20 Feet from Heartbreak

Hi there,

I know I'm not the only singer who went to see '20 Feet From Stardom' and felt the way I did - I sat in the cinema staring at the final credits rolling by, gulping back tears and trying to recover from the blow to the solar plexus the film served me. 

The lump in my throat was partly for the singer who received no credit for a No.1 hit she recorded that was released under someone else's name. Years after, she happened to hear the song on the radio - she was cleaning someone else's house to make a living at the time. The tears were partly for some of the most devastatingly talented singers I've ever heard and their disillusionment in the industry they loved that at times treated them so roughly. So many home truths, so much heartbreaking reality. 

Of course the tears were also for me. The documentary introduced us to singers who dreamt of being artists in their own right only to find after years of playing the support role for established acts, their dreams had passed them by. I spent years as a backing singer working with well known artists: Wendy Matthews, Richard Clapton, Powderfinger, and many more. Did all that work for others mean I didn't pour my heart fully into my own career? It sure was fun being on the road with some of the names I grew up with, appearing on TV, performing to full theatres and in auditoriums. Surely those experiences helped hone my own artistry too? 

I'll never know what would have happened if I'd taken a different path but I've decided not to dwell on what might have been but to see that glass, ideally with bubbly contents, as being half full. In the words of the diva with one of the most heartbreaking stories of all, je ne regrette rien! 

See you next time,
Amanda
www.amandaeaston.com

Should you Sing Sick? (When Sound Engineers Suck, Part 2)

Hi there,

I think I've got one of the best jobs in the world but I can't say the conditions and benefits are great. Basically, if I don't sing, I don't get paid. So if you're sick what do you do? Stay home sniffling and feeling sorry for yourself? I might as well be out sniffling and getting paid to feel sorry for myself! Of course it depends:

1. Will I embarrass myself? If I'm not going to sound any good then I don't want to let anyone hear me. But let's face it, singing is such an inconsistent art with hundreds of variables anyway, so as long as I can do about 75% of my best then I'll sing. Sometimes the extra work I have to put into my technique when I'm sick pays off with a better performance than a healthy but lazy one!

2. Will I piss off the band/agent if I don't sing? If advertising and promo has gone out with my name on it I'll try extra hard to drag myself from my sickbed. And if I know the gig will be difficult to cover by another singer - it's last minute, out of town or a specific part that requires rehearsal - than I'll be there.

3. Will I damage my voice in the long term? Nothing is worth that - I don't mind pushing the envelope a bit to get the job done but if it's going to hurt me down the line, I'll slip under the covers and stay there guilt free.

I was at a very big club recently to do a cabaret show with the house band. I was at the tail end of a dose of the flu but numbers 1 and 2 above were definite possibilities so there was no question of pulling out of this one. I was to sing in a huge auditorium on a massive stage where both the audience and the band were way out of spitting distance so there was no danger of infecting them. The only concern I had was the artist that followed me - they would be using the same microphone. I mentioned this to the very friendly lighting guy and he said he'd send the sound engineer backstage to have a chat to me before the show.

Those who have read my last blog may know what's coming next (see 'When Sound Engineers Suck'). Yes, who should walk into the green room but Mr Persnikety.  Now if you are a persnikety sound guy then you're having run-ins with singers on a regular basis. So you're not going to remember one little singer in particular, weeks after the fact, at a venue across town, are you? Damn my rather unusual blue hair. 

Mr Precious laid eyes on me and and smiled maniacally. I gulped and soldiered on. 

'Oh hi there...well I have the flu and I don't want the artist following me to catch it, so I was wondering if you'd be able to give us different microphones?' I said, heart beating, with a big false smile. 

His eyes widened as licks of flame started coming out of flared nostrils only inches away from my face...well Ok that didn't happen, but that's how it felt. He did however tell me there was only one microphone.(?!) He then paused for dramatic effect (the entire band and crew backstage were our audience) and said, with lashings of scorn, 
     'Well, ah, just putting it out there, but did ya ever perhaps think (another pause here to highlight by obvious inability to do just that) that perhaps you shouldn't be performing if you're sick?"  

Cruel stare, Blink, Cruel Stare, more flames out of nostrils. Hasn't he heard of 'The Show Must go On?' And excuse me, but I own a sound system worth less than $2000 and I own three microphones. I was about to sing to hundreds of people through a sound system worth in the hundreds of thousands of dollars - and there was only one microphone - really?

Don't piss off the sound guy...

xAmanda
www.amandaeaston.com

Singer Searching for the Sweet Spot

Hi there,

I did a recording session for a Grammy Award winning producer recently. He'd heard my voice before hiring me so while I was nervous, I was reasonably confident it would go OK. 

He played me a few songs he'd written and after a while we got to work. The first one was a rocky number and I did my best to give it some. But I could see on his face and hear in my own head that it just sounded...blah. There were no notes I couldn't hit and I was doing my best to channel Joan Jett but it just wasn't happening. Beyonce was looking down at me disapprovingly from the personally signed photo on the wall. No pressure then.

Now sometimes the problem with songs written by one sex for the other is, no matter how much the writers know about music and songwriting, they just don't quite fit the voice for which they're intended. How often have you heard great singers do mediocre performances because the song just doesn't suit them? That's why song choice and key choice is make or break on TV talent shows like The Voice and when you putting that decision in someone else's hands, well, good luck!

We come to grips with the scope of our own ranges as singers but within that cluster of notes I've realised there are those that make my voice soar and others that are just a bit...blah! In other words, there is definitely a sweet spot and if the song doesn't enter into that neighbourhood then maybe that tune's not for me, not in that key at least. So when a band says: 'Well, we do this song in this key,' I think you have the right as a singer to say: 'Do you mind if we do it in my key?' After all, they don't yet make capos for voices. 

Anyway, the second song we recorded at this session went much better. I could see the producer's face relax and could swear I saw Beyonce winking at me. Bet she knows all about the sweet spot.

See you next time.

How to get the Clap

Hi there,

'Grease' at Taronga Zoo Twilight Series 2013

I was lucky enough to do a gig recently to an audience of over a thousand enthusiastic people. It was on a huge stage with all the lighting and sound set-up you'd expect from a well-produced live music event and a great time was had by all - both sides of the stage. Throughout the entire event the crowd went wild - applause and cheering could be heard for miles.

I did another gig recently to an audience of about 50 people. There was no stage and no lighting. People had to say 'excuse me' to walk in front of us - to get to the bathrooms. Throughout the entire event the crowd went mild - you could hear tumbleweed rolling down the main street.

So what's happened to clapping peeps? The latter style of gig can be bread and butter to many professional musos and I've noticed more and more recently that clapping is a dying art at such shows. Now you may be thinking, people aren't clapping because they aren't enjoying the music. That's the first conclusion I jump to - and I can tell you it's no good for the fragile artistic ego. But then almost without fail, something strange happens after the final song. People from the audience come up to offer their compliments on the performance and press us for more! Ah, so you loved what we did but remained silent in that traditional space left between songs to show your appreciation? 

My theory is that if the venue doesn't show respect for its performers - by offering a proper performance space - then an audience responds accordingly. An audience seems to need cues to do their job properly - and those cues include lighting and a pedestal on which to view their performers. Ideally far away from the toilet door.

The more venues shove performers in the corner on a piece of carpet, the less impact their performances will have. And the more we'll hear venue managers say that live music just 'doesn't work'. And then we'll all be listening to the sound of one hand clapping. 

See you next time,

Amanda

For Singers: On Being a Bitch

Hi there,

Since it's the season of goodwill, I thought I'd talk about the importance, as a singer, of being nice. Niceness is underrated. People almost have an expectation of diva-ish bitchy behaviour from female singers, especially if there's more than one of them on the same stage. I ran 'PopTarts', a weekly female singer-songwriter night, for almost 10 years - dealing with female artistes en masse - and I completely disagree that un-niceness is the norm. I was always impressed at the warm camaraderie between the singers and not only do I think it's the right way to be, I think it's good for your career.

I do a piano bar-type gig once a week, largely attracting international tourists. It's quite common for visitors to come and get their photo taken with the piano player and I, at the end of the night. Recently, a family came up to the piano and I got my best smile ready. Instead of posing with us, the mother glared at me, snarled 'excuse me' as she pushed us to the side and deposited her 20-something daughter at the piano. Mother instructed daughter to place her hands on the piano as if playing and then directed her (also snarling) son behind his camera phone, in what became a mini photo shoot. 

 Just after they left, my boss approached us laughing. Apparently this family were his guests this particular night. He had invited them because the mother had enquired after the singing gig for her daughter. The venue hires singers every night of the week so he is always interested in new performers. When my boss sat down with them for a while, during my performance, he asked the group what they thought of me. Apparently they stuck the boot in. There were harumphs and comments like 'oh she's very average'. Perhaps this is what they really thought, but is this the way to get yourself a gig?

Well you'll be pleased to know it didn't work. When the mother asked Bossman when her daughter would be able to start, he said something to the effect of, 'you can have the gig when this singer is finished with it and that could be another 20 years, so don't hold your breath.' Didn't she realise she was not only putting me down, but also criticising the judgement of the person that had hired me, ie Bossman himself? The Maitre d' told me the group had been disparaging of me to him as well! So with all the staff talking about it, and laughing at what they considered their transparent efforts to land the gig, they had managed to absolutely guarantee that no kin of theirs would ever work at that venue.

In any industry, people want to work with nice people, right? It makes life run more smoothly. Anyway, everyone knows Santa strikes naughty people off his present list, so here's to nice!

Merry Christmas everyone,

xAmanda

How Do You Remember All the Words?

Hi there,

Remembering all the lyrics to a tune, in the right order and attached to all the right notes can be a challenge! Over the years I've developed a technique that works for me and now, depending on the complexity of the song, it can take as little as half an hour to get a song into my noggin. Although I do believe it takes two performances of the song to get it to really stick. You have to break its cherry before a real live audience and then bed it down, so to speak. 

Anyway, I recently read something to suggest some scientific justification for my technique so thought it was worth sharing. I am reading 'The Talent Code' by Daniel Coyle. 
Through his study of 'talent hot spots' around the word, he has come up with some of the secrets to effective learning. He comes to the conclusion that talent is more grown that born. 

We all know that repetition is important when we're learning something but that's not the sneaky little key. It's all about making mistakes. Hey I'm good at that! Your mind needs to be tested on what you're learning, making errors and fixing them. If you just sing along to the voice on the original track you're not ever truly being tested and it will take quite a long time to get the song words to stay put. 

Here is my technique:
1. Get a recording of the song you need to learn 
2. Get a backing track of the same song, in the same arrangement (itunes or www.karaoke-version.com are good)
3. Put the two tracks on a CD, playlist etc
4. Press play and repeat as necessary. You'll learn the song by listening to the original singer and the backing track will be testing you each time.
5. When you're comfortable, sing it for your flatmate (without looking at the lyrics of course)
6. Then sing it for the postman.

If you can do numbers 5 and 6 without any mistakes, then it's in baby!


The Talent Code also talks about a sweet spot. What you are striving for has to be only just out of reach - not miles away. It might be too big a task to do the whole song at one time. Break it into manageable bites - verses, choruses, 'la la' bits etc. 

Like that smart ancient guy once said 'The longest journey starts with a single step'.
Cheers,
Amanda