When it comes to music, more specifically creating the live
show, there seems to be a large line that’s drawn separating two ideals at
opposing ends of the production spectrum. Create the live show to sound exactly
like the record or create a new “sound” created by the musicians on-stage. It
seems to me that there might be a middle ground where both can be satisfied but
in most cases there seems to be a continental divide between these concepts.
As a drummer I’ve been on both sides of this problem. Do you
try to create a show that represents your album, which you’ve slaved over
spending hundreds if not thousands of hours on? Or do you just run with what
you’ve got and try to put on a unique show as a separate piece of art? In most
cases the latter wins out simply because of budget, but what if budget were
less of an issue?
As I follow some of my favorite drummers on their various
social networking sites, I see these immense drum setups combining both
acoustic and electronic percussion into cohesive monster drum sets. But when
you attend a show or see/hear a live DVD it sounds precisely like the record,
in most cases. Which raises the question why have such an elaborate setup if
you’re not going to use it? I mean it seems like a lot of extra work for your
drum tech to have to setup all of that equipment if you’re just going to use
the Kick, Snare, and Hat 95% of the time. But I’ve come to realize that there
is a purpose. It’s just we, as spectators; don’t get to see 100% of the show.
It’s also the same reason that musicians who play for big stadium-sized acts
like Justin Timberlake, Katy Perry, or Jay-Z are some of the best drummers in
the world; they have to be able to play anything on any record that is thrown
at them. They are the masters of recreating a specific sound or feel. It’s also why they get paid so much; they
have a lot of responsibility to sound exactly the same every night.
The opposing idea of live production allows musicians a lot
more freedom to create sounds and ultimately unique performances on the spot. This
is the route that most rock bands head allowing them the freedom to create an
energetic show of different proportions. This idea leaves a lot more room for
interpretation. But what happens when you’re given the responsibility of
re-creating an artists’ record but not given the parameters in which to operate
and no musical director to guide those decisions? You have to be able to check
yourself and without ego, be able to make the proper musical decisions. As a
drummer especially, you have to be able to contain that desire to over-play
until the boss, usually the artist themselves, gives you the go ahead to
showcase your skills. Until then it’s your job to hold down the fort.
As per usual I don’t really believe that it has to be one
way or the other, why can’t there be a cohesive compromise between the two?
Re-create the feeling of the record by finding solutions that aren’t the
straight-ahead expectation. Steve Goold does this magnificently playing for
Sara Bareillis. He uses his knowledge of percussion to create unique
performances that are exciting and unexpected but within the bounds of each
song.
Especially without a music director, you need to have the
right people by your side, those whom you can trust to make the best musical
decisions with little governing. It’s all about making the best musical
decisions. But on that same note it all comes down to ego and how each person’s
is satisfied. As a percussionist I’ve learned to ease my ego by playing in
between the notes, finding the space appropriately placed, by understanding
every little accent no matter how subtle, and by using a growing knowledge of
percussion and electronics to create unique sounds and setups allowing me to be
creative but still fit within the boundaries of any given song.
The artist you’ve been hired to play for has created songs
that are already good, the best thing you can do for them is be creative but
within the boundaries of those songs. How you go about doing that can make or
break your career, tread lightly.
