Festivals as learning environments and the coolest instrument in the world – Emma Webster

The coolest instrument in the world is the electric guitar – or, at least, that is what was taught to twenty school children today as part of one of the EFG London Jazz Festival educational events. And after today’s wonderful concert by Chris Montague, I am fully inclined to agree!
Continue reading Festivals as learning environments and the coolest instrument in the world – Emma Webster

Festival headliners – don’t just sit there, do something! – Emma Webster

This week’s blog post is a brief one about festival headliners and what makes for an ‘ideal’ way to close the main stage each day. 

I recently returned from a splendid weekend at a small festival – lots of smiling people, nice weather, good music, and hot fresh doughnuts.  My one gripe was with the headline acts – who shall not be named – neither of which appeared to be ‘ideal’ as headliners.  I will now (briefly) consider why.

Friday’s headliner used a large backdrop on which to project moving images, which proved very necessary as both the movement of the musicians and their positioning on stage was very static (the lead singer was sitting down for the entire gig), and there was no audience interaction whatsoever (that I saw).  The crowd was sparse and I was able to get to the very front ridiculously easily for a headline gig (the implication being that the headline act should be so popular and/or so adept at attracting passers-by – Siren-like – that I should be anywhere near the front). Not so, however.  Saturday’s night’s offering was slightly better in terms of attendance, but little better in terms of entertainment and putting on a good show.  The lead singer – whom I had seen rip Glasgow’s King Tut’s Wah Wah Hut apart in 2009 – was again fairly static (no lighting trusses low down enough for him to swing from this time) and barely spoke to the crowd.  I ended up leaving early for both bands’ sets, bored as much by the lack of stage craft as by the music.

All of this implies that there is a certain expectation on headliners to behave a certain way, and some of these ways are as follows:-

1.  Don’t play new songs – the audience want the hits;

2.  Do interact with the crowd – a brief ‘this one’s the third track off the second album’ a la Saturday’s headliner is simply not good enough;

3.  Do move around the stage a little – it’s a big cathedral-like space and no matter how many snazzy lighting effects there are, it’s very very dull if you just stand or sit in the same position for the entire set;

4.  Do plan your setlist so that it has dynamic range.

Booking headliners must be a tricky tightrope for festival bookers to traverse, however.  They have a finite budget with which to pay a headline band who will a) attract the punters (unless it’s Glastonbury), b) reflect the sensibility of the festival (demographically, generically, ethically, etc.), and c) signpost the status of the festival to the music industries (if you’re booking The Rolling Stones, you’re probably doing OK, for example).  Unfortunately, the complaints I heard at last weekend’s festival were that it seemed as if the bookers had dropped the ball this year and booked headline bands that they wanted to see rather than who would give a good performance.  One festival-goer complained to me that it was the third time she had seen Friday’s band headlining a festival and that she wished bookers would stop booking them as a headline band, because they simply ‘weren’t headliners’!

What does make for a good festival headliner, then?  Do get in touch with your thoughts!

Anatomy of a Gig #1 – John Bramwell (I Am Kloot) – Emma Webster

This new series – Anatomy of a Gig – is a space for people to comment objectively about live music events that they have attended, to build a resource for promoters and musicians on what works and what doesn’t work at a gig.  In this way, the Anatomy of a Gig series will review the gig as a live music event rather than reviewing the music per se.

Upstairs in association with BBC Introducing ft. John Bramwell (I Am Kloot), O2 Academy Oxford, May 21st 2012

Last Saturday I went to the Upstairs event (in association with BBC Introducing) at the O2 Academy in Oxford, featuring John Bramwell.  My husband was reviewing the gig for the local Nightshift magazine, but I went along as I am a fan of I Am Kloot, and therefore of John Bramwell.  The gig was a strange one that left both of us quite annoyed.  The aim of this blog post – apart from offering some catharsis – is to examine why this should have been the case.  On this occasion, the three main factors that appeared not to work were: running order/programming, ticket price, and location of the bar/social zone.

Before I start, however, what do I mean by ‘the gig didn’t work’?  If a live music event fundamentally consists of the following: artist, venue, audience, technology, promoter (Frith 2008), then a successful gig is one in which each element is functioning properly.  But in the case of a live music event, this means not just that the element works on its own, but rather it requires the successful interaction of each element with each of the other elements.  For example, that the artist’s microphone works when s/he sings into it, that the audience can hear the artist and/or their instrument, that the promoter has done their job and attracted a suitable audience to the event, that the venue is sufficient for the needs of the artist and audience.   The main reason that the John Bramwell gig left me annoyed was that the listening audience could not hear the artist properly past a certain point in the room due to the level of audience chatter towards the bar area, and that this had a noticeable effect on the artist (at one point, for instance, he called somebody standing chatting near the bar a very rude word beginning with C).

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