When you see another performer do their thing, do you watch how they handle the performance, and the audience?
I love doing that.
It’s the ultimate laboratory, and since we’re all in the business of engaging our audiences (that is what people hire us to do), there’s always something new to be learned.
I saw something really good at a national artist showcase recently…
At the Folk Alliance International Conference in Kansas City a few years back, where some 2,800 musicians, venues, presenters, vendors and music industry people come together for business, networking, panel discussions, mentoring and more, I took in a dozen or more artist showcases over the course of three days.
(Jury-selected artists perform for an audience of venues and talent buyers.)
Most of them were pretty good; almost all were artistically satisfying in one way or another.
But one really stood out head and shoulders above the rest for me.
The applause was deep and long after each song, and the artist (a solo act) achieved something most full bands did not – a standing ovation at the end.
Here are my takeaways…..
How to Engage an Audience at a Concert
1) Know Your Audience
Because this performer was in front of an older, “folky” audience, he knew that being friendly and approachable was a great way to relate, and yet, he was in total command of his show.
In other words, HE was clearly the master entertainer, and THEY were clearly the audience, but at the same time, he was one of them.
TAKEAWAY: Know who you’re performing for – ask ahead of time about the expected makeup of the audience, and confirm that information with your own two eyes before and during your set.
2) Own The Show
Not once did the performer refer to lyrics or notes he’d written to himself.
There was no “let’s see, what shall I do next? Oh, I know…”
TAKEAWAY: Go into each performance knowing exactly what you’re going to do so you can focus on the audience and their needs. (And have a few plan B’s in your back pocket in case things aren’t going as you’d hoped.)
3) Scan The Audience Throughout
The performer looked audience members in the eye, walked back and forth across the front of the stage, and generally checked in throughout his set.
For me, I like to have the house lights at least partially up when I perform so I can see faces and gauge reactions.
Do they look engaged?
Bored?
Too serious?
Time for a fast song?
TAKEAWAY: Monitor the audience throughout your show and respond accordingly.
4) Get Them Involved
Again, this was a folk music audience, so they jumped right in at the chance to sing along. But the performer also had a question or two for the audience, and a call and response piece.
In my own experience, I haven’t met an audience yet – younger or older, music venue or library – that doesn’t like to participate in some way in the show.
TAKEAWAY: Find ways to encourage participation in what you’re doing, whether that’s during some of your pieces, or in between, or both.
5) Self-Deprecate
Just before playing something really special and technically demanding, the performer made fun of his own lack of smarts in the song introduction. It lightened the mood and made him that much more relatable.
Then, he killed the audience with a serious piece of music that was extremely well played.
TAKEAWAY: This is certainly not for everyone, but consider how you might make yourself a bit vulnerable – or take yourself a bit less seriously – on stage.
6) Rivet Them With Something Exceptional
See the point above.
TAKEAWAY: If you have something technically brilliant that you can pull off – something that most of your audience would not be able to do – it’s one of your aces in the hole and should be placed strategically in your set.
7) Make ‘Em Laugh
There was plenty of that, with a song about our current American political situation, and some humorous stories between songs.
TAKEAWAY: Humor is perhaps the greatest ice breaker, and everyone likes to laugh. Find some ways to add humor to your show. Your audience will love it, and it makes them that much more receptive to everything else you do.
8) Speak To (and Expand on) Their Interests
The performer spoke of pioneering folk music figure Woody Guthrie – a musician of interest to lots of people in the room – but took it beyond the garden variety stories, relating Woody’s work to the entire ethos of folk music and the human condition.
It was powerful.
TAKEAWAY: Develop some great, authentic stories around something of interest to your audience (and you) – something to take them to the next place in their appreciation of that topic.
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9) Change Up The Mood
There was humor, there was serious music, there was singing along, there was activism and community empowerment, there was affirmation, there were slow songs and fast songs played on a variety of instruments.
All in the span of a 25-minute showcase.
Think about it – have you ever been wowed by the abilities of a virtuoso musician or dancer only to become completely bored twelve minutes into the event?
Too much of any one thing – however amazing it is – is just TOO much.
TAKEAWAY: Variety is the spice of life. Look for ways to mix things up in your set.
10) Have Fun!
The performer was smiling, laughing, and generally enjoying himself on stage. What a difference that makes for the audience.
Sam Bush, one of my favorite musicians, seems to always be smiling on stage. It’s infectious.
TAKEAWAY: Learn how to portray a sense of fun, even when you’re struggling to find it yourself. Audiences feed off of it, and they can’t help but enjoy themselves when the performer is having such a good time.
11) Storytelling Skills
Slight pauses.
Changing dynamics to the voice.
Whispered sections.
A feeling that the performer was in total command of his narratives.
TAKEAWAY: What you’re really doing on stage is communicating, so study the discipline of storytelling. Listen to great storytellers and how they pace their narratives. This will pay off in spades.
12) Stagecraft
There was lots of subtle performance craft going on – the kinds of things you probably wouldn’t even notice unless you were looking for them.
A raised picking hand at the end of a song. Physical gestures to encourage singing. A turn of the body to signify a shift in mood.
A well orchestrated bow, with guitar outstretched, at the end of the set.
TAKEAWAY: Watch some master performers and even stage actors and look closely for these kinds of techniques. Find the ones that could fit your style and start messing around with them. Physical cues and stagecraft are understated but important aspects of putting on a dynamic performance.
Wrapping Up
I’m guessing that for most of the people who witnessed this showcase performance, they weren’t focused on the principles I’ve outlined above.
In fact, it’s likely that little or none of this dawned on them at all, and instead, they simply thought “that was great,” or “he’s marvelous,” or “I loved that song about …”
And that’s our goal! We don’t do any of these things so people will notice them – we do them in an effort to truly engage and connect with our audiences.
To be the best performers we can be.
I hope you’ll be giving a few of these concepts a try, and do let me know what else you would add to the list.
The “Comments” section is just below.
About The Blog
Since leaving a white-collar marketing job in 1992, Dave Ruch has been educating and entertaining full-time in schools, historical societies and museums, folk music and concert venues, libraries, and online via distance learning programs.
Along the way, he’s learned a great deal about supporting a family of four as a musician.
The Educate and Entertain blog provides articles, tips, encouragements, and how-to’s for regional performers (in any region) interested in making a great full-time living in the arts.
Thank you very much this was helpful and just amazing ,I’m going to put it to practice in my up coming concert .
Everything you said there is 180 degrees from what I see on other sites, Kids saying they hate it when a performer “performs” They say that they only came to hear the songs that are played. – I have been on stage since I was 8 years old in 1954 and I say theses kids are totally out in left field (to put it politely)
I don’t care where you play or (or otherwise perform) people do not go to HEAR live music. They come to SEE live music. Have you ever heard anyone say = “I went to HEAR (name of act) and boy were they good! If all the people wanted to do was to hear a bunch of songs the owners don’t need to pay a live act. All they have to do i put in a juke box. (And they get even get paid to do it) You are there to entertain the crown (And be a whiskey salesman)
Trust me. great musicians that is are shoe gazers that spend 10 minutes between songs tuning guitars and deciding what to play next, or even plays a 45 minute medley of songs with no time at all between songs cannot hold a candle to a mediocre musician that is an ENTERTAINER that makes the audience laugh and sing along and dance.. It’s the difference between an ACT and just a bunch of people with instruments playing in the corner. . If people have a good time they will be back if they find out you are performing at the place again,,,,The same people will go out of their way to SEE you Perform will not cross the street to HEAR the other guys if thet have to make a choice between you..
Dave, All the points you made are gospel and the kiddies that say they are not,,,,,are well,…. Just a bunch of sophomoric kiddies showing there are individuals by being exactly like everybody else..
Great points to consider, thank you.
I most often play (vocal/guitar) at restaurants, and I am shy to begin with – so I do struggle regularly with whether or not to speak between songs.
The diners are dining and conversing – it seems rude for me to interrupt. 🙂
Years of experience (and tips) do tell me that they are listening, it”s just not a concert situation.
But even as a background musician, I can employ your insights to subtly make an impact.
And many of the comments also held gems.
Cheers
This is really a great article. I love the. examples you use, and then the take-aways. Thank you
Glad it was helpful!
Violinist Johnny Frigo stole the show with his antics.
Right out of vaudeville. Acted like he had stage fright.
peering behind the curtain.
Told funny stories. Very memorable stage presence.
Yes, that’s what we try to do with our band. We play 55 plus communities here in Arizona, and I spend lots of time in the audience. We do Jailhouse Rock by Elvis, I put on a cheezy Elvis wig and sunglasses, and during the song I go out with my wireless microphone and put on my best Elvis moves during the song, including Elvis’s famous windmill ending.
I am constantly trying to connect, exert plenty of energy, smile, dance, and make every song unique i some way.
We play Wipe Out and I play the guitar between my legs, over my back and I lay on the ground and kick my feet up, and the crowd usually goes wild!
We were doing such a great job absolutely blowing away our audiences with interaction that I have had multiple offers to play New Year Eve, so many that I have had to turn many of them down.
I’m here to say that this advice works very well. I have incorporated lots of these, and am looking to do even more in the future. Thanks again Dave for you awesome advice! It works!
I absolutely love it when it’s time to get on stage and that’s when the magic begins.
I’m a musician and performer so this fits perfectly into my routine and category of entertainment.
I don’t expect every person in the building to concentrate on me, but when the audience begins to get involved, that’s when the real magic begins.
Keep them engaged and you’ll find that they will either follow you or stop attending your shows.
It is what it is and all the sizzle will either fizzle or get a much needed spark to get the juices flowing once again.
After the music performance event is over, I always ask the audience to leave their thoughts at the ballot box with a one word or a brief sentence on how the artist / group did?
Would you tell your friends and family about who you saw and heard on stage.
It’s then that the magic was there and it’s also a pleasure to know that these people were entertained for the evening or if it was a dud!
It helps to know who your audience is whether they’re 21, 41 or 61. Each audience is different and it gets even tougher when the crowd is mixed with different age groups. That alone is one of the greater challenges of the music business.
Thanks Dave. I have used each and every technique and much more. A great musician or great singer does not always make you memorable. There is a great deal more becoming a great entertainer. Not everyone has that skill or nerve to banter, use the whole stage and much more. Many entertainers have stage fright like Elvis or Cher.
Stage presence begins when you enter the building or room, not when you get on stage. You must be memorable to the audience and stagewear is critical in my opinion. You need to be bold and stand out in any crowded room. Your permitted to be bold and stand out. Be the best dressed person in the building. Turning heads is important but with no ego. I do not get nervous getting up on stage because all eyes are on me when I enter the room. People should be turning heads and asking who is that in that outfit until they start recognizing you when you walk in. You need to own the room when you enter and be nice and inviting with everyone you meet. Create your own image and stay away from dirty jeans and a t-shirt.
Audiences need all of their senses working and visual is very important. People will always comment that they saw a great show last night. Never, they heard a great show. Don’t forget great footwear. Your on stage and people see your feet. I create my own character and I am very memorable with my audiences. The bands wearing jeans and t-shirts are forgettable for the most part. Your outfits should turn heads. Give people the impression that you know your stuff before you get on stage. Then get on stage and prove it. Perception is a powerful tool, so take advantage and create a look that suits your material and stand out. All eyes will be on you when you actually step on stage. The expectation that something great is going to happen.
I love this. I have lots to think about. I play in a duo that plays coffee house often and everyone is buried in their laptops. I’m flattered when they take their earbuds out! But I also know I tend to stop talking during those gigs. It’s a challenge . Suggestions?
Brilliant article! I am a live performance and audience engagement coach and agree whole-heartedly with each point you brought forward. I believe people attend concerts to ‘feel’ something and be transported for a little while. That said, with the bombardment of social media and cell phones, audiences have the attention span of fruit flies and musicians are challenged more than ever before to keep folks engaged for the length of a song. When musicians understand that their job is not to just sing – but to sing while consistently delivering an unforgettable performance – they are on track to sustain a career. People buy their merch and come back to their concerts so they can ‘feel’ that way again.
I couldn’t agree more that preparation and planning are key. So is preparing for the performance. Heaven knows a quarterback doesn’t hit the field without warming up his arm and memorizing his plays. Musicians need to take themselves just as seriously.
In addition to the invaluable tips you shared, I’d like to add a few. 1) Learn mic technique for singing and talking; 2) acknowledge the audience with an audible and genuine ‘thank you’ when they clap at the end of a song; 3) use props on stage to change up the mood – eg: sit on a stool for a well placed personal song; learn how to use a mic stand; change your stance and shift positions regularly; 4). Come out from behind the mic stand to remove barriers between you and the audience and plan to come in front of the monitors at some point during the concert. 5). You must be in the moment to create moments. In other words, the better prepared you are, the more you can be present. If you’re thinking on stage, you aren’t in the moment.
Many thanks for your blog!
Thank you so much for these great contributions, Rhea. I concur 100% with all five of your additions to the list. Great to have you as a reader and please feel free to jump into the comments whenever the spirit moves you.
I’d prefer an amazingly MUSICALLY skilled, shabbily-dressed, fat, bald performer who stares at a fixed point on the ceiling for an entire show and mumbles incoherently between songs, to a hundred sharp-suited bands with great hair, killer mic stand moves, incandescent teeth and that familiar dead-inside, slightly-flat delivery. But I might be a little unconventional.
LOL…too funny Tim! Then you can almost sit at home with your eyes closed and a headset on listening to your favorite artist! An exceptional, all around performer can do both visually & musically! It’s a show! These suggestions are to improve your stage performance for an audience who appreciates the whole experience of live music. Thank you Dave and followers who comment!
Yes, but it’s also funny how strongly we rate the visual, isn’t it? There are only so many hours in a day – why spend an hour on stage banter when you could develop better pitch? It’s interesting to make a comparison with sportspeople – they are notoriously bad in interviews and their appearance both on and off the field doesn’t usually mean much compared to their skills at the thing they are reallythere to do. By contrast, audiences expect a much higher level of polish from musicians.
By listening to/paying for only the slick performers, we miss the potentially stunning music of dorks.
In my experience, it’s ALL important, Tim. Nobody is suggesting “slick” at the expense of quality artistry. Regarding your sports analogy, I would suggest it is not just the skill of the players that draws in viewers – it’s the competition aspect. Remove that and I’m not sure how many wildly entertained fans you’d have.
Of course you’re right Dave, and I should point out what I left unsaid before for the sake of brevity – I really appreciate your thoughtful articles and advice on these topics! I was reading the article because I want to improve my own stage presence, after all.
An interesting and thought-provoking thread… I agree with Tim in several points. Interestingly, when I am really paying attention and intensely into the music, I often close my eyes to better hear the nuances and subtleties of what is happening. Some people are aural learners, most are visual learners I think.
On the other hand, when the performers (I hesitate to say ‘musicians”) are putting on a show, running jumping, thrashing around with guitars at half mast or being used as phallic symbols, I don’t feel the need to close my eyes…because there are no subtle nuances happening. Not saying one is better or worse than the other…both just approaches to keeping the audience “engaged”, and probably the energetic ones will be more successful monetarily because the people are usually there to be entertained and could care less about the intellectual and emotional content of the music.
A great musician/performer/entertainer can cross over that barrier and bring tears or laughter to members of the audience…if they are in a conducive environment and paying attention.
In my opinion, one first has to decide whether he/she is a musician or an entertainer, or a performer…and that requires some deep personal introspection. And sometimes you end up emphasizing one aspect or a different one depending on the venue, the needs of the client, the audience…and whether or not it is a full moon, etc. All of which brings up another point of consideration,
If you are capable of successfully adjusting to the various situations outlined, your fans may be sometimes confused, not knowing for sure who or what you are going to be on any given night. An argument can be made for picking one theme and staying with it. That of course is why bands often break up when musical sensibilities feel stifled doing the same thing over and over and individual members want to go in another direction.
Sooo…If you are a sideman, be a chameleon, blending in with the image you are part of. If the spotlight is on you, you better know who you are and then act accordingly. Not necessarily an easy thing to accomplish. The point to make here is that it takes a tremendous amount of self discipline…to be who you really are! Does that constitute artistic endeavor? Hmmmm An interesting and thought-provoking thread, for sure…
Dave, thank you for your super well-thought out tips for professional musicians. Just the right info for where I am in my professional work.
I have performed extensively in Papua New Guinea, Australia, and Tanzania- in the 1990’s and 2000’s. Now a f/t music therapist playing and singing all day, I am starting to get back to gigging. Music therapy playing is very different from polished playing to a paying venue or audience. I am super excited to make a partial living gigging, and it is humbling. I have no music to sell and no media presence as of yet.
Any thoughts you have to inspire me?
I appreciate your street cred and dedication to reviving historic music!
Cheers!
Hey Suzan! I wish you all the best. Pretty much ALL the thoughts I have that might (or might not) inspire you are contained on this blog, with over 70 articles I’ve written to date. I welcome your comments and questions on any and all of the articles.
Thanks so much for this article Dave I am the singer songwriter for a three piece rock band and only have a couple of shows under my belt as such. This is my first attempt at being the lead guy and is a huge step outside the box for me so all your insite is greatly appreciated.
Carl Henry
CBD
Glad this was helpful Carl. Best of luck with the band.
Thank you for the insightful Takeaways. I will stick them in my book of cues to remember. i love performing and the more I do it, the better I am at it in terms of the reciprocal exchange. This summer is my solo summer where I am challenging myself. I play the Celtic harp and sing — jazz standards, trad music celtic and American, cultural music when it fits. Memorization is huge for me as a challenge. The harp is not a guitar. 34 strings and accidentals you need to remember. But as said, the more time in the saddle the easier, more comfortable it gets. Thank you for your wisdom and keen observance of the performer life and pursuance.
Debra
Keep us posted Debra!
This could be my all-time favorite Dave Ruch article… so informative and SO VERY important. Although I’ve always had an understanding that an artist needs to connect with his audience on more than “just” a musical level, this article breaks it down and spells it out so nicely. I’ve put these things into practice, and they WORK. I often have venue owners or managers say things like, “I love how you talk to the audience between songs… most guys just sit there and go through their list” -or- “It’s great that you give us little tidbits of info about the songs you sing”. I would only add that it also doesn’t hurt to “dress up” a bit… in my opinion, jeans and a t-shirt don’t cut it in most settings… I do the restaurant/supper club circuit, and I think patrons (and management), appreciate a well-dressed performer.
Dress is a very important consideration, Tom. Thanks for inserting that into the discussion!
I actually feel insulted by a poor appearance– esp. if I’ve paid big money for a ticket. But even a free performance deserves a natty appearance to show the performer values his own contribution to the event. I always try to dress up one step from my audience– except for my shoes. I still wear gym shoes for comfort after standing for 1+ hours. Thanks for a great post.
Unfortunately As Pianist, I often DO NOT face the audience as most Assisted Living homes use Upright pianos. I follow many of your interaction tips and they work, but I do need possibly to turn around more often between songs.
John, let us know if you experiment with it and what your results are.
This write up was amazing loved that you touch on an aspect that people truly dont think about.
I like that you noted the performer was a solo performer. Not to take away from bands at all but solo performers (seasoned ones) usually do have this command that you describe. I think being on the stage alone you naturally want to connect with your audience because you are up there alone so you will tell stories describe the songs etc
But this was an excellent read with great points discussed as well as tons of useful advice!
Thanks Dave.
My pleasure.
Excellent observations and points of interest. I have been performing 40 years and watch very closely myself the details. The movements to different parts of the stage….sitting, standing, the “banter” between the artist and audience. There aren’t many performers that just “know” how to do this. Most were taught or at least guided. I will take your advice in regards to studying storytelling! All the best to you and thank you!
Glad it was useful Sue!
I enjoyed reading “How to Engage an Audience at a Concert”. I learned a lot from it.
Thanks,
Michael Speregen
Hello I’m a ventriloquist I was working with ALZHEIMER’S RESIDENTS until I STOOD UP FOR MYSELF and called Osha on them. Then everything kept building up to the end my little folks were happy and we sag all kinds of music one lady said her teeth gonna fall out I have decided that I will go on adventu re to other Assisted livings and this will be my first performance they gonna pay me 100.00 for 3 performances 40 minutes long I’m gonna do Christmas song with few stories how many songs do you thing I need to do for the3 groups at 40 minutes a spot my name is Tammy I have puppet,and ventriloquist doll Danny I sent Ellen Degenerous a youtub trying to win 10,000.00 you can check me out I would like your opinion since this is my first time out .I miss my Residents so much they want even allow me to come back to visit .Life goes on but I hear them in my head and heart and think about Ms.P taking her teeth out she reminded men of my granny HOPE you have a great Thanksgiving .Look forward in your response. Tammy. Not sure where you will respond to so I want put Facebook on here or contact 😁
Hi Tammy – I think it depends entirely on how long the songs are and how much talking you do within and between them. Sometimes for me six or seven songs can easily go 40-45 minutes because I do a lot of interacting with the audience while I’m singing. If you’re just singing straight songs and not talking much between them, you might need as many as 15 songs.
I have been told many times that I almost always smile when I am performing. I don’t think it is something I developed on purpose, but now that I am aware of it, I definitely notice that the more I seem to be enjoying myself on stage, the more positive reaction, and more importantly, audience interaction I get. I try to study my audience, and figure out which ones might want some special attention, and which ones would rather just blend in with the rest of the audience. Then I work on the ones that want attention. It might be something as subtle as a quick smile or a nod, a special mention about them, something they are wearing, drinking, eating, etc, all the way up to calling them up on stage if that is appropriate. Things like that can turn a potential heckler into an asset by getting them on your side, giving them what they wanted in the first place (attention) and shows the rest of the audience that you are still in control, yet approachable. Plus it helps draw in the rest of the audience because they want to see what is going to happen next. I have even pulled people into a venue by paying attention to them through an open window or door as they were passing by, resulting in a huge bar and dinner tab for the club, and several new signups to my mailing list!
One of the best pieces of advice I’ve ever been given and have never forgotten:
“Always leave ’em wanting more”
Very glad to hear that Robert, thanks.
Thank you, Dave – this is a valuable post about a topic which isn’t discussed enough. Your checklist for engaging an audience acts as a very helpful reference guide. And, of course, it’s always beneficial to be aware of pitfalls that can be avoided.
Great article. Regarding #6, I once heard this piece of advice that supposedly dates back to the days of vaudeville – “if you want to have a great act, then you have to do something in the first 30 seconds that no one in the audience can do”. I try to do that, but it usually happens farther on than 30 seconds (I guess that those vaudeville audiences were pretty rough).
I think you’re right about those vaudeville audiences Rusty. They knew another (potentially better) act was just around the corner if they didn’t like yours.
The 30 second rule could still apply in certain performance situations, too. Busking comes to mind (where it’s probably more like 4 seconds).
It’s beyond annoying when the lyrics of a song are unintelligible. Why would an artist spend hours and hours writing and memorizing lyrics and then throw away their time on stage by not caring if the words are or are not cleanly delivered? I see this so often. Sometimes the blurred words are rendered understandable through fine tuning of the sound system, but the singer has to take 100% responsibility. As for talking between tunes: singing voices are usually louder than speaking voices, so the artist has to SPEAK UP, stay absolutely glued to the mic, and remember that he or she is talking to a crowd where a normal conversational voice is totally inadequate.
Thanks for jumping in here Jonathan. So true!
Great advice as usually, I look forward to each of your wonderful emails!
Thanks Lou!
Dave, I appreciate your post. A couple of other things I have noticed (mostly from watching actors) is that what you do with your eyes is incredibly important (and even needful to remember when you are blinded by stage lighting) because of the subtleties of expression they communicate to the audience and how they can direct the attention of the audience. When and how you look away is every bit as important as when and how you look to them (as individuals or as a group) because it is a sbtle way of bringing them all on to the same page–your page.
A second point–silent space (read “pacing”) is every bit as important as “noisy” space as when you are talking, singing, reciting, breathing heavily (Darth Vadr) or lightly (Michael Jackson?), or humming or rapping during your performance. David Lough is an excellent example of this usage of “silent space”.
His name brings up another thought. He’s not real good looking for sure, but his use of silence and of his eyes makes him a riveting performer/actor because…it all works together …for him! We each must develop our own style that is uniquely ours. That includes voice timbre and range and pitch, body shape, age, physical activity, etc. and etc. because all of it communicates SOMETHING to the audience. It’s up to us to make it say what we want it to say.
Couldn’t have said it any better Lonnie – thanks so much for this.
Love this article! It’s very helpful and concise.
Makes it even sound easy to incorporate some
well-crafted stage techniques 😉
Try, try, and try again Rebecca – that’s all we can do.
Thanks again. Always appreciate your kind and experienced advice!
Glad to do it Glenn
Once again, Dave, you have introduced a great topic to think about. Variety is key in engaging audiences. Participation is certainly enjoyed by everyone whether before, during or after. And being heard is very important otherwise, you might as well stay home.
My pet peeve is performers who mumble away from the mic or into the mic, or lower the voice at the end of their sentences so the words drop off into oblivion. The key is to lower the tone but not the volumn of your voice…like theatre actors. Especially important are key words that the audience needs to hear…make sure the audience will here them either by pausing, effectively enunciating, slowing down your words, etc… For example, there is a humour story that I tell that has a punchline at the end …”the train is coming”. I’ve learned that if I say this too fast, the audience has difficulty understanding the words so I’ve learned to pause and say them a bit louder and slower…then I get the laugh I want.
Sorry, may have gone a bit off topic!
Yes, Yes, a thousand times YES! This is really important, and not off topic at all. Enunciation and delivery are critical, and careful attention to how your speaking lines are “landing” is key. Thanks Cindy.
Great article Dave! Sometimes if a venue doesn’t have a sound person, it helps to ask the audience after the first song, if they can hear everything ok. I’ve sat through what I was expecting to be a great show, only to be disappointed that the vocals were buried under a too-loud guitar. Too bad the performer never thought to ask!
This is so important Nina, thanks for adding that. How many times have you played a whole set of music, only to have an audience member come up afterwards and say “hey, we can’t hear the guitar (or whatever)”
Dave, this article (how to engage an audience) couldn’t have come at a better time. My musical partner and I are headed down to Memphis in January to perform at the International Blues Challenge. Although I’ve been performing for better than 20 years it’s never to late to learn something new or to hear what you might already know to remind you or get you thinking about these aspects of performance.
Thanks
Glad to hear the timing was right, Doug. Best of luck with the showcase/competition.
Thank you!
Very apriciated!
Remember that your singing voice is probably louder than your speaking voice, so when chatting to audience between tunes, get close to the mic and speak up! Very annoying to not properly hear a performer’s stories or whatever……..Nobody wants to hear something like: “When I was in Murphtooshman we sent a brooogh to the first hooshingtamm in the slankting smoooootink”
Yes!!
Right on!
Thank you for your words of wisdom. You might do a piece on Get Your Sound Right Those who do their own sound seldom get the balance or volume right.Groups are notorious for this, but even solo performers need to be reminded that proper mix is important.
Thanks for the good suggestion Chuck!
I, too would like to see something on this… I have been on both ends of the self-managing sound thing and it is frustrating when you can’t get that mix right… I think an article on this could be helpful to many.
Also, could you talk about how to bring other musicians into the act to “spice” it up and also give interest?
Thanks for all you bring to us Dave,
Hi Dave,
As a musician, entertainer and Toastmaster for many years, I completely agree with your twelve “Takeaways.” They are right-on! Thanks for sharing your secrets for entertaining.
Great to hear Robert! What else would you add to the list?