After devoting my last column to the similarities between corporate-sponsored rock and Shanghai’s most prominent indie label, I feel it equally important to examine the intricacies of surviving as a D.I.Y. band, free from the pressures, politics and motives of monetary backers.

While mainstream superstardom and “f*ck-you money” will ultimately elude 99.99 percent of all artists, there are ways to sustain your existence without compromising your vision.

“We always pay musicians,” explains Ruby Hsaio, owner of 288 Melting Pot. “The Cardinals, Dovetail Joints and Crazy Mushroom–when they were nobodies four years ago, we paid them to play every weekend.”

Although 288 isn’t fit for rock music (its tables-and-chairs set-up is more akin to a Xintiandi cover band atmosphere), the Taikang Lu location does offer free rehearsal time, which is paramount in the development of any young band. Rehearsal time, aside from equipment, is the largest expense for any fledgling group, so utilizing free space is essential. Otherwise, there are a number of practice rooms in town, offering rates of about ¥30 per hour.

After the initial rehearsal phase, bands need to play live to gain experience, build a small fan base and earn some cash to cover more rehearsals or new gear. In this respect, Shanghai is a very forgiving city, offering up-and-comers plenty of (paid) opportunities to refine their chops. With the additions of MAO Livehouse Shanghai and Live Sound Garage to Yuyintang, Live Bar, the Dream Factory, LOgO and Anar, Shanghai suddenly has a disproportionate number of venues to bands.

Because the city doesn’t have enough bands to fill these stages, clubs not only offer bands a chance to play, but they also pay. As bands graduate from opening slots to headlining, they’ll generate cash, eventually earning enough to travel, which leads to connections in other cities. These trips will attract the attention of promoters who will, potentially, fork over higher performance fees.

In this respect, bands in China have more short-term upward mobility than their western counterparts, and any group that can record and tour on someone else’s dime is, in one sense, quite successful. Though you may want to keep that day job.