Trevor Locke reflects on what he (as a member of the audience) learnt about singing when he attended the obsUnplugged programme of Acoustic shows in Leicester in 2013.
There are three kinds of covers
(b) Just singing the song as it is in the original version – what pub singers do
(c) Taking a song and putting the artist’s own, original stamp on it, giving it a unique interpretation that has not been heard before.
When I listen to a well known cover (performed as part of a singing competition or vocal showcase), I would be looking for interpretation – what the performance of that song tells me about the artist in front of me and whether their unique take on that song shows me something about the singer. The better known the original song or artist, the more important this is. For example, Wonderwall by Oasis is a very well known song and I would prefer to not hear it sung karaoke-style, or as just a faithful rendition of the original recording. I would rather want to hear what the artist in front me can do with it, to bring out aspects of the song that might never had heard before. I have listened to some very remarkable interpretations of well known popular songs, where the singer has taken the song and made it their own, producing a version that is markedly different to the original and given me a whole new insight into that song, using exactly the same lyrics and most if not all of the original melody.
Putting together a set list
If an artist is given an allotted period of time in which to perform, he or she can probably do about five or six songs. In a showcase event, the goal for, a performer, is to illustrate the range of their repertoire, demonstrate vocal and instrumental skills and entertain the audience. A good performance is not one in which the artist sticks to safe, comfortable songs, any more than going for the really hard, challenging stuff, throughout the set. The singer should open with a song which they know they can perform well, which is likely to capture the attention of the room, engage the audience and prevent people from going for a smoking break, the toilet or to
the bar from a drink.
Keeping them and holding their attention is the tasks of the opening song. The last song should be a vibrant, robust number that rounds off the set with something that will cap the set’s achievement and illicit sustained applause. In between, the singer has to show those in the room what the artist is capable of. Things to avoid: too many songs which sound the same in tempo, style and content – most listeners appreciate variety – and too many covers that every one else is doing (yet another Ed Sheering song, oh no not Lady
Gaga’s Dirty Ice Cream again!)
Performing the songs
What engages audiences is feeling – the singer’s ability to get inside a song, believe in what the lyrics are saying, understanding what the song is about and then living the song, while on stage. Inexperienced artists learn the words, the melody and the instrumentals and think that is job done. It’s not. Excellent artists spend some time trying to get into the role – just as actors have to get into the role of a character and live the part, so too singers should be thinking long and hard about the lyrics, the meaning of the song, what they are singing about and how best to portray the whole piece on stage. That might even mean deciding when and where to make gestures and facial expressions, the requirements of piano, forte and pianissimo passages and the internal dynamics of the piece. Whether
it’s their own original song or their own original interpretation of a well-known cover, it’s about singers putting yourself into the songs and acting it out on the stage. An excellent singer will get this just right; one who is less good will over act.
Telling people who you are
It is unlikely that the audience will be sitting there with a programme. They might or might not have read the running order (if there is one) on the way in. Most of them will have no idea who the singer is. The job is make them aware of you – your name and where you come from. Either announce yourself to the room before you start singing or after you have finished the first song. It’s no good telling them your Facebook address – they will not remember it – but if you have cards or flyers with it on, leave them around the room.
Between songs, you can tell them the title of song and something (briefly) about what’s in it and(if it is your song) when you wrote it or, if it is a cover, why you like it and who originally performed it. Don’t just say “I am now going to do a cover by Ed Sheeran” and leave it at that. Interesting though that might be, it still tells people nothing about why you are singing a song by Ed Sheeran and what’s significant about it.
People do not want to hear long speeches, anecdotes or stories between songs (in a six song set) but a little bit of personal chat helps people to relate to you as a person. You are not a singing robot. You are a person trying to make a room full of people like you and remember who you are (and, hopefully, will then want to see you again at your next appearance.)
Solo singers with guitars
Should you sit down or stand up? This is a vexed issue and there are strong opinions for both options. Singing coaches say stand up because that is the best position for breath control. Others say sit down, if that is how you feel most comfortable and relaxed. Singing at your best is not a comfortable experience, even for professionals. When I see an artist sitting down to sing, I tend to think they are newly starting out amateurs (that might not be true but there is always a tendency to assume this if you have not seen this artist before.)
If you are going to play guitar to accompany your singing, tune the instrument BEFORE you go on stage. If you put in a new set of strings, do that several days before the performance and allow time for the strings to settle in. We have seen artists break strings on stage and then ruin a good act while they restring or waste time borrowing an instrument from someone else.
Make sure the audience knows you have finished
Some songs can have abrupt endings and if so, it is better to say “thank you” into the mic, so that people know that the song has finished. At the end of your set, there is nothing wrong in thanking the artists that have been on before you and how much you enjoyed their songs. It is a courtesy that is noted by judges and by members of the audience.