Hey guys,

Guess whaaatttt?? It’s “Back to the Basics” of performance time! I named this blog post after the Billy Bragg collection… get it? Ha ha, it’s cute right?……….

No?   Ok…….

who is Billy Bragg anyway, right?…… :*(

Homies, a lot of bands and artists ask me to go see them live, which is super cool. You all know how I love live music. I try to go to gigs whenever I can. You could be singing Whitney Houston “I Will Survive,” dancing the “Y.M.C.A.,” playing like Muddy Waters, performing your own original songs or doing covers! I don’t care, I love it all.

However, after the gig I almost always get the question that I love AND dread.… dun dun dun….

  Bands ask me: “How was I on stage?” “How can I improve?”

This seems like a simple question right?… I could give you a high-five and tell you your performance was awesome!……… but the reality is,

Asking me how your performance was is NOT a casual question for me! Sometimes it makes me feel like I’m about to break out into (The) Hives!! In fact, it’s one of the hardest question for me to answer.

Why? because I get super excited after seeing anyone live and it’s hard for me to say all that I would like to say within two minutes after seeing a band perform.

I usually end up spilling my guts like an idiot because I have so much to say, or I stand there all weird and say nothing so I don’t spill my guts like an idiot……

ME ^^^^^^

So, to avoid my own self-embarrassment/word vomit at the next gig you invite me to, I am writing you this post. Now, I can give you a high-five and say “rad gig” like a normal human being…

Now that we are on our way, the first thing I would like to tell you is that a live gig is not an ideal place to get live performance coaching.

WHERE TO GET LIVE PERFORMANCE COACHING:
Usually, the best place to get live performance coaching is in your own rehearsal space. That’s right! Have someone come to your personal rehearsal space. For example, your rehearsal space may be your bedroom (like me because I’m terrified to step on a stage), your bathroom – like Linda Perry (she has a grand piano in her bathroom, how legit is that?!), a rented rehearsal space or whatever it may be!! Just make sure its a place where you feel comfortable.

Next, put on a great show for the person you invite, whether it’s your friend, manager, cousin, gf/bf, A&R rep or whomever – make sure your performance is stellar! Just like you put on a play for Mom and Dad when you were a kid!!!(don’t deny it, we all know you did it). Make sure the person is someone you can trust. Then, perform ONE SONG for them.

Perform the song ONCE and make sure it’s the best performance of your life!…and then ask their opinion on EVERYTHING in that song….. and I mean, everything.. literally dudes, everything: from the song lyrics, to your style, your pronunciation, your tone, your voice, every guitar lick, every rhythmic strum, every chord, every drum roll, every bass pluck, slap, mute, your fretting…. and so on!!!

Take that criticism and listen  carefully. Apply what you’ve learned and then ask someone else!

Wash. Rinse and Repeat… and PRACTICE, PRACTICE, PRACTICE.

It’s a long process, but the more opinions you get, the more you are able to filter out other people’s opinions. Then, you can make your OWN judgements about your music and find your “true artistic self.” 

PHEW, get what I mean? That’s a mouthful. How do I tell you that in two minutes after a gig!?!? I can’t, it’s insanity and I end up sounding like I should be in a ward:

Now that you have my thoughts on where to get performance criticism and coaching. Here is my very condensed and very general interpretation of live music performance:

A live performance is about finding the balance between two ostensibly impossible things: vulnerability and control.

VULNERABILITY

Music is about exposing yourself to the audience. Put  your heart on your sleeve (for real dudes). Make your audience understand where you are coming from. Feel that moment so hard you feel like you got kicked in the gut, sing so hard you’ve shattered the mic, articulate every lyric (or don’t and slur like Tim Armstrong from Rancid if that’s your thing) and make sure the audience understands every note you’ve written. It doesn’t matter if you’re playing in a dive bar or a stadium. BE Confident and BE Yourself.

CONTROL

At the same time, you need to zoom out and have a birdseye/helicopter view of yourself on stage. Slow the moment down in your head. Understand EVERYTHING about your instrument  (be it your instrument is your voice, a guitar, a horn, a kazoo, a box – whatever!!) and PERFECT your craft!

Be aware of yourself and ALSO other members in the band, each have different skills to help support the band in its entirety. Watch your OWN videos and read your body language.  See how the crowd reacts to what you do on stage. For example, repeat spontaneous moments that elicit responses from the crowd.

Most importantly….. OWN (PWN) THAT STAGE!!!

Finally, be aware of your audience! Don’t play death metal if you are performing to grandmas at a Lion’s Club event. Even if you are a death metal band… mmmmk?

Just don’t do it…

I know it’s tempting as all hell (I would totally do it) – but don’t alienate your audience!!

Try death metal, unplugged – acoustic style!

Whether you’re strutting like Mick Jagger (OMG, did you know that Tina Turner taught Mick Jagger how to strut!?), shakin’ it like Tina Turner (Tina is 70 years old in this video!! CLICK), playin’ the keys like Elton or Billy Joel, strumming very still and projecting emotion like Brody Dalle, destroying the stage like Eminem, or having a very quiet, private moment with your audience like Beyonce…..

REMEMBER the key is the balance between: Vulnerability (your independent thoughts feelings, style, lyrics, being yourself) and Control (self-awareness, audience awareness, instrument technique, band awareness).

It’s a lot of work, but you’ll see results! I know it’s rough out there, but don’t be discouraged!

Peace and Love,

Executive Producer, Daniela Oliva

P.S. If you are really interested in improving your performance and need more guidance from the ground up. I recommend checking out Tom Jackson’s live performance 7 DVDs set called “All Roads Lead to the Stage” – they are expensive but comprehensive and include everything for every kind of performer… I have a set myself! OR if you don’t have the extra cash to spend, you can learn just as much by watching the classic icons of OUR/YOUR TIME: Madonna, Rolling Stones, Michael Jackson, RUSH, Jay-Z, Eminem, Beyonce, Blink 182, whatever floats your boat! The more you delve, the more you discover, the more you’ll learn.

Taken By: Crystal Morris

After a few “practice” gigs in LA, the UK and an EP release,  Spinnerette’s album finally hit stores on Tues. June 23rd in the US on Canadian indie label Anthem Records. The new CD is the first full-length release we’ve had from front-woman Brody Dalle in about 6 years. You can see it on the “new release” shelves at HMV in Canada and the UK, and hopefully at Best Buy stores in the US. I say hopefully, because prior to Spinnerette’s first performance after the CD release at the Troubadour, it was difficult enough to find the CD in Best Buy stores surrounding LA and the Inland. Prior to playing the Troubadour, Spinnerette played a few gigs in Ontario, Canada including Call the Office in London and a nearly sold out gig at the Mod Club for NXNE.

The crowd at the Troubadour was an odd array of age ranges.  At the past few Spinnerette shows I’ve seen people I haven’t in five years; it was a surprise to me that I saw some of them at all.  Lime green mohawks have been reduced to slightly tamer brown ones, homemade zebra print purses replaced by LAMB bags. I saw old Distillers fans who were visiting, and some old fans who have migrated to LA from UK, Canada and even Alaska.  Everyone is grown up, five years older, slightly wiser – but they are still some of the baddest motherfuckers I know. If you walk through the room of old Distillers fans it encapsulate the feel on the album. Spinnerette is refined, but will still kick you in the face. The album is mature but Dalle’s killer song writing and lyricism take control.

Spinnerette isn’t a massive departure from The Distillers, but more of a  natural progression. On songs like  “All Babes are Wolves”, “A Spectral Suspension” and “A Prescription for Mankind” it’s hard to decide what’s more explosive, the arena riffs or Dalle’s signature razor-edge vocals. This shit rocks hard like the best out of the 90s, with an old psychedelic soul in the vein of The Pixies, Roky Erickson and The Coral. You’ll hear the remnants of Dalle’s 4 chord melodies in “Bury My Heart”  and “Cupid”, coupled with a haunting resonance.

The album is audibly interesting, you’re going to be surprised. Crowd favorite and one of the catchiest tracks is “Sex Bomb.” It’s pure sweet pop beats over filthy rough vocals. The song has been released three times, my favourite being the Adam Freeland remix. Each release is different and they are all worth a listen. “Geeking” and “Rebellious Palpitations” reveal a new, fun and playful side of the band.

“Impaler” is the perfect song for a Canadian audience, it’s an awesome juxtaposition of spectre-like melodies and roots acoustic folk, courtesy of  producer Alain Johannes. If you’re sick of Puddle of NickleCreed, crave pop music that’s worth listening to, you‘ll probably think that Spinnerette is a saving grace.

Four years ago marked the end of The Distillers. Their last album, “Coral Fang” released on Sire/Warner, had significant commercial success, but many were not aware that The Distiller’s performance at Holiday Havoc on Nov. 14th, 2004 was going to be their last show. Seemingly due to artistic differences, The Distillers dissolved and managed to drop Sire/Warner. Four years later, a new relationship to Queens of the Stone Age front-man Josh Homme, one little red-headed baby girl, Camille, and we now have Spinnerette; a 10-peice conglomeration consisting of a recording band and touring band, fronted by Brody Dalle. Spinnerette have recently released a 4-song EP “Ghetto Love” independently, with the help of Toronto-based SRO Management.

Now here is the Canadian kicker- It has just been announced that Spinnerette has signed to Canadian indie label Anthem Records. If you haven’t heard of Anthem, the record label was created around the legendary Canadian prog-rock recording artist Rush. Why Anthem? Turns out they couldn’t find a label to sign them in the US, go figure.

It was announced that Spinnerette would be performing their first three shows in the Los Angeles area. Not wanting to miss their first couple shows, I went with friends to go check them out at Spaceland in Los Angeles on Oct 30th. The venue reminded me of the Bovine but bigger with a giant smoking lounge. The first few bands on stage were respectable, and there was a DJ spinning tunes in the back room. As the room began to fill-up, it became apparent that this wasn’t just a regular gig. Brody’s seat across the bar was taken up by Kat Von D, I passed Julian from the Strokes on the stairs and literally bumped in to Josh Homme on the way to the bathroom, where I proceeded to shit myself. This was a real NME pretend-not-to-notice-who-is-around-you-and-try-not-to-crap-your-pants-gig.

When Spinnerette hit the stage, Brody was visibly nervous, apologized to the crowd, humbly claiming that gig was “just practice”, but as soon as they kicked into the first couple songs, it became apparent that this wasn’t just a practice gig. One Chord Wonder punk melodies have been translated to sexy bass lines, interjected by 70s psychedelic-esque guitar parts performed by Tony Bevilacqua and guitarist Bryan Tulao. Lyrical stunners like “Valium Knights” explores the ostensible relationship between JFK/Marilyn Monroe. Cool songs like rhythm-heavy “Bury My Heart” are undeniably catchy. “Distorting A Code” is probably the most audibly interesting on the EP, infiltrated by wispy vocals and hauntingly distorted guitar. New bassist Nicole Fiorentino, formerly Veruca Salt, is spectre-like on stage, and an absolute sweetheart off… and don’t worry Distillers fans, Brody still has enough grit in her voice to rip your face off, while smiling (I.e. “Sex Bomb“).

Sex Bomb from their first show in Santa Barbara:

Here is some video footage of “Valium Knights” we took for you to enjoy:

It’s looking like a whole new indie scene for Toronto in 2009. With bands like Fucked Up and Spinnerette looking like they are going to blow-up Canada and re-assemble the little pieces left over, maybe the damn high-hat jingle beat that perpetuates popular Canadian indie music is finally dead.

Look out for the new Spinnerette CD this coming February (tentative). Spinnerette are currently touring in the UK, check out their website for details.