I had an opposite experience recently, seeing Death Cab for Cutie/Postal Service. Those around us were engaged in loud conversation about their days in the office, dating, vacations, etc. the whole time, not easing when the music stopped; the music was incidental. It was like an incredibly expensive happy hour at Buffalo Wild Wings with Spotify playing a bit too loudly in the background. It was in a hockey arena, so there were no good seats, which could be relevant. After moving around a few times and finding the same pattern, my wife and I eventually moved to the top row in the back corner - the "worst" seats in the house - which actually gave us a better view and allowed us to hear the songs.
I feel you, Francis. One of our worst concert experiences was the Sting/Peter Gabriel double bill in which their bands played together and they played each other's songs. It was just as you described -- essentially a hockey arena happy hour for well-off middle-aged folks who talked through most of the show and then WOO!-ed at the few hits they remembered from their college days. We left before the encore.
Very interesting observations, Damon -- thanks for sharing. I sensed this at a small festival my wife and I attended last year, but I couldn't put my finger on it. A couple of the bigger acts, with their use of backing tracks and the ways in which the singers performed, left me cold in terms of connection.
I came of age in an era of big vocal personalities who aimed for connection: from Bono, Sting, Joe Strummer, and Peter Gabriel on one end to Michael Stipe, Bob Mould, and Paul Westerberg on the other (and I came to appreciate Springsteen later). I have always stressed in my bands that our shows need to be about conversations -- between our selves and between us and the audience. It's hard for me to care about artists who don't aim for something similar.
I believe art is the sparks that fly in the space between us - art is an interaction - it is messy - the internet is a smooth zone, almost frictionless in its ways. We are being encouraged to become like this. It is inhumane and cold. I have so much to think and say on this, having previously performed with backing tracks and now performing and collaborating with a band. thank you for this insightful post.
To me, good performances always aim for transcendence of one kind or another. You methodically set up the conditions for transcendence while making sure the method isn’t intrusive The transformation we’re aiming at is *communal.* Almost tribal. It’s also a bit of a magic trick.
One thing I’ve noticed is how chatty and “hey guys!” shows seem to have gotten. It’s almost like there’s no room for any stage presence other than “I’m blandly palatable.” I wonder if this is related to what you’re saying about how instagram and TikTok have influenced performance styles.
Credit where it's due: a couple of decades ago I saw the New Age smoothie Yanni play with a band that had almost twenty people in it, and over the course of a two-hours-plus show he introduced all of them and showcased the vast majority of them.
I was on assignment from the local paper at the time and I went with malicious intent, but even snarky young me understood that he didn't actually have to do that and that it spoke well for him.
I recently saw The Mary Wallopers at Warsaw in Brooklyn. Had been thoroughly enjoying their music, listening repeatedly in preparation to learn some of the songs, expecting on the basis of the genre and what I had read about the band that the crowd would be singing along, even dancing. Instead, the vast majority of the people yelled conversation at each other nearly the whole set. The band, despite its raucous reputation, even asked the crowd to quiet down several times, to varied though very temporary success. I've since wondered whether the venue, promotion and artist just weren't a good match? It was honestly kind of baffling
The fractalizing abstractions of performative gesture through technology seems to result in, rather than deepening connection, a constant remodeling with some sort of scaffolding surrounding a house obscuring the open floor plans hidden behind the MDF veneer of drab grays.
I really appreciated this essay, thank you. It is fascinating to witness the results of these rapid technological changes and how they impact our lived socialization. We must certainly continue to strive towards the ideal of harmonious and kindly societal relations with actual and perceived productively realized value(s).
Well, audience chatter: I'll never forget seeing Tony Bennett at the Newport Casino, first night of the Newport Jazz Festival, and VIPs or other "premium" ticket holders, who had clearly been drinking heavily, basically shouting at each other through the whole performance. I remember thinking: I don't get it -- isn't this a major cultural event? Other end of the spectrum: the classical violinist Hilary Hahn conducting a master class at New England Conservatory and encouraging more physical cues between the student violinist and pianist. Not necessarily because they needed to communicate better with each other but so that they could communicate better with the audience. As another way to direct the audience's attention to the music. She made the point that audiences listen with their eyes as well as their ears. The following night, when I heard Hahn playing with the BSO, for those extended passages when she wasn't playing, she would often look at various sections or individuals in the orchestra, looking gratified at what she was hearing, but also directing the audience's attention. "This isn't just me up here -- it's the BSO, it's Brahms." ..... Sorry, once again I'm a bit off point. Thanks again for your valuable insights, Damon.
I think you’re right on the money with this observation! I saw a band play recently with a full IEM setup with backing track elements on a tour of small venues where the arena rock-level of outboard gear they were schlepping around seemed like overkill. They sounded great, but I couldn’t escape the feeling that each member of the band was basically an automaton—with the backing track or click track in their ear dictating their performance and very little real musical interaction going on. The sound was punchy and “professional,” but there wasn’t a whole lot of “feel” going on, no one played off of each other, and while I was initially impressed with how solid they sounded, as the set wore on and I figured out what was going on it became really boring to listen to.
Not that I want to be a hater—there might be a time and a place for this sort of live approach, but to me it felt out of place and like everyone was assuming that this was the only way to do things.
I had an opposite experience recently, seeing Death Cab for Cutie/Postal Service. Those around us were engaged in loud conversation about their days in the office, dating, vacations, etc. the whole time, not easing when the music stopped; the music was incidental. It was like an incredibly expensive happy hour at Buffalo Wild Wings with Spotify playing a bit too loudly in the background. It was in a hockey arena, so there were no good seats, which could be relevant. After moving around a few times and finding the same pattern, my wife and I eventually moved to the top row in the back corner - the "worst" seats in the house - which actually gave us a better view and allowed us to hear the songs.
Was it an older audience?
Nearly all 30-45, which squares with when Transatlanticism came out.
Try a show with a young crowd and see if it’s different… (I believe it will be)
I feel you, Francis. One of our worst concert experiences was the Sting/Peter Gabriel double bill in which their bands played together and they played each other's songs. It was just as you described -- essentially a hockey arena happy hour for well-off middle-aged folks who talked through most of the show and then WOO!-ed at the few hits they remembered from their college days. We left before the encore.
Very interesting observations, Damon -- thanks for sharing. I sensed this at a small festival my wife and I attended last year, but I couldn't put my finger on it. A couple of the bigger acts, with their use of backing tracks and the ways in which the singers performed, left me cold in terms of connection.
I came of age in an era of big vocal personalities who aimed for connection: from Bono, Sting, Joe Strummer, and Peter Gabriel on one end to Michael Stipe, Bob Mould, and Paul Westerberg on the other (and I came to appreciate Springsteen later). I have always stressed in my bands that our shows need to be about conversations -- between our selves and between us and the audience. It's hard for me to care about artists who don't aim for something similar.
I believe art is the sparks that fly in the space between us - art is an interaction - it is messy - the internet is a smooth zone, almost frictionless in its ways. We are being encouraged to become like this. It is inhumane and cold. I have so much to think and say on this, having previously performed with backing tracks and now performing and collaborating with a band. thank you for this insightful post.
Very well said!
This was a really thoughtful piece, thank you Damon!
To me, good performances always aim for transcendence of one kind or another. You methodically set up the conditions for transcendence while making sure the method isn’t intrusive The transformation we’re aiming at is *communal.* Almost tribal. It’s also a bit of a magic trick.
One thing I’ve noticed is how chatty and “hey guys!” shows seem to have gotten. It’s almost like there’s no room for any stage presence other than “I’m blandly palatable.” I wonder if this is related to what you’re saying about how instagram and TikTok have influenced performance styles.
Credit where it's due: a couple of decades ago I saw the New Age smoothie Yanni play with a band that had almost twenty people in it, and over the course of a two-hours-plus show he introduced all of them and showcased the vast majority of them.
I was on assignment from the local paper at the time and I went with malicious intent, but even snarky young me understood that he didn't actually have to do that and that it spoke well for him.
Score one for Yanni!
I love the title of this piece and the essay was just as good. I have nothing to add, but you have made me think. I will be rereading this. Thank you.
great observations on live performance! thanks for stating all that..
I recently saw The Mary Wallopers at Warsaw in Brooklyn. Had been thoroughly enjoying their music, listening repeatedly in preparation to learn some of the songs, expecting on the basis of the genre and what I had read about the band that the crowd would be singing along, even dancing. Instead, the vast majority of the people yelled conversation at each other nearly the whole set. The band, despite its raucous reputation, even asked the crowd to quiet down several times, to varied though very temporary success. I've since wondered whether the venue, promotion and artist just weren't a good match? It was honestly kind of baffling
The fractalizing abstractions of performative gesture through technology seems to result in, rather than deepening connection, a constant remodeling with some sort of scaffolding surrounding a house obscuring the open floor plans hidden behind the MDF veneer of drab grays.
I really appreciated this essay, thank you. It is fascinating to witness the results of these rapid technological changes and how they impact our lived socialization. We must certainly continue to strive towards the ideal of harmonious and kindly societal relations with actual and perceived productively realized value(s).
Well, audience chatter: I'll never forget seeing Tony Bennett at the Newport Casino, first night of the Newport Jazz Festival, and VIPs or other "premium" ticket holders, who had clearly been drinking heavily, basically shouting at each other through the whole performance. I remember thinking: I don't get it -- isn't this a major cultural event? Other end of the spectrum: the classical violinist Hilary Hahn conducting a master class at New England Conservatory and encouraging more physical cues between the student violinist and pianist. Not necessarily because they needed to communicate better with each other but so that they could communicate better with the audience. As another way to direct the audience's attention to the music. She made the point that audiences listen with their eyes as well as their ears. The following night, when I heard Hahn playing with the BSO, for those extended passages when she wasn't playing, she would often look at various sections or individuals in the orchestra, looking gratified at what she was hearing, but also directing the audience's attention. "This isn't just me up here -- it's the BSO, it's Brahms." ..... Sorry, once again I'm a bit off point. Thanks again for your valuable insights, Damon.
I think you’re right on the money with this observation! I saw a band play recently with a full IEM setup with backing track elements on a tour of small venues where the arena rock-level of outboard gear they were schlepping around seemed like overkill. They sounded great, but I couldn’t escape the feeling that each member of the band was basically an automaton—with the backing track or click track in their ear dictating their performance and very little real musical interaction going on. The sound was punchy and “professional,” but there wasn’t a whole lot of “feel” going on, no one played off of each other, and while I was initially impressed with how solid they sounded, as the set wore on and I figured out what was going on it became really boring to listen to.
Not that I want to be a hater—there might be a time and a place for this sort of live approach, but to me it felt out of place and like everyone was assuming that this was the only way to do things.
At the shows I go to, it is normal for the whole band to take a bow together. If only some did I would find that very strange.