10 Foolproof Ways to Critique Your Own Songs | BMI


How to analyze your lyrics and melody to craft a stronger song.

By Cliff Goldmacher

Early on in my songwriting career, I considered it a minor miracle that I could create a song in the first place. However, once I got a little more used to performing that particular magic trick, it became necessary to start to refine my process a bit further. In other words, it was no longer enough just to have created a song. Now I had to go back and tweak, edit, fix, and otherwise polish my songs until I was confident I’d exhausted every option to improve them. Here, I’ve put together a list of 10 things for you to examine when critiquing your songs in order to make them both lyrically and melodically stronger.

The Lyric

1. Do you have a strong opening line?

The opening line of your song is the first and best chance to engage your listener in the story you’re about to tell. Strong opening lines explain the where, what, and who of your story and will eventually lead to the “why” the story is being told. Make sure your opening line is designed to start your listener down the road to getting involved in the story you’re telling.

2. Are you using concrete imagery?

One of the best ways to put a listener immediately into the middle of your song’s story is to use strong imagery. I’ve also heard this imagery called “furniture.” These images are the details in a lyric that give your listener things to remember and connect with. Generally speaking, imagery is reserved for the verses where the meat of your story is being told. Choruses are designed to state the main point or theme of your song.  Another way to think about imagery is to “show ‘em, not tell ‘em.” What that means is that it’s less effective to say, for example, she was a seductive woman but she was bad news than it is to describe her as “a black heart in a green dress.”

3. Are your lyrics singable?

By the way, it’s not enough to tell a good story with your lyric. It’s equally important to make sure that the words you use are easy to sing and phrase naturally. I’ve also heard this put as making sure your lyric is “conversational.” Lyrics that are awkward or emphasize the wrong syllables pull a listener’s ear in a bad way. There’s a reason the word “baby” is in almost every song ever written … those long “a” and “e” sounds are great and easy to sing. Another way to put this is that you won’t find the word “Nicaragua” popping up in a lot of hit songs.

4. How effective is your hook?

By way of explanation, the main point and identifier of your song can be referred to as the hook. In other words, it is the part of the lyric that reaches out and grabs the listener.  Make sure that along with the story you’re telling, the hook is clear and doing its job.  Often the lyrical hook of the song is also its title. It’s that important.

5. Does your chorus have a strong last line?

There are very few places in a song’s lyric more important than the last line of the chorus. This is the place where everything you’ve been leading up to in your verses and the first lines of your chorus pays off. It’s often the place where the hook is and usually leaves the listener satisfied that they understand your message. One important way to make the last line of your chorus count is to set it up with some kind of rhyme in one of the earlier chorus lines. That way, not only are the words important but they complete a rhyme, which adds extra emphasis.

6. Does the overall idea of your song work?

Often when we’ve worked on a lyric for a long time, it’s easy to lose the forest for the trees. In other words, we get so wrapped up in making things rhyme and using imagery that the overall concept of the song loses some of its focus. Make sure after you’ve finished your lyric that the overall message of the song is developed and supported in every line. While you, as the songwriter, already know your song’s story, you need to make doubly sure that a listener who is hearing your song for the first time will know what you’re talking about.

The Melody

7. Is your verse melody interesting?

Given that the melody of your song is one of the first things people hear and pay attention to (sorry lyricists, but the words come waaaay later), you’ll want to be sure that your verse melody is catchy and unique. This doesn’t mean your melody should be bizarre or uncomfortable but, rather, that it should be distinctive and memorable.

8. Does your chorus melody differ from your verse melody?

So much of what we do as songwriters is about giving the listener clues as to what the most important parts of our songs are. By making sure that your chorus melody is not only strong but differentiates itself from the verse melody, you’ll cue the listener in to the fact that you’ve arrived at the main musical – and lyrical – moment in the song.

9. Does your bridge add to the song?

A bridge is really designed as a moment in the song where you step away from the verses and choruses to make an additional lyrical observation or melodic contribution.  If your bridge melody sounds too much like your verse or chorus, even if the lyric is doing something new, the risk is that you’ll miss an opportunity to add something of value to an already strong song. All this to say, be sure that if you have a bridge, it’s musically apart from what you’ve been doing in your song’s other sections.

10. Does your melody flow naturally throughout the song?

Not only should the melody in each section of your song distinguish itself, but your overall melody should flow naturally from section to section. Be careful not to have a melody that is too repetitive. A little repetition is a good thing as it adds to the “hooky” nature of your song, but too much repetition becomes distracting and a bit unpleasant from the listener’s standpoint.  And be sure that your melody sits comfortably over the chords you’ve chosen. The harmonic – chordal – decisions you make can serve to either accentuate or hinder your melodic work.

Critiquing your own songs is often a time-consuming and somewhat frustrating experience. That said, it’s essential that you hold your songs up to the highest standard if you’re hoping to have a better chance at commercial success. I do want to remind you, however, that your first – and most important – job is to write the song.  Focusing on critiquing your song too early in the process might prevent you from writing something heartfelt and spontaneous. In my experience, it’s always easier to get it all out first and invite your “editor” to the party once you’re done.

Good luck!


Cliff Goldmacher is a songwriter, producer, session musician, engineer, author, and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. Go tohttp://www.educatedsongwriter.com/webinar/ for the latest schedule.

Cliff’s company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.

You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.

Facebook: www.facebook.com/EducatedSongwriter

Twitter: edusongwriter

Jordan Tishler Q&A with mixingaudiopros.com

Digital Bear Studio shoot

We recently introduced Jordan Tishler to our ranks and we thought it would be good to have a quick Q&A session to give us a bit more insight in to the man behind mixing desk.

mixing Audio Pros – So how and when did you start your musical career? Can you give us a bit of background info?

Jordan Tishler – I started playing music at age 4, first piano, the oboe (my own choice, go figure), then bass, guitar, keys, etc. I’m not really great at any of them, but being so versatile has helped me be a great music producer, and I can lay in tracks when needed.

I grew up listening to a mix of what’s now called classic rock (though it wasn’t classic then) and reggae. When New Wave and punk hit, that’s when I joined a band. I’m hard to pigeonhole on taste: I love everything from Cream to The Cars to Metallica to The Jurassic 5 to Deadmau5. Musicians often ask me about what kind of music I “do”. My best answer is always “Good”. I firmly believe that my job is to help bring the artist’s vision to fruition and, if it’s their goal, to make it accessible to popular sensibility. That doesn’t take being the master of some short-lived micro-genre, it takes experience, breadth, and taste.

I made the crossover from player to audio engineer in college when, as a result of the bands I was in, people started asking me to record them. I built my first recording studio around a 4-track cassette machine in my dorm room. After that I spend some years recording and doing artist development freelance for the majors. In the late 90s, I started seeing the writing on the wall. The majors were less and less interested in and able to do the development of artists. In the winter of 2001, January 21st to be exact, almost everyone I knew at a major label was laid off. It was a telling moment. Thankfully, I’d seen it coming and have developed my own shop back in 1998. So, while my clientele has changed over the years (from being the label to being the artist, for the most part) I’ve been able to keep doing what I love and do best, make music and develop artists’ careers.

mixing Audio Pros – do you have any particular methods or preferences of note, for example using certain gear for certain sounds, preferential ways of working or musical styles etc?

Jordan Tishler – When I started out, digital was just coming around, and nobody really knew how to make it sound good. That become one of my skills; hence, I named my business Digital Bear Entertainment. But life has its ironies, and many years later my current (6th) studio is largely analogue! I realized that digital was getting better and better. You could get the sound to maybe 95% of what it should be. Like really good. But the problem is that the “art” and “brilliance” lives in that elusive last 5%. I slowly went about dipping my toe back into analogue waters, and have found that it make all the difference. At first you barely hear it, but then suddenly, it’s everything. Over time, I’ve bought an SSL console, scads of rack gear, and now even a Studer 2 track. We used blinded A/B testing at every step of the way. We didn’t want to buy into (at great expense) the Emperor’s New Clothes. Yet every time, we found the analogue won. So we bit the bullet and invested. I’m proud to say, it’s paid off, the recording studio sounds great, and is a pleasure to work in.

Digital Bear Studio shoot

mixing Audio Pros – You have obviously adapted well to the changes in technology and the music industry in that you are offering online audio services. How do you feel that the industry is adapting to “‘remote services” such as online mixing and mastering for instance?

Jordan Tishler – I’ve always worked remotely. That’s part of why I find mAP (mixing Audio Pros – instead mAP) to be a good fit and a great idea. Perhaps because of the way my career has unfolded, I’ve always had a national/international view. I routinely work with clients from NYC, California, and points in between. I’ve worked with clients from Canada, Britain, North Africa, Japan, and the Caribbean. That’s fun! It’s really easy these days with technology such as various Cloud services.

mixingaudiopros.com – How did you come about to work with the Audio Engineering Society of New England, and what did your role consist of?

Jordan Tishler – I began working for the Audio Engineering Society (AES) many years ago when a mentor suggested that I take on the role of secretary. I quickly brought the section into the twenty-first century (which hadn’t started quite yet) publishing their first web site and converting the paper newsletter into an emailing. Eventually I became the chairman, overseeing meeting topics from how to build your own guitar amp to keynote speakers like Elliot Scheiner and Jerry Harrison. After establishing the next team of board members I moved on to work with AES HQ, but was quickly drafted back to focus on recruiting new membership among student sections.

mixing Audio Pros – Could you tell us a little more about the artist development side of your work? I can imagine it’s pretty rewarding?

Jordan Tishler – Artist development and artist management is a direct outgrowth of my experience in the recording studio and with the ascendance of the artist as the master of his or her own destiny. As I mentioned above my career started with the majors and has seen their influence wane. As a result I found many artists unready to fulfill their new role as a business person in addition to musical star. When you realize that everything we do in the studio is part of producing a product (recording) and that the product must serve a purpose for the artist’s career (sales or promotion, for examples) you see, as I do, that production is inextricably bound to business decisions. For me, then, becoming an artist manager was a natural outgrowth of understanding how and why recording studio work was being undertaken.

I’m also a fan of bold branding statements. Image is everything! Musical acts that look compelling, sound undeniable, and have strong message are my real passion and I’ve become good bringing these ideals to fruition for my acts.

Check Jordan out in his Digital Bear Studio here http://youtu.be/LWJut6DoLGQ


5 Rules for Responding to Blog Comments | DiscMakers

5 Rules for Responding to Blog CommentsYour blog is buzzing. Your content is getting shared far and wide. Your articles are getting commented on all the time. Now what?

Well, first — congratulations.

Second, it’s time to sit down and RESPOND to those comments.

Here’s a handful of general guidelines for responding to blog comments

1. Respond to every single comment. It’s a basic courtesy. Someone took the time to interact with you, your work, your articles, your content; so take the time to acknowledge this by responding, even if your response is short and sweet: “Thanks! Glad you liked the article.”

2. Be thorough in your responses. If someone asks you three questions based on your blog article, don’t just answer the first one and hit reply. To the commenter it’ll look like you didn’t care enough to read their whole comment.

3. Don’t be afraid to disagree. After all, disagreement is the spice of life. We often feel like we’re being rude when we disagree, and so we hold our tongues. But this is YOUR blog. It’s YOUR article. It’s YOUR ideas and personality. Feel free to have a healthy debate in your comments section. Just don’t cross the line into an argument. Which brings us to…

4. Let the trolls go hoarse. Haters gonna hate! Let ‘em. The funny thing about angry internet trolls is that they end up outing themselves with their weird rants. And if you delete posts by trolls, they just keep posting. Better to approve their comment, give them their moment to shine, and the world will see them for the dense black holes they are. Oh, and maybe with trolls you can ignore Rule #1 — unless you simply say, “Thanks for commenting.”

5. Use your comments to inspire further engagement. By responding to comments, you’re taking advantage of more opportunities to have your voice heard. You can deepen relationships with fans, customers, or readers. You can solicit the opinions of folks who are your biggest supporters. You can converse. You can point commenters to other useful articles or resources on your site. You can ask them to take some kind of action, follow you on social media, or make a purchase.

Hopefully these basic tips help you make the most out your blog, turning every comment into a true moment of engagement.

How do you manage your blog comments sections? I’d love to hear your thoughts in the  (—you guessed it!—) comments section below.

Offline Social Networking Tips for Musicians | DiscMakers

social networking image Offline Social Networking Tips for Musicians[In this post, guest contributor and full-time DIY musician Ari Herstand talks about social networking (“social” and “networking”) away from your computer. Throughout the article, he’s sprinkled links to other good information to help you along.]

I love Twitter. I have fun on it. I get into extended emoji battles and riff with Minnesotans and Chicagoans about Aaron Rogers superiority. I Favorite, RT and Follow and understand all the rules and etiquette. (For everything that is holy: if you start a tweet with @somonesname ONLY your followers who ALSO follow @someonesname will see it. If you want all your followers to see that tweet and you can’t think of a more creative way to start your tweet, put a period at the start like: . @someonesname).
+It Doesn’t Take a Web Genius

I Like Facebook (see what I did there… never mind). I Like, comment, share, post photo albums, and rant about politics. I also understand the separation etiquette between my personal profile and my Musician Page. I keep up with the changes in real time and change my tactics to accommodate.
+F**k Facebook…In The Face

The best way to social network: remember the REAL world

I do the same for Instagram, YouTube, Tumblr, Soundcloud, Google+ (eh), Pinterest (not really) and now Vine. Yeah, everyone will tell you how important it is to social network and I’m sure – if you’ve made it this far in this post – one of your favorite past times is reading these “how to” articles on becoming a better tweeter and whatnot.

However, the most effective way to social network is not sitting behind your computer or on your iPhone. Whaaaaa?! I’ll let you catch your breath.

Bands wonder why 874 people clicked Attending (or now Join) to their Facebook Event for their show but only 42 people actually showed. You got 53 hearts to your show poster on Instagram and 7 Retweets on Twitter. You may have even gotten a few Repins. But come show day, you are constantly underwhelmed by the turnout. What’s going wrong?

The best way to social network is to network socially IN REAL LIFE. I’m no grandpa. I had my coming of age in the Facebook era and I consider myself fully integrated with the above mentioned sites. The more incredible apps and social sites that pop up the more I realize the effectiveness of real life, in person interactions.

As I wrote in my last DIY Musician post: No social network or YouTube video can change the electrifying energy of a physical experience. This is why the live show will never die (sorry StageIt – love you!).

Whenever I have a big show coming up I make sure to go out much more than I normally do. I go to more local shows and inevitably run into people I know. They inevitably ask me when my next show is. I mention it and then text them the week of the show and remind them and it doesn’t seem out of the blue or like a random mass text.
+How I Got 250 To My Debut CD Release
+Don’t Be A Dick

When you meet people at other musicians’ shows, pull out your smart phone and ask for their email. Send them an email right there about how great it was to meet them. In your signature there should be some links to your stuff so they can check you out if they want. Don’t just send them a “Sent from my iPhone” message. There are ways to change this and add a more attractive/informative signature – do it (I use the Gmail app on the iPhone). You’ll then have their contact info and can start up an adult conversation (we have passed the “find me on Facebook” phase – welcome).
+Don’t Be Afraid of the Phone

If your upcoming show is in a month and you go out 4 nights a week (you don’t need to buy drinks every time – save that dough!) for the next 4 weeks and meet/run into 5 people each time, that’s 80 people (I’ll wait while you figure out the math) who now have had an immediate personal connection to you who will much more likely come to your show over just getting an invite on Facebook from the dude they met that one time at that one party with that girl. Like!
+Booking Your Own Tour: A How-To Guide
+50 Is The Magic Number (Book a Headlining tour)

Musicians: Marketing Is Part Of Everything You Do | Hypebot

SocialThermometer-300x300For many people the term “marketing” conjures up images of cheezy advertising or pushy sales people or wack gimmicks to catch the attention of the press. So if you’re a musician that equates marketing with those things, it’s understandable that the idea that you need to market yourself and your music makes you really uncomfortable. But if you understand that marketing is part of everything you do, you can then begin to spread the word in a productive positive manner.

Musicians who only see marketing as an annoying, interruptive process of shouting at people aren’t going to see it as something they want to do. And if they see marketing as something pushy and rude, then when they embrace marketing as a way to spread the word about their music, they go into full-on spam mode and alienate everyone around them.

Even many business people look at marketing as a necessary evil, something that’s somewhat beneath the creativity of the true entrepreneur. For example, noted venture capitalist Fred Wilson once wrote a blog post telling startups to avoid marketing as a component of their business plans. Instead he advocated that they do a lot of other things that ultimately sounded like a list of marketing tips.

Fred Wilson proposed that instead of marketing, one should spread the word through such things as:

  • social media
  • word of mouth in a specific community
  • live events
  • having a good story, bypassing publicists and taking it straight to the press
  • search engine optimization

Of course, these are all forms of marketing and these are all things that any good music marketer will suggest you do as part of your ongoing activities. Because marketing is about spreading the word about what you’re doing. At its best, marketing is spreading the word by speaking to other humans in a human voice.

Good social media marketing is what The Cluetrain Manifesto describes as having conversations in a networked market:

“Conversations among human beings sound human. They are conducted in a human voice.”

“Corporations do not speak in the same voice as these new networked conversations. To their intended online audiences, companies sound hollow, flat, literally inhuman.”

When one starts to understand marketing in these terms, as spreading the word and as having human conversations, one can begin to understand how marketing is part of everything a musician does.

But it’s also important to understand branding as a component of marketing.

Some people think of brands as logos or as corporate identities but a brand is essentially the image or thought that immediately comes to mind when people think of you. So your brand can be thought of as your personal and professional identity in the minds of people other than you.

If marketing is what happens when you are showing who you are to the world and are spreading the word about what you do, then marketing is part of everything you do, at least, when it involves other humans.

Marketing is what happens when:

You choose a name for your band that communicates what your music or larger aesthetic is about.

Marketing is what happens when:

You pick an image for your cd cover or flyer that creates a first impression.

Marketing is what happens when:

You tell people you have a show coming up, whether you’re pushy or polite.

Marketing is what happens when:

You post fliers around the neighborhood and share the space with other events or plaster over those fliers like a total jerk.

Marketing is what happens when:

You publicize your new single by sending out emails to a list of people who’ve signed up or to a bunch of people who never gave you permission and may not give a damn.

Marketing is what happens when:

You get drunk at your show and say crazy things on the mic that alienate people.

Marketing is what happens when:

You get drunk after the show and start hitting on women (or men) inappropriately.

Marketing is what happens when:

You get drunk, show you can handle your liquor and maybe even buy the house a round.

Marketing is what happens whenever you interact with people because, as a performer, you’re a public figure and you’re always on stage. That can be a difficult thing to handle but, if you’re trying to build a career in music, it’s something you have to face.

So wo/man up and realize that marketing is everything you do from what you name your band to how you present yourself in public to how you spread the word about your music.

How the biggest electronic acts play their music live


Cartoon Banner

So far we’ve talked about digital audio workstations, basic components of a home studio, MIDI controllers, and even mobile apps and how they can fit into your creative process for making music. With Ultra Music Festival wrapping up this month, I figured it would be appropriate to talk about how some of the most technology-heavy music producers in the world utilize these technologies to create their sounds during a live performance.

Here are a few names you might recognize and which devices they use during their live shows:


Electro House, Dubstep

Skrillex, a former post-hardcore singer/songwriter, began creating digital productions and has been a major contributor to bringing electronic music back into the mainstream. Having been nominated for a total of eight Grammy awards and leaving with six, Skrillex is showing no visible signs of slowing down. Here’s what his live rig looks like:

View original post 1,027 more words

Creating Magical Moments In Your Live Music Performance | DiscMakers

To kick off a live music performance, many bands simply string together three or four songs, back to back, and don’t stop to listen to the audience. According to veteran live music performance producer Tom Jackson, “That’s the equivalent of meeting someone for the first time and talking non-stop for 15 minutes without listening. No one likes that.”

Here are three of the common on stage mistakes that musicians should avoid if they want to really build a rapport with their audience during a live music performance.

Live music performance coaching1) Talking too much. some artists are blessed with the gift of gab, but simply talk way too much. It’s more effective to pick a few spots in advance during your set where you can open up and create a moment by sharing a personal connection to a song.

2) “I Let My Music Speak for Itself.” This artist thinks he doesn’t have to speak with the audience other than mention a song’s name and say “thank you” afterwards. That’s a mistake and a lost opportunity to let the audience get to know you as you build your set. Remember, converting an audience member into a fan can only occur when they feel they have gotten to know who you are as a person.

3) Resorting to clichés. “Is everyone having a good time tonight?” isn’t the best line. Unless you happen to be Bruce Springsteen, the answer for most of your audience is probably, “I have no idea!” So try to avoid clichés that don’t really help you connect in some way with the members of your audience during a live music performance. Instead, if you actually take the time to learn how to engage and read an audience, you will make much more money out of your performances and at the merch table.

You use the concept of pouring your personality into your show to engage the audience. What are some ways the artist can do this besides the obvious intro such as “I wrote this song after a romance went on the rocks…”
Back to the comparison between Eddie Van Halen and Vince Gill. They each use tone, phrasing and song selection as a few ways to put their unique personality into their show. That’s what defines their voice musically. First, though, they got to the point where they never have to think about what they’re going to play and how to do it effortlessly. They put in the 10,000 hours to develop their own style. Some people may display their personality on stage through clothing or staging, but that’s not enough.

One of the best ways to put yourself into the show is through tweaking the arrangement for a song, so that you can pour yourself into it. For most artists, the song is in control, not the artist; especially if it’s arranged for radio, with a tight predictable song structure. When I’m working with an artist, what I do to help them create moments is to identify themes and characters. First, we’ll look for the themes inside a song for the best spot to modify. This is often an extended intro, a solo or even the bridge, that can be developed into something really cool. Once we’ve identified the theme, we’ll next decide which character or member of the band will pour their personality into that moment. A good example would be a song that has a short 8- or 12-bar guitar solo on the record. For the live show, that solo can be extended as long as it is effective and the guitarist is the character who can really be featured musically and visually on stage.

Another example might be a tune that has a vocal bridge that’s passionate, but short and sweet to be radio friendly. If that bridge can be developed into an emotional moment, then it doesn’t matter if your vocalist repeats it two, three, or five times to let the maximum emotion pour out. Just watch a video of Bono or Springsteen take a bridge or chorus and work it that way. By the end of that moment, every single person is up on his or her feet screaming.

I have a simple rule: Sing fewer songs, create more moments. When asked to play a half hour set, most bands immediately think, “How many songs can we fit in?” Instead, if they thought “How many moments can we develop?” they’d be much further along. Not understanding how to create a moment and constantly seeing where they best fit into your set is going to limit your success.

Some of our readers are in bands, but quite a few are solo performers. What are some suggestions to help them use your methods?
Number one, you have to tell yourself, “I am the band!” There is a lot one musician can do right away to expand his or her sound, such as using a guitar for percussion, getting a loop device to set up some patterns to play or sing against, or switching instruments for a few tunes. We think it’s all about the song and the lyrics — and there’s no question, songs and lyrics are huge while performing. But they are not enough by themselves, you have to ask “How can we engage an audience using our songs?” We’ve got to tear a song apart, get to the sections that can be developed, and turn them into a moment that will get the audience to respond. Get them to laugh, dance, sing along, clap or cry, some moment that will connect with the audience emotionally is how you will make them fans.

A singer/songwriter doesn’t have the drums and screaming guitars, so there is a subtler spectrum that you work from. Something as simple as taking one step to the left to play a rhythm guitar part, or moving from standing at the mic, to getting on a stool and doing a more intimate mini-set can make a big difference. Doing a song a capella, changing the tones on your guitar, scratching the strings, whatever you can develop to stand out. You need to vary the ways you connect with your audience visually, musically and emotionally over the course of your set.

I’ve recently been working with an artist who performs with a band and who also built a strong solo set. That way, she can go into a label or manager’s office and have the same kind of impact. She is now able to perform so well and spontaneously in any situation that she can win every time she picks up her guitar. Of course, a singer/songwriter has to lean more heavily on their verbal skills and their songs than a band. But even a solo artist has to change visually, because if your songs all look the same, they will start to sound the same. Every audience hears with their eyes, 55% of their impression is formed by the visual image you put on stage.

What are some of the elements that make for a good set-ending song? Is it energy, message or just your best song? How much does the venue affect what song to use? 
I always like to close a concert leaving the audience wanting more. Ideally, the closer can be an original, but I like a song that starts kind of low and then builds, builds, builds and pushes the audience along with it to its peak. That way it will demand an encore. How you do that will be different in a club than in an arena but in both situations, the audience has got to understand where you will be taking them. And then when they get there, everyone will feel satisfied.

Ultimately, though, a good show has plenty of energy, it’s not only about jumping around. And it’s not just about performing the best songs, having the best voice, or the tightest band. Those are all important elements, by you have to look at yourself through the eyes of an audience member. The audience is largely ignorant of the gear you use and what notes you are playing. To a musician, all that stuff matters, but it is useless information to a general audience member.

If you are serious about having a career performing your music, you have to learn to answer the questions, “Why does the audience go to a show?” and “Why do they pay attention?” If you do that and learn to engage the audience, and to bring them on a journey through your set, which is filled with moments that they can follow, you will have a viable career. You just have to learn to exceed audience expectations every night while you build a following. It really is that direct.

Read more: Creating Magical Moments In Your Live Music Performance – Disc Makers http://blog.discmakers.com/2013/03/creating-magical-moments-in-your-live-music-performance/#ixzz2Oh9TVYVa