Shagtastic Voyage

Ok, this is kind of an odd combination, I know. And, just prove how random it actually is, I will tell you this- I got the idea from an Olympics commercial. Anywho, pretty much the main focus of my short blogging career has been the mental side of being a musician, the problems that people don’t think about as being inhibiting to their career, performance, or stage presence. They are also ALL issues that I have personally dealt with and overcome. They make these pages of near incoherent rambling because, since their defeat, my musical life has prospered.

Image via Wikipedia

So, you may be saying to yourself “what in the world is this dude talking about? Ice skating is NOTHING like music!” Au contraire, my friend. au contraire.

Here is how I see it.

In all ice skating (professional or the average Joe in a public rink) there is a trust issue. When alone, there is the problem of trusting that you have the ability to keep yourself upright. Then, whether you know it or not, you are trusting that the ice will facilitate a smooth, dry run, and, on top of that, you are trusting that your skates will do their job. This is a no-brainer. Trusting in yourself is THE reason a show goes good or bad. Even if equipment fails, your recovery is what people will remember (that’s a great set up for a golf analogy but that’s for another time).

Here is how it ties into Pairs Figure Skating.

Have you ever watched a competition? Have you ever seen the way one member of the team gets held by their feet and slung around with their head two inches from a floor of solid ice? Or, held over the other’s head while they skate backwards? Or, better still, how about a jump and twist before they land (blindly) in their teammate’s arms? Well, that’s a lot like being on stage. Yep, you have to trust everybody on stage with you- from the sax player to the lead guitarist to the sound guy (if applicable). Keep in mind that snags here and there are going to happen; I am only talking about blaring issues that reoccur and are a directly related to the lack of preparation.

I have already written about self confidence and personal demons (see mind over music pt 1, 2 and 3) so I won’t go into that here but it’s the same type of deal. You know you’re ready; trust that they are.

The way to do this is easy- only play with people who take the music as serious as you do. If you are aspiring to be a pro, don’t gig with cats that call out of a rehearsal because their favorite team is playing. You can bet that, most of the time, those are the guys that will come to rehearsals and try to bum the chord progressions for one (or all) the new songs from you. You have to be able to know that everybody in the band is on point and prepared. Worrying if the drummer will remember that break won’t make him hit it! You need to trust that he has been professional enough to learn it or, at least, write it down. The audience will be able to sense your hesitation and uneasiness whether he/she misses or not. You have to be able to focus on the game, not the players. If everyone on stage is vibing and feeling the music then the audience will be doing the same.

How do you deal with people who aren’t as dedicated? Glad you asked!

If you are in a band where everyone is equal, there is an unspoken protocol to handling stuff like this. If you feel someone is not pulling their weight and you are uncomfortable on stage because of their lack of preparation, you have to talk to the rest of the band. NOT in a way that is disrespectful to the member in question, but in an inquiring manner. Find out what the other members think. If they don’t agree, it’s on you. Either pull back and let it go or, if it is too much for you, find another band. If they agree, designate one guy to talk to him. You don’t want them to feel ganged up on so avoid a group “sit down” and the person with the most tact, is better suited for the task. It is very important that you treat them with respect and understand where they are coming from. They may be having some issues that they can’t help; something that is keeping them out of the shed. Whatever you do, don’t let it become an argument or confrontation. If the problem can’t be resolved and you have to relieve them of their obligations to the group, be tactful and respectful. Don’t drag them along and don’t actively look for a replacement before you fire them. Designating a sub is fine but be discrete with the reasons for doing so.

If you are a bandleader, it’s all you. YOUR name is out there first and foremost. This is when you have to pay close attention and note any issues at rehearsals, meetings, shows, etc. If you want to, get an opinion of someone in the group but (and I can’t stress this enough) BE RESPECTFUL. Nobody likes or wants to work for someone who talks about people behind their back. It’s rude and a great way to lose colleagues. You have to be quick and decisive on this because every bad performance is a reflection of your leadership and work ethic. Not to mention, nobody wants to pay to hear crappy music.

You know why you don’t see a lot of Olympic Pairs Figure Skaters drop their partner? Because they practice. They know what to practice and, because they do, you don’t see people baling from jumps and lifts. They trust their partners are going to catch them and, if there is a slip, they are confident that both of them are capable of a decent recovery. A musician’s relationship with his/her stage mates is no different.