Below is a question I actually think all you live concert musicians, singers and bands should be requesting yourselves about your show. How much did you know you don’t know? Diner spectacle cabaret musical
I teach a music biz course at a local school and i also drum into my students the value of taking an absolutely on all aspects of themselves, their music and their act. This kind of includes their stage show.
But, it wasn’t until I took the time a little while to attend, as an viewer, a workshop facilitated by American performance coach Ben Jackson that I came up to appreciate just how much that even I has not been aware of that moves into making for a compelling, dynamite performance.
One particular of the things that continually confounds me about artists is how little value most place on the value of certain critical factors that make for an act’s success in this business. One is the acquisition of a solid knowledge base about the background music biz itself, something that is naturally of special interest to me, but another is the art of live performance. It’s the one thing to put time, effort and money into honing your vocal skills or musicianship, it is quite another to discover how to deliver that artistry effectively.
Once you think about it, it doesn’t really seem sensible to develop your a key component or vocal talent without putting some serious work into learning how to reach your audience. Really somewhat like building yourself a wonderful sailboat but is not bothering to learn how to sail it.
Since an artist, your live show is going to be key to your success. Standing before an audience stiff with nervousness and fumbling with a mike an individual know how to use properly isn’t going to make for a great performance. That should be pretty obvious. But what a lot of artists may get is that simply recreating the recorded editions of their songs won’t is not the best way to go either, because a lot of what a live audience experience is on the visual and pasional levels. Putting out onstage entails getting your head, heart and body “into” the background music and connecting with the group through your material, your instrument and/or voice, your physicality, image and workplace set ups. This applies even to the solo act sitting down on the stool alone with a guitar.
Now, it can true there are some things you can opt for up by observing other more seasoned acts, but good personal coaching can accelerate the learning and assimilation process and will teach you other essential things, such as how to build up a track both musically and aesthetically, how to study an audience, develop charisma, be impulsive, engage the crowd with patter between songs, avoid performance no-no’s and even how to approach rehearsals.
One important thing that Tom drilled home to everyone at that event was that, while artists have a significant amount of control of things like the development of their promo kit, their recording job and most everything more related for their career, very few exert most of any control over what happens with the audience. I was floored in what he imparted in simply a couple of hours that go towards making the difference between a forgettable performance and the one which has the masses absolutely wowed. And these were all very simple things that, once you saw them demonstrated, made eminent sense. I came up away from that workshop more convinced than at any time of the value of a good performance instructor to a live artist’s potential for success.
One important thing that Tom drilled home to everyone at that event was that, while artists have a significant amount of control of things like the development of their promo system, their recording project and most everything else related with their career, very few exert a lot of any control over what happens with the audience. I was baffled with what he imparted in simply a couple of several hours that might be towards making the difference between a forgettable performance and the one which has the crowd absolutely wowed. And these were all very simple things that, once you noticed them demonstrated, made prestigious sense. I came away from that workshop more convinced than ever of the value of a good performance coach to a live artist’s probable for success.