ON AGE, BEAUTY, AND PERFORMING…

Broken Hearts & A Little Bite

Broken Hearts & A Little Bite

A really powerful and essential question was asked recently, How do you guys feel about becoming a performer over the age of 30?  Do you feel it is ever too late to become a live performer?  It was the beginning of an ongoing conversation I got into late on a LInkedin site, and I liked the question a lot, so I thought I’d try to answer it in this blog

I have performed at open mics since God made dirt, but in my late fifties, I decided to see what I could do at a professional level. I think you need to pick the level at which you want to perform and shoot for that. Some realism is in order, however. I mean, if you are 70 which I will be in August, don’t be disappointing if the twenty-year-olds aren’t screaming at you, or hitting on you or you can’t get hired for their bars. AND if they do don’t confuse your music and wall of sound with your sex appeal. I played with a band up until two years ago and then decided to start concentrating on pitching my own songs, which is doing OK, and playing as a solo act. It’s harder to get gigs, but I like me best, so it seems to work out well.

SO, to answer the question straight on, Where there is a will, there is always a niche, or a venue. You will need both to make it, but if you target your market correctly, make it you will. Best of luck to you! 

Yesterday I played at a venue where there were lots and lots of musicians, a good crowd of fans of all ages, great wine, and lots of camaraderie.  I had this post on my mind as I looked around the space.  What struck me was what age differences there were.  What also struck me was that crowd response had little or nothing to do with age.  When good was played, it was paid attention to.  And there is something extra about good.  If you want to perform, no matter what your age, if you are good, you will be listened to.  I saw a young girl, probable around 15, go on stage who was an accomplished singer/songwriter/guitar player and all the conversation stopped and the crowd listened.  The same happened with a few men at 60+.  When I finished my set I had 20-year olds come up to me and thank me for my music.  Age seems less a factor than being exceptionally good.  Also,  it seems that while labels are not so inclined to sign Rockabillies, fans are really inclined to listen.  So at 70, with a few broken hearts and a little bite, my style/genre seems to go over just fine.   Actually, I do think genre has a lot to do with fan acceptance.

However, with all that said, I do believe that some show promoters are much more finicky than are the audiences and fans.  The fans come to have fun and listen to good music; the promoters are more concerned with second guessing the fans and making bucks.  But still, if you have product, meaning charisma and groove on stage, age is no issue.

Now if you are considering attaining stardom in the immature and bland  pop market, good luck if you are over 15.  Just how it works.

WORKING WITHOUT A BAND

Hilary at Barley & Hops

Hilary at Barley & Hops

I have been asked to comment on performing without a band. Alice Groves asked, “I would be interested in hearing more about your quest to perform without a band. The only alternative is recorded music.” Richard McLaghlin responded to her by stating, “Actually, you could just pick up a guitar and engage the audience. Of course the pop musicosphere is so addicted to production values, songs layered like some bizarre, sonic gateau, and the auto-tuned chorus of backup singers and doubled voices that they just would not know what to make of it all.”

I do not believe that recorded music is the only alternative.  There are many alternatives.  I have been performing, at some capacity or another since 1970.  I have played solo and with bands and with a combination that includes recorded sounds, and live instruments, as well other singers.  I like bands and combos for the complexity they add to the music, but I do enjoy the solo performance.

I think it takes a lot more expertise and confidence when one plays as a solo act, there is only myself to blame my mistakes on.  Rhythm and tempo are harder to lock in, and it takes a whole bunch more raw energy to engage the audience.  It can not only be achieved, but done really well.  Convincing club owners that your solo act is as viable as a band performance is the trickiest.

Also, please understand the context in which I am working.  I am spending much of my time producing for my upcoming CD, “Living the Green Life,” and do not have the time to spend on working with a band.  Yet I need to keep sharp for the times I gig on large stages or play with other musicians.  I am performing regularly and weekly as a solo act so I don’t lose my skill level while stuck in the studio.

It becomes harder to book gigs as a single act.  Clubs and bars seem to want a wall of noise against which to balance alcohol sales and an experience of excitement from and for their customers.  I look for venues that are interested in a different type of action.  I am interested in building a rapport with the crowd–talking, joking between songs and answering questions in the middle of a song.  I like to make them laugh, and to feel as if their experience of my act were somehow part of the performance.  So, I need the intimacy of a small venue. At this time in my career I am not looking for stardom or fame, but I am looking for ways to give myself and an audience maximum enjoyment from a performance.

More Pedals and Swirly Fuzzy Stuff

More Pedals and Swirly Fuzzy Stuff

My performance is itself both simple and complex.  It is me and one of my Martins.  I like the Martin guitar tonal signature better than any other acoustic guitar.  I have an 2000 HD-28-V, and a 1959 00-18.  They each have distinct sounds, but both have a playability that works for me.  I also like my G5120 Gretsch a whole bunch.  It has a scale similar to the Martins so there is no muscle memory confusion when I switch back and forth.  To all this I add a pedal board that gives me options galore.

My music is a combination of Country, Folk Rock, Rockabilly, Honky-Tonk, Country Jazz, and Country Pop-esque.  It ranges from edgy to not-so-edgy to sort-of-soft.  They are my own songs because I like my writing best.  I work with just one of the Martins for the most part, but also I use a Boss Looper for songs that are more complex and need other instrumentation behind some of the simple lead guitar work I do with the Gretsch.

I use the Boss Looper as a devise to hold material I have loaded off my Tascam 24-Track recording device.  I work out my arrangements on the Tascam before I load them into the looper.  I play keyboard (an older Korg Triton), lap steel, mandolin, banjo, auto harp besides guitar, so I can fill up some of the songs with complex layers of sounds that add to my vocals and lead work.  I only do this on a few songs.  My main form of presentation is acoustic guitar and harmonica.

What continually blows me away, is the diverse age groups that seem to like what I do.  I have people from their 20s into their 80s respond to what I do.  I think that Rock ‘N’ Roll has been around long enough and is well enough established to have become the new standards for enough generations to be accepted by most individuals.  Yes, there are the musically ignorant and stilted who only recognize what they listen to as the REAL music and refer to all the other genres as crap.  And they do leave the second they hear a little twang,  but the majority show nothing but respect for my performance.

Thanks, readers, for reading, and please feel free to comment and ask questions in the “Comments” section of this post.  Hilary

News Flash

News? Well I am working–actually working on producing a new CD, and the project is bigger than I am. I will go into the whole thing in more detail in another post, but suffice it to say that I am madly trying to learn stuff that I need to know in order to get to the next level–whatever that is. What I am trying to do in this posting is to just get a post done.

Borderlands of Hell --

Borderlands of Hell —

With the help of Rob Fisher, I released the “Borderlands of Hell CD” on CD Baby last year. and it sounds really great! Now I am learning to produce my own CDs–very exciting More to come