I’m interested in reading experiences about people who have played on the street. I still haven’t done it, but I’ll want to do it soon.
My brother busked a lot of times playing guitar, and always gets money (sometimes more, sometimes less).
I don’t consider myself a very good player, but I think that if you play on the street, and people don’t know what you’re playing you don’t have to be a professional musician to do it, do you?
I think that it’s a very nice way of earning some money having a lot of fun and doing what ones love to do.
Cheers,
Martin
Yes, I’ve busked for many years, whistle and flute,
before that guitar and voice. It’s quite an experience,
a bit of a roller coaster. Whistle is a great instrument
for busking–the best I have is a Susato C whistle.
If you search on ‘busking’ and related
words, using my name,
you will find a lot of stuff about it.
I used to busk with a whistle years ago, when I was living in San Francisco. I never made much (lots of competition there!), but I typically made enough for a couple of beers (which, at the time, also meant dinner, as most of the bars offered huge appetizer bars during happy hour. I miss that!).
It’s fun, but you do need a bit of a thick skin!
Redwolf
Yes, a thick skin. The street can be mean.
Sometimes it’s heaven and sometimes it’s hell.
I think i’ve made thousands of dollars; spent it all
on flutes and whistles!
The first and only time I ever tried it I was rousted by the police. A block away there was a guy sellng drugs to children, but a musician collecting spare change was a crime.
That’s a bummer! It’s a good example, though. If you’re going to play on the streets, be aware of your local ordinances. Some communities just plain don’t allow it (which I think is rather stupid…as you say, you can have someone pushing drugs on the next corner and yet it seems the police will focus on the poor street musician just trying to make a buck!
Here in Santa Cruz, busking is legal and well-tolerated (to the point where, on a Saturday night, you can barely walk five feet without encountering another street act…some excellent, some pathetic), but there are still rules. You can’t play within a certain distance of a doorway, you can’t sit on any of the benches, and you have to move to a different location after an hour. In some cities the rules are even more strict and specific.
Redwolf
It’s how I make my money; I play at the Pike Place Market and Seattle Center. When I started out, I was pure shite and had no sense of timing, but still usually made about $5 an hour. Right now, I typically make $10 an hour at the very least.
It’s a hard way to make money. It’s a very feast or famine experience. Sometimes, I’m hung over and play like crap and the money comes pouring in. Other times, I play an amazing set with perfect improvisations, and I make absolutely nothing. I don’t make a whole lot of money out of it even though I’m in a major city playing at a major tourist spot, but it’s all about the people you meet. I’ve hung out with people from all over the world and every walk of life, from homeless drunks to guys that make more in a year than I’ve made my entire life.
The fact that I started busking with my pennywhistle when I could barely play shows that you don’t have to be a professional musician to make money playing an instrument, but the better you get the more you’ll make and the more people enjoy it. The fact that people don’t know what you’re playing actually has a negative impact on how much money you make; somebody playing a guitar and doing a bad cover of a popular song will make more than you will even if you’re amazing on the pennywhistle, because people recognize the instrument and the music. Very few people will recognize what you’re doing on the pennywhistle. If I had a nickel for every time somebody complimented me on how well I play the recorder, or flute, or piccolo, I’d make twice as much money! And I play none of those instruments 
For comparison, at Pike Place Market here in Seattle, a good hour for me is $25. The guitarists consider that a bad hour, and for them a good hour is $100.
I think fiddlers, good ones, tend to do very well.
I have friends busking in New Orleans, a married
couple, who make 400 dollars a day. Guitar, mando,
voice, they do blues, gospel and so on.
Obviously one needs lots of people, with money,
hopefully in a good mood.
Whistle really carries. I’m playing higher pitched
flutes too. It helps to play with heart, to really
project and let the instrument sing.
My understanding is that we are covered by
the First Amendment, so cities must at least
offer a street musician’s license. I believe there
are court cases establishing this, but I
haven’t run it down. In Providence I was told
by the cops there was no license but
I checked and there it was–so I got one.
Busking is covered by the first amendment; in any public, government property you’re legally allowed to play. However, if you’re attempting to sell something (CDs for example), or if you have a sign asking for money, you fall under vendor laws, so that’s something to be careful of. Various cops and security people may try to get you on panhandling, loitering, or vendor laws, but as long as you’re not blocking pedestrian traffic or using amplification the law and the constitution is on your side.
A lot of cities have unconstitutional anti-busker laws, but a federal court will always support your first amendment right to be out on the street playing music. Many cities have permit systems for areas where you should actually be free to play, but the permits are usually affordable and easy enough to get that it’s easier to get them than fight them.
I find busking a fascinating subject, but I’ve never done it.
I grew up near Boston which had its share of buskers. And I was into various kinds of folk music, bluegrass, etc, so I was intrigued by the idea of busking. I heard about some other kids in my home town who’d played at Faneuil Hall Marketplace – big tourist spot in Boston – and the made a pile of money. (Apparently you need to make reservations to busk there, well in advance. Making reservations, for busking…! Seems bizarre but I love it.)
Busking always struck me as kind of romantic in a “little guy striking out on his own against the mainstream” kind of way. Then I mentioned busking to a friend at college, and he was appalled. “Begging. That’s begging. Why on earth would you even consider being a beggar?”
Of course, not being a musician, I suppose he just didn’t get it.
Clare County Council wanted to introduce an audition system to approve buskers before they got a licence to busk at the Cliffs of Moher.
They didn’t get away with that in the end.
I have busked on the Cliffs of M. a few times. The money is good but the climate isn’t, the salt and the wind will eat away any decent instrument.
Anyhow, I busked a lot when in school and unviversity, mostly alone, sometimes in duo or larger group formats (up to six, we had people writing cheques at one time). Wellknown stuff or a lot of noise are the key to money, you have to grab the attention.
On average it was around €50-100 for a few hours in the afternoon, but mind you that was during the seventies. Anywhere under €25 an hour wasn’t worth it, or that was the going wisdom.
Doing big outside terrace areas worked well too at the time, play for a bit with the two, then one continuing on while the other goes around with the hat. People sitting down with a drink rarely refuse to give. You’d be fecked though if a Salvation Army collection moved in as you were playing (they tried pulling that stunt a few times).
Also did a few tourist spots during the 80s, main street Clifden near the area where the tour busses unloaded. Money pouring in in waves.
Just a whistle is not the best way of going about it. Sometime during the 70s I often played the hurdy gurdy out, it would invariably attract children so the nice mammies would fork out.
Create interaction. Eye contact and a smile help. A lot.
I’ve done a fair amount of busking. Back before I had my son and got more settled, I used to wander around the city and just play wherever the mood struck me. My band in Houston would also often set up and play coffee houses or at the Kemah boardwalk.
At the time the band was busking, we’d typically make $20-50/hour. If we were making less than that, we moved to a better spot. If I recall, there were a few C&F threads about that time, and it seemed like what we were making was on the high end of the scale.
Yep, I’ve done, but just the once.
Was out on the town in London one night. Ended up drinking shed loads and crashed on a mate’s couch. I live about 30miles outside London, so I’d driven in some of the way and parked in Twickenham, about 11 miles from the centre but cheap parking, and hopped on the tube.
Anyway, in the morning, I slipped out early to go and get the car and head home. This meant a Tube ride down to Twickenham. But, bugger it, I’d lost my Oyster Card! I did have some cash, but only enough to get me to Kew Gardens, about 5 miles short!
So, fumbling in my jacket pockets for loose change, I found a pouch containing my Clare 2 Piece High D! Well, there I stood at the entrance to South Ken Station, with my baseball cup on the floor in front of me, playing away and within about 1 minute, a couple of passersby had dropped some much needed coinage into my hat.
Sorted!
I played on for a polite period of time and then headed for the ticket machine.
And if it hadn’t been for those engineering works, it would have been faster than walking! 
To be specific, your right to play in a public place is under First Amendment protection (assuming you’re in the U.S.), but your right to solicit donations for that playing is subject to city ordinances. In many cities, no distinction is made between playing for tips on the street and selling CDs or jewelry or any other tangible object on the street. Since, by definition, busking includes soliciting tips, I reiterate…find out your local ordinances.
Cities can also restrict when and where (and even what) you play under local nuisance/noise control laws. For example, on the Pacific Garden Mall, amplified music is forbidden. And if your playing is interfering with another person’s ability to sleep in his apartment or to conduct his business effectively (say, for example, you and your crowd are blocking the entrance to the doorway of his shop) you can be asked to move on, and ticketed if you don’t do so.
Redwolf
All good points, but first amendment will trump ordinances in court if you fight hard enough. The problem is that to get that win, you have to spend years locked in court battles that you won’t be able to afford.
I’ve had rent-a-cops try to get me on the “soliciting tips” thing, but if you have no sign asking for donations and you’re not verbally asking them, it’s not soliciting. I always just take my hat off and set it on the ground nearby me, and somebody would have to be silly to believe I’m able to play my whistles and ask for money at the same time. I’ve had security guards try to call the cops on me saying I’m soliciting and when the cops showed up, they were 100% on my side. Some cops are better than others, of course.
One important thing is to be very polite to security guards and other “unofficial official” types, and flexible, but firm. Many of them love trying to push buskers around, but if they make unreasonable demands, then tell them they’ll have to call the cops. The cops may or may not support you, but the worst case scenario I’ve encountered is that they’ll tell you you have to move on or get ticketed/arrested.
Many people consider busking to be a form of begging, but it’s a very different thing. You’re providing a service in exchange for voluntary donations, and you make money relative to your skill, much like any other job. Of course, if people start giving you money to stop, that might be an indication you need to practice more before busking
Solo whistle is definitely not a money maker. If you can find a fiddler, or a good rhythm guitar player, you’re in business. I played with a harpist for a while, and that goes perfect with the whistle, but good Irish harpists are in short supply in most areas.
That’s because we’re wary of subjecting our instruments to street situations. Harps aren’t as easily moved as a guitar or fiddle, and are comparatively fragile, so a drunk staggering into the busking pitch or an out-of-control kid on a skateboard…or even just a tourist too busy looking at a map to be bothered looking where he’s going… can easily destroy thousands of dollars worth of instrument.
We have lots of good harpers in our area, but the only time I’ve ever seen a harper busking (on the street, that is, as opposed to at a Ren Faire, where crowd control is generally better), she was a blow-in with a Harpsicle providing new agey backing to a guy juggling acrylic balls (it was kind of a cool effect, actually!). I’ve occasionally thought of busking with the harp (the harp has almost a magical ability to draw people in, if for no other reason than that they’re fascinated by it!), but have always ended up deciding that it’s not worth the risk.
Redwolf
It’s also a lot of work to lug that harp around. My harpist got around on the bus, and I was always impressed by the kind of dedication it takes to busk with an instrument that big when you don’t have a car.
It really does draw people in; and I was always jealous because next to the harp, people barely even noticed I was playing my whistle. Of course, his complaint was that people would always talk about how soothing and relaxing the harp is, and here he is playing a jig at 160 BPM. It’s not supposed to relax you, it’s supposed to make you dance! And every other request we’d get would be for him to play Pachobel’s Canon or something in that line.
Ah, good times.
I guess whether an instrument is a ‘money maker’
is relative to what other instruments do.
I don’t think solo whistle is optimal or as
good as solo fiddle, but I do OK with
the Susato C. Maybe 45 bucks in three hours,
on a good day. Sometimes better, Christmas
rocks.
The Susato C is audible a good distance away,
it isn’t shrill so one can wail. And over the years
I’ve developed a repertoire that works OK
where I’m busking. I think whistle, played well,
the right tunes, is striking, beautiful and unexpected
to passers bye. I do think I brighten people’s
day, some of them start dancing. One could do worse.
FWIW, here are some tunes–I don’t necessarily do
all of these on the street, but I do play a good number.
Any other busker-types have a tune list?
Both sides now, Endearing young charms, Dark Island, Hector the Hero, Off to CA
Fisher’s Hornpipe, Brown Coffin, Rodney’s Glory, St. Ann’s Reel Soldier’s Joy,
New South Waltz, The Osprey, Banish Misfortune, Peacock’s Feather
Mikey Mahoney’s, Road to Lisdavoorna, The Fort of the Fairy Queen,
Star of the County Down, A Week in January, Loch Lomond,
Favorite Things, I Will, Unknown Reel, Morrison’s Jig,
Three Sea Captains, The Orphan, Yankee Doodle
Shady Grove, When I Am 64, Minuet in G, Sheep May Safely Graze
The Troubled Child, Coilsfield House, Lament of the lost Generation
Genevieve’s Waltz, Bachelor’s Farewell, Moran’s Return
Desperado, Her Long Black Hair, Yesterday
Easter Oratorio, Israeli Tunes, Do You Love An Apple,
When Pretty Polly, Someday Soon, O’Carrolyn’s Quarrel
Other O’Carrolyn, Silver Spear, Sargent Early’s Dream
The Ashgrove, Simple Gifts, Shaker Tune, Oh Susannah
Turkey in the Straw, 8th of January, Welsh Lullaby
Danny Boy, Come to me, Bend to me, Planxty Irwin
They didn’t believe me, Someone to Watch Over me
Morrison’s Jig, Whistle Rag, St. Louie Tickle, Magic Flute
Blackberry Blossom, Cherokee Shuffle, Silver Spear
Black Orpheus, Long Lonely Summer, Her Long Black Hair
Come all you Young and Tender Girls, Maho Snaps, Irish Washerwoman
Toodle Sac, Whiskey Before Breakfast, How are things in Gloccamora?
Greensleeves, When Christ was of a Virgin Born, Down by the Brazos,
Rosin the Bow, Morris Dance, The Magic Flute, Red Haired Boy
Long lonely summer, Black Orpheus, Tennesee Waltz
Swallow tail Jig, The First Time Ever, Star of Munster,
Bag of Spuds, Off She Goes, Lucy Farr’s, Roscommon Reel
Sailor’s Hornpipe, Connaught Man’s Rambles, Cold Frosty Morning
Blackberry Blossom, Snow on the Hill, Sailor’s Hornpipe,
Flowers of Edinbourough, Gary Owen, The Girl I Left Behind Me
I can relate! I used to love Pachelbel’s Canon until I started playing the harp…now all of a sudden it’s not possible to escape it!
I think the harp draws people, at least partially, because it looks so darned complicated. They see all those strings and go “ooo…ahhh!” 
Also, I’m learning that not a lot of people have ever seen a folk harp. They’re accustomed to thinking of harps as something covered in gold leave in a symphony. When they see a small harp, it intrigues them.
Redwolf
My set list tends to vary a lot based on where I’m playing, my feel for the crowd, my own mood, and what tunes I really like at the moment. Here’s some of the sets I do, though:
Road to Lisdoonvarna/Swallowtail jig/Goat on the Hill
Blarney Pilgrim/The Kesh/Donnybrooke Fair (I call it the “Titanic” set because those first two were in the movie’s “Irish party” scene)
The Monaghan/Kid on the Mountain
The Butterfly/Fig For a Kiss/Streets of Dublin (AKA the stop playing the damn slip jigs set)
Cooley’s Reel/Congress Reel/Star of Munster
Fanny Power/Planxty Irwin or South Wind/Planxty Irwin
An Raibh Tú ag an gCarraig?
Amhrán A Leabhair
King of the Fairies/Rights of Man
Harvest Home/Boys of Bluehill
Garret Barry’s/I Buried My Wife and Danced On Her Grave/Morrison’s
Banish Misfortune/Tripping Up the Stairs
Drunken Landlady/Ships Are Sailing
Si Bheag Si Mhor
Star of the County Down/Limerick Rake (or rather, jigs I based on those two)
That’s not all the sets of tunes I do, but they’re usually in a “standard” one hour set.
I normally only do Greensleeves and Londonderry Air on request, and only if they make it worth the time and mental anguish.