It actually makes it a more authentic experience. I’ve seen her live 4 or 5 times and there’s always a lack of interaction with the crowd and it think she’s acknowledged that this is because of her shyness.
To be pedantic: as far as I'm aware this was a gig that had been already booked but due to the restrictions on large gatherings, they went ahead and did the gig to the empty room and filmed it.
More recently (29th May I think?) they did a bona fide empty room gig where for 1000 yen you could watch the performance.
I would suspect we are in general agreement on what a great band they are. Tricot are to my mind one of the best bands in the world today- and terrific on stage. For a while a few of their complete gigs were on their youtube page, I enjoyed them a lot.
Amorphis did two live stream gigs (1st for 3am Finnish time for America, 2nd 18 hours later for Europe with a mostly different set list) in a proper venue, but they didn't use the stage. They played facing one another in a large circle in the middle of the hall, with the lighting in a circle round them and cameras outside that as well as on the balcony. No audience in the venue so no need to set up as if there was.
At under £10 each, it was cheaper than a live gig and could be watched again in the following 48 hours; a very good performance, the best that they can do in the current situation, but not like being there. Although the view was better.
Various free streaming things have been mentioned over the last three months, and the lack of ways for artists to make a living right now has been a concern shot through much of it.
The thing about a newspaper is it tends to concentrate on the new.
If you're after a comprehensive listing of available music livestreams or reviews thereof then this is not the place you are looking for.
So just ignore what is happening elsewhere, because they are not a "revenue source"?
Is the Guardian now only looking to those that can afford to pay high prices for tickets? Sorry, I can't see what the justification is for ignoring all the other events/gigs in favour of the ones mentioned here - surely a report on as many as you know about would be really informative, rather than trying to manage what info you release to the plebs.
If this is how things in live music are set to go for the next year or so, then it is shit. Read those last few paragraphs about the ticket prices and weep, because that is the future for now. Rich elites get to see what they want, the rest don't. I think it may just push people to create their own music - could be a movement like punk that uses grassroots venues (or outdoor spaces) to perform music about their own real lives, rather than the poutings of rich musicians moaning about their income losses.
I’ve been racking my brains for a better word than ‘hinterland’, that that guy uses in the quote “It’s a strange hinterland between being at an intimate concert and watching a DVD”. He means an in-between state, not a region in the past or behind oneself. It’s a twilight, or gloaming, maybe a bardo. I’ve a feeling that in using ‘land’, he meant a no-man’s land. Or, given the type of music, I guess purgatory for some.
Don’t you remember the one time he did? The police were called, he was arrested for performing a lewd act whilst onstage and the papers ran with the headline ‘It’s a sin’.
Musicians and some venues have been streaming live gigs since soon after lockdown. I'm not sure how much money it's bringing in. Put we are spoilt for choice re the arts online
I really like Laura Marling but don't find her an interesting live performer. Seen hee a couple of times so can make a fair judgement. Lacks any stagecraft. Still enjoy her music.
Anna Tivel has been doing a weekly stream from her porch with Jeffrey Martin, her partner, and two dogs. Its an hour a week and life affirming
They laugh and sing sad songs together and its blissful. You'll find them on Facebook going back to mid April.
Slightly off topic so forgive me but hoping to get some views.
Got an email yesterday from Wembley Arena. They inform me that Bon Iver is playing on the 8th Jan.
Does that not seem a touch optimistic? Several thousand people travelling across LDN to get up close with each other in the dead of winter?
I’ve already got about £350 tied up with theatre and gig venues for cancelled and rescheduled events, which is OK, just about, but I feel like you’d have to be brave to buy tickets for that.
You can't do it live from multiple locations. Trying to do a chat show live results in occasional talking over each other due to lag but it's not the end of the world, musicians playing together just isn't going to work.
If this is the future of live music then kill me now. It isn't though, we'll be back in sweaty crowds in dark rooms losing our shit in mosh pits again soon enough - there'll be a vaccine or an effective treatment or a failure to give a flying fuck either way because this is existing, not living, soon enough.
45 minutes of Clutch was a bit short, 'tis true but I love Crowbar so I wouldn't want any less and while I didn't know Blacktop Mojo before they were decent - in the room a few pints down I would've had a blast.
I've watched a fair few livestreams over the last couple of months, mainly of experimental artists doing their stuff. Some of them have been pretty good, especially when there's a variety of acts being hosted in an online event. The no audience aspect reminds me a bit of the old grey whistle test, I'm fairly sure bands played on there without an audience, and some of those performances were legendary. PIL's in particular.
I looked into doing a live stream myself and rigged up 5 webcams and a projector with free OBS software and it went OK overall. Kept me busy for a while anyway. https://youtu.be/yWLkbtfWWVQ
Same here, though more Clutch and less of the others would have been better - The first two were especially ropey. Still, for the price and considering that their Dublin gig is put back to 2021, I was glad I watched.
This was no better than watching Laura on Youtube, without an audience, or putting on a CD and listening to her. I go to gigs to feel part of something, which on this occasion I certainly didn't. I also go to gigs to watch the artists playing, the expression on their face, their fingers on their instruments, so I wasn't thrilled by the arty shots of the back of Laura's head. Hadn't realised she didn't do talk when playing, clearly just the sort of artist she is, but I was SO disappointed.
That’s great for her and her 25 strong production team. But hardly a viable business model for all of the highly dedicated artists who trudge endlessly round the country playing to small but appreciative audiences. Remember the old joke about the sax player who throws his 5 grand instrument into his car that’s worth 500 pounds to drive to a gig for a fee of 50 quid?
I think she’s great. I also think these live streams are very dull. I’ve never really enjoyed concert films, and it’s just a concert film. I don’t care that it’s happening ‘live’ because if it’s not in front of me, it’s not live. That’s not being mean, it’s a point of view given the article is half dedicated to considering whether or not these live streams are a decent substitute (they are not ... the fact they exist just make me long for what was normal a few months ago).
This is a beautiful venue where John Cale played those last famous gigs in those final years when rock and pop meant anything. 2003, I believe - shift in the generations.
It was sublime, I loved this. I felt a sense of a ‘spectacle’ in the way I haven’t for weeks. It was well needed. And MEAN people, find somewhere else to direct your energy please, what a waste of your lives. You don’t ‘need’ to comment...
'I loved the weirdness' – can Laura Marling's crowdless gig rescue live music?
Comments
It actually makes it a more authentic experience. I’ve seen her live 4 or 5 times and there’s always a lack of interaction with the crowd and it think she’s acknowledged that this is because of her shyness.
To be pedantic: as far as I'm aware this was a gig that had been already booked but due to the restrictions on large gatherings, they went ahead and did the gig to the empty room and filmed it.
More recently (29th May I think?) they did a bona fide empty room gig where for 1000 yen you could watch the performance.
I would suspect we are in general agreement on what a great band they are. Tricot are to my mind one of the best bands in the world today- and terrific on stage. For a while a few of their complete gigs were on their youtube page, I enjoyed them a lot.
Amorphis did two live stream gigs (1st for 3am Finnish time for America, 2nd 18 hours later for Europe with a mostly different set list) in a proper venue, but they didn't use the stage.
They played facing one another in a large circle in the middle of the hall, with the lighting in a circle round them and cameras outside that as well as on the balcony. No audience in the venue so no need to set up as if there was.
At under £10 each, it was cheaper than a live gig and could be watched again in the following 48 hours; a very good performance, the best that they can do in the current situation, but not like being there. Although the view was better.
Thank you for solidifying my argument. Good man!
All the music / songs were more or less the same, and I'm a fan. Much prefer her with a band.
Try Semper Femina live.
Yes, it was amazing. We’ve seen her loads of times and her banter is always funny and welcome.
If it's good enough for Cummings...
She's been locked-down in London. Why would she travel somewhere else to do it?
Various free streaming things have been mentioned over the last three months, and the lack of ways for artists to make a living right now has been a concern shot through much of it.
The thing about a newspaper is it tends to concentrate on the new.
If you're after a comprehensive listing of available music livestreams or reviews thereof then this is not the place you are looking for.
So just ignore what is happening elsewhere, because they are not a "revenue source"?
Is the Guardian now only looking to those that can afford to pay high prices for tickets? Sorry, I can't see what the justification is for ignoring all the other events/gigs in favour of the ones mentioned here - surely a report on as many as you know about would be really informative, rather than trying to manage what info you release to the plebs.
No, that didn't get an airing. Full setlist here fyi.
The thing that's new about this is that it's shot with high production values, and is ticketed, so can be a revenue source for artists and venues.
Shame then that this stuff still has to be done in London - otherwise it would not be noted by the press. She could have done this from anywhere.
If this is how things in live music are set to go for the next year or so, then it is shit. Read those last few paragraphs about the ticket prices and weep, because that is the future for now. Rich elites get to see what they want, the rest don't.
I think it may just push people to create their own music - could be a movement like punk that uses grassroots venues (or outdoor spaces) to perform music about their own real lives, rather than the poutings of rich musicians moaning about their income losses.
Fair point, uncharted territory is probably closer to what I was aiming for than no-man's land.
I know what you mean- just like phonesex isn't real sex, but only a poor substitute used by the desperate.
Trioct did this 3 months ago
I agree, there has to be some acknowledgement of the weird situation to humanize the thing.
I’ve been racking my brains for a better word than ‘hinterland’, that that guy uses in the quote “It’s a strange hinterland between being at an intimate concert and watching a DVD”. He means an in-between state, not a region in the past or behind oneself. It’s a twilight, or gloaming, maybe a bardo. I’ve a feeling that in using ‘land’, he meant a no-man’s land. Or, given the type of music, I guess purgatory for some.
Don’t you remember the one time he did?
The police were called, he was arrested for performing a lewd act whilst onstage and the papers ran with the headline ‘It’s a sin’.
Musicians and some venues have been streaming live gigs since soon after lockdown. I'm not sure how much money it's bringing in. Put we are spoilt for choice re the arts online
The Folk on Foot festival was brilliant.
I really like Laura Marling but don't find her an interesting live performer. Seen hee a couple of times so can make a fair judgement. Lacks any stagecraft. Still enjoy her music.
Anna Tivel has been doing a weekly stream from her porch with Jeffrey Martin, her partner, and two dogs. Its an hour a week and life affirming
They laugh and sing sad songs together and its blissful. You'll find them on Facebook going back to mid April.
Do you find a voice then say “Here’s Free bird by Lynyrd Skynyrd, on Amazon music’ and the song starts playing in another room?
Slightly off topic so forgive me but hoping to get some views.
Got an email yesterday from Wembley Arena. They inform me that Bon Iver is playing on the 8th Jan.
Does that not seem a touch optimistic? Several thousand people travelling across LDN to get up close with each other in the dead of winter?
I’ve already got about £350 tied up with theatre and gig venues for cancelled and rescheduled events, which is OK, just about, but I feel like you’d have to be brave to buy tickets for that.
It does though.
There have been hundreds of artists and bands performing live "gigs" over the past 3 months. Has nobody at the Guardian noticed this?
Let's enjoy solitude!
Reminds me of that other joke:
How do you make a million dollars playing jazz?
Well .... first you take three million dollars ...
You can't do it live from multiple locations. Trying to do a chat show live results in occasional talking over each other due to lag but it's not the end of the world, musicians playing together just isn't going to work.
If this is the future of live music then kill me now. It isn't though, we'll be back in sweaty crowds in dark rooms losing our shit in mosh pits again soon enough - there'll be a vaccine or an effective treatment or a failure to give a flying fuck either way because this is existing, not living, soon enough.
45 minutes of Clutch was a bit short, 'tis true but I love Crowbar so I wouldn't want any less and while I didn't know Blacktop Mojo before they were decent - in the room a few pints down I would've had a blast.
Did she play Blow by Blow? Love that song and don’t think she’s played it on any of her live YouTube performances.
I've watched a fair few livestreams over the last couple of months, mainly of experimental artists doing their stuff. Some of them have been pretty good, especially when there's a variety of acts being hosted in an online event. The no audience aspect reminds me a bit of the old grey whistle test, I'm fairly sure bands played on there without an audience, and some of those performances were legendary. PIL's in particular.
I looked into doing a live stream myself and rigged up 5 webcams and a projector with free OBS software and it went OK overall. Kept me busy for a while anyway. https://youtu.be/yWLkbtfWWVQ
Fair point - appreciate the reply.
Larkin Poe have been doing some good sessions online at a tenner a pop.
Same here, though more Clutch and less of the others would have been better - The first two were especially ropey. Still, for the price and considering that their Dublin gig is put back to 2021, I was glad I watched.
This was no better than watching Laura on Youtube, without an audience, or putting on a CD and listening to her. I go to gigs to feel part of something, which on this occasion I certainly didn't. I also go to gigs to watch the artists playing, the expression on their face, their fingers on their instruments, so I wasn't thrilled by the arty shots of the back of Laura's head. Hadn't realised she didn't do talk when playing, clearly just the sort of artist she is, but I was SO disappointed.
more depressing than live
@ CorpusPissti
What about all the great guitar Nigels? Nigel Pulsford (Bush), Nigel Tufnel (Spinal Tap)
That’s great for her and her 25 strong production team. But hardly a viable business model for all of the highly dedicated artists who trudge endlessly round the country playing to small but appreciative audiences. Remember the old joke about the sax player who throws his 5 grand instrument into his car that’s worth 500 pounds to drive to a gig for a fee of 50 quid?
I think she’s great. I also think these live streams are very dull. I’ve never really enjoyed concert films, and it’s just a concert film. I don’t care that it’s happening ‘live’ because if it’s not in front of me, it’s not live. That’s not being mean, it’s a point of view given the article is half dedicated to considering whether or not these live streams are a decent substitute (they are not ... the fact they exist just make me long for what was normal a few months ago).
This is a beautiful venue where John Cale played those last famous gigs in those final years when rock and pop meant anything. 2003, I believe - shift in the generations.
I thought it was being streamed on Burke’s Peerage.
It was sublime, I loved this. I felt a sense of a ‘spectacle’ in the way I haven’t for weeks. It was well needed. And MEAN people, find somewhere else to direct your energy please, what a waste of your lives. You don’t ‘need’ to comment...
Sydney Opera House ran a brilliant programme of well filmed live performances on its main stage in May - well worth viewing,
Enslaved and Disillusion did pro shot venue shows long ago, to name just the ones I caught without really trying.
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