Gigging Solo: A Guide Fresh On The Net. Watch What Would Jesus Buy? Online Freeform more. STAND AND DELIVER WORKSHOPAbbey Road Studio 2, Thursday 1. January 2. 01. 2* The advice below is only one man’s opinions, and not universal truths* Although we focus on solo performance the same points also apply with a band* Most of us have to work hard in order to become confident performers* And the first key to confidence is preparation. Whether you use keyboard, guitar, laptop or loopstation you will need your instrument plus some sort of stand and a cable to plug it into the PA. If you’re a guitarist you may also want to make sure you have plectrums, a strap, a capo, a tuner.

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Invest in a cable tester and battery tester: test the instrument cable and the batteries in your guitar and tuner before leaving home. Maybe take a spare cable and 9 volt battery anyway, along with a spare strap and spare capo in case of loss or mishap on the night. Take plenty of spare strings, and change them for every gig. Do it a few hours before showtime so that they have time to stretch and settle. Don’t do it just before you go on stage as they will tend to detune mid- number. New strings are more responsive, crisper sounding, and less likely to break. If you buy online in packs of ten, you can get Martin M1.

Also consider taking: a string winder to speed up changing strings and a pair of pliers to clip off the spiky ends. An A4 Pad for writing setlists, stage plans, song ideas, lyric sheets, other musicians’ contact details etc. A Sharpie pen or other indelible marker for writing setlists and autographing stuff after the gig.

Black gaffa tape for repairs, marking out bits of the stage, mic positions if the stage has to be reset. Take your own vocal mic – guitarists cheerfully spend £1- 2. K getting an instrument and amp they feel comfortable with. You’re a singer, why not sing into a mic you feel comfortable with?

My preference is for the Shure Beta 5. I personally like. Figure out your strategy for dealing with a broken string mid- gig. Possibilities: (1) take a second guitar(2) arrange with another musician at the gig to fix strings for each other in an emergency or(3) Have a story, poem, long joke or anecdote you can tell the audience while fixing it yourself. Using technology to augment your sound has upsides and downsides.(1) The Loopstation.

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UPSIDE: can create a sensational sound. DOWNSIDE: it can make songs longer, and may start to bore the audience if you do it on every single one.(2) Backing Track/Laptop, UPSIDE: can drastically enhance the sound and give people an idea of what your recordings sound like.

DOWNSIDE: people go to gigs to witness a performance, not to hear a particular noise. It can go wrong and have a deadening effect by stopping you trying out different tempos and arrangements. It prevents you from performing “in the moment”. If you do use a backing track, always have a strong performance element on top of it – and I’d urge you to always do at least one song in your set without it – just to show that you can. The perils of wearing sunglasses on stage: by hiding your eyes, shades get in the way of your connection with the audience.

Fine if you’re a bassplayer who doesn’t much like the band you’re playing in, but it hampers a singer’s ability to connect. LOOK “cool” but to BE authentic. Authentic is not the same thing as natural. Natural” is slobbing round the house in a t- shirt eating from the fridge with your hair in a mess.

What feels “natural” in real life looks small+feeble onstage. To come across as a natural performer onstage your behaviour, movement, language and clothing all need to be bigger and more extravagant than in real life. But at the same time authentically “you”. So this doesn’t mean “putting on” an act or pretending to be something you aren’t. It means choosing just one aspect of who you genuinely are, and then exaggerating it into a cartoon sized persona that you can inhabit. Think Tim Minchin – taking off his glasses, putting on his eyeliner and frilly shirt and carefully rumpling his hair before going on stage as the Wild Man Of The Piano. Dizzee Rascal, taking off his casual suit and changing into his oh- so- carefully- chosen trainers, T- shirt and baseball cap before taking to the Pyramid stage at Glastonbury. Even apparently “natural” performers like Thom Yorke and Billy Bragg are giving a larger than life performance of their own genuinely down- to- earth personalities.

I saw Billy Bragg showing off in a smart suit onstage once and it looked all wrong. Physical Preparation: drink water – 2. If your urine is any colour other than clear, you are dehydrated. When you’re dehydrated the small moist vocal chords are the first part of the body to dry out, with air constantly passing over them as you breathe in and out. Remember caffeine is a diuretic – it puts a squeeze on your kidneys and dries you out.

Practising for the gig: do it at volume, not quiet and timid in your bedroom hoping nobody will hear you. Go down to a rehearsal room, set up a mic, plug in your instrument, and practise playing loud – the same way you’ll be doing it on stage in venue. Learning lyrics: recording the words into your phone and then play them back to yourself contantly while doing other things: travelling to work, doing the washing up, or even going to sleep. Watch Nightmares In Red, White And Blue: The Evolution Of The American Horror Film Online Mic. It gets you used to what lines follow each other without even thinking about it. Being a singer is much more bruising and risky than just being a musician. If someone says your guitar playing is crap, they’re criticising what you do.

If they slag you off as a singer, they’re criticising who you are. So it’s tempting – but fatal – for singers to try and play it safe: a “safe” performance is a dull, forgettable performance. The kind of artists who grab our attention on stage are the few who dare to be vulnerable – who take emotional risks and lay themselves on the line with every note they sing. Watch Belle Dailymotion. Nobody cares whether you’re technically perfect, but to be memorable on stage whatever you do does need to be real.

It’s helpful to be centred and “in the zone” when walking out on stage to perform – not panicked or in a rush. If backstage is a bit rowdy, take yourself off on your own – perhaps behind a speaker stack by the stage. Briefly close your eyes and focus on your breathing. Empty your mind for a moment and notice the air coming in and out of your lungs. Feel your feet planted on the floor, and try to feel of every part of your body as you focus on your breathing.

Count the breaths down from ten to one. And then, when you’re fully there in the moment, open your eyes and walk onstage. Your goals when playing live are to be SEEN, be HEARD and be REMEMBERED. As a support act your options may be limited – so some of these suggestions only apply under ideal conditions where you are allowed some say.* BEING SEENWhen soundchecking aim to find the best working position from which to command the stage. Check the sight lines: try to find a position where you can see – and be seen by – the maximum number of people in the room.

This isn’t always necessarily the centre of the stage or even the front of the stage – there may for instance be pillars in the room that block off a whole section of the audience. If they can’t see you, they will ignore you and talk among themselves. It’s also vital to be well lit: no point putting on a performance if nobody can see it. Too often, performers go to the very front of the stage mid- song trying to vibe up the audience and completely disappear from view because they’ve walked out of the lights. If you have any say, then get the lamps pointed at your working position. Otherwise figure out where the lights are actually pointing and work from whichever one has reasonable command of the room.

How to tell when a lamp is pointing at you? When it blinds you: it’s more important for the audience to see you than for you to see them. The ideal compromise is to be lit from either side rather than directly in front.