Set Lists

I’m about to play a house concert and I’m starting to think about which songs I would like to play. This concert will be for some people that I already have played for and also for some people that I’ve never played for. It will probably be a group of people that are my age (mid 40s and up) so I need to choose my songs carefully so as not to alienate anybody. I want the evening to start off fast, have a smooth part and end up with some fun songs so I can need them happy and wanting more.

What I’m talking about here is creating a set list. This is the guiding list that musicians use so they know which songs they are going to play and in what order. A set list comes in handy when preparing for a show because then you know what to practice. It’s also good to know the audience that you’re going to be playing for so that you can construct a set list that will make the audience more engaged in your show.

I find that the more songs I have to choose from, the easier it is to create an effective set list. But also when you have a large grab bag of songs to choose from, it’s hard to choose which ones you want to play. You say to yourself I want to play them all – I want to play this one, I want to play that one, but in the end you have to choose and that makes it hard.

When I’m playing a venue that affords me the time to play, like two hours or more, then I might go in without a set list. I may have an idea of what songs I’d like to play, but because I have such a large amount of time and the audience may turnover, I tend to pick and choose in the moment.

Whatever the case it’s always good to have a set list – at least to know which songs you might be playing. So here’s my set list for my upcoming house concert. Now all you have to do is just show up to the concert and see how it works.

What do you do – just show up and play? or do you plan ahead?

Set List for House Concert – 2/19/2011

  1. Drivin’ In – uptempo
  2. Halfmoon Road – backbeat
  3. Aunt Jean’s Piano – med tempo
  4. A Southern Man – ballad
  5. Hold On To Her Heart – peppy love song
  6. Too Many Kids In This House! – humorous blues
  7. Steel Mill Town – ballad
  8. Count On You – cute & short
  9. If You Could Read My Mind – ballad – cover song
  10. These Days – uptempo semi-humorous
  11. I Want To Fall In Love Again – novelty, uke
  12. Where You’re Supposed to Be -
  13. One – cover song
  14. My Blue Sky – up tempo – serious
  15. Hillbilly Backyard – humorous blues
  16. Red Haired Woman – rocker
 

I’m tired of conflict. I’m tired of hate spewing voices and aggressive acts of mindless violence, discrimination and lack of compassion. So — I’m gonna pick up my guitar and play, just like yesterday. Thanks Pete!

It should be of no surprise, but let me point it out anyway, that the only communal human activity in which it is impossible to interact negatively is in musical performance. Now, let me clarify that statement before some of you start to point out what you think is wrong with my statement. By performing I mean the people/artists actually playing the music via instrument or voice. They are the ones that I specifically recognize as unable to be at odds with the other performers on stage. Impossible. The listening audience may be moshing around and tearing at the seat cushions, but the performers are in sync and are harmonious in their actions.

Think about it. Have you ever witnessed a band, string quartet, percussion ensemble or kazoo octet not getting along as they played their music? Acting and dancing may come in a close second, but it is not he same – there is no sustained byproduct like the vibrations that fill the air from a musical performance. Conflict may arise from a musical performance but it occurs before or after the music is being made or when something or someone disrupts the performance. The music stops, people address the issue, but while the music plays, there is no conflict between them.

When I go to concerts the musicians are usually smiling. Sometimes they may have a stern face because they are concentrating in order to listen and interact. But there is no prejudice, no animosity, no hatred while the music plays. Even if the musician is performing solo there is an inner peace that allows the music to flow out of them. It’s like  the act of creating music dissolves all hostility and soothes the savage breast.

But what about music that has a message? Music that inspires men to go off to war? Music that inspires love? Well that’ something entirely different from what I’m talking about. Performers have no real control over how the listener interprets the sounds. My focus is the performer. The pure artist that engages in music for the sake of creation. And I say that in that creation there can exist no conflict and no hate. As the Sex Pistols played ‘Anarchy in the UK’, the audience may have been bloody, but the boys in the band were in harmony and not in conflict. Until they stopped the music.

OK, so we have to be playing music constantly in order to stay out of trouble. No. But, as in meditation it’s what we carry away from the practice that sustains our ability to be present. So perhaps through consistent performance of music we can carry away feelings of compassion and empathy. Just a thought.

I’m in the middle of budget cuts once again. The school system in which I teach has been cutting away and we all know what gets trimmed: music, art and home economics. It would seem to me that these should be the last subjects to cut. Home Ec teaches us how to eat. Art teaches us appreciation of life, beauty and creation. And music teaches us how to get along – communal non-aggression. That seems like a recipe for the survival of our species if I ever heard one: eating, creation and co-existence. But the people with their hands on the purse strings say otherwise and choose to diminish the role of the arts in our lives. Sounds like a conspiracy to keep us angry, hungry and silent.

Well it seems my only response is to play my guitar like I did yesterday, will today and plan to do tomorrow and then get on my knees and pray I won’t get fooled again.

 

hiding under the covers? –

I have had two successive discussions about doing cover songs recently. The first was with my songwriter’s circle and the second was with myself as I listened to Roseanne Cash talk about her new CD “The List” on NPR’s Fresh Air. Each time I have been confronted with how difficult it is to do a cover song right. There are a lot of bands/performers that cover a song just to have it in their songbook as filler for their second set and then there are artists that cover songs because they want to perform a great song.

The discussion I had with my Songwriter’s Circle was centered around how we can take a cover and transform it. The song that we were tossing about was AC/DC’s “You Shook Me All Night Long”. That hard rockin’ song is difficult to do on acoustic guitar and have it sound like AC/DC. Well then, that’s the point: don’t allow it to sound like AC/DC. So we played it slower and with a bluegrass edge to it and man did it sound great! All of a sudden I started to really hear the lyrics and feel the intent of the song.

The discussion I had with myself as I listened to Roseanne Cash involved honesty and soul. If you’re going to sing classic country songs that everyone knows, then you had better understand your reason for singing it. How are you, the singer, going to make an audience hear this song differently from the way we are used to hearing it? Do you really understand the lyrics and can you convey the meaning to an audience that may understand them a totally different way.

I have a few covers in my working songbook that I take out every once in a while. The latest song I’ve added is “One” by U2 and I am struggling with it. First of all how do I make it mine? How do I change it up with out ruining a beautiful melody and lyric? And how do I make it travel from the first line to the last line like Bono does? And – how do I create atmosphere with my acoustic guitar the way The Edge does with his electric and a lot of delay?

In my head I had a picture of Tom Waits doing this song. What would he do? Slow it down? Be more accusatory in his tone? Speak some of the lines? I tried to approach it from this angle. I also have a lower voice than Bono does so I couldn’t do the vocal calisthenics that he does and that gave me another indication that I should think of Waits.

The more times I sung the lyrics the more I felt the real anger that was hidden between the lines. Even though Bono sings this in a ballad style, I felt that there needed to be some punch to a few of the lines so that the person being sung to (and about) really gets hit in the face with the words.

I’m still working on this One, but check out the video of me and let me know what you think. I take the covers I do very seriously and I try to find a balance between original interpretation and keeping true to the writer’s intent.

Peace

~Darryl

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