rehearsing.
Canadian.. Toronto.. 101 Major street.. Chicago.. my friend Matt.. 1631 Henderson, for free.. for promotion.. no cds.. just 2 days..Canadian.. Toronto.. 101 Major street.. Chicago.. my friend Matt.. 1631 Henderson, for free.. for promotion.. no cds.. just 2 days..Canadian.. Toronto.. 101 Major street.. Chicago.. my friend Matt.. 1631 Henderson, for free.. for promotion.. no cds.. just 2 days..
His car pulls up.
Burly USA border guard, brush cut and sparkly mirror sun glasses expressionlessly observes young Canadian rolling down window.
BG: Citizenship?
YC: Canadian.
BG: (slightly annoyed) Where.
YC: Toronto
BG: What’s your address?
YC: 101 Major street. The postal code is M-
BG: (raises voice) Did I ask you for that?
YC: No.
BG: Where you going today?
YC: Chicago.
BG: What’s the purpose of your trip?
YC: I’m a musician and-
BG: Have a visa?
YC: No I.. because I’m not making any money.
BG: (matter of fact) So you are working in America.
YC: No I’m playing for free at a publicity event for my friend.
BG: What’s your friend’s name?
YC: Matt Suhar.
BG: Where is Matt Suhar. (he starts to type on his computer)
YC: Chicago.
BG: Where you staying in Chicago?
YC: 1631 Henderson.
Border guard leans into the van notices something very suspicious on rear seat.
BG: What’s that!
YC: My accordion.
Border guard pauses.
BG: Your what?
YC: I play accordion that’s what I’m doing playing accordion at this music event.
BG: (pitying tone of voice) People actually come to hear you… (starts giggling) on accordion?
YC: Yea.
BG: (sighs and waves him through) Just go, just go.

A Year Without Matt

mattLast year was such a train wreck losing Matt Suhar and Sam Larkin, part of my brain departed with them. Reading this account in the news, one year later, that his death was probably a hit and run is a small consolation in understanding the mystery and tragedy around his death.

Matt, was my USA manager in waiting, if anything ever broke in America the way we musicians pursuing the music business imagine or wish it could, Matt would have been steering the ship and I would live below deck composing/ writing/ performing.


Over the years all I needed was a break and we almost had one with Ani Di Franco after she saw me at SXSW in 1991. Matt coincidentally was at the same show and introduced himself after Ani gave me a bear hug and said she was blown away. Her words echoed in my head and I hoped maybe one day she might take me on the road.

The biggest act of  generosity an established artist could do for a smaller one is to share their audience: take them on the road for a tour or two. Elvis Costello did that for Ron Sexsmith in the 90s and it’s more than 50% of the reason people discovered and praised Ron and things snowballed from there. Natalie Merchant did it for Tracy Chapman and then Fast Car was added to the radio.

Usually managers and agents control who is the opening act and often it misses the mark because they’re business people doing favours for each other. There is nothing as powerful as the headliner choosing someone to open the show and supporting them. Even walking out and doing a song with them.

After SXSW in 1991 Matt started bringing me to Chicago. I bet I played 30 shows there. The first time he set up 5 performances in a week at different venues each night. He was a anyone-can-do-anything-if-they’re-determined type of guy.

I got to know Ani a wee bit too through telephone messages and one night at Metalworks Recording Studio in 1994 or so. But things went sour after I drove to Milwaukee to do a show Matt set up. I tried to honour all the gigs Matt generated because that’s sorta the name of the game. But sometimes some destinations are pointless and it feels humiliating and that particular Milwaukee show should be the Wikepedia entry for pointless stupid shows. I drove 13 hours from Toronto, got to the gig, no posters advertising who was playing, the piano missing three notes, the bartender told me he didn’t know who was playing that night, three 40 ish women sitting at the bar celebrating a birthday who were more interested Phil Collins than Wrench Tuttle.

I was familiar with bad luck but thought by now I had become smarter at how not to end up in such  rotten situations. I wanted to cry on someone’s shoulder and looking at my address book “A” for Ani jumped out at me in my downer Milwaukee world. I left her a message about this fabulous gig and asked her to consider taking me on the road someday. I knew naturally a million people ask you for favours when your career has taken off, and I never asked before but based on our previous exchanges (which were funny and enjoyable) I thought she would commiserate and even laugh about it with me/ at me. Bad move Bob.

The next day she left three messages on my answering machine making it clear we were no longer friends, it was hard to listen to. Thanks be to the gods of music management that Matt listened to it as well later when I got to his coach house in Chicago. With his eye brows raised to the roof and then laughing about it and making fun of me and her and him until we fell off the couch.


An artist needs a business partner that believes in their writing (and who sends occasional emails of confidence).

…not sure but get this my little canadian hero
i was playing IF I KNEW on guitar and susan was on the computer
i said, Bobby Wiseman and she just said, WOW uh huh
you got the goods mang

Tantrum Management & Touring
Matt Suhar
Robert Cornelius 7 *Baldwin Brothers * The Godfathers
Sign Of The Fox *Javelinas * Divebar * The Siderunners
Kevin Tihista *Red Pop Fury * Frisbie * Colin Gilmore
Kevin Flynn & The Avondale Ramblers * Bob Wiseman
Musikanto * Fitz & The Celts * Flame Shark


There Is A New Performance Artist In Town

Dear Matthew Stein
Read your inspirational email and thought I could make you a promise too.

I promise to continue avoiding Sonic Bids. I lost interest in Sonic Bids years ago for a few reasons – the biggest one is the fact that many Music Festivals now reject packages from artists unless those artists spend money on Sonic Bids as a gate-keeper. Kind of stinks to cement a system where people at the bottom of the ladder have to keep bleeding, ensuring a filtered list of who can be “discovered” based on who can pay.

I would be more excited if you wrote to confess you realized your efforts have led to unnecessary classism and you decided to abandon it. Shit Matt, I might have considered befriending you on Facebook.

Thanks and good luck


On 2013-07-30, at 5:50 AM, Matthew Stein wrote:

Hi Bob,

I’m writing to you specifically to tell you about some new Sonicbids improvements. Our most popular email is The Daily Gig Guide. You can see a sample there. This email highlights shows and opportunities, in a variety of genres and regions across the world.

But, that’s not the important part.

The important part is what we have done to improve it. We now only send you an alert about the gigs you want to receive. We segment these gigs into 16 different genres, and 11 regions across the world.

Our awesome promoter team has doubled the number of open gigs we have. That’s right, compared to last year, we now have two times as many open gigs at any time. We need bands and musicians LIKE YOU to play these shows. There have never been more opportunities available for bands and musicians than right now. We’re doing our best to bring them to you, so you can do what you do best, delight your fans.

Here’s what we need you to do today: Tell us which gigs you want to hear about. It takes less than 1 minute to update your preferences, and we’ll only email you with relevant offers and gigs.

Please update your preferences Today.

Here’s a promise from me: We will continue improving our emails and better tailor then to what you are looking for. This is the first step towards helping your musical career.

Thanks and good luck,

-Matthew Stein