What makes a successful acoustic performance?

[david_m]

After a few failed attempts previously, I've decided to take another stab at playing live. I've played lots of open mics, a few clubs, a wine tasting, a house concert and was even invited as a featured performer at a songwriter's showcase. However, I would say that most of my shows have not been successful. I don't feel like I engaged the audience as much as I should.

I'm going to guess a BIG reason I didn't enage the audience as much as I would like is my desire to avoid covers. I don't play the songs nearly as well as the original performers. Also, I don't sing very often. My love is acoustic instrumental music, and that's what I want to perform.

So, let's assume I would like to limit my covers to about 20% - 25% of the set list, and I would limit vocal performances to maybe 4 songs. The rest of the music would be solo, instrumental music played on acoustic guitar.

Given this type of performance, what would YOU like to experience that would make the show enjoyable for you? In past acoustic, instrumental concerts you've attended what did especially enjoy, and what did you dislike?

Consider yourself part of a focus group. I don't have any free sandwiches to give you, but your feedback will be greatly appreciated.

David

[wthurman]

Not that I've managed it very often, but it's pretty cool when it happens.

I remember one concert in 1977 in particular by John Hartford. The feeling he managed was that I was sitting on the back porch and he was playing, and I was listening, and participating, too... in small ways. What pulled it off I think, other than his rather engaging quietness, was a confidence that if you were there, that you wanted to be there, mixed with a kind of nice deference and a feeling that he was going to have a good time regardless... and that the rest was up to the listener.

I guess what I'm suggesting is to do what you love to do... and don't be afraid to let that part of it show. I actually find it much easier to play for strangers than people I know, and because I'm more relaxed, it comes out better. I find it much easier to get to that place of simply letting go and having a great time doing what I came there to do make music.

I wish I had enough experience to be better at it in live situations, but I've had some great moments along with some really blistering ones. But if you're confident in your technique, have just a bit of nerve buzz and let yourself get into what you're doing, eventually, just like going on job interviews, talking on a radio to a control tower or on the telephone to people you've never met, it gets to feel familiar, and even really nice.

Good luck, David!

All the best,

Wade

[nubjamin]

more covers and vocals.

but seriously, the ratio you describe sounds about like what leo kottke does, and he's one of my favorite performers. he also delivers some of the best between-song banter i've ever seen on stage, and if he was going to give an all-banter/no-music performance, i probably wouldn't hesitate to buy tickets to it. of course, it takes a certain disposition and about 30 years of constant touring to develop that kind of reparte with the audience, so that's not much in the way of advice.

on a real basic level, and not really knowing anything about the music you play, i would probably recommend keeping any slower tunes to a minimum (no more than a few per set) and concentrate on more upbeat material. but that's just my personal taste - any more than a couple slow tunes in a row is usually a show killer for me. i appreciate musicians who pace themselves well over the course of the set, mix it up, and throw in a little spontaneity here and there. whatever you do, have fun. nothing is worse than a musician or band that doesn't look like they're having fun.

[david_m]

more covers and vocals.

I see the smiley......

I doubt I'll do more cover songs than 1 in 4. That's just a personal preference. As far as vocals go; like Leo described himself, my voice sounds a lot like goose flatulence.

David

[whiskeyjack]

I don't have any free sandwiches to give you, but your feedback will be greatly appreciated.

Man, you got nerve. You come here asking for advice WITHOUT sandwiches?

edit:

[whiskeyjack]

I don't play out much. And when I do it's usually a house gathering/concert of some kind.

I find that so much of the listener's experience (good or bad) hinges on my people skills. That, and the welcomed absence of pets and small children. I can introduce my favorite songs by saying I: haven't learned, can't do it justice, don't know, never cared for or never heard of a song that's been requested. I might say it's on my list of stuff to learn if it actually is. I've found folks very understanding this way as I introduce a song that I know and planned to play anyway. My most common response to requests for stuff that I can play but can't play well is "I can't do him justice so I don't play it."

Everybody likes to hear what they're familiar with. So it's quite impossible to please everyone. They'll ask if you know "The Wreck" (Edmond Fitzgerald). And you play it. And, judging from their expressions, they're less than impressed with your performance because it doesn't sound like they remember it. I don't worry about their response in those cases. I put my best into the song. If that's right, typically your audiences' response will be positive. Sometimes not.

Regarding the vocal/instrumental ratio in front of an audience. I don't know and I'm probably the last one that would know. But my thought is, it has to either be a captive audience or an EXCEPTIONAL (Kotke, Emmanuel) performer to hold their attention for more than ten minutes with instrumental music. There's a fine line between an entertainer and an artist. People like to hear singing AND playing. One without the other is a tough sell and will require you to be more of an entertainer.

[david_m]

People like to hear singing AND playing. One without the other is a tough sell and will require you to be more of an entertainer.

In general I agree. Of course, I'm not sure people want to hear MY singing and playing.

While I play my repertoire well, and I am a very good player (within my realm) I wouldn't consider myslef exceptional. So, what elements would make a good entertainer outside of singing AND playing?

David

[ParleyDee]

FWIW, in the Punter Relations department, I would second the advice, "I can't do him justice so I don't play it."

That response is respectful towards both the original artist and the audience member - even if neither particularly deserves it, there's no point in making enemies at a gig.

In refusing requests, it's easy to come across like, "Eeeee-YEW, I wouldn't be caught dead singing *that*" when you didn't mean to at all. (Especially if the punter has "had a few" and is quick to assume you're one of these pree-tenshus Arteeste types.)

And it's not really convincing to pretend you've never actually heard Danny Boy/Stand By Me/Shaddappayouface/insert irritating-request-title here

(The dumbest request of all time, IMHO, which thankfully doesn't do the rounds any more, was "You Are So Beautiful" for church weddings. It had surprisingly but truly never occured to anyone that asked for it that a live performance wouldn't sound a blessed thing like ole Joe, so it was best to play the original at the reception. "It won't sound anything like what you're used to hearing and I wouldn't want to disappoint you" is kind-of an extension of the "I can't do him justice" argument.)

And as for engaging the audience whilst avoiding covers, the only way I can see to do that is to pick your gigs as carefully as you can. I used to play in a band that ended up doing mostly party gigs/after work functions and we always found that originals (and also the concept of the band playing quieter music during the meal, actually) were met with blank incomprehension, sadly. Only doing gigs where the audience is likely to be interested in music for its own sake, not just as backdrop for a light-hearted good time, is the only thing I can think of. And I'm sure you've already thought of that for yourself.

[wthurman]

David, there's also the possibility of sharing a gig. Truth to tell, even with amazing guitarists, several hours of any one of them, even friends, would leave me pretty much ready to go home early. I'd look at getting someone to share gigs with you... either another instrumentalist, or a singer type. You could even work out one or two tunes together. Change-ups really help in this kind of situation.

Just thinking...

For myself, too!

Wade

[jim_n_virginia]

I have been playing for 30 years and am JUST now beginning to understand the difference between "performing" and "entertaining"

Don't let anyone fool you or tell you different. There is a HUGE difference between the two.

Now when I go to a live performance I watch the performer's technique and how they connect with the audience as much as I enjoy their playing and singing.

I have noticed that the performers who have entertained me the most tickled my funnybone and caught my attention with heartwarming stories.

To me Doc Watson is a master at making you feel like he is playing just for you and your family and he is in your living room.

Also I think that experience has a LOT to do with perfecting your act (that's what it is you know!) and many people forget that ANY act has to have a Beginning, Middle and the End.

Like the old saying goes... "the more you do it, the easier it gets.."

[jazzinthebox]

This isn't really great advice, but have you thought about including more instrumental/fingerstyle versions of famous songs? In this way, you would get the best of both worlds. The audience would get to hear songs they know; you eliminate the chance of not sounding/not doing justice to a performance because the instrumental would be entirely your own style; and you still get to play the style of music you enjoy most.

[ParleyDee]

Going back to you asking what we enjoyed or didn't like about acoustic performances we've been to ...

Thumper made the point about too much of a good thing, which obviously means it's important to minimise monotony wherever you can by varying keys/modes, tempo, style etc. I've heard gigs where the performer(s) didn't bother too much about that and the audience got tired pretty early on.

I've heard players go the other way, though - loads of variety but no flow. Their attempts to avoid audience glaze-over produced sets that are 45 minutes of loose change rather than a flowing story made up of a few different chapters (if that's not too many metaphors at once!) and I find that just as tiring. As an example, I know a player who regardless of genre or situation refuses to do two pieces in a row in the same key, not even minor to relative major or vice versa, and that IMO throws away opportunities for gradual changes of mood, and tends to produce a "shopping list" performance.

[whiskeyjack]

In general I agree. Of course, I'm not sure people want to hear MY singing and playing. . . .So, what elements would make a good entertainer outside of singing AND playing?

LOL. Ya. My singing ain't that great either. I'm a hack from both ends of the spectrum.

Regarding entertainment, entertaining and being an entertainer. I'm really not good at it. Parley is a wealth of good advice and information as is Jim and the others. Some folks are natural entertainers (Tommy Emanuel is certainly one, Garth Brooks is another - how's that for spectroscopy??) but I think most performers have to learn by trial and error how to entertain. It seems to be rooted in empathy and perception in creating a 'spirit' to your program.

This concept is probably over the edge but the thing that most performers seem to strive for is that implausable realm between entertainment (the act) and the performance (the actor). If the two can't be differentiated by the audience then the performer hit the mark. If the show is too much one way or the other it needs improvement.

The most impressionable example of show(s) that I really had a hard time separating out were the folkies of the sixties. The aura of sincerety had ya singing and hanging on every chord and note. There was a definite spirit to the show. . .and it was created by design. The elements I'm sure could be broken down much better than I can articulate. But one of the big elements of entertainment during those shows were the stories and introductions that led up to the songs.

"Here's one of our favorite songs (personal). A 400 year old folk song (audience: oh ya?) . . .written last week (humor: gotcha). It describes a very special love between two people (pathos: personal). We'd like it to be your favorite song too (join us).

That's establishing a rapport with people who are focused on you and what you're about to do.

I also think that there's a personal chemistry that contributes to the entertainment aspect that can't be faked or contrived. Call it natural ability or natural talent or whatever. Peter Yarrow is a prime example of that. The guy can get an audience of thousands eating out of his hand with so little effort.

Another 'element' that has been alluded to before also, is the order of the set. Every song doesn't need a story or explanation. Sometimes it's better to dive into a faster tempo song as the applause dies down to keep things from getting dull.

I went to a Judy Collins concert, oh it musta' been. . . .a long time ago. Anyway, I love her voice and the tastefully sparse arrangements. That evening though, she durn near put me to sleep!!!! Her stuff is mellow by design, but it was WAY mellow(er) that night.

The element I try to cultivate is to speak with the audience as if I was talking one-on-one. I find it difficult at best. Stage fright maybe; maybe my introverted nature; possibly stark terror; or all of the above. There has been the odd time when things just clicked.

I like the thought of a "beginning, middle and end" to a performance. Such a simple element and so easily overlooked.

[whiskeyjack]

I just had a thought that might expose your thread to more professional musicians on this forum. Bagelsgirl I'm sure would have some excellent advice.

Perhaps it'd be a good idea to move this thread to "Songwriting, Playing and Technique"

[Bob Womack]

And it is done!