Supercharge your singing career

Welcome to the Cabaret Secrets Video Masterclass.

In this module I discuss how important it is to have a clear theme for your show, how it can bring focus and help get and audience through the door.

No one seems to know what it is or where it comes from. Apparently you either have it or you don’t and Simon Cowell’s made millions spotting it. The ‘X’ factor. What is it? Why do you need it, and how can you get more of it?

In this module I discuss how important it is to have a clear theme for your show, how it can bring focus and help get and audience through the door.

Starting with a blank piece of paper can be daunting. There are so many choices it can be hard to know where to begin. Over the years I’ve developed a systematic way of creating a show from start to finish.

We are communicators on a grand scale. If we love what we do, singing songs and sharing stories, the audience will respond. If we feel good, so does everyone else and the energy multiplies. This is where I systematically break down the different types of "chat" and explain how you can use them. If you think you've got nothing to say to your audience, I will give you the tools to craft an effective script for your show and hold the room.

As a singer you’re completely reliant on the band to make your show work. You’ll want to be on good terms from the moment your rehearsal begins so they’re on your side and keen to do their best for you. All the band want from you is professionalism. They want you to show up on time, know what you’re doing and give them clear music to play.

I asked Jazz Mouse studio’s Paul Fawcus how a singer, with little technical knowledge of sound, can get the best result from the technician they’re working with. “Communication, communication, communication!” Here are my dos and don'ts for working with sound engineers.

I learned the hard way to keep lighting simple. In one venue I failed to realise that the technician was new, and well, clueless. The only thing he was good at was reassuring me everything would be all right. It was a disaster. Blackouts in the middle of songs, house lights on and off for no reason, and so much haze I almost called Search and Rescue. Use these tips to make sure that doesn't happen to you!

Being prepared in advance of the rehearsal and letting the sound technician know any special requirements can save headaches later on.

I'm no stylist, but I've seen enough ill dressed performers to learn a thing or two about what to wear on stage. Here are a few tips to help you look your best.

After I’d been performing in Working Men’s Clubs for a year, I took my show to a swanky London cabaret club filled with as many bookers and reviewers as I could persuade to come along. Afterwards, the late Peter Hepple of The Stage wrote something I’ve never forgotten, “Gary Williams is a fine singer and a welcome addition to London’s cabaret scene. Now the real work begins.” Once you are on your way, it's the constant refinement of your show that will keep you on top.

Some acts with plenty of experience represent themselves, but that’s unusual; most have an agent. Good representation means you don’t have to maintain relationships with lots of people - you deal with your agent and they take care of everything else. They’ll entertain bookers, agree contracts and make sure you get paid. Aside from everything else, having a good agent will enhance your image and open doors. Let’s look at how to get an agent and what to expect when you find one.

Most of this series has been about creating and perfecting your own show, but if you’re working on land you’ll also need to find an audience who’ll pay to appreciate your hard work.

Your voice is your livelihood, your artistic outlet and your pay check. I never used to give mine a second thought but like anything else you take for granted, you only miss it when it’s gone. Here is some great advice to make sure your stay on top vocal form.

There’s nothing like having a CD as a shop window, both to attract bookings and also give audiences something they can buy to take away with them. Here are my tips on recording your album.

At the beginning of this series I promised to show you how to produce your own show, travel the world and get paid to do what you love. I hope I’ve lived up to that promise. Here is my parting advice.

We are artistes. We live to create and so it's natural for us to want to record an album of our music. The tricky part is paying for it. I have been lucky enough to fund two albums from crowd-funding. Here's what I have learned.

We are communicators on a grand scale. If we love what we do, singing songs and sharing stories, the audience will respond. If we feel good, so does everyone else and the energy multiplies. This is where I systematically break down the different types of "chat" and explain how you can use them. If you think you've got nothing to say to your audience, I will give you the tools to craft an effective script for your show and hold the room.

In 2021 I worked for almost six months on Royal Caribbean’s Anthem of the Seas during the Covid pandemic. In this video I share with you some of the insights into working with Covid restrictions and what you can expect if you’re going to work on a cruise ship soon.

Who decides how much something is worth? Whether it’s a CD, a musical arrangement, or you as an artiste, the price people are prepared to pay all comes down to how valuable they perceive it to be. This short bonus module is all about increasing your perceived value to bookers and audience members.

I cover working with production staff briefly in the main workshop but here I go into more detail about how to get the best out of the production staff you’re working with.