Re: What public is attracted by a Y2K Sampler Video?

[andy butler <akbutler@tiscali.co.uk>]

Sjaak Overgaauw wrote:

> 
> Not a surprise, my conclusion is that this concept is almost
> impossible to sell ;-)  Why?
> 
> 1) The public, at here here, usually is not interested in what gear or
> techniques you use on stage, but what the result is of what you
> do...the music. It's a cliche but people don't buy a ticket because
> Mr. or Mrs. X is world champion the live looping of 2009, but because
> he makes interesting music.

;-) imo, more often than not people buy a ticket because they think
lot's of other people are buying a ticket.
Then they enjoy the gig if it's well attended.
...that may be uk specific of course.

Perhaps we should fake a loop fest video with a massive
stadium attendance.



> 
> 2) Live looping is not a genre like rock or jazz. So imo, if you give
> your festival a direction in terms of the style/genre of your acts, I
> think you reach more people who share a similar interest. That's why I
> have turned Antwerp into an live looping festival with "Ambient" as
> main genre and keywords such as soundscapes, drones and live
> improvisation. I might even change the name in the future if that
> serves the goal.

I respect your choice, while thinking that 
live looping offers a lot more than ambient.
(and also a lot more than "chord backing" looping)

I'm thinking of doing an ambient event in Norwich,
but if I do it won't be the only event.
...and it wouldn't be a concert as such, rather a "walk
in and experience the ambience"...
quite likely I wouldn't play myself ( don't
do that much ambient, and rarely to a concert audience).

If you're pulling in the crowds with the "ambient" 
as a selling point, then that's great.
If there's such a thing as a livelooping brand,
and let's face it some of us are making efforts to
ensure that there is, then please lets be careful not
the get it equated with ambient...which after all, already
has it's own brand name.

At Norwich main fest, which has an audience which I imagine 
is fairly representative of regular music fans, 
the acts that
went down best with the crowd 
were Matt Stevens ( guitar with song type structure),
and especially Stephen Bingham (violin, carefully crafted arrangements
of contemporary classical compositions and some well known tunes).
...but same audience had no trouble tolerating Per, Michael Peters
and myself. (and MP was wonderfully way out that day).



> 
> 3) If you want to bring live looping to the masses, you need a few
> known artists, with good reviews and a good reputation. Not
> necessarily famous, but musicians with a fan base means there's public
> out there for your festival. The thing here is how to finance it but
> I'm seriously thinking about bringing a "big name" to Antwerp in the
> future. It's simply a matter of "revenue - costs" so if you can find
> someone to finance it, it can be done and you might be able to
> organize an a event with 5 support acts + a big name. Everything is
> possible and this might sell better than the current approach.

This was tried by Bernhard Wagner, in Zurich in '05.
I seem to remember that the conclusion drawn was that it
didn't work.
Press coverage focussed on the "real" acts, thinking us loopers
to be irrelevant.
A lot of audience left when the "main acts" came on.

What would be better would be if you could convince a promoter
to take on a few loop acts as support. 


> 
> Stupid question: what would Fripp ask for a gig? ;-)

When he played Norwich Cathedral on a soundscape tour I
think it's even possible he didn't get paid.
(except by live cd sales afterwards)
If I remember right, the event was free admission.
(and there wasn't a large attendance).

I expect that finance wouldn't be his first motivation.

If you really wanted him to play, then why not simply invite
him? ...only costs you an email.



andy butler