Writer Trevor Locke

Tag: singers

  • 1990 to 2005 part1

    Chapter 2 – Music and the rise of the Internet – 1990 to 2005 – part 1

    by Trevor Locke

    This article forms part of a series called The History of Music in Leicester.

    Chapter 1 of this series Music Today has already been published and covered the period from 2014 back to 2005.

    This is part 1 of Chapter  2.

    Part 2 looks at the 1990s.

    In this chapter, we look at the period from the early noughties (2000 to 2005) to the 1990s (taken to be the start of the Internet, roughly speaking.) As was noted in Chapter 1, all music of a particular period had its roots in the past;  the music of an era cannot be understood without looking back at the roots that nurtured it at that time. Hence, our journey back through history to see how music has changed and how people’s musical tastes have been shaped and formed by what was happening to them and the people before them. The outstanding feature of the period 1990 to 2014 was the growth of the Internet.

    The Rise of the Internet

    All kinds of music has depended for its growth, development and distribution on the technologies available; music in pre-technological society was exclusively live and its distribution was dependent on the printing of sheet music. Before that, it was all about oral traditions being handed down from one generation to another. All this changed with the invention of the gramophone player, the radio, television, the CD player and then the Internet. Technological development changed the way people listened to music but it also changed the musical tastes of the majority of people by giving broader access to music. This is covered in more detail in our article Music and Technology.  Peoples’ access to the Internet had two parts of it: email and the World Wide Web. In the early days of the Internet, these were the two services that most people used.

    The noughties and the ‘web – 1990 to 2005

    The growth of the Internet, particularly from the late 90s onwards, brought huge changes to the way that music was distributed.  It also allowed bands to reach a wider audience, through the medium of the world wide web. This period saw a growth in music festivals and live music venues. The advent of personalised music-playing devices, from the Walkman in the 1970s through to the iPhone’s launch in 2007, allowed listening to become a personalised experience. By contrast, the rise of the big festivals, raves and the construction of high-capacity arenas, brought back a social element to the experience of music, one not seen since the demise of the music halls in the early years of the twentieth century.

    One other thing, that the rise of mass Internet usage brought about, was the ability of bands, musicians and singers to publish their own music, challenging the industrial supremacy of the record labels.

    Mass broadband and the popularity of first MySpace and then Facebook enabled the rise of the DIY artists – those who could record music in their bedrooms and reach a large market, usually very cheaply. This revolutionised the means of musical production, compared to the days when the production of gramophone records was prohibitively expensive for the unsigned group or individual. YouTube, Reverbnation and Soundcloud further aided the rise of self-production of music.

    In 2005, Arts in Leicestershire was founded. The domain name was registered on 22nd February; this was soon followed by the publication of the early version of the Arts in Leicestershire website, which later became a magazine. The site published content on all forms of art but half its content was about music. By its heyday, over 600 pages existed on the site (covering all genres of music) and, at the height of its popularity,  it had over 28,000 readers per month. The first gig reviews were published on it in 2007. This was made possible by the availability of inexpensive hosting services.  In 2013 the music content was transferred to a new site called Music in Leicester.  When the music content of the old Arts in Leicester website was removed from the Internet, I began making plans to re-publish the gig reviews as a book. Fortunately, I archived the whole of the Arts website to disk and then extracted all the gig reviews, hundreds of them, to a separate file and arranged them into chronological order. The resulting ‘book’ was given the working title A compendium of Leicester gig reviews; it contains a year by year account of many of the music events that took place in Leicester from 2007 through to 2013 when Music in Leicester started. The only other publication to comprehensively record live music over a period of time was The Monograph. Live music is an ephemeral phenomenon and evidence of what happened quickly disappeared. Anyone wishing to research music will find it difficult to extract material from verifiable sources.

    At Leicester University, the Oral History Archive has recorded over a thousand interviews with local people and in some of them,  they talk about music, gigs and the shows they went to. Music journalism often misses an important side of life – what people remember about their experience of music events. Today, music fans post their thoughts and experiences on social media every day but this rapidly disappears and there is no easy way to gather and store it for use by the researchers of the future.

    Apart from social media platforms, independent websites were set up that provided information about the Leicester music scene. In 2009 Alan Freeman published a list of Leicester rock bands on his website. Arts in Leicester maintained a listing of local rock bands for many years; this captured the names of bands that were playing and sometimes where they came from and style of music they played. Analysing this data enabled Arts in Leicester to claim that ‘Leicester had more bands per head of population than most other cities of comparable size.’

    It was in the mid-noughties that Facebook began to challenge MySpace as the ‘must-have’ presence on the ‘web for bands, singers, rappers and music artists, alongside countless thousands of music fans who followed them.  There were some early adopters, from Leicester,  such as the singer and songwriter Kevin Hewick who opened an account on it in 2005. Trevor Locke also joined Facebook in the same year. Val McCoy, who was the promoter of the OBS, joined Facebook in 2007. Twitter was launched in 2006 and as its presence grew in the UK, bands started to open accounts to tweet about their activities.

    Bands too began to register domain names and to use them for their own websites. Kasabian was one of the earliest UK bands to register its own domain name, in 2002, as we noted in chapter 1; Leicester bands like ICTUS, Autohype and The Screening were early adopters of free-standing websites with their own tailor-made web addresses (i.e. domain names.) Maybeshewill band registered its own domain name on March 2004.

    Stayfree music, then based on offices in Conduit Street, was home to a web hosting service that its own servers in the same building.  Many local bands used this service at that time.

    Whilst there were a few content management platforms, a lot of websites, in those days, had to be hand-crafted using HTML code. Software, such as Dreamweaver, made the task of designing websites easier. Having been created in 1997, Dreamweaver was taken over by the Adobe corporation in 2005. It’s killer function was its ability to write code whilst presenting the page in a what-you-see-is-what-you-get format. Also at that time, Microsoft provided its own proprietary software called Frontpage. There were plenty of people around who could make websites for bands and artists but some musicians were savvy enough with the Internet and computers to do it themselves. The Internet provided people with a means to communicate on a mass basis, something which, in previous periods,  was limited to the printed page and newspapers, along with the broadcast media.

    Music in the noughties (2000 to 2005)

    This section looks at the period we call ‘the noughties’ before moving on to the 1990s (in part 2)

    The period 2000 to 2005 saw much activity on the Leicester music scene as bands formed, gigs and events took place on a regular basis and there was a high level of activity across all areas of the city’s music industry. The growth of the Internet, from 2002 onwards,  brought significant changes to the way that music was publicised and distributed; it also allowed bands to reach wider audiences, through the world wide web. This period saw considerable growth in music festivals and live music venues. One other thing that the rise of mass Internet usage brought about was the ability of bands, musicians and singers to publish their own music, challenging the industrial supremacy of the record labels. The mass use of broadband and the popularity of first MySpace and then Facebook enabled the rise of the  DIY artist – those who could record in their bedrooms and reach a market very cheaply via the Internet.

    Leicester developed a vibrant live music economy as venues, bands and festivals began to grow. The number of live music venues increased, adding to pubs and clubs as places where live music could be performed or listened to. The small venues allowed bands and promoters to put on their own gigs, hiring the venues and selecting their own line-ups of acts. Gig promoters were usually individuals who had a passion for live music and would hire bands to play in a variety of local venues. Some of them also secured bookings for bands to play outside of Leicester.

    Apart from the weekly round of gigs, several large-scale events took place in Leicester, including One Big Sunday, which was organised by the BBC’s Radio 1 and took place on Victoria Park on 20th July 2003. It attracted an audience of over 100,000 people.

    In February 2000, a big show was held at the DeMontfort Hall ‘featuring the very best bands from Leicester’ and ran from 2 pm to 11pm.  On the advertised line-up were Saracuse (later to become Kasabian), Pendulum,  Last Man Standing, The 13twelve, Marvel, Slider, Fusion, The Incurables and several others. The first Original Bands showcase was held in 2004. The band that won that year was The Dirty Backbeats. The OBS is still going today (2015). In 2006 we saw the beginnings of the Fringe Festival with its mammoth Fringe Thursday, an event that had its beginnings as the Summer Sundae Warm Up party. On Fringe Thursday, buses transported music fans around all the live music venues in the city.

    It can be argued that such series of shows supported the local music scene and encouraged people to see bands, who might not otherwise have bothered. The value of serial events, such as the OBS, is unclear, in a long-term perspective, but each year they have created live music opportunities for large numbers of acts and the fans who went to see them. Taking part in something like the OBS is enough reward in itself, it could be said. Leicester has not developed any kind of awards recognition institution to celebrate the best of its local music; in fact, as far as amateur local music is concerned, only a handful of cities in the UK have established annual awards ceremonies. Awarding music band and singers is something that was done at the national level. This might seem odd given a large number of TV programmes devoted to singing and entertainment competitions that enjoyed massively big audiences. Perhaps local recognition is not so valued as that conferred at a national level. Things like Battles of the Bands have occurred regularly in Leicester throughout the noughties and 90s. As a way of organising live music, such series of gigs attracted considerable controversy from bands and fans alike. Leicester bands participated in the national competition Surface Unsigned, often with considerable success.

    Compact disks and vinyl records were popular in the noughties and Leicester supported a range of retail outlets for them.  Ainsley’s record store, once a popular retail outlet, closed in 2004. It was situated opposite the Clock Tower. Wayne Allen was the manager of the store between 1983 and 2001.  He is credited with bringing some of the biggest names in music to the Leicester store, including Englebert Humperdinck, Radiohead, Del Amitri, St Etienne, Stereophonics, Shed Seven and Bananarama. He died in 2012.

    We looked at record shops and stores in Chapter 1. With the growth in digital media, sales of plastic sources of media declined but many fans still value the ability to own CDs and vinyl records and bands continue to provide them for their fans.

    Leicester has never been noted for its music industry agencies but in Horus Music, established in Birmingham in 2006, later moved to Leicester which is where it is now. I ran Get Your Band On from June 2005 to November 2009; it acted as an agency for rock bands, providing training, bookings, management and bookings. GYBO worked with a number of bands from Leicester as well as supporting bands and artists from all over the UK. During this period, several people became promoters, putting on gigs and events; in most cases they were individuals. Alongside those who worked with rock bands, there were several entertainment agencies that provided a range of artists for music-related clients. What Leicester lacked in modern times was band management; people or agencies specialising in providing management, bookings and publicity services have been few and far between, given the very large number of bands and artists that have existed in the city. The majority of bands and artists had to do all these things themselves.

    Venues in the noughties

    The year 2000 saw Darren Nockles take over the Bakers Arms in Wharf Street South, a public that had been active since the 1970s, turning it into the venue we know today as The Musician. The old Musician closed its doors on 31st December 2004 only to re-opened in 2005. The Donkey, a pub in Welford Road, became a music venue in 2005. In the following year, Gaz Birtles began work there as a promoter. Many will have fond memories of the small venue in the city centre called The Attik. It ran from 1989 to 2006. Andy Wright, who ran The Charlotte remembers that on “16th January 2009, the police shut the doors to stop any more people getting in and shut the bar down .. was fun that night.” Concerts were held at the University of Leicester, mainly in the Queens Hall and the DeMontfort Hall continued to put on performances by rock bands and orchestras playing classical music. Several large music events were held at The Granby Halls (demolished in 2001 to make way for a car park serving the nearby Tigers Rugby Club.) The Who played there on the opening night of their 1981 tour on 25th January 1981. Churches, including the Cathedral, also provided music-lovers with concerts of music; they kept alive Leicester’s choral tradition which started in the middle ages. It was not just venues that grew over this period. Nightclubs were also popular for those who wanted to hear DJs playing recorded tracks. MOSH nightclub opened in 2003. ‘Red Leicester’ was The University of Leicester Students’ Union Wednesday official night out from 2004 – 2014.

    Festivals in the noughties

    The first Summer Sundae festival was held in Leicester in 2001. It became one of the most important events both for national bands and artists as well as for the many local acts that played. It attracted an audience from all parts of the country.  A festival was held in Abbey Park in 2002. The Abbey park music festivals played a seminal role in the development of Leicester’s music, from1981 until their demise about twenty years later.  In 2009, Leicester band Autohype played to a crowd of over 20,000 at Abbey park’s bonfire night. A similar-sized crowd was present in 2014 when rising pop stars The Vamps were the headline act, supported by local artists Jonezy and Curtis Clacey. Glastonbudget Festival started in 2005 (as mentioned in the previous chapter) and has continued to run every year up to the present day. Strawberry Fields festival started in 2010. Quite a few small local festivals were organised, sometimes on a one-off basis. In 2009 and 2008 Arts in Leicester reported on Summer Sundae, the Big Session festival held in Victoria Park, Glastonbudget, Fristock, and regular events that included music in their programmes, such as Gay Pride, Diwali, Caribbean Carnival and the Belgrave Mela. Just over the Leicestershire border, Download attracted large numbers of people from our local area and Arts in Leicester listed the bands that played there. Batfest took place on 21st August 2010 near Ibstock and was organised by Elliot O’Brart. Batfest was an annual event held for charity in the tiny but pretty village of Battram. The festival was primarily a music festival with a couple of stalls selling homemade cakes and a raffle stall [Arts in Leicester magazine] This was typical of a large number of local music events that took place in the city and county during the noughties. Other examples included Cosby Big Love, the Braunstone Carnival (which usually featured a music stage), Glastonblaby, and the Oxjam festivals.

    Bands of the noughties

    I cannot speak from personal experience about Leicester’s live music scene much before 2005.  My very first reporter’s notebook goes back to 2006. I did not start writing about local music much before 2001; in that year I started a website called Travel to Leicester which had a section about the entertainment which visitors to Leicester could find and which mentioned gigs, bands and venues. During the 1990s I wasn’t living in Leicester; my home was outside the city in Blaby district and in those days we didn’t come into the city at night – unless we had to. It was not until November 2002 that I went to The Shed for the first time. Hence, I missed out on music, as far as Leicester was concerned, in the ’90s. I did, however, attend One Big Sunday, on Victoria Park on July 2003.

    It was in 2005 that I started Arts in Leicestershire, a website that took over the content about the arts, including music from the Travel to Leicester website. I have written about the history of this Arts website, now called a magazine [Arts in Leicester] and have covered its history [Arts in Leicester]

    From 2005, I really got to know the local bands. Under a heading ‘2007’ I noted many of the bands that were popular at the time. In May 2007, an extensive listing of gigs was well underway. This page showed some of the promoters that were active at the time, such as 101 Promotions which was run by Paul Matts (who previously managed the Attik live music venue.) As far as I know I wrote my first gig review in 2006, the same year that I joined Facebook; in just ten years the Internet had gone from being a fairly limited system to one that offered an array of services, many of them multimedia, and new platforms were coming on stream on a regular basis. I started to write gig reviews for Arts in Leicester magazine, together with collaborators such as Kevin Gaughan; at one time there were as many as 600 amateur bands based in the city and the county. ‘Leicester is home to over 400 working bands, playing all styles of music. Here we give a guide to our pages that are about bands in 2012’ [Arts in Leicester magazine, 2012]

    The magazine also featured local bands in its Band of the Month, pages and listed all known bands in the East Midlands from 2011 to 2013. Here is the list of bands that were given featured (band of the month) status:

    The Manhattan Project, Backline, Messini Assault, Beat Club, The Utopians, Breek, Subdude, Full Circle, Forty More Autumns, Razmataz, Smoking the Profit, The Heroes, The Truth, The Chairmen (Oct 08), Kids in Cars (Nov 08), Formal Warning (Dec 08), The Steptoos (January 09), The Pennyhangers (February 09), Project Notion (March 09), Skam# (April 09), Shortwave Fade (May 09), The Waits (June 09), Kill The Batman (July 09), The Fazed (August 09), Autohype (Sept 09), Weekend Schemers (Oct 09), AstroManiacs (Nov 09), Azidify (Dec 2009), Kicking Habits (Jan 2010), Drive By Disco (early Feb 2010), The Stiggz (late Feb 2010), Iziggy (Mar 2010), Third Time Lucky (May 2010), Neon Sarcastic (June 2010), Silent Resistance (Jul 2010), Ashdowne (Aug 2010), Go Primitive (Sep 2010), The Black Tears (Oct 2010), Us Wolves (Nov 2010), Maybeshewill (Dec 2010), Skam# (Feb 2011), Glassfoot (Mar 2011), Aphtershock (April 2011), The Boobytraps (May 2011), SuperEvolver (June 2011), Rassoodocks (July 2011), The Chairmen (August 2011), Midnight Wire (September 2011), Muleta Smiles (October 2011), By The Rivers (November 2011), Arms of Atlas (January 2012), Raptusound (February 2012), Resin (March 2012) No band of the month in April, May and June 2012. Vengeance (July 2012). Smokin’ The Profit (August 2012), Axis Mundi (September 2012)

    The very early Band Of The Month entries have been lost but were very limited (just a highlighted mention and not much more). Covers and commercial bands were listed separately. The magazine also published pages about new bands that had started and young bands. The news sections reported on local bands, venues and music events. Two sections specialised in coverage of African and Asian music (the latter being edited by the late Harjinder Ohbi.) There was also a page about underground and alternative music. The old website – Travel to Leicester – included details of where karaoke evenings took place. In those days these frequently featured high-quality singers who attended them and sang for fun; some of them were professional artists and others were simply very good vocalists. Rock was not the only type of music to be covered; the website also had a page about jazz in Leicester and this content was carried across to the new Arts in Leicester web site when it was created in 2005. Bands mentioned in 2007 included The Eaves, Tommy’s heroes, My Amour, Taste The Chase, Ictus, Quaternary Limit, The Iconics, The Jack of Hearts band, The Beat Club, M48, Drumlins, Screwloose, The Chairmen, NG26 (from Nottingham), Proud to have met you, Manhattan Project, The Utopians, 1000 Scars, Killquicks, Sub-Rosa, Firstwave, Kid Vicious, The Codes, Aisle 13, The Elite, Backline, Silent Devices, September Flaw, Messini Assault, Half of Nothing, Rise as one, Black River Project, Internal Conflict, The Authentics, Pink Strip, Blue Light District, Breek and many more. Most of these were local bands, a few were out of town bands that regularly came to play in the city.

    In September 2004, Kasabian released their debut album.  Having started life as Saracuse, they played one of their first gigs at The Shed, in 2009. The name Kasabian became associated with Leicester,  in much the same way as Arctic Monkeys was associated with Sheffield and Oasis was associated with Manchester. Engelbert Humperdinck said ‘It’s so wonderful to know that we have another up and coming big name on the horizon from Leicester.  I am proud to be from  Leicester.’ [Shooman, 2008] Five musicians, most of them from Blaby and Countesthorpe, formed a band called Saracuse which made an early appearance at The Shed in September 1997. The band also played at the Three Nuns pub in Loughborough and later performed at the town’s University. They also played at Princess Charlotte in Leicester, in 1999, the same year went back to play again at The Shed. In 2005 the band performed at Glastonbury festival on the ‘other stage.’ It was Kasabian’s third single Club Foot that brought them chart success in 2004. The band won the best live act award at the 2007 NME ceremony. The band became signed to Sony Music. [Shooman, 2008]

    Leicester band Roxum formed in 2005 and went on to become a very popular act on the local scene. The year 2008 saw the formation of a clutch of local bands including Neon Sarcastic, Little Night Terrors, The Chairmen, Axis Mundi, The Boobytraps, and many others. In 2009 we saw the emergence of Formal Warning, The Furies, Arms of Atlas, The Weekend Schemers – all of these bands went on to become popular on the local scene and had active careers in music.  Because Arts in Leicester was an arts magazine, it could cover a much wider scope of music than rock and pop; concerts of classical music, opera, ballet and musicals were also reviewed and it made some attempt to report on music from ethnic communities, such as the Indian community. Several local bands achieved national notoriety and success. Among these, we would include By The Rivers, The Displacements, Midnight Wire and These Furrows. Many other acts achieved notable successes. For example, The Heroes played at the Glastonbury festival in 2009. Other Leicester bands to play at the coveted Glastonbury festival included By The Rivers.

    In July 2008, The Heroes won a competition to be opening band on the main stage at the Summer Sundae festival. ‘Thousands of you voted and the results are in… The winners are… Leicester band The Heroes are to open The Weekender in Leicester.’ Guitarist Alex Van Roose went on to form Midnight Wire and lead vocalist Alex Totman went on to form Selby Court band. [Locke, 2015]

    Rehearsal rooms and recording studios in the noughties

    Several recording studios have come and gone and some are still open today. Deadline Studios, in Aylestone Road, started in 2001; others include Quad Studios, in Friday Street, Yellow Bean Studios (from 2010), in Western Road, (another studio Western Studios, operated in the same premises in around the year 2006). HQ in Charles Street opened in 2012, providing a small recording room. Some Leicester bands went to Nottingham to record their music and some even to London and places further afield. In 2011 Flat Five Records was set up by the Potts brothers, in honour of their father the legendary jazz trumpeter Mick Potts. They published the work of many important bands of this period, such as Kenworthy.

    Trevor Locke

    References

    References are given on a separate page.

    See also

    Introduction to the series History of Music in Leicester

    Chapter 1 – Music in modern times

    Music and technology

    Pictures from the origial article have been removed fromthis version.

  • Bands And Singers

    23rd October 2014

     

    This is an archive page

    10 Essays on Bands and Singers

    Bands and Singers:  Ten essays on rock bands and singers.

    By Trevor Locke.

    Over the years, music journalist Trevor Locke has seen and listened to thousands of bands. Not just bands but singers, rappers and acoustic artists.

    In these ten essays, he looks at some of the fundamental elements of being a successful music act and what is needed to be a good band or singer.

    He also looks at the business of live music; however good an act is at performing music, they have to make it in the real world of venues where music provided.

    Some of the essays are published in this document for the first time;  others have been re-edited from articles he has previously published on his blog. These have been updated for this publication.

    Ten Essays on Bands and Singers is published by Arts in Leicester, in a digital format.

    2014, 30 pages, provided in a PDF format, sent by email, price £2.50

    Contents

    1. An X Factor for Bands? (revised and updated)
    2. Band Promotion. (New)
    3. Promoting Artists. (New)
    4. What do we learn from the obsUnplugged?  (revised and updated)
    5. The Economics of Live Music in Leicester.  (revised and updated)
    6. What Makes a Good Band?  (revised and updated)
    7. Entertainment. Should Bands be Entertaining? (New)
    8. Teamwork (New)
    9. Talent. Is Talent the Key to Everything? (New)
    10. Why do some venues make us pay to play there?  (revised and updated)

    Originally published on 23rd October 2014 on Trevor’s Music Blog.

  • Where should we go from here?

    13th April 2013

    What we planned

    This page forms part of our archives

    This post is part of an exercise to engage with our readers, friends, fans, customers … in order to find out what they value in the work that we do.  As an organisation (ArtsIn Productions) we do a lot of different things – run an arts magazine, put on training courses, represent bands, singers and rappers, provide a publicity service … the scope of our work is wide. The resources we have available however is not.

    This consultation is to ask the public to share their thoughts and comments with us about what we do best.  If we should be focusing down,  then what should we concentrate on?

    My concern is that we are spreading our resources too thinly across the field of our activities.  If we narrowed down we might achieve more impact.  The problem that I have, as the head honcho around here, is what?   I can see all the things that need doing.   I am well aware of all the things that I like doing. But, it’s not all about me.

    What is difficult for me is letting go of some of my pet projects, my passions, my skill-areas; but that is what needs to happen.  ArtsIn Productions involves a number of people – all of them are volunteers.    I am the only one that does things on a daily basis. Clearly, far too many things land on my desk and I cannot cope with all of it.

    I can delegate some things,  to some people,  some of the time. The more volunteers we get, the more time it takes to train, brief and organise them all. As we say on our web site “Volunteers lie at the heart of all we do.”  Ours is a social enterprise and a constant stream of people apply to join us. That increases our capacity but only to the extent that we can train, en-skill, supervise and motivate them.

    I am particularly concerned to get feedback and comment from those in the music community;  music represents the biggest part of our work. After about ten years of working with music, we feel we have made a contribution and we want to continue to do that.

    Of all the things that we do for music,   what things are most valuable?   If we had to focus on one or two things that would be of real benefit to bands, singers and rappers, what should they be?

    What happened

    ArtsIn Productions Limited was closed down.  Having failed to achieve its goals, the company was costing me money to keep going, so I decided to close it.

    Having announced that I was going to ‘retire’ in 2014, I have postponed that because I am too busy and have too much work to do. [ In fact, I officially retired in 2017.]

    I am keeping both web sites running Arts in Leicester and Music in Leicester.  I have taken both sites over from the company and am now the sole publisher of them both.

    Narrowing down would be nice but, as with many of these things, there are inter-linkages and cross-benefits that make it impossible to remove one card from the house without the whole thing is in danger of falling down.

     

  • Thoughts on singing

    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.

    Performing covers

    There are three kinds of covers

    (a) Karaoke

    (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.

  • Comment on Artsin Magazine

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  • Promoting artists

    How do you promote an artist? By promote I mean publicise, market, shout, plug, etc.

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    I thought I would blog about this as it is something I have been doing for some time, for bands and for individuals.  There are some basic things that I have been doing.

    Promotion is often about getting an artist’s name known. It’s about pushing that name around, largely on the social media, primarily Twitter, Facebook, Reverb Nation, Myspace or whatever else comes to hand that seems to work.

    You believe that an artist is worth promoting or you see the potential in a band and you want to give them a helping hand.  I promote acts through my magazine #Arts in Leicestershire. That sits at the centre of a web of social media connections. Bear in mind that Leicester/shire is a place brimming with musical talent of all kinds and beyond that many artists who work in comedy, dance, digital arts, photography, painting, poetry, writing and so on.

    Apart from shouting about a named act or artist, I also have to say why they are good.  We do this by setting up profiles and through reviews of their work. If they bring out an album, EP or track I promote that. If they have show, gig or exhibition, I push that out too.

    Apart from Internet-based work I also issue press releases and plug songs with radio DJs. True, most of this happens on the Internet but there is still a big world of paper-based newspapers and magazines that will take material about artists and their work. We can’t neglect this, no matter how powerful, the web is, people still read paper and listen to the radio.

    So why do I do this? There are plenty of people out there who do their own publicity and some of them make a very good job of it. I still think that an independent voice has some value. There is always an advantage in a third party saying how good an act is. It’s good that an artist believes in themselves and can tell the world how good they think they are.  Some weight does, however, attach to an independent voice agreeing with that and proclaiming why they think this act is worth looking at.

    When I say I am independent I really mean that. I do not manage bands, singers, actors, dancers or anyone.  They do not pay me to be their press agent. I do it because I am genuinely passionate about their act or work. I do it because, as an editor and journalist, I am driven by the same passions about arts, whether I am writing about them or promoting them.

    It’s a little dream that I have, that I could play a small part in getting a band or a singer to the top and giving them a bit of a leg up the ladder of success.  I don’t do this because I have to do it; I do because I want to do it. In a city so rich in promising talent, which ones do you choose?

    I use my instincts.  If I see an act that is established and everyone else is coo-ing about them then I feel confident that I am probably right to also add my voice to the chorus.  Sometimes, I see a new act, as yet rather rough and raw, but I sense potential. I see something beyond the inexperience, the lack of professionalism, I sense something in that band or act which looks like it could grow and get somewhere.

    I have often stuck my neck out and given the thumbs up for someone when everybody else has ignored them.  That’s because I see something that they don’t see. It doesn’t always work.  It’s not just about artistic ability.  The acts I tend to get behind these days are those that believe in themselves, the ones that really want it, the bands or singers who have a dream, who see themselves making it in the music business or in the world of comedy, and so forth.

    I have also met people who clearly were born with talent but who, for whatever personal reason, will never make a go of it because they lack the two vital things that are needed to run alongside natural ability:  self-worth and determination. Not everyone has this. I’ve tried pushing people because I think they have real ability. They have got nowhere because either they are lazy, have no ethic of self-sacrifice or because they really could not hack it.

    The arts world is full of people who spend years muddling through, doing what pleases them, wallowing in self-gratification but have no concept of a personal career, no sense of path or direction.  There is no point spending time promoting acts or artists that clearly don’t really want to get to the top.

    To be successful in anything requires generous slabs of self-discipline and more importantly self-sacrifice.  Many people, me included, have to make painful sacrifices in the cause of success.  Often. OK, maybe not always.  Some are happy with this, however uncomfortable it feels at the time.  Others, however, are either too timid or lack the confidence or sense of personal security to defer some of the things their friends are enjoying in order to get rewards later on.

    I love watching those interviews with young athletes who dream of Olympic gold. They undertake punishing regimes of training, get up at stupidly early hours of the morning, train relentlessly for months on end, forgo so many of the things their friends are enjoying, just to stand a chance of getting a medal hung around their necks.

    The arts do not generally impose such rigorous deprivations. Even so, there is no gain without pain, even in the world of rock music. Whilst I deplore cheating – whether in athletics or in music – I can understand why some people see that as being the solution for them. I don’t believe in fast tracks to the top. Making it into the big time requires years of dedication. Singers who get catapulted into stardom, by record labels or by TV talent competitions, often come part and can’t cope with the pressure.

    As I have often said, acts that go somewhere have two assets:  themselves and those who are ready to support them. Behind every rising act, there is an (often unseen) iceberg of supporters, street teamers, publicists and, not least, fans who are egging them on. Tips with no underlying iceberg sink very quickly.