How to play the piano in a restaurant

If there’s one performance goal that many new pianists set for themselves it’s playing background music in a restaurant or a bar. Most of us who made music our careers have worked in this capacity and I’ve observed that this dream comes with no age-related expiration date; I’ve spoken with adult learners who credit their desire to play the piano in such settings as one of the reasons why they started lessons. And although fewer venues feature live pianists these days, opportunities can still be found if one is willing to look for them.

The late 19th-early 20th century composer Erik Satie is credited with creating what was perhaps the first background music, something he referred to as “wallpaper” or “furniture” music. The idea—that the music should be part of the decor and ambiance of the room—is as good a guide for pianists today as it was when Satie played his compositions in the cafés of Paris. This kind of musical presence—one that is meant to be talked over—is a new concept for pianists whose sole performance experiences have been formal recitals. As soloists, we learn to project our music to listeners, and we receive energy and applause in response. When playing background music, however, playing becomes about being (barely) heard but not seen.

As with most “play for pay” opportunities open to pianists, learning to be a successful restaurant pianist takes preparation and experience. There’s a skill to creating a successful mixture of pieces and knowing how to work with the setting as well as the individuals in the room. Those interested in playing background music in public places learn quickly to widen their understanding of the job from being a pianist to being an entertainer who plays the piano because that’s essentially what we become when we do this job.

The best restaurant pianists have a vast number of memorized songs in their repertoire and they’ve learned how to manage all the personalities of the people who approach the piano while they’re playing. No one starts out knowing all of this immediately, of course, but thankfully there are things we can do to be prepared when background music opportunities appear. The tips I share in this post are things I wish I’d known before I accepted my first restaurant piano gig. Hopefully they will help other pianists who wish to break into this sort of work.

Repertoire

The number one thing a pianist must do when preparing for a background music gig is choose appropriate repertoire. Start by asking the venue what kind of music they’re used to hearing their pianists play. Do they play classical pieces? Show tunes? Jazz? Popular music? In most instances (unless otherwise stated), people will request a mixture of all styles.

In my experience, it’s best to emphasize show tunes and popular pieces (from all eras) with some approachable classical numbers and a little jazz thrown in for variety. In these settings, people enjoy hearing music they already know, and when they know and like the music they hear, they’re likely to be more generous tippers. People are there to relax, which is why it’s best to leave dark and stormy music off the playlist and play primarily happy, upbeat numbers. Resist the temptation to throw in a barn-burning technical number—too distracting and too difficult to play softly—and do yourself a favor by choosing music you know well enough to play under any circumstances or conditions. In these sorts of settings, bad pianos and unexpected interruptions are the rule, not the exception.

Be sure to include popular and show pieces from each decade,1940s to present. Do an online search if necessary to choose audience favorites. And, unless you’re playing in a retirement home, always include at least one piece by Billy Joel and one by Elton John. Trust me on this. If you don’t play it, someone will request it so be prepared.

Plan to have an hour and a half of music ready to play. That doesn’t mean you have to have it all memorized, but it does require organizing the music into manageable sets (45 minutes per set). For those using paper music, this can be done by photocopying the music you plan to play and putting it into a 3-ring binder. Those (like myself) who play from a tablet can create playlists within their note reading program. It isn’t professional to fish through a large stack of music looking for something you know. Be prepared ahead of time.

Dynamic level

Always keep the music one notch below the ambient room noise. If, on a scale of 1-10, the room noise is 6, play at 5. Patrons should be able to hear the music yet still carry on a conversation over the top of it. If people are seated close to the piano, plan to drop back even more.

Managing energy

I felt exhausted after my first few background music gigs. A little self examination revealed that it was because I’d put too much energy into the music without receiving anything back. It’s difficult to play for people who are only half-listening (or are ignoring you completely) when you’re used to the responsiveness of audiences during solo performances. Our task in these settings is to learn to play beautifully for ourselves and expend creative energy trying to reach other listeners. In this way we can still find musical satisfaction without feeling empty and deprived at the end of the night.

Dealing with interruptions

The public nature of the job means people will approach the piano, and most of these people won’t wait until we’re done playing to speak to us. Some want to chat, some want to make musical requests, and a few are drunk. If you’ve never had to speak and play simultaneously, have family members or friends help prepare you for this by approaching you while you’re practicing at home and engaging you in conversation.

When people approach the piano, it’s the pianist’s job to behave as a gracious entertainer. Don’t ignore people, but feel free to give short and friendly answers if you’re in the middle of playing. If someone requests a song you don’t know, simply tell them you don’t have it in your repertoire, or tell them you don’t take requests. Because drunks are unpredictable, it’s best to keep up the “wall of polite” by being kind but not engaging beyond short answers. If anyone becomes unmanageable, take a short break and alert the manager.

The tip jar

In a perfect world, every pianist would be paid handsomely for their playing. In reality, most gigs offer a meager hourly rate (if any at all) and expect the musician to make up the difference through tips. In most instances, the tip jar will be on or very near the piano. If possible, place it away from the bench as some people are shy about getting too close to the performer. Make sure the jar is visible, is easily accessed, and has been marked with a sign. Never let it sit empty. Most performers know to throw in cash of their own to encourage others to contribute. I’ve found that the higher the dollar amount in the tip jar, the more people are motivated to give. No one wants to look cheap.

Follow up

When you’ve finished your gig, be sure to leave the piano and the space around it in pristine shape as a courtesy to the next pianist. This advice might seem self-evident but in the past I’ve seen old drinking cups, food wrappers, and—memorably—a half-eaten throat lozenge (!) on the piano when I’ve sat down to play. Be kind to the next performer and to the establishment that hired you and clean up after yourself. Furthermore, say thank you to the onsite manager when you leave, and the following day, send a thank-you note or email to the person who hired you. These actions establishes you as a reliable and gracious professional, one the venue will be eager to hire again.