Artists& Venues: Navigating The Pandemic

their vehicle. Fans also have about 150 square feet of space so they can enjoy a show next to their car. If they need to use the restroom they can enter our virtual queue and we notify when it’s their turn to use the restroom. There we regulate capacity, we take temperatures of guests and everything is sanitized.”

With upwards of 30 drive-in concerts under their belt, Harding and staff have found the shows to be quite rewarding. “We launched this series in Anaheim at City National Grove,” says Harding. “And over time we’ve perfected and honed our model. Now we’re focused on exporting and hosting other drivein concerts nationally.”

Richmond, VA’s Broadberry Entertainment has adopted and had success with the drive-in concert model as well. The company has hosted a number of socially distanced events at large and currently dormant sports stadium parking lots throughout their immediate region. A number of safeguards are, of course, in place. And Broadberry co-owner and talent buyer Jessica Gordon discusses some of the challenges in making these kinds of shows happen.

“The amount of work that goes into booking and producing one of these shows is the equivalent to booking 30 shows in the old days,” she says. “ To take an empty parking lot and turn it into a venue—especially a production heavy band like GWAR, which we had here recently—is an incredible amount of labor and work, both in advance of the show and the day of the show. There is no infrastructure, so it’s very expensive and time consuming.”

Despite the inherent challenges, one of Broadberry Entertainment’s more suc- GWAR cessful events was the return of the infamous heavy metal creature feature GWAR this past October at the Diamond Drive-In in downtown Richmond. GWAR is celebrating the 30th anniversary of their album Scumdogs of the Universe and they brought all the mayhem and madness one would expect. “It was nice to play in front of an audience of automobiles instead of human beings,” says one of GWAR’s head honchos, Blothar the Berserker. “We find automobiles much more attractive than humans anyways. But it was no different than the Warped Tour or some big festival. It was just an ocean of cars.” GWAR’s show is very theatrical and involves dousing the audience with various disgusting liquids. But, despite the socially distanced arrangement of the premises, Blothar and crew seemed content with the outcome. “Actually the audience wasn’t that far away from the stage and we had a barricade in front,” says the berserk one. “We were able to hit the front row with the liquids. For GWAR, the challenge is being able to maintain the messiness of the show. But the sound was great and I liked the fact that people could tune in to their car radios like an old-fashioned drive-in movie.”

Crooner’s Supper Club is an award-winning venue and one of the top jazz showplaces in the Midwest. The Minneapolis club is run by Ian and Andrew Walesch and their attention to detail—from implementBILL GRISOLIA ing safety practices to the comfort of their guests—is impeccable. Like a lot of venues, when the pandemic hit, there was a lot of reworking of their business model. “We’ve had about 200 shows since June 1st,” says Ian. “I don’t think there’s anyone doing what we’re doing right now.” The brothers started in June as a drive-in situation, with room for about 80 cars. But, after a time, feedback from guests leaned more in favor of socially distanced table seating. So they set up large tents that could house around 180 patrons and they kept the drive-in component in a limited capacity, as well.

With a number of venues currently dormant because of the pandemic, Crooners is one of the few in the Midwest that is actually thriving. “Many people have told us it was their first time out since March,” says Andrew. “When people decide to trust us with this experience, we not only want them to feel safe but receive good service. We want it to be a special night.”

Finally, Bill Grisolia is a blues-rock vocalist/keyboardist and bandleader that wears many hats. As president of the Long Beach Blues Society and a member of The New Blues Revolution, he is a community activist, festival promoter and video producer. When the COVID lockdown emerged Grisolia hit the ground running. “We had to pivot,” he says. “We began to emphasize other things that are part of our careers as artists, like songwriting and working on a new EP. We shifted our live performances to video and also did more fundraising and direct relief. I’ve also done over 100 videos on my Bill Grisolia Facebook page called ‘The Daily Dose’ where I sing solo and play piano.” Some of the community oriented programs Grisolia has spearheaded and maintained during the pandemic include “Blues in the Schools,” “Blues for Vets” and “Blues for Seniors.” And, a number of these programs have an online component as well. “We’re very proud of a program we put together called ‘Give a Gig,’” continues Grisolia. “We realized there were a lot of musicians not getting gigs, so we started this program to get them direct relief—gas cards, money, food and food cards. We raised about $10,000 and we probably benefitted about 40 families. It was a way to help the southern California community.”

Grisolia, whose upcoming new EP is called Purple Heart, has been hosting blues jams again in the Long Beach area with The New Blues Revolution. “Since we have pivoted we are looking for additional ways we can create and perform for the public,” concludes Grisolia. “We want to engage the public in our performances, even include them in the writing process. And that will only lead to additional creative output—songs and the like—which, hopefully, will help us come together.” •

Click here for a list of companies & organizations that provide help and services to musicians affected by the pandemic.

Perpetual Heartbreak Self-released Producers: BAO, Davy Pelletier, Taylor Shechet and Sunrise Transparence

Bao Vo, the brainchild behind synth-pop act Ming & Ping, set out to create a record untethered from convention and the result is Perpetual Heartbreak, a lavish hunk of whirling notes and supernatural feel. The Vietnamese multi-instrumentalist dives headfirst into the personal on tracks like “Far Away,” which explores cultural rootlessness. For pure audible bliss, however, nothing surpasses the Jamiroquai-inspired funk of “Burn It Down.” However receptive you are to Bao’s emotional intimacy, his inspired and flowing sound shapes will absolve you of psychic pain.

ELE 2 is Busta Rhymes’ 10th studio album to date and is by far his most puzzling one yet. With over 30 years in the rap game, Busta retains lyrical versatility, blending old school and new school hip-hop with pop, making ELE2 as colorful as it is. Twenty-six hard-hitting tracks, and ELE2 is the most relevant hip-hop album of 2020. This album features appearances from Chris Rock, Minister Louis Farrakhan, Mariah Carey, Mary J. Blige and Kendrick Lamar, among a handful of other notable artists/celebrities. – Adam Seyum

From King To A God Griselda Records Producers: The Alchemist, Daringer and more

Griselda is a collective consisting of three seemingly old-school rappers who deliver crafty beats from top-tier producers and absolutely filthy lyrical talent. The group consists of Westside Gunn, Benny the Butcher, and Conway the Machine, who recently released a high-powered showcase of hot tracks, From King To A GOD. Conway is excellent, flowing effortlessly and delivering unreal bars and twists of phrase over silky beats by The Alchemist and Daringer. There’s no hooks here, no filler. Just bars, with features from Conway’s Griselda counterparts. Listen for Conway, WG and Benny on the best song of the album, “Spurs III.” – Jacob Trask

Emergency Breakthrough Nocturnal Sol Producers: Joel Jerome, Andrew Bush, Manny Nieto and Marc Doten

Back before cell phones and the like, an “emergency breakthrough” was when an operator would interrupt a phone call to convey an urgent message. And that’s the case here with this outfit. Their message is diversity and busting musical barriers. Band members have supported H.E.R., Beastie Boys and Ozomati so it’s easy to hear their eclectic approach. “Song for Mom” and “Raging Nation” have timely and quirky punk elements. There’s a cool cover of Johnny Thunders’ “ You Can’t Put Your Arms Around a Memory” and “Christmas in Our Car” could become an alternative holiday classic. – Eric Harabadian

Point the Flashlight and Walk Label: Double Double Whammy Producer: Felix Walworth

Felix Walworth, aka Told Slant, has shown clear growth on their third full-length release, with complex compositions that make harp, banjo, contrasting harmonies and sonic swells sound at home in signature sparse arrangements. Album-opener “Meet You” and “From the Roofbeams” seem to glow from a huge concert hall, despite certainly being the result of meticulous reverb on bedroom microphones. “Flashlight On” contains the mantra that gives the album its title: I just wanna get lost/Point the flashlight and walk. For nearly a decade, loyal fans have longed for these repeated lines, which become themes and tattoos and quiet chants at live shows. – Joseph Maltese

World Goes Round Viper Records Producer: Tommy Vicari

In 1989, a supergroup of behind-the-scenes industry vets got together at co-lead vocalist Frank Musker’s Laurel Canyon studio to record an album of lush ballads and peppy pop-rockers for an album that never got released––until now! Discovering an old cassette led to the fascinating resurrection of the musical magic and chemistry created by Musker, Elizabeth Lamers (co-lead vocals), Jeff Hull (keys/drums/bass) and Marty Welch (guitar). Though Tommy Vicari’s production is super ‘80s specific, its retro charm will inspire a closer listen to songs whose themes often meet our current challenging moment in compelling, thought provoking ways. – Jonathan Widran

The Royal Affair Tour – Live From Las Vegas BMG Records Producer: Billy Sherwood

July 2019 at the Hard Rock Hotel in Las Vegas proved to be a memorable night as this album documents a band that needs no introduction to classic rock fans. Veteran members Steve Howe, Alan White and Geoff Downes are at the top of their game. Vocalist Jon Davison and longtime bassist Billy Sherwood further capture the group’s enduring legacy and prog status. Rarities like Paul Simon’s “America” and John Lennon’s “Imagine” are remarkable. And the rhythmic density of tracks like “Roundabout” and “Going for the One” stand out as well. – Eric Harabadian

The Gathering Amber Inn Productions Producer: Mark Cargill

On one of this year’s most imaginatively arranged and produced seasonal offerings, renowned soul/jazz vocalist Amber Weekes brings her mix of charming, playful wit and dreamy, inviting sensuality to a set featuring fresh twists on classics we love (and thought we had heard every possible variation of); a sparkly holiday treatment of a Rodgers & Hart romance (“My Romance”) and a soulful, uplifting original title track that celebrates families and children with a kids choir and lush violin solo by the project’s producer/arranger Mark Cargill. True to its title, The Gathering is a showcase for some of Los Angeles’ greatest jazz talents. – Jonathan Widran

Denver, CO

Contact: shyamnepalisarangi22@gmail.com Web: shyamnepali.com

Material: Steeped in traditions that produce an ethereal, richly historic sound, Shyam Nepali delivered a captivating livestream performance, highlighting songs from his recently self-produced album, Mero Sarangi. The soft-spoken world music virtuoso delivered a beautiful overview of traditional Nepalese sounds, introducing rare instruments and his own unique musical interpretations.

Musicianship: As a third-generation musician following in the footsteps of his father and grandfather, Nepali nurtures his country’s folk traditions while breathing new life into a centuries-old art form. Through smooth playing, a gentle vocal delivery, and a blend of sounds that include nods to the Irish jig, Scottish bagpipes, classical violin playing and Indian dance music, Nepali produces a truly startling and memorable experience filled with a comforting, hopeful energy.

Performance: Nepali’s incomparable finger movements and rapid-fire command of his bows, smooth instrumental glissandos, and octave leaps make clear that this is more than a trained musician: Nepali is a passionate messenger. With easy transitions between each of the three instruments played (sarangi, tunga and guitar), this musician demonstrates his dedication to the traditions of his family as well as a genuine passion for the music of his homeland. Livestream Pomona, NY Contact: matchpoint@optonline.net Web: facebook.com/ForeverYoungBandNY Players: Stu Iselin, keyboard, vocals; Ira Bernstein, bass guitar, vocals; Peter Karanikis, rhythm guitar, vocals; Barney Griffin, lead guitar, vocals; Bruce Pollack, drums; Ken Conti, sax, vocals

The gentle opener, “Ah Thuli,” reflected on nature and the mountains, while title track, “Mero Sarangi,” combined a tunga performance with haunting vocals and a sad but beautiful story about a Nepalese village. Nepali also shared “Chari Amilo” and “Sani Sani” from his latest album––the latter composed by his grandfather, Magar Kancha Gandharva––each song offering a different rhythm and flavor of Nepal. careers, some embrace them more literally. Such is the case with Forever Young, a group of musicians out of Rockland County, New York. The majority of the group’s members grew up in the ‘50s and ‘60s listening to the music that they’ve been performing for the last 21 years. Featuring period gems like “In The Still Of The Night,” “Runaround Sue” and “At The Hop,” as younger members have joined the ensemble, the repertoire has been expanded to reflect other classics like “Lay Down Sally,” “Pretty Woman” and “Long Train Summary: The overall sound comes across as Gaelic musicality meets Bollywood lilt, delivered by a virtuosic musical master. Nepali’s emotion comes right through his fingers, moving across his instruments with no hesitation in a truly masterful performance of elegant sound. Shyam Nepali delivers an incredible experience for any dedicated musician or avid fan of sounds from cultures and traditions beyond their own

– Andrea Beenham

Runnin’,” altering the band’s slogan to read, “Oldies, Do-Wop And More.”

Musicians: Audio challenges (which the band has acknowledged) made it difficult to get up close and personal with individual instruments, but an overall lively vibe permeated the set. Vocals were split among band members, and while it offered variety Forever Young would deliver a more focused presentation if one or two of the band’s strongest singers were designated the lead singers. Additionally, vocal harmonies could be smoother, especially since many of these golden oldies call for them.

Performance: It is hard to keep doing what you do unless you really love it, and in the case of this outfit, enthusiasm, and affection for the genre, are loud and clear. There’s also something familiar and comforting when listeners can hear the lyrics and sing along. The band did a good job of introducing each song, and might expand upon that even further, as fans like to know more of the “inside” story about classics that have meaning to them.

Summary: There are numerous paths to longevity if you target the right audience and venues. To their credit, Forever Young has managed to keep the act going for more than two decades, performing library concerts, festivals and private events. It’s never a bad idea, however, to tune up the ol’ hotrod, so we urge the band to pay closer attention to nailing harmonies, which is essential to their repertoire.

Nashville, TN

Contact: thunderbird@vicsom.net Web: tabbenoit.com Players: Tab Benoit, vocals, guitar; Terence Higgins, drums; Corey Duplechin, bass

Material: Tab Benoit, (pronounced, BEN-WAH) is not a rock star. I’m not sure he really wants to be one. He’s a bluesman. Benoit uses no pedals, and only the one Fender Telecaster Thinline guitar. This is an artist whose playing speaks to you as much as the lyrics do. He opened his performance with two rockers, “Why Are People Like That? and “Whole Lotta Soul,” from the albums Brother To The Blues and Medicine. “Nothing Takes The Place Of You,” a ballad, also from Medicine, was riveting, and “Standing On The Banks” may have featured his best guitar solo of the night. “The Blues Is Here To Stay,” tells us why this artist loves the blues. Without the blues, the song says, There'd be no Elvis, no Jerry Lee / A young Eric Clapton would have never crossed the sea.

For the classic, “I Put A Spell On You,” Benoit invited opener Samantha Fish to join him, and they traded vocals and lead guitar solos. The two teamed up again for the rocking encore, “Night Train.” This time, the drummer and bassist also took solos along with Tab and Samantha.

Musicianship: Terence Higgins did a lot more than just keep the beat. His drumming complements every song with just the right flourishes in just the right places. When given space to do so, Corey Duplechin’s bass playing Contact: iamesix1@gmail.com Web: instagram.com/iamesix Material: Elijah Rosario is an R&B singer with the storytelling prowess of a rapper from the Dirty South. Every phase of his musical journey has been highlighted by stints in southern cities like Houston, TX and Charlotte, NC. His evolution as a storyteller began nearly a decade ago when he started writing song lyrics on his notepad during lunchbreaks, while working at a fast food restaurant in Kingsland,

came out of the shadows and soared with slaps, pulls and speed that rival anyone’s. But Duplechin is a true musician who knows when to stand out and when not to.

Performance: This was a no-frills show. There were no elaborate stage sets, no strobe lights. That’s not necessarily a bad thing. Sometimes theatrics can actually upstage the music. Then again, sometimes a little theatrical entertainment can help. I think it might have here.

Samantha Fish opened the show in a shiny jacket and skin-tight leather. Every hair in place. She switched guitars often and relied GA. But emotionally, the trials and tribulations that came with the passing of his mother, last December, have heightened his senses as a creator and fueled his passion for live music. With 10 years of experience under his belt, Rosario has emerged as a live performer who sings and raps. Songs like “Focus Poppin’” showcase that versatility well, while tracks like “My Side (Remix)” are reminiscent of R&B songs by recording artists such as Kirko Bangz in the early 2010’s. heavily on effects pedals. Perhaps too heavily. She was clearly distracted trying to adjust her pedals on one song.

What Tab lacked in theatrics he made up for with a warm and disarming stage presence and heartfelt playing. Sometimes angry, sad or even funny. But always the blues.

Summary: If you like the blues, you’re gonna like Tab Benoit. This was the artist’s first live show in over eight months. The same was probably true for the audience, and both were clearly thrilled to be there.

Washington, D.C.

– John Mollenhauer

on his live sound. Thus, when the 27-year-old performs R&B songs like “Hattie’s Boy Intro” and “Survive,” it often comes with an infusion of Southern hip-hop, trap and a gritty brand of lyricism that is native to Southeast Texas. Vocally, Elijah’s pitch rings out similarly to the sound made familiar by soul singer Bobby Valentino, while the rawness of his wordplay is comparable to the subject matter of the late Static Major.

Performance: Rosario performed six songs from his latest EP, Hattie’s Boy. Before the pandemic hit, most of his shows featured a live back-up band. But on this day, the artist presented the music all by his lonesome— over instrumental tracks. The young crooner paced back and forth on stage, with a wireless microphone in his hand as he sang his way from slow jams like “Aura” to a stripper anthem called “Vixen.” The most touching moment of this show came when he stopped the music and explained why he wrote a contemporary R&B/neo soul track called “Still” for his wife. He also articulated the way in which the song reminded him of his parents.

Summary: The musical journey of Elijah Rosario has endured several bumps in the road. None more powerful than the passing of his mother on Christmas Day 2019. Although these events have shaken his foundation, they’ve also emboldened this artist to sing about his experiences. In this livestream, that boldness was on full display.

Livestream Joshua Tree, CA

Contact: max@vitalicnoise.com Web: sound loud.com/balkanbump Players: Will Magid, trumpet, producer, DJ; Morgan Nilsen, clarinet; Teddy Raven, saxophone; Lis Viegas, percussion

Material: The Joshua Tree Music Festival usually takes place twice a year but, as with everything else right now, the organizers are Livestream Joshua Tree, CA Contact: thumpasaurusmusic@gmail.com Web: thumpasaurus.com Players: Lucas Tamaren, guitar, vocals; Henry Was, drums; Henry Solomon, sax; Paul Cornish, keys; Logan Kane, bass; Ben Benjamin, visuals Material: “Mental Karate” is the name of the song that opens this Joshua Tree Music Festival set from funk-rock troupe Thumpasaurus, and it’s a wild and whacky way to kick off a show, blessed with an important message. The world is shit right now––cut yourself, and others, some slack. “I’m Too Funky” is, as the title suggests, very, very funky. The song highlights the band’s occasional similarities to Primus––bass-heavy and with scat-like vocals that certainly recall the great Les Claypool. Thank god, they never fall into insufferable Red Hot Chili Peppers posturing but keep on the right side of the manic funk-rock energy. As a result, the songs are quirky, crazy fun. Musicianship: Again, frontman Tamaren seems to have learned at the Claypool school of enjoyable bonkers-ness. There’s also a Mike Patton (of Faith No More, Mr. Bungle, etc.) vibe about the man and his band––a sense of glorious unpredictability that is very welcome in these restricted times. As one would expect with this sort of music, the band leans heavily on the bass and Kane is a phenomenal player, keeping the rhythm, but adding the having to think well outside of the box in order to put on any sort of event at all. Unsurprisingly then, they’ve gone virtual for this fall edition and assembled a stellar lineup that includes Jesika Von Rabbit, Thumpasaurus, Afrolicious, Year of the Crow, Heather Christie & Vir McCoy, and Subko. The sets were actually prerecorded in order to get the quality of the stream as high as possible, and it works out well (despite the fact that the festival had to be delayed by a week). Balkan Bump is trumpeter and producer sort of flourishes that the songs demand. The drummer, Was, rarely plays two beats when 10 will do nicely, and Cornish’s synth adds a wonderful sci-fi vibe. It all blends seamlessly into a carefully considered, beautiful mess. Performance: With the whole band decked out in white jumpsuits, plus that oddly prehistoric name, there’s a fun and quirky Devo-like nerdpunk feel to the band and the performance. No crowd, but this set never feels like a rehearsal. They give it their all, and succeed in reaching into our homes through our laptops. There’s not much in the way of between-song banter, Will Magid’s baby––a jazz project that blends Eastern European flavors with Latin vibes. It’s wonderfully energetic and joyful, chill in places, and ultimately passionate.

Musicianship: The fact that Magid has collaborated with the likes of Talib Kweli, Solomon Burke and Erykah Badu suggests he’s no slouch, and the JTMF set proves it. Splitting his time between trumpet and trusty laptop, he creates a lush, layered soundscape that is easy to just fall into. He’s surrounded himself with quality too; the percussion is beautifully tribal, while the three wind instruments harmonize perfectly. Bliss.

Performance: The lack of a crowd (besides what sounds like a handful of people cheering between songs) does hamper the energy slightly, through no fault of the band. This is music that would ordinarily feed off of a baying audience, and the band can’t have that at present. But they make lemonade out of lemons. “If you come after me for a hug, I’m gonna run away,” says Magid. “But let’s do it––take a test, wait two days and then hug.” You have to love that attitude, and it’s typical throughout. Magid is an engaging host, getting into the desert fest spirit without falling into a hokey hippie-dippy trap.

Summary: It’s easy to like Balkan Bump, even if you’re not a big jazz-head. The music is fun and free, and easy to listen to (as opposed to easy listening). A livestreamed party isn’t a cinch to pull off, so congrats to the Joshua Tree Music Festival organizers and to Balkan Bump for creating something that felt very real and authentically joyous, even while we sat at home

wishing for better days. – Brett Callwood but they don’t really need it. Thumpasaurus are eminently watchable.

Summary: There’s a song called “You Are So Pretty” that contains the cooed lyrics, “You are so pretty, you are so wonderful, you are so special, and I want you to be mine.” The song is so silly and sweet that it just hammers home the notion––these guys are just having the best time. The songs are somewhere between journal entries and stream of consciousness, and that results in a vibe that is incredibly authentic despite the surface-level insanity. There’s much more to come from this band. – Brett Callwood

Here and Now. It is step one of any goal completed with greatness, agility. It’s a window into the artist’s life and another thing you can’t do yet often overlooked in its importance. The moment you wake up too much: make the audience hunger for your mysterious personality. on the day of a performance, notice the skin on your hands. Eat

Be Specific

Of course you’ll jump at the big drop at the climax of the song; but how will your body look when you do it and how will you land? Will you keep jumping? For how long? Make movements symmetrical with the energy, flow and length of each song. If you will take an instrumental lead, step forward, but not without knowing exactly when you must start heading back to your original position so that you don’t “step” on the performance in any way.

Many confuse preparation as a killer of inspiration or spontaneity, but to the contrary it really creates the space for improvisation; if your canvas was without a frame, as vast as outer space, you may very well drift into oblivion. Have an outline, a sketch, an idea or even some tricks up your sleeve for the kind of show you want to put on. Former Pittsburgh Steelers quarterback, Charlie Batch, says it best: “Be over-prepared so that you don’t underperform.”

Improvise

Imagination, playtime and a state of awareness make for exponential growth as an artist and performer. This is the flip side to the prep-coin. Not only do you want your performance to be as blunder-less as possible, but you ought to make something like improvisation special, so really relish in it as it doesn’t occur often. Though the audience may not know exactly what it is that you’re “trying out” as improvisation, the vibe will translate in some manner as your presence is affected by the work you’re putting into it at that moment. Your reaction and aura will make everyone feel the “Now” and appreciate what they are looking at instead of thinking about tomorrow’s work day. Communicating to the audience is a big improvisational skill that takes a lot of trial, error, quickness and your food slowly; taste the taste. Feel the wind on your face as well as Observe the emotion it offers you. Promotional things, errands and all else should This concept works on two levels: A way to learn and grow from yourself have been finished up the day prior. Now is your time to be fully aware of and other performers, as well as a literal action to take in the moment of yourself and your surroundings. Captivate yourself first and foremost. In performing. We all know to watch live performances of all the “Greats” the event of cabin decompression on an airplane, help yourself LIVE first. on the internet and try to figure out how they do what they do. But also learning from lesser known, local bands from different music scenes can Theme show you how to be different; something new for local eyes. Being an This goes hand in hand with step one because you find out what in- audience member gives you a chance to observe the audience, as well, trigues you and embody it, which can help your persona come off much maybe listen in on the types of comments different people make. more lucid to your audience. Nevertheless, none of those Your theme, or brand, is ev- observations are nearly as erything from the clothes you important as observing yourself. wear to the mantra you speak. Put yourself through the torture With clothing, crazy patterns of watching footage of your (i.e. Van Halen) or dark colors own live performances. It’s the (i.e. The Cure) will punctuate quickest way to know what the message of your music to you DON’T want to do. This a large number of people all practice really connects you to at once. Everyone watching the famously known “gut feeling” you will be in the same boat of that we often have a hard time WHO you are right off the bat, searching for. This leads me to not working too hard to figure real-time observation during a out what they are experienc- performance. ing, thus putting them in the As unpopular as this concept palm of your hand as to how may be: DON’T LOOK DOWN. you want to make them feel At least not for more than six that night. seconds at a time. Aren’t you Time and Preparation being in their own little world, Obvious but worth reiterating. I singing to themselves, about don’t need to tell you to make themselves? It’s not necessarily sure your gear, sound and musicality are up to par with “‘Be over-prepared so that you a bad thing to do for a small portion of the show, but you should your vision, but I must mention that preparation also means a bit of stage performance don’t underperform.’” sing/play OUT to the audience in order to be WITH them. One trick that can simply stun an audience rehearsal, which can feel member is eye contact. It is so bizarre. Apply the hand gestures, facial expressions, high kicks, jumps, personal but not too invasive in a situation like this. It almost makes the and especially band member interaction during rehearsal of the music. audience member wish it would happen again. So they wait… attentive Which word in the song will make you point to an audience member? as to not miss it.

tired of people on a stage

Performers have rights. The right to gyrate. The right to make the world their stage. You may never play that stage again, so make sure you get the most of it. Three songs in, and people sort of crave a task to perform after standing still, gazing. So give them something to follow. Something to analyze. Throw them off, shake a foot, anything. Truth is, you can’t know the exact outcome of your performance or performance day for that matter. Just be excited that you’re doing something extremely exciting and it’ll BE exciting for anyone to witness.

For 10 years, starting at the age of 13, I have played on the streets of Santa Monica every weekend, performing to 3 or 10 or 20 or even 40 people. If you make someone late to a movie or forget what they are shopping for, you’ve learned what “urgency” can do for you. Later, I’ve moved on to national and international tours, playing theaters with capacities ranging from 200 to 400 to 800 to 2,000. The most people I’ve played for so far was in Budapest, Hungary, caterwauling to 60,000 living souls for the Ozora Festival, 2019. At that point, you really don’t think about what you’re doing or what your next move is. You’re just ON.

DEREK DAY infuses the power of rock & roll and multiple other genres (R&B, soul, punk and pop) as he engages and captivates audiences with his natural theatricality. He’s on the lead, licky, riffy electric guitar to accompany his gritty, soulful contralto vocals. After a tour with Living Colour, a friendship formed between Day and Vernon Reid and they co-wrote the single “Click On Me.” Day has toured the U.K., Sweden and the U.S. and shared the stage with Steve Vai, Ted Nugent, Steel Panther, Slash, Lynch Mob and is in Classless Act with Slash’s son London Hudson. Learn more at derekdaymusic.com.