I have deleted the entire topic under this title, as I'm away for a couple of weeks, and it was apparent that some members felt my comments were aimed at them personally. That was not the case.
To simplify what I posted:
We've had a big rise in the popularity of percussion, especially bodhrans. If four people play the same instrument simultaneously, but are not playing together in the same rythm (or in the case of guitars, are playing different chords due to being unsure what's correct) then it's up the individuals to be more aware of what is happening and either retire from the fray or reduce volume. Variety helps too. Four different percussion instruments can work well where four slightly different tuned bodhrans don't.
We also need to be aware of the effect of repertoire on the audience, especially at the Cobbles. The late Jim Johnstone, 'father' of the club in many ways (or shop steward!), reckoned some songs were off limits because of this. Classic example: 'Alice' because you can't stop some people singing the Roy Chubby Brown version. 'Athenry' has been OK in Kelso because it's not really a sectarian song, but at one period it caused the club real problems from bar/management staff who took a different view.
My other comments were based on 'folk club best practice' - don't accompany open mic performance 'from the floor' unless you are sure the performer is happy with it, and your accompaniment will improve the listening experience. This applies especially to quiet performances, solo tunes, a capella singing, and visiting performers. If you judge it OK to do so, try to make eye contact with the performer and come in at a suitable stage in the song; it's often OK to join in midway, or for choruses only. And if you are unsure of the chords or rhythm, join in quietly. Remember, your instrument (particularly so for guitars) sounds much louder to others than it does to you, and you may be sitting 'projecting' your playing at the performer.
Finally, with the majority of club members using song sheets, my feelings about learning your repertoire were most certainly not aimed at any one individual. Hamish Imlach's classic 'Oh shit I've forgotten the words!' was a good 'un because it was a shared experience for professionals, let alone amateurs. I would simply say that if you can learn a song well enough to do without words and dots, you will probably do it much better. Have the words to hand by all means, and if you are in the Cobbles sitting at a table with other musicians, it can help everyone to be able to see what lyrics and chords you are working from - especially with traditional stuff where two dozen alternatives are out there. The same goes for duos/combos, the 'lead' may well know the song backwards but have the music there for collaboration.
'Stagecraft' - being aware of out of tune instruments and correcting same; introducing performers by name, especially when visitors are in the audience; performers introducing songs, briefly; looking up frequently from the music if you are using it; eye contact with audience if possible; eye contact with other musicians on the 'floor'; smiling a bit if possible! (Folk dirges excepted, best sung with eyes shut and finger in ear).
'Audiencecraft' - listening, and if you need to have a conversation, moving to an area where it won't affect the performance. All guilty, including me.
The Black Swan Open Mic is run on a genuinely 'open' basis by Peter Fry. Anyone who wants to can do a number. There may be an audience present, but generally they understand this and will tolerate the less experienced or confident. Our own members should try, please, to be equally tolerant.
David
