How to select band members when applications come in? | How to assess and select candidates without interviews

"How to Select Band Members When Applications Come In? | How to Assess and Select Without Interviews" - This article is a continuation of the previous article, "The Complete Guide to Writing Band Member Recruitment Ads." You've written the recruitment ad and received applications. That's not the end of the story—in fact, this is where the most challenging phase begins.

I myself have been involved in recruiting band members many times, and I often get asked, "We've received applications, but I don't know how to choose." There isn't a strict selection process like in a company's job interview, but you can't just make a decision haphazardly either. Moreover, most people are not used to the act of "choosing someone," including the process of turning down candidates. In this article, I have put together as concretely as possible a realistic "selection process" that amateur bands can implement, from how to assess candidates in the studio to how to turn them down.

I understand the kindness of wanting to accept everyone who applies. However, forming a band is about finding members to work with for a long time. If you decide to let someone join without a clear understanding, you might end up with an awkward situation a few months later where you realize they're not what you expected. Think of the selection process not as a way to evaluate people, but as preparation for starting a new musical journey with someone you'll be making music with for many years to come, in a mutually agreeable state. This basic approach remains the same even when applications come through a platform like Membo .

1. Why you don't need to be intimidated by the word "interview"

Many people become intimidated when they hear the words "selection" and "interview." However, in the case of amateur bands, both the applicants and you, the one doing the selecting, are mostly people who are pursuing music as an extension of their hobby. There is basically no need to be in a suit and face-to-face with a resume.

The word " audition" itself originally refers to "a place where candidates are given the opportunity to perform or demonstrate their abilities to determine their suitability and capabilities." In other words, the essence is not "talking" but "trying things out together." In the case of a band, it's very simple: it's nothing more than going into a studio and making music together. Rather than thinking of it as an interview, it's better to think of it as "a practice session that also serves as a get-together," which will allow both parties to be more natural.

However, simply having them come over and observing the situation without any preparation often leads to regret due to insufficient information for making informed decisions. In the following chapters, we will explain step by step how to actually proceed.

2. Basic Selection Process: 4 Steps from Reply to Studio Appearance

From receiving an application to deciding whether to actually join, I recommend the following four steps. As I mentioned in my article about what to do when you don't receive a response after posting a request , the speed and politeness of your response directly impacts the subsequent relationship. Whether you're using Membo 's messaging function or communicating through other social media, the basic approach is the same.

1. Step 1: Reply (within the same day or two days) — Express your gratitude for their application, give a brief introduction to your band, and outline how you would like to proceed next.
2. Step 2: Brief exchange (DM/message) — Ask about things that can be confirmed in writing, such as activity frequency, years of experience, and goals.
3. Step 3: Play together in the studio — You'll meet face-to-face and play existing songs or cover songs together. This is the real selection process.
4. Step 4: Decision and Contact — You don't need to make an immediate decision. It's safer to say, "I'll take it back and get back to you in a few days."

The written communication in Step 2 is actually quite effective as part of the selection process. The speed of their replies, their choice of words, and how they answer questions reveal how serious they are about finding a job and how easy they are to communicate with. However, it is dangerous to judge everything based solely on written communication. We will look at this in more detail in the next chapter.

Step 3, scheduling, is surprisingly part of the selection process. Presenting several possible dates and seeing how quickly they respond, and whether they're making an effort to make time despite their busy schedule, can be an indicator of whether they're truly enthusiastic about joining a band. Of course, some people may take longer to schedule due to work or family commitments, so judging solely on this is premature, but it's good to keep it in mind as one piece of information.

3. Things you can know before putting them together, and things you can't know until you put them together.

The most important thing in designing the selection process is to distinguish between "what can be understood from written materials and conversations alone" and "what can only be understood by actually hearing the voices of the candidates." If these two are confused, someone who seemed promising might turn out to be a complete mismatch, or conversely, someone who gave a plain impression might actually be the perfect fit.

The items on the right cannot be understood through written communication alone. That's why the selection process should focus on "playing music together in the studio." Conversely, if you confirm the items on the left beforehand, you can avoid wasting valuable studio time and money. Many of the points discussed in articles on avoiding conflicts due to differences in musical style can actually be confirmed to some extent at this "pre-playing" stage.

A common mistake I see is reversing these two factors. For example, deciding to officially join a band immediately because you've had a great conversation on social media or about your favorite bands, only to find out that your musical directions don't align at all once you actually start working in the studio. Conversely, there are cases where you decide someone isn't a good fit just because the initial conversation was awkward, only to discover that you're a perfect match once you start playing together. Remembering that the impression you get from a conversation and the impression you get from their performance don't always match can help reduce inaccuracies in your judgment.

4. Five things to look for when playing together in the studio

So, what should you look for once you're actually in the studio? Here are five points I keep in mind: It's best not to overthink it and just behave as you normally would during practice. If the atmosphere becomes too formal, the other person will have difficulty performing to their full potential, and you won't be able to show your true self.

① How the rhythms fit together

Before even considering technical skill like whether the tempo is too fast or too slow, the first thing to check is whether it feels good to play together. The combinations to look at vary depending on the part, such as the interplay between the drums and bass, or the groove between the vocals and the band as a whole. It doesn't have to be a difficult song. Just playing one or two cover songs that the band already plays together will give you a pretty clear idea of how well you're working together.

② Awareness of volume and sound design

Is he someone who only asserts his own volume, or someone who listens to the surrounding sounds and tries to maintain balance? This is a crucial point that can only be confirmed in the studio. Whether or not he proactively says, "Shall we lower the volume a little?" between songs is also something to watch out for. This is because, regardless of technical skill, it's a moment that reveals how he behaves within the group of a band.

③ Reaction to mistakes

How do you behave when a song stops mid-performance or when you make a mistake? Some people panic and freeze up, while others can laugh it off and start over. This is directly related to their ability to handle trouble during a live performance. One way to observe how they react is to deliberately include some slightly difficult phrases or fast-paced songs.

④ How to communicate

The ability to comfortably offer and receive suggestions like, "I'd like to do this a little differently here," is just as important as musical skill in maintaining a band's longevity. Conversely, it can also be helpful for existing members to freely offer their opinions and see how they are received.

⑤ Do they seem to be enjoying themselves?

In the end, it all comes down to this: Beyond skill level, is it whether they seem to be enjoying making music together? For a band that you plan to continue as a hobby for a long time, this one point is often the deciding factor. Their expressions after the performance and how they enjoy chatting can also be surprisingly important clues.

5. Assessment Checklist: Skills, Personality, Enthusiasm, Time Management, and Financial Awareness

It's a good idea to create a checklist of your impressions of the studio so you can easily review them later. If multiple people are involved in the selection process, having everyone look at the same items will reduce discrepancies in judgment.

• Technology : Is it significantly lacking in the level the band currently needs? Or, conversely, is it so over-specced that it leaves something to be desired?
• Personality : Is there anything unusual about their language and attitude during practice? How well do they get along with the other members?
• Passion : Is it not just about "just putting them in," but about conveying a clear intention of what you want to achieve with this band?
• Time management : Is the estimated time available for practice and live performances in line with the band's activity frequency?
• Financial sense : Are you extremely negative or extremely indifferent to the burden of studio fees, equipment costs, and live performance quotas?

It's not necessary to get perfect scores in every category. Different bands prioritize different things, and there are almost always trade-offs, such as "their technical skills are a little lacking, but their passion is high" or "their personalities are great, but their schedules don't match." In the next chapter, we'll delve a little deeper into how to make these judgments.

6. A collection of practical questions to ask during the selection process.

This list compiles questions that, in addition to those asked during studio performances, can help prevent mismatches later on by confirming details in conversations before and after. The key is to ask these questions naturally, as an extension of casual conversation, so as not to create an interrogative atmosphere.

• Approximately how many times a month are you able to attend practice? — This is something you should check early on to make sure it doesn't deviate too much from the frequency the band expects.
• How will you get to the studio? (Car, train, bicycle, etc.) — If you're commuting from far away, your attendance rate may vary depending on the weather and the last train schedule.
• Please tell us about the equipment you currently use (including any planned purchases and your budget) — Understanding your current equipment situation will help us determine what kind of support you might need after joining.
• Are there any periods when you should be careful about balancing work or studies with your activities? (e.g., busy seasons, exam periods) — Knowing in advance makes it easier to adjust the schedule for live performances.
• How have you handled studio fees and live performance expenses in the past? — Differences in financial values are one of the most common points of conflict later on.
• What would you like to achieve with this band? (e.g., live performances, music production, just wanting to play at a relaxed pace) — Aligning your goals is more important than technical compatibility in determining long-term satisfaction.

In particular, "means of transportation," "balancing work/studies," and "financial sense" are completely separate from performance skills, yet they greatly influence the continuation of their activities in the future. These are often overlooked when one is preoccupied with technical aspects, so it is recommended to consciously ask about them. Instead of trying to get all the information at once, it is better to ask about them little by little in a natural flow, such as during breaks in the studio or while eating after practice, which will make it easier for the other person to answer.

7. "Skilled but doesn't fit" or "Poor but fits"?

A common dilemma during the selection process is deciding between someone who is technically excellent but somehow doesn't click with you, and someone who is technically still developing but is fun to be around. There's no right or wrong answer; the criteria for judgment vary depending on the band's goals.

When I give advice, I always tell people that they should think in terms of "how many years they want to continue the band." If it's just for a one-off live performance or a temporary formation for a short-term goal, prioritizing technical skills is fine, but if the intention is to work together for a long time, I have the impression that it's often better not to underestimate personality and compatibility.

8. The option of a trial period (provisional subscription period)

If you're hesitant to decide on a formal membership after just one studio session, setting up a "trial period" is a good approach. As mentioned briefly in the article on how to deal with a member suddenly leaving , this involves not immediately welcoming someone as a formal member, but rather going through a few studio sessions or one live performance together before confirming the intentions of both parties.

• Estimated duration: 1-2 months, or 2-3 studio practice sessions.
• Make it clear from the start that it's a trial period (the most awkward scenario is when they later say, "Actually, it was just a trial").
• At the end of the period, a meeting will be held to confirm whether both parties wish to continue.
• If you feel something is wrong at any point, discuss it early without waiting for the contract to expire.

Incidentally, the concept of a probationary period is a widely used system in corporate recruitment. In Japan, more than 80% of companies have some form of probationary period, and data shows that "around three months" is the most common. In the case of amateur bands, there is no need to have such strict rules, but simply sharing the premise that "it's okay to see how things go from the beginning" has the effect of reducing pressure for both the selector and the selected.

* The "trial period" mentioned here is merely a general guideline and does not imply any legal agreement. If you have any concerns, such as agreements involving money, it is advisable to put them in writing (see Chapter 13 for details).

9. How to compare multiple applications

Fortunately, we sometimes receive applications from multiple people. In this case, it's easier to compare them if we meet with them all at roughly the same time, rather than calling each person in to the studio one by one to make a decision.

• Have everyone play the same song and the same sequence (to standardize the comparison).
• Don't comment on superiority or inferiority in the moment (you never know who might be listening).
• If you're unsure, make a note of the "Chapter 6 Checklist" for everyone and compare them later.
• If there is too much time lag, memories become vague, so try to concentrate them as much as possible over a short period of time.

Having multiple candidates might seem like a luxury problem, but in reality, it's common to make the mistake of "not being able to decide and dragging things out, ultimately being disrespectful to everyone." As a guideline, it's helpful to have a schedule in mind where you aim to make a decision within two weeks of the first application.

When using a system like Membo , which collects applications from multiple sites at once, this situation of "multiple applications" is actually more likely to occur. Also, there is no need to hide the fact that you are selecting multiple people in parallel. If you honestly tell them, "We are also contacting other people, so it may take some time," they will be able to wait with an understanding. This will give a much more honest impression than trying to gloss over it. When it is difficult to make a decision, one method is for existing members to discuss in advance "what criteria to use as the priority if it is not possible to decide between them." If you decide on the criteria, such as whether to prioritize skills or whether the frequency of activity matches, you will not be confused when the time comes.

10. How to decline—choosing words to avoid causing offense

The most challenging part of the selection process is when you have to decline an application. You want to be polite to someone who has taken the time to apply and even come to the studio. Here are three example phrases for different situations. Feel free to use them as they are.

The basic rule for declining an offer is to send the rejection as soon as possible after making the decision. The longer you put it off because it's "difficult to say," the longer the other party will have to wait for the answer, and the later you'll be able to find your next opportunity. It may be difficult, but telling them as soon as possible is actually the most sincere thing you can do. You might wonder whether to tell them by phone or by message, but unless you have a very close relationship with them, a message that they can read and reread at their leisure is often easier for them to accept.

Example 1: Polite and concise version (does not explain the reason in detail)

Thank you so much for coming to the studio the other day. It was a very enjoyable time. After discussing it with all the members, we have unfortunately decided to decline your participation this time. We are very sorry that we had to cancel after you took the time to meet with us. We hope to have the opportunity to work together again sometime in the future.

Example 2: When citing a mismatch in musical style as the reason.

Thank you so much for the other day. I really enjoyed playing with you. After discussing the musical direction we want to pursue as a band, we came to the conclusion that there are some differences in our directions. Your performance was very captivating, so I would be happy to collaborate with you again in some other capacity.

Example 3: When citing a schedule mismatch as the reason

Thank you so much for the other day! There was a slight difference between the frequency of our activities that we discussed and how often you are able to participate, and I felt that it might be difficult for us to continue in a way that is comfortable for both of us. It pains me to say this, as we had such a wonderful connection, but I think I'll have to pass on this opportunity.

The key things to keep in mind are to always start by expressing gratitude for their attendance and performance, and to avoid writing in a way that invites excessive questioning about the reasons. While overly vague reasons can come across as insincere, it's also best to avoid writing in a way that specifically points out any technical shortcomings.

11. This is a selection process that should never be done.

Just as important as knowing how to decline is knowing "what not to do during the selection process." Making a mistake here can affect not only the reputation of the person being rejected, but also the reputation of the person doing the selecting.

• Don't act like you're auditioning and be condescending —remember you're both amateur bands, and strive to interact on equal footing.
• Making blatantly condescending remarks in the studio —technical feedback is necessary, but there's no need to make comments that attack someone's character.
• Not responding or continuously postponing a decision —even if you decide to pass, be sure to contact them in some way. The pain of not receiving a response is the same for both the person posting the request and the person being asked.
• Criticizing someone's skills or personality excessively behind their back is unacceptable . Discussions within the band are necessary, but avoid making fun of them.
• Continuing to give vague answers while concealing the fact that you are considering multiple candidates simultaneously —it would be more honest to simply say, "We are also considering other candidates."
• Leaking other applicants' information to someone you want to reject —whether through Membo or another site, handle applicant profiles with care.

Those on the selection committee tend to forget, as they are in the position of "choosing," but the applicants are also dedicating their valuable time to the process. Simply being aware of this can significantly change the overall atmosphere of the selection process. Conversely, bands whose selection committee members behave sincerely often gain a good reputation even from those who were rejected, leading to more positive applications in future recruitment rounds. Each interaction during the selection process is, in fact, part of building the band's own reputation.

12. A word to say when informing someone of their success.

I've mainly shown ways to decline, but of course there are also moments when you want to say, "Let's do it together." Here are some simple examples of those as well.

Thank you so much for everything the other day! All the members have decided that we would love to continue working together. We look forward to working with you again. We'll discuss the next practice date soon.

Once you've decided to join, the next thing you need to decide is the frequency of activities and the rules. If you proceed without clarifying these points, you're more likely to encounter mismatches later on, such as people realizing "this isn't what I expected." In the next chapter, we'll introduce some ways to avoid this.

13. Things to keep in writing to prevent problems

While it's uncommon for amateur bands to have written contracts, there are several items that can be kept in simple notes or chat messages for peace of mind, rather than relying solely on verbal agreements. Please consider this as general advice and a way to prevent future problems.

• Frequency of activities/guideline (how many times a month to practice)
• How to share expenses (studio fees, live performance fees, equipment fees, etc.)
• Guidelines for how and when to tell your group you want to leave.
• A general overview of how to handle rights to recordings and original songs (it's best to discuss this early on, especially for bands that are actively pursuing their music careers).
• Rules for external communication, such as on social media and Membo profiles.

These are less about legal agreements and more about having a "memo to prevent misunderstandings later." There's no need to overthink it; simply adding a fixed message to a group chat or a quick bulleted list in a shared memo app is sufficient. I feel that quickly reviewing these points at the time of signing up is more effective in preventing misunderstandings than having to look back on them after a problem arises. If the matter involves large sums of money or requires a formal contract, I recommend consulting someone knowledgeable rather than trying to make a decision on your own.

14. Even famous bands overseas are actually selected through auditions.

The terms "audition" and "selection" might sound intimidating, but in reality, many world-renowned bands have selected their members through auditions. While the scale and pressure are completely different from the selection process for amateur bands, the core principle of "recruiting, meeting in person, playing music together, and then making a decision" remains the same. Here are a few examples.

Phil Collins of Genesis is known for joining the band after seeing a drummer wanted ad in the music magazine "Melody Maker." At the time, the band had selected a guitarist and drummer through an open call following the departure of existing members, which perfectly exemplifies the theme of this article: "from recruitment ad to selection."

AC/DC 's case is a little unique. After the sudden death of vocalist Bon Scott, a fan sent a tape recording of Brian Johnson singing with his previous band to AC/DC's management. This, combined with encouragement from former bandmates and advice from industry insiders, led to Johnson being invited to audition. They decided to hire him after he actually sang for them. It's said that the band was initially skeptical about him joining due to his image in his previous band, but their decision was solidified after they actually played music together. This perfectly illustrates the idea introduced in chapters 3 and 4 of this article: "You can't know someone just by meeting and talking to them; you only know them after they actually make music with you." It's also insightful that information from fans and those around them can sometimes be the trigger for recruitment and selection.

Metallica also held multiple auditions when changing bassists. Separately, guitarist Kirk Hammett later recounted how he joined the band unexpectedly after being contacted suddenly. Although the instruments are different—bass and guitar—these episodes convey that even in globally successful bands, the process of joining is not always smooth and perfect, and in a sense, it's a process of trial and error.

Knowing these examples, you'll realize there's no need to feel overly anxious and think, "Our band's selection process isn't that big of a deal." Even professional bands essentially go through the same process described in this article: they recruit, meet in person, and play music together before making a decision.

15. Common Cases: Selection Process as Seen Through Hypothetical Scenarios

Let's organize the ideas we've discussed so far into a single scenario, following a realistic flow. This isn't a true story of any specific person, but rather a hypothetical example combining common patterns. Please use it as a reference to get an idea of how to proceed.

Case: A three-member band of working adults is looking to recruit a bassist.

• Application and Reply : Three days after posting the job opening on Membo , I received applications from two people. I replied to both of them the same day with "Thank you, I'll briefly explain the activities."
• Written communication : Confirmed activity frequency (twice a month), years of experience, and whether or not they had equipment. One person had 3 years of experience and a full set of equipment, while the other had been playing bass for 6 months and planned to rent equipment.
• Studio meeting : Each person went to the studio on a different day. The person with 3 years of experience played steadily, but didn't engage much in casual conversation with the existing members. The person with 6 months of bass experience still had some rough edges technically, but the conversation during breaks was lively, and they were enthusiastic about practicing.
• Decision : Since the band's goal was "to continue having fun together rather than playing live shows once a month," compatibility was prioritized over technical skill, and a two-month trial period was proposed to someone with six months of bass experience.
• Results : We sent a polite notice declining the offer to the person with 3 years of experience, along with the reasons for their rejection. The person with 6 months of bass experience steadily improved over 2 months and officially joined the team.

The key point of this scenario isn't that they "didn't choose based on technology" itself. It's that they didn't hesitate in their decision because they had confirmed beforehand what the band valued most. If the band had simply wanted to "play more live shows," the opposite decision might have been the right one.

16. Frequently Asked Questions (Q&A)

We have compiled a list of frequently asked questions regarding the selection process.

Q. Is it better to document the selection criteria in writing from the beginning?

A. While it's not necessary to have strict rules, sharing general guidelines among team members, such as "skills, personality, enthusiasm, sense of time and money" (Chapter 5), will help prevent inconsistencies in judgment. This is especially effective when multiple people are involved in the selection process.

Q. Is it okay to contact someone again later after I've previously declined their offer?

A. That's perfectly fine. If circumstances change and you need to find members again, it's not rude to contact people you previously had a good impression of. However, be sure to include a polite explanation so as not to contradict what you said when you declined. With services like Membo , you'll be reposting the job opening, so it's natural to contact them individually again at that time.

Q. Is it risky to decide to join based solely on online interactions?

A. Unless you live far away and it's absolutely impossible to meet in person, we recommend making an opportunity to play music together at least once. As mentioned in Chapter 3, there are many things that cannot be understood through text alone. Even if you use an online session as a substitute, be sure to have at least one real-time interaction including audio and video.

Q. Who should make the final decision regarding the selection process?

A. Ideally, we would hear the opinions of all the band members, but ultimately, the criterion is whether all the existing members feel that they "want to continue working together." Forcing someone to join when even one person has strong reservations tends to lead to problems later on.

Summary: There isn't just one right answer, but you can prepare.

There is no single perfect answer to the question of "how to select band members that will guarantee success." Sometimes technical skills should be prioritized, while other times personality and compatibility should be prioritized, and this varies from band to band and from situation to situation. However, the preparations introduced in this article, such as "distinguishing between what you can know before and what you can't know without a rehearsal," "a checklist for evaluation," and "examples of how to decline," should be helpful when you are unsure.

The word "selection" often conjures up somewhat cold-sounding words like "assessing" and "judging." However, what's actually happening is a very warm time—entering a studio together for the first time and playing music together for the first time with someone you might be making music with for many years to come. I hope this article can help you spend that time in a way that is satisfying for both of you, without being too nervous or too easily swayed.

Receiving applications is a joyous occasion in itself. Understanding how applicants write their self-introductions and the feelings of those who want to join enriches the perspective of those making the selections. Please be sure to read both articles together.

And if you haven't received any applications yet, or if you're looking to find new members, try starting your recruitment on Membo . Membo allows you to search for band member recruitment information from all over Japan in one place, and it automatically translates into 8 languages, making it easy to connect with musicians whose native language is not Japanese. After you've found a good match, we hope you'll remember this article and proceed with a selection process that you're happy with.

Other helpful information for band activities is also compiled on the help page and in the announcements section . For instructions on how to install the app, please see this guide , and for instructions on using the PWA version, please see this page . If you're interested in learning more about the operation, please also check out the operator information .