#16
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Look like you have confidence. Look at the audience. Talk to them. Look like you are having fun. Put on a show. Give them an experience. And I learned that one from a bar maid last night so I'm sure you can pull it off.
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Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |
#17
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Good unobtrusive banter between songs always helps.
Early on I was given this advice to use while playing: Instead of the 'hundred mile stare', scan the audience and pick out those looking in your direction. For a full 4 seconds, make eye contact and smile and sing to that person only. After 4 seconds move on to the next person and repeat. As you do it you'll feel like a full 4 seconds seems like a long time to devote to just one person but the personal connection you just made leaves a (hopefully good!) impression. |
#18
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I observed that other performers would sing/play to the folk in front of them and that the rest of the audience seemed "disconnected". I decided to seek out "friendly faces" (usually ladies) in five or six places around the room, and to play/sing to them in short bursts then move on before it could get creepy. Thing is, there were probably ten/twenty people around those folk that would also think I was looking at/singing to them. Later, I got some acting jobs at a large theatre which was almost in the round so the performance had to be much "bigger".
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#19
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I'm assuming you aren't wanting to go the "Show-Biz" route... (Hey there, anyone here from Iowa? See Bill Murray on SNL :Auto Train" sketch)...
Just be yourselves and do what comes naturally... as many have stated, there are hundreds upon hundreds of performers who are excellent and do nothing at all to "have an act" or put on a show... their music does the work for them. Being into it, being confident, knowing WHO YOU ARE and WHAT YOU STAND FOR will serve you very well... both in the "Biz" and in making authentic music. A world famous opera singer gave a friend of mine a great piece of advice which I will pass along... "GO ON STAGE LIKE A LION, NOT LIKE A LAMB"
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"Home is where I hang my hat, but home is so much more than that. Home is where the ones and the things I hold dear are near... And I always find my way back home." "Home" (working title) J.S, Sherman |
#20
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It's when you see performers doing something that looks like a practised move they've seen others do, that's supposed to be cool. There's all kinds of cliche moves and mannerisms that have become part of pop or rock stagecraft, copied by almost everyone, and very few can actually do them and make them look natural.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#21
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Wow Mind you, if it was a really attractive guy singing, and he caught my eye, smiled and sang about how much he loved me.... yeah I can see that working.... Hang on, I'm a guy! And I'm not gay!!!!! Wow, you're right, that's powerful stuff!
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#22
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At a minimum, consider that a decent degree of eye contact with the audience, and the occasional nod and smile, even at no one in particular, are nice touches that help connect with people.
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.[SIZE="2"] - Sean Debut album Time Will Tell now available on all the usual platforms -- visit SeanLewisMusic |
#23
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Play in front of a mirror. But even better, as suggested, video yourself. Often what you think you are doing on stage and what you actually look like can be very different. You thought you were smiling or moving or making a grand gesture but it didn't come across as much on stage. Seeing what you really look like is the only way to figure out what you want to do differently.
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#24
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Enjoy yourself, play with emotion, move just a bit.
I often play from a seat. It’s a fairly tall Quiklok adjustable stool that puts me at a little above my standing height. Even from a fairly static position, I try to move - sometimes I’ll stand or bounce on the footrest. If you look nervous, bored or unmoved by what you’re playing, it’s hard to expect your audience to feel any different.
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Mike 2018 Furch D31TSR 2008 Martin OMCRE 1992 Takamine EAN20C 1996 Fender Telecaster w/ Barden Nashville set 1986 Charvel Model 5 2005 Art & Lutherie Ami 1980ish Hohner copy of a 'burst |
#25
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I always stand now (but rehearse sitting).
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#26
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It seems that you are misinterpreting making eye contact with the audience as if the performer was eying up groupies or something. that is exactly what it isn't - it's all about story telling and making contact with the audience. p.s. I don't think I do it for four seconds - just long enough NOT to be creepy.
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |
#27
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Stage Presence Help!
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I agree completely. I always stand. I played a duo gig with a friend once and he wanted to sit. I could only make it through a few songs before I had to stand up.
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2015 Martin D-18 1982 Martin HD-28 2013 Taylor 314ce 2004 Fender Telecaster MIM 2010 Martin DCX1RE 1984 Sigma DM3 Fender Mustang III v2 |
#28
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Act like you have stage presence and charisma. Then you will look like you have stage presence and charisma. You will feel more confident also.
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Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |
#29
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The advice to video performances is good - you need to see exactly what you currently do in order to make any meaningful changes.
In addition, since we all can have big blind spots about our performances and presentation, if you are really serious about upping your stagecraft game, consider hiring a pro who specializes in stagecraft analysis to help you identify your strengths and weaknesses and suggest methods for improvement. One I can recommend in Portland OR: http://www.vickiambinder.com/
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-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#30
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Here's a thought about stagecraft.
We are storytellers when we perform, both in our singing and in our playing. There are people who can "recite" a poem like a reluctant school kid, and there are the spell binders. When we sing a song cover, (frinstance) that isn't a personal confessional, we are telling a story, but to be convincing, we have to "act it out" as IF it is our story. Singing and playing is a performing art, just like acting and dance etc., and each requires similar talents to "captivate" you audience. Think about the performers that captivate you, and how and why. Worth thinking about ?
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Silly Moustache, Just an old Limey acoustic guitarist, Dobrolist, mandolier and singer. I'm here to try to help and advise and I offer one to one lessons/meetings/mentoring via Zoom! |