Staff Creatives: Brad Johnston

Creativity runs high among College of Fine Arts staff members, both in their day jobs in the college supporting our research and educational mission and in their personal lives. The college has an unusually high number of practicing artists, musicians and performers — many of them alumni — on our teams.

Brad Johnston (M.M., Music, 2010) is the director of Fine Arts Information Technology in the Dean’s Office. 

How many years have you worked in the College of Fine Arts? 

Twenty years full-time and 23 years including my time as a graduate student worker when I was working on my masters in Composition in the Butler School of Music. 

Describe your creative practice.

My main creative practice now is as a performer and musical improviser. My main focus at the moment is playing as a hired side man for multiple original artists, Whiskey on a Sunday (a Flogging Molly Tribute Band) and events bands playing large catalogs of music, mostly top 40s from the 50s to the current chart toppers. 

I have worked as a touring musician, local player, recording artist, producer, score copyist/editor, sound designer, sound engineer and composer. I play most genres of popular music, but my favorites are either music that has a groove that makes people move or that has a lot of space in it (like acoustic music singer songwriter) that focuses on a more intimate musical conversation. Many times, this means serving the lyrics with the music. 

Ironically, my degrees are in music composition, but most of my output as a player. I feel like all of my compositional training allows me to be a thoughtful improviser — it’s a lot like composing in the moment. The difference is you can’t hesitate, or the rhythm section will run right over you. 

As a player I have toured locally, nationally and internationally. As a member of Gina Chavez’s many projects, we did multiple tours for the U.S. State Department Arts Envoy and American Music Abroad to represent the U.S. in Central America (Costa Rica), Central Asia (Kazakhstan, Uzbekistan, Kyrgyzstan) and the Middle East (Jordan). We performed in a Tiny Desk Concert at NPR headquarters. In 2014 and 2015 Austin Music Awards listed me as among the top 10 best keyboardists in Austin. 

How did you get started in your creative practice?

I started from an early age playing by ear and started formal music lessons when I was 17. I studied with someone who received their Master Degree studying with a remarkable teacher, Ruth Slenczynska. I was an early adopter of analog and digital technology that recorded and produced music — including publishing. After learning how to read notes, I learned music theory in community college. I auditioned at university and was given a music scholarship. From there I was able to study with a long list of amazing teachers and built a network of talented and successful peers. 

My final degree was a M.M. in Composition from the Butler School of Music, which opened up a lot of opportunities for me in the Austin music scene. 

What does a typical day look like when you’re balancing both your work and creative passions?

Logistically, it’s not that much of a balancing act. Music tends to happen on the weekends, and I rarely take a show or rehearsal that is late when I work the next day. If I need time off, I have plenty of advance notice to plan for time off from my work. The hardest part logistically is to remember to have my gear and clothes in my vehicle for times I have a show or rehearsal that I go to from UT after I get off work. 

It can be a challenge at times to shift mentally sometimes to be an artist who is doing something creative and in a world of the music industry, which many times could be considered some level of controlled chaos and then shift into a mindset of a more controlled environment like UT. 

Because my work supports artists throughout the college, I think that actually helps me keep their best interests in mind and be a strong advocate for their creative and teaching needs. 

Any advice for students as they think about their professional pathways?

• By participating you’re auditioning.  Always.
• Listen to your gut. Unless it’s mostly or pure fear. If it is, dive in a bit deeper to see if the fear is legit or if you’re avoiding a chance to really push yourself. Fear rarely presents itself honestly unless there is something obvious.
• You’re hired to be fired. Do not take it personally. Happens to everyone at some point. The music business can be super fickle. Move on, and find your next thing.
• People choose personalities over talent. Your reputation is everything. Be kind, show up early, be prepared and be flexible. Know how to roll with whatever happens. If you do not have a good reputation — unless you can make people a lot of money (and even then, there is a limit) – those who may not be as good will be invited before you.
• This book saved me in graduate school. It should be required reading for anyone going into the arts: Art & Fear: Observations On the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland.
• Art is art until money becomes a factor. Then it’s a business, so you are no longer only an artist. You’re a small business owner who wears a lot of hats. This is especially true if you’re in a band/group.
• Unapologetically hit wrong notes in rhythm and keep playing. It happens to everyone.
• Foreground, middle ground and background are still critical to the art making progress, regardless of discipline.
• Always have a mentor, no matter how accomplished you think you are. Mentor others.  
• Teaching is the best way to learn.
• If you only find joy working with the best, reconsider the value of working with those who are at different stages as an artist. They tend to remind me of why I love music so much and where I really need to improve.
• Do not listen to anyone that thinks less of you as an artist just because it’s not your primary way of financially supporting yourself. In many cases, having a way to sustain yourself allows you to choose the projects you really want to do rather than being forced to participate in less-than-desirable or toxic projects.
• Follow the rule of three when choosing projects. It must meet two of the three. Choosing only one tends to fall short, at least for anything that would take significant effort.
  • Joy
  • Money
  • Personal Development

How do you define success as an artist? How has that definition evolved over time?

My reputation, opportunities as a musician, if I am making progress in my craft/art and MOST importantly: if I am still having fun. If I am still making progress with my craft and art. I’ve evolved as an artist pursuing music as a career. The definition is now the above, but with the ability to sustainably meet the financial goals I have. 

Early in my career I undervalued myself and took most anything that came along. Not only did that cause a failure in my ability to earn, but it hurt my reputation, so my opportunities were not growing. As I began to better understand the market, the better I could adjust and not over ask, but show people I was serious about being in the industry. It may seem counterintuitive, but most people in the music industry respect those that can advocate for themselves (to a point). There is a fine line between advocating and being a complainer or otherwise appearing to be unreasonable. 

If there is a passion project that you want to be a part of and you get an idea most people in it are not going to make much, it’s fine to commit to it. Many times those types of projects generate relationships and future projects that will pay in the long run. So, money is not everything, at least not when you’re trying to prove yourself to others that would be a door to other opportunities. 

And if you’re in Texas, learn to be okay with driving long distances and not being as focused on how much you think you’re making per hour. Instead, keep an eye on your long-term goals. Don’t forget to factor in the cost of travel like gas, food, parking, etc. That can eat into what you’re being offered so sometimes you can bring that up as a concern when being offered a gig. It’s a judgement call on your part.